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"Find the love in your instruments and build a relationship with them" - An Interview With Little Bihlman

The Emmy Award-winning musician reflects with remarkable honesty on stepping into his own voice, the deeply personal stories behind Heavy Head, finding clarity on the open road, and why the best gear is the gear that becomes part of you.

By Chris RoditisMusicngear Lead Editor

Photo courtesy of artist

For much of his career, Scot "Little" Bihlman helped bring other artists' music to life. But with his new solo album Heavy Head, he's telling his own story without holding anything back.

Throughout our conversation, the Emmy Award-winning musician speaks with refreshing honesty about what it means to step from sideman to frontman, the deeply personal experiences that shaped his songwriting, and the resilience that carried him through some of life's hardest moments.

Along the way, we also talk about motorcycles as creative therapy, the instruments he refuses to leave untouched, and why the strongest connection an artist can have isn't with a collection of gear, but with the few pieces of gear that truly become part of who they are.

LISTEN WHILE YOU READ

Chris Roditis, Musicngear: After years playing alongside artists like Jelly Roll and in bands such as Grinder Blues and The Bihlman Brothers, you're stepping into the spotlight with "Heavy Head". What inspired you to finally make the leap to frontman, and what did you discover about yourself in the process?

Well, I've been lucky in my career to collaborate with artists like John Fogerty, JellyRoll, Doug Pinnick, and Buddy Guy, and worked with great producers like Jim Gaines and Bruce Robb. I've always been a singer-songwriter, writing songs to be explored, no matter if I'm singing them or presenting them to a project. Experiences and projects come and go, and what I've learned a lot about the people I've worked with is stepping up, and I don't mean stepping into the spotlight as much as presenting your feelings and emotions the way they came out of you as a singer-songwriter.

When I was working with JellyRoll, I really saw that side of him, as he had major insecurities, but when he stood up to the microphone, he owned it. I've been on both sides of this dynamic and have spread myself a bit thin - drums, guitar, vocalist, percussionist. I've been all over the place, so my solo projects now are very much based on stepping away from the drum kit more and more.

I do lay down all the drums on my records, but it's pretty much secondary, as I focus more on stepping up and being the frontman of my project. This hasn't come easy for me, but I did have a lot of experience with solo acoustic gigs throughout my career. I've literally done thousands of these over the years, and in my band, the Bihlman Brothers, I would come out front and sing songs like “Jubilee” that still get radio airplay in Michigan in regional areas.

There’s nothing like hearing your songs on the radio /film /TV. My new record, Heavy Head, is a full band project, but it’s really a culmination of my journey, stepping out front as a singer-songwriter. After years backing other artists, these songs, let me fully express. The vulnerability and intensity I’ve always had inside and share it.

Musicngear: "Heavy Head" has been described as your most personal work to date. Were there any songs that proved particularly difficult emotionally or creatively to finish, and why?

I try to squeeze every ounce of emotion out of every song as much as possible. I take lyrics very seriously; I often write about the human condition, drawing from my own experiences or observing others.

“Leaving My Heart at Home” was probably the hardest song for me to express. At that time, I was trying to see my daughter but faced serious resistance from her mother, and getting this pushback was heartbreaking for me. I had never experienced this dynamic before, and didn’t really know anyone who had; it was an incredibly lonely and frightening time for me on many levels.

I leaned into my Zen practices hard; I gained a much better understanding of balance, centering my energy, and letting go that actually gave me more energy in this paradoxical concept. There’s an old Zen saying: “Let go, or get dragged.” I wasn’t letting go of my daughter; I was letting go of the petty dynamics that comes along with this new experience and navigating a legal battle. All I wanted to do was to see my daughter, and in the end, it all got resolved. It cost me an arm and a leg, but it didn’t take my sanity. It’s not how heavy the load is; it’s how you carry it.

Lyrically, I rewrote this song a dozen times trying to keep it serious yet lighthearted. It was definitely challenging. Every song I write, I go as deep as I can until I can go no further, and at the end of the day, I hope all the songs resonates with the listener.

Musicngear: As someone who’s spent years behind the drums while also playing guitar and singing, how does approaching music from different instruments shape your songwriting and arrangements? When a new idea arrives, which instrument usually leads the way?

Songs are always bouncing around in my skull. I hear guitar riffs, drum beats, and melodies all the time. When I pick up a guitar, I usually just mess around with licks and chords to see if anything gets my creative juices flowing. If something clicks, it strikes me in a way that makes me want to explore where those goosebumps are coming from.

From that point on, I start chasing the feeling. If it began with a cool drumbeat that sparked a guitar riff, then that’s where it goes—or sometimes it’s the other way around. For me, there’s no single starting point.

It’s really about catching an emotion and trying to harness it. It’s controlled chaos, if you will, and then trying to put all the pieces together like a puzzle. It’s a fantastic journey to watch a song evolve into something with a life of its own. I guess it’s like growing a plant. You give it good soil, you water it, you prune it, and hopefully, it blooms and flourishes on its own.

Musicngear: You’ve mentioned that riding your motorcycle clears your mind and helps songs appear. What is it about being on the road that fuels your creativity, and have any tracks on “Heavy Head” begun that way? 

Riding my Harley is probably just as important to my creative process as playing guitar or drums. Whenever I feel like I have nothing left to write about or I get into a creative funk, I jump on my bike and hit the road for a few hours. I usually take the 101 to Topanga Canyon, then head down to the PCH and ride up through Malibu, with the ocean on my left, the wind in my knuckles, and blue skies above.

That’s when my brain relaxes and opens up. Suddenly, everything starts to flow—from old-school country classics to Nine Inch Nails, Peter Gabriel, Pink Floyd, or even a new band I discovered on YouTube. When you’re riding a motorcycle, you have to stay completely focused on the road. And somehow, that focus inspires me.

It’s like one part of my brain is occupied with what’s happening right in front of me, while the creative side plays like a child and imagines freely. I’ve been on high-pressure recording projects, where we were just a couple of songs away from finishing a record, but I had nothing left creatively. I didn’t need to be locked in a studio with guitars, drums, pianos, and all that gear.

All I needed was to get on the bike and ride. When I return, I’m flooded with new ideas. If my Harley were a musical instrument, I’d say it’s the most important one in my creative process.

Musicngear: You’ve been endorsed by Epiphone and Schecter and are known for modifying and customizing your gear. What’s your philosophy when it comes to shaping instruments and equipment to fit your own voice, and what’s one of the most unusual modifications or experiments you’ve tried that actually paid off?

Well, stock sucks! It doesn’t matter if it’s motorcycles, guitars, drums, or anything else. For me, it’s all about comfort and making it your own. I’ve never had a problem modifying anything—I don’t care how much it’s worth or how old it is. Once I’ve put my own soul into something, I don’t want to get rid of it. If it breaks, I fix it; if I can’t fix it, I find someone who can. It doesn’t matter to me if it’s all Frankensteined together.

When someone gives me something—or even if I buy it for myself—it’s literally just the beginning of what it will become. I have to feel connected to whatever I’m wearing, playing, or riding. When I go overseas, this is a bit of a challenge, since everything is usually backline gear. So, it all comes down to the guitar picks and drumsticks I’m used to, just to get some homegrown familiarity when I take the stage.

I love all my endorsements, but I’ve actually turned some down because I’m not a gear hoarder. What I have, I love, and I don’t need a warehouse full of gear collecting dust when it could be out there doing what it was made to do. Watching beautiful instruments just sit in their cases is like watching a bird trapped in a cage—it sickens me. Find the love in your instruments and build a relationship with them. In the end, they will serve you well—and so will the art you create.

Musicngear: Could you walk us through some of the guitars, amps, pedals, or studio tools that became essential during the making of Heavy Head? Were there any pieces of gear that surprised you during the sessions?

I work with a fantastic human being and an incredible guitar player named Ron Meyer. Lately, I’ve been doing most of my writing on my Epiphone J-200, my Epiphone Elitist Country Deluxe Sunrise Orange Hollow Body Electric, and my Schecter Diamond Series Telecaster in Sunburst. These guitars lay the foundation for my songwriting and help me get into the ballpark of the sound I’m chasing.

But in the studio, Ron brings all his gear and has a real gift for knowing exactly which amps, pedals, delays, and effects will get us there. If I reference a particular guitar sound from another album, he knows exactly how to recreate it. My producer, Miles Fulwider, is also a huge force in this process. Between the two of them, they always get the job done, and they have the patience of saints when I’m chasing down these sounds. It’s a great team, and I’m honored to have them in my creative process. Thank you, gentlemen!

Musicngear: Over two decades in music, you've played everywhere from juke joints to arenas and shared stages with legends. Looking back, what were some of the biggest challenges you had to overcome, and what advice would you give artists facing similar struggles today?

I would say the biggest challenge is the backline. You put on the rider exactly what you’re looking for, and the gear is usually top-notch, in great condition, and polished to the nines. The only issue is that it’s not your equipment. When you’re trying to put on the best show possible, it’s like dancing with a new partner. There’s nothing wrong with that partner…it’s just not the one you’re used to. You’re familiar with every move, every feel up and down the neck of your guitar, how your kick drum resonates, and all those little details that make it feel like home.

The biggest piece of advice I can give anyone is this: don’t be a prima donna. Appreciate what you have. Everyone wants you to put on a great show…the promoters, the booking agent, the band, and especially the audience. Getting caught up in things not feeling exactly right is, to me, just complete bullshit.

You have to be a professional. You have to rise to the occasion, no matter the circumstances. When you operate with compassion, patience, and simplicity, the end result might not be exactly what you imagined, but it will be a far better experience for everyone. Put your head down, be a good soldier, and rock out!

Musicngear: You’ve worked with remarkable artists across different worlds and are now beginning a new chapter with Heavy Head. When listeners reach the end of the album, what do you hope stays with them?

I can’t wait to listen to that again. 

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About Chris Roditis

Chris Roditis has been an active musician since 1995 in various bands and projects across a variety of genres ranging from acoustic, electronic to nu metal, british rock and trip hop. He has extensive experience as a mixing engineer and producer and has built recording studios for most of the projects he has been involved with. His passion for music steered his entrepreneurial skills into founding MusicNGear in 2012.

Contact Chris Roditis at chrisroditis@musicngear.com

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