One of the most revered and best guitarists of today, Richie Kotzen needs no introduction. With an extensive career and having shared the stage with names like Poison, Mr. Big , and The Winery Dogs, the musician will come to Brazil in April to perform two shows of the Smith/Kotzen, in Curitibaon the 24th and São Paulo on the 26th. The latter will take place at Bangers Open Air 2026 – tickets on sale.
In an interview with Wikimetal, Richie talked about his partnership with Adrian Smith, what it's like to compose with the Iron Maiden , and more. He also commented on his future career plans, opened his heart about his relationship with Brazil, and joked about what we can expect from his performances in the country. Read the full interview.
Wikimetal: Last month, you performed in London and Bruce Dickinson surprised you by joining you on stage to sing “Wasted Years.” You’ve mentioned before that your first rock concert was Iron Maiden. What was it like sharing the stage with the composers of one of the most iconic songs in metal history?
Richie Kotzen: It was great! A really pleasant surprise and I was happy that it happened. The audience was really super excited. You know, it definitely raised the energy at the venue, and it was a really good thing, with lots of videos out there that captured it all. So it was a fabulous opportunity and an exceptional moment.
WM: Are you thinking of including more Maiden songs in the setlist? Because Adrian has mentioned a few times that "Wasted Years" would be the ideal choice, but I know there are many others that could be played.
RK: Well, actually no. The idea is to play our own material, the songs that Adrian and I wrote together. We even included some in the encore. And, as you can see, unfortunately there are no more surprises. It was supposed to be kind of a bonus and put that in the encore, you know? We also played one of my songs, “You Can't Save Me”. But the main focus is on the songs we created together. So, the idea of including other songs that aren't from Smith/Kotzen is out of the question.
WM: Speaking a bit about Smith/Kotzen: you two share vocals and guitars on the project. I'd like to know how you and he decide who will sing a particular part of the song. Is it something planned in advance or resolved as you compose?
RK: We figure it out as the process progresses and the songs are created. Sometimes I have an idea for a chorus and… Well, I was going to say that when it comes up, I sing it myself, but that's not entirely true. In “Scars,” for example, I had the idea for the chorus and I sang it. But, at the same time, there are other songs where Adrian had the idea and I sang it. And also the opposite, when the idea is mine and he sings it. That's part of the process. Often people think there's a system, a defined method of how things come about.
But the truth is, there's no set script to follow when composing music. It simply happens very fluidly. Each idea, melody, lyric, comes from a different source and is treated in a unique way. I wish I could give a standard answer, saying, "This is how it's done," but in reality, it's not like that.
WM: Smith/Kotzen initially started out more focused on jam sessions. You eventually released two albums that were well-received by the public. Does this motivate you to already think about a possible third album?
RK: You know, personally I don't usually look too far into the future. I prefer to focus on the present and enjoy the moment. I think we made two really great albums, and I'm happy that we finally have the opportunity to play these songs live. But I don't know. I have no idea what's going to happen. I know I love working with Adrian, so if I had to bet, I'd say yes. Who knows? We'll see.
WM: Black Light / White Noise will be one year old this April and is a highly acclaimed album. One of my favorite songs, "White Noise," offers an extremely relevant critique of humanity's addiction to social media. How do you see the impact of this on our society?
RK: Well, I don't know exactly what I think about it. I don't want to be one of those people who keep talking about how bad it is or anything like that. Actually, I don't care that much. In my view, it's more a way to stay in touch with people and show what I'm doing. It's a very good tool for that, especially when you have an audience that's interested in your work. For example, yesterday [March 17th] I posted a video because I had something I thought was cool to share with my followers. I also found another old video, from a show I did years ago that I didn't even remember anymore. Maybe I'll post that one too. So, I see it as a cool way to connect with people and keep everyone updated on what you're doing.
WM: I always like to ask musicians about the big discussion today, which is the creation of AI-generated music. And with you it will be no different, especially since you are an extremely organic musician who seeks inspiration in various styles. How do you see this current scenario?
RK: Personally, I don't care much about it. It doesn't make that much of a difference to me, because my music is already in the past. It's already been made, released, listened to, and it simply exists. I think it ends up being more of an issue for other people. But, honestly, I don't see it as necessarily good or bad. For me, it doesn't make a difference. It's not something that worries me or that I really care about. Maybe it doesn't matter precisely because my music already exists. Now I'm working on new material, writing new songs. At some point, I'll have more songs ready that nobody has heard yet. Then I can release them. If there's still an audience interested in listening, great. If not, that's part of it.
Ultimately, it's just something new. This didn't exist before. I imagine that if it had existed when I was young, learning guitar and composition, it might have influenced my path. Who knows, I might not even have become a professional musician, since there would have been machines doing that. But that didn't exist between the 70s and 90s. So, for me, it doesn't really change much.
WM: You mentioned you're working on new music. What can you tell us about it?
RK: These aren't songs yet. They're just ideas. I have all sorts of them. I have lyrics written down and some recordings of parts of them, but nothing is 100% finished. I like to compose when there's no deadline or pressure. I don't like to write out of obligation. I prefer that the reason is simply when an idea comes to me. From there, I work on it because it's something that makes me feel good. That's my way of working. When the music exists, then I see if I want to release and share it.
Right now I'm really excited about this, because I've been touring a lot. I've been on the road for quite a while. What I really want now is to stay home for a while and enjoy this side of life. Of course, we still have a few shows ahead, but only four. After that, I want to slow down, relax, and enjoy this period. This will give me space to compose more and get excited about creating new music again.
WM: In 2024, you released Nomad, a very interesting album where you did everything yourself: from composing and recording to producing. What is the process like being the sole creative mind on a solo project and then working with heavyweight partners in The Winery Dogs and even in Smith/Kotzen itself?
RK: It's definitely a different approach. Collaborating is very different from simply developing your own ideas. There's a positive and a negative side to it, and you need to be in the right frame of mind when you enter into a collaboration. You need to understand that not all of your ideas will be well-received. But at the same time, it's important to believe that, in the end, you'll arrive at something that excites you, has value, and that you want to share with people.
I'm very proud of my collaborations. I really like the three albums I did with Winery Dogs. Of course, I also love what I did with Adrian, it's very exciting. And when I worked with Stanley Clarke and Lenny White on that fusion album [Vertú, released in 1999] back then, I also enjoyed it a lot. There's a lot of material out there with my name on it, so my perspective has changed over time. When you realize you've built a large body of work, things become a little different than they were years ago.
Before, it was all about wanting to make an album, go on tour, always following that cycle. Today I can look back and think that I've done a lot and I'm happy with most of it. Not everything, of course, but most of it. I feel that my work represents me very well. If it all ended today, I would think it was a very good journey. And that changes how I see the future. It becomes more open, because now I only want to work when there is true creative inspiration. I could even say that if I do more things, maybe it will be at a different level from everything I've already done. Only time will tell. But I'm very proud of everything I've done and I'm happy to have experienced all of this.
WM: Since Mike [Portnoy] returned to Dream Theater, I'd like to know what the current situation is with The Winery Dogs.
RK: It's currently inactive. And, as I said, it was a great opportunity to work with those guys. I think we made incredible music, and I'm very proud of what we created. The positive side of the internet is that everything is there. Anyone can go back and watch it, whether it's live performances, studio videos, or recordings. That's one of the great advantages of how everything works today. You have immediate access to revisit those moments and enjoy everything again.
WM: Now I want to talk about Brazil, because your relationship with the country is very interesting. And I need to ask about Julia, because besides being an excellent bassist, she's also your wife. What's it like sharing the stage with someone who's part of your daily life? Do you usually talk about songwriting at home?
RK: Yes. Well, she's a great songwriter. My wife Julia is a fantastic songwriter. Often people look at her and think, "Okay, a bassist who sings and stuff." But I really think she's an incredible songwriter. She's already released her own songs and is always writing and creating. That's very inspiring to me, you know? Living with an artistic and extremely musical person is something very special. We've already done some things together. Of course, she plays bass on the new album I did with Adrian and is also part of the band, so we're on stage together, which is great. It's simply something wonderful. I'm very grateful to have that in my life.
WM: Having this familiar connection with Brazil and our culture, how much of Brazilian musicality do you think has permeated your way of playing or composing?
RK: You know, Brazilians are always around, at my house, and we have many Brazilian friends. I love being with people from Brazil. It's something very positive, the food is great and the energy too. That's what I always say: the Brazilian energy. Everyone seems so upbeat, and it's always a pleasure to be there because I simply feel happy. You know, there are places you go where the atmosphere is heavier, darker. But in Brazil, with the people, the energy is much lighter. It's a joyful feeling. So I really look forward to going back.
WM: The rhythmic foundation of Smith/Kotzen stands out for being 100% Brazilian, since we have Julia and Bruno Valverde on drums. How does this impact the dynamics of the songs, considering that they were recorded in the studio and are now being played live?
RK: Yes, it's great, because now there's a continuity between what was done in the studio and what happens live, and that works very well. The connection between everyone is fantastic, and the musical level is extremely high. We both play at a very high level. Everything works well. To the point that I can even make a mistake without anyone noticing. It's been an excellent experience. And going on tour with Julia makes many people imagine how difficult it is to be on the road with your partner. In reality, we have a lot of fun together.
That made all the difference, because the touring routine can be quite tiring at times. There are many moments when you're not doing anything and don't even know what to do with your time. But we really enjoyed the European tour, and I'm looking forward to bringing that to South America as well, for sure.
WM: What are the next steps in your career and what can we expect from Richie Kotzen in the future?
RK: The truth is, I don't have any plans. That makes me quite excited, because I've spent most of my life making plans. Now I really don't have any, and I don't want any. The only thing I can say is that I have a lot of ideas for music, for songwriting. So, what I think should happen is that, after the shows in Brazil, I'll stay there a little longer, enjoying time with my family. When I get back home, I want to rest and let these musical ideas take shape, see what they lead to. Let them guide what comes next. If, suddenly, these ideas start to develop and I get excited, that could lead me to make a new solo album, and maybe even a new tour. But, if nothing comes of it, well, then I think I'll just lie by the pool until something better comes along.
WM: Next month, you'll be playing at Bangers Open Air and also performing in Curitiba. What can we expect from these shows?
RK: Total chaos and complete destruction. No, I'm kidding. Well, I think you can expect a rock show. We're going to play our songs the best we can. We have an incredible Brazilian rhythmic base, so you already know what that means. Adrian and I are very well rehearsed because we just finished a five-to-six-week tour of Europe. So we know exactly what to do and we're very excited to come and play for you.
WM: Could you send a message to the Wikimetal readers to wrap up our conversation?
RK: Yes! The message is: thank you so much for all the years of support. I've been touring in Brazil for quite some time and I love performing there. You've always been so kind to me over the years, and I'm super excited to come back. I can't wait to play there again!
READ ALSO: Interview: Julia Lage and Bruno Valverde detail their experience alongside Smith/Kotzen
