I first came across Johnny Up years ago through some of his early YouTube videos, and I took a deeper interest in his work when he stepped in as the pedal steel player for Whitey Morgan and the 78s after Brett Robinson’s departure. He’s also worked with artists like Cody Jinks and John Moreland. Beyond the stage and studio, he’s a successful digital content creator, helping steel players navigate the often-intimidating world of pedal steel guitar through a growing library of lessons and content. His videos on YouTube and Patreon are among the most useful resources available to players today. I was excited for the chance to interview him and learn more about his background, his work with Whitey and others, his gear, and his approach to both music and teaching.
Background
Can you share a bit about your background and what inspired you to take up playing pedal steel? Were there certain players or bands that inspired you early on?
I grew up in Oklahoma City. My mother is a vocalist and was playing in rock bands since the ’70s. I went to a lot of her band practices as a kid, and whenever we were in the car, we’d be listening back to the rehearsals on cassette. Even though I wasn’t playing an instrument yet, I learned a lot about musicality and melody from her and the band. I started playing six-string guitar when I was in middle school and immediately fell in love. My sister attended a performing arts high school. She’s an amazing musical theater actress. Her voice can reach the back row seats. That school also had a classical guitar program. After things didn’t go so well my freshman year of high school, I decided to transfer to that school. Over the summer, the guitar player in my mom’s jazz band, Clint Pope, taught me how to read music. I got accepted into the guitar program and graduated from there in 2004. I attended the University of Oklahoma for music performance, but I eventually realized playing jazz and classical guitar wasn’t something I wanted to pursue further. Music took a back seat for a while.
My favorite music was punk rock. Enjoyed other genres, but country was something I couldn’t stand. When I was growing up in the ’90s, the mainstream country music was just horrible. “Achy Breaky Heart”, “Boot Scoot Boogie”… I couldn’t turn the radio off fast enough. Around 2008, a friend of mine turned me on to the band Whiskeytown, and another friend turned me onto the Drive-By Truckers. Here were a couple bands that were playing country, but with punk rock attitudes and thoughtful lyrics. Their music just really spoke to me. I was living in Baton Rouge at the time. My favorite part of both bands was the steel guitar. In Whiskeytown, Bob Ricker’s steel playing was simple but beautiful. In the Drive-By Truckers, John Neff’s steel guitar crossed genres wherever the band took him. Their playing was as important as the words. I didn’t know a thing about steel guitars, but I knew I wanted to be able to make that sound. I asked my mom if she had any country albums. She gave me Gram Parson’s GP/Grievous Angel double CD. That definitely sealed the deal. After a little bit of research online, I bought my first pedal steel in January of 2011.
What was your first steel guitar and amp?
My first steel was one of those Fender student models from probably the ’70s. I got it off eBay for around 650 bucks, which, you know, is like 1,000 bucks today. But it’s a good thing it was that expensive. I messed around with it for about six months but quit because it wasn’t making sense to me, and I was frustrated with how little learning material was available. So it sat in my closet for another six months. Then, I don’t know, one day, it’s in the closet, and I’m standing there looking at it. I remember thinking to myself, “You spent two months’ rent on this thing. You’re going to learn how to play it.” From that day, I didn’t let anything stop me. It took another couple of years before it made sense, though. My first steel guitar amp was a Nashville 1000, because I saw a picture of Roger Ray with one, and it sounded great. The problem with those 1000s, though, is that if anything happens to them, they are a pain to repair. You have to take the whole thing apart.
Did you have a teacher when learning to play? If not, how did you approach learning?
I didn’t have a teacher only because I couldn’t afford one. When I did have some extra money, I would buy DVDs and CDs with tab booklets – Winnie Winston, Lloyd Maines’ Hot Pedal Steel, and all that. I’d try to absorb as much as possible. There wasn’t a lot out there, though. But YouTube had just come out, and with a little digging, you could find some lick lessons or even just watch live performances. There’s all sorts of little things you can pick up watching a pro play: how they hold the bar, how they press the pedals, elbow angle, those types of things. This was really the beginning of my journey as a teacher. I wasn’t trying to teach so much as just share the stuff I had found useful after digging through hours of YouTube videos, grainy VHS and 30-year-old tabs. I wanted to hopefully make it a bit easier for the next guy. I got a lot of hate in the beginning from people saying I wasn’t qualified, that I should shut up and learn how to play first. But when I would ask those same people to teach me something, they didn’t have much to say. So, I can really relate to the struggle new players have finding learning material and teachers.
How did you get connected with some of your earlier artists/bands like Jeff Hobbs and John Moreland playing steel?
Wow, you did your research! When I decided to move back to Oklahoma from Baton Rouge, I put an ad up on Craigslist looking for a band and Jeff reached out. We played together for many years, and he’s still a good friend. John I met through a mutual friend. I had a lot of fun playing with him, having a residency at the Mercury Lounge, and of course recording In the Throes.
It’s a tough transition for many steel players to make – going from a “bedroom player” to a gigging musician. How did you successfully make that transition?
I started playing gigs on pedal steel almost as soon as I bought it. I never had the mindset that I was just a bedroom player, and I think maybe my mom and my performing arts high school gave that to me. My first gig was in Louisiana playing dive bars until closing time. So, while I was stuck playing those ’90s country covers that I hated so much for four hours a night, that’s something you really can’t replicate in your bedroom. There was the pressure of memorizing all the steel parts for the set, which is a skill in itself that came in handy when Whitey called and I had only two weeks to prepare. Also, getting comfortable making mistakes in front of a crowd, but also getting a little bit better every night. I would get home from those four-hour gigs and not be able to sleep because I would keep replaying one of the steel hooks over and over in my mind. It was addictive.
Was recording with Cody Jinks on “I’m Not the Devil” your first major studio session? Did you do any tours with him – or just studio work? How did you get connected with Whitey Morgan? I believe he played for many years with Brett Robinson on steel – did you come into the picture when Brett moved onto other projects?
Yes, I guess you could say that. In the Throes was recorded in John’s bedroom. I had done a handful of other recording sessions in real studios, but Sonic Ranch with Whitey was something totally different for sure. If you’ve never been, it’s kind of hard to describe – like being in another world. I toured with Cody for about a year and a half for the Adobe Sessions album. And that’s when I met Whitey and the 78s. We spent a year opening up for them in the Midwest and along the East Coast. I love every one of those guys. When Alex reached out to me about filling in for a run with the 78s, that was a great feeling, like a little homecoming. And here we are four years later.
Any other big plans for upcoming work touring or in the studio?
We’ve got a new live album that just dropped, Live at Bandit Town. I’m in the middle of the summer tour right now. We’re playing in Oklahoma City towards the end of the run, about a half mile from my high school. When I’m home, I’ve been playing with Gus Clark. If you haven’t heard of him, you gotta check him out. He’s one of the best and most unique voices in our kind of music today. A heck of a performer and a mean accordion player.
What’s your current live rig look like? Do you change it up much in the studio?
With Whitey I’ve got my Flight Ready Rittenberry Prestige. It’s a 10-string with a half pad which gives it some weight and extra space for the levers. One of the problems with single necks is they’re so light they start walking away from you when you start hitting the pedals. It was originally a 4×5, but Derek added a ninth pedal near my right foot so I can double-foot a couple changes. I play Evans amplifiers. The rest is pretty basic. I’ve got my pedal board, and you can see exactly what’s on there on my YouTube, and I like the Telonics volume pedal. They’re good people too. In the studio, it varies. If I’m doing overdubs at home, I use a TONEX amp modeler. In a situation like Sonic Ranch, I’ll bring multiple amps. I’ve got a Ken Fox Intense Mod Nashville 400 I love too.
What are your thoughts on tube amps vs solid-state vs profilers like Kemper and TONEX?
I love it all. I played a Super reissue on the live album. I got to play the new Peavey Session 112 prototype at the Dallas steel show. It’s going to be a beast. I wish I could play through all three on stage and split my signal. That’s why I like TONEX so much – the versatility.
Speaking of TONEX, you’ve posted some great content on YouTube about how you’re using it, and more recently I saw you’ve collaborated with Joe Rogers, who many readers will recognize as being “THE guy” for steel amp TONEX tone models. What has it been like connecting with Joe and exploring the TONEX platform?
I met Joe at this year’s convention. We were both set up in Shane Frame’s room – another Rittenberry player and all-around good dude. So I got to watch Joe’s spiel several times over the weekend to different groups passing through, although he probably had me sold after the first one. Since then, he’s been incredibly generous with his time and knowledge. He came by and we spent an afternoon messing around with the new TONEX cab, loading different IRs, seeing if it lived up to the hype, which it does.
And speaking of Joe Rogers, you’re both prominent Rittenberry artists featured on their website. How did you get connected with Rittenberry and what drew you to their guitars?
I had spoken with Gary Rittenberry about building me a guitar in 2013 or so, but could never quite come up with the funds. Derek hit me up shortly after I started touring with Whitey. He’s built me two amazing guitars.
Pedal steel is so deeply rooted in tradition – how do you balance the tension between embracing the instrument’s classic sound and still finding ways to express your own style or voice?
I don’t worry myself with all that. The song dictates how the guitar should be played.
When it comes to guitar maintenance, are you your own “mechanic”?
I am my own mechanic, but I’d always rather watch you do it! That’s a joke, but yes, I’ve taken apart many all-pull guitars. My second steel was a Fessenden I also got off eBay. At that point, I still didn’t really know what to look for when I bought it, but it had a pad and four levers. When it showed up, everything was covered in gunk, so I took it apart, cleaned it, and put it back together. That’s not something I recommend, but it forced me to learn how a changer works, what the return springs actually do, and how to get the pulls to start and end in sync. You also get to do silly experiments, like maybe I can make my A pedal travel super short so I can press it really fast, only to find out that it becomes so stiff it takes twice as long to press it. And I get to help some players locally with setups and pass that knowledge on, too. I truly think understanding the steel improves your playing in some way. But when it comes to the building aspect, I leave that to the professionals.
You’ve successfully built an impressive membership on Patreon, and your social media and YouTube content seems to generate a lot of positive interaction. What has the experience been like building a solid presence as a digital content creator?
It’s a blessing to get to learn awesome steel parts and help others on their pedal steel journey. There are many pedal steel instructors that are better than me. Where I think I have a special skill in teaching is that I didn’t have natural pedal steel talent like maybe those others did. I really understand and remember what it was like to be a day one beginner. And, unfortunately for me, I learned most everything the hard way. But the hard way gave me an understanding of how to communicate what’s important for the new player to learn so they can improve as quickly and as easily as possible. When people come up and thank me, it’s humbling, but I don’t really feel like I did anything. You taught yourself that part. But when I’m an hour into editing videos and making thumbnails while someone’s calling me an idiot in the comments… I guess I did do something!
Is it tough balancing life on the road and in the studio with maintaining a content schedule and growing your platform?
Yes, with touring and content creation, there’s no off season. I have the best patrons though. They’re very understanding when content gets delayed, and I think they know how much I care about them. I’m always expecting to log on one day and see that everybody cancelled their subscription, but they haven’t yet. The pedal steel community in general is top notch.
You’ve started offering downloadable lesson collections on your Patreon. It’s a great option for players who’d rather make a one-time purchase than subscribe. What kind of response has that gotten? Do you see yourself adding more of those in the future?
I haven’t sold a single one! I didn’t really expect to when you can get access to everything for less. Just one of those things Patreon kind of pressures its creators into doing. My lessons will always be as cheap and accessible as possible. I want the college kid who’s paying their own way to still be able to afford to learn how to play this wonderful instrument. As far as the next lesson series, I’m wrapping up one on speed progressions. Next will be a palm blocking series for hard learners. Again. I’m unfortunately especially suited to teach this.
Can you share any other upcoming projects or plans that you’re excited about?
Non-music related, I actually just went back to school to become a Licensed Chemical Dependency Counselor. While getting to play the Opry and Ryman and hear myself on the radio has been fun for my ego, it doesn’t fill my soul. Addiction is part of my story, and I’ve been feeling an obligation recently to share my experience and knowledge with recovery as well. However, there are rumors of another Sonic Ranch vacation at the end of this year. I’ll leave it at that.
What’s one piece of advice you’d offer for players trying to grow, whether it’s musically, professionally, or in building an online presence?
It’s all about the time you’re willing to commit to focused practice. It’s easier than ever before, so no excuses. My first lessons, it would take me an hour just to download the song, convert it, and upload it to my Tascam guitar trainer so I could slow it down – and it sounded terrible. Now I can do it instantly from my phone. If you have the drive, you’ll get the opportunity. Just have faith. My mom always said, “Be so good, they can’t say no.”
My favorite music memory is my first gig with Whitey. Like I mentioned, I had two weeks to prepare. A couple other guys had filled in after Brett left before me. And this is actually all on video on my YouTube, but it came to the breakdown on “Still Drunk, Still Crazy”. It’s a full six-count measure of silence. The first two guys always whiffed the steel hook that brings the band back in. You can see the apprehension in Whitey and the 78’s eyes as the time comes. I hit it perfect, and you can see the relief on the gangs faces, then looked at each other to give a nod of approval. I like to watch it when I start feeling imposter syndrome.
You don’t have to be the best. I’m not the fastest player or the prettiest, but I work hard and I sound like me. And make as many friends in this business as you can – you never know where the next gig will come from. Social media is your friend in this aspect. But most important is to be kind and outgoing. People remember when you make them feel included.
Favorite cowboy boots?
For playing, I like a traditional western boot with a cowboy heel. I like how it lifts the leg slightly and how I can roll my heel between pedals. I prefer a pointed toe as long as it doesn’t get caught between pedal rods!
Where can people follow your work and stay connected?
Patreon: https://www.patreon.com/pedalsteel
YouTube: https://www.youtube.com/@johnnyupok
Instagram: https://www.instagram.com/pedalsteeler
