Melanie Radford on Her LEH Bass

Melanie Radford is a force while performing with Built to Spill. Between her infectious stage presence and her explosive playing, she’s a bassist that even the least musically inclined concertgoers take note of. After joining the band in 2019, Radford, who cut her teeth in the music scene of Boise, Idaho, immediately found her place in the lineup of the beloved alternative indie outfit as a perfect fit. She immediately won over longtime fans of the band and has gained notoriety for her mastery of the often difficult and ever-changing music. Performing all over the map, Radford’s accompaniment to founder Doug Martsch serves as the perfect foundation for the band’s 30+ year catalog.

When she’s not on the road with Built to Spill, Radford is most commonly writing and performing with her trio, Blood Lemon, where her powerful vocals and booming bass helps culminate the band’s unique and moving sound. After picking up the bass in 7th grade, Radford went on to become classically trained and featured in orchestras until she branched off to form her own bands. A doubler of both upright bass and electric, she’s molded her own sound over the years, which is evident through her playing in any of her projects. Recently, she found her dream instrument in her custom designed LEH Offset, which is now her bass of choice onstage. We caught up with Radford to discuss her role in Built to Spill, her musical background, and how she gets her ideal sound.  

Photo by Ben Gastright

How did you come to join Built to Spill?

Doug saw me play with an old band I was in many years ago. Boise is great because the music scene is very supportive, so we all go to each other’s shows. He really liked the way I played and eventually asked me to join the band.

What was the woodshedding process like for learning their large catalog of music?

It started with a lot of personal listening, notetaking, and mapping things out. Then I would bring my personal practice to the rehearsals where Doug would instruct me further. There are tons of specific parts I wasn't planning on playing initially that Doug specifically asked me to play later, so there's some communication involved.

Describe the role of bass in the music of Built to Spill.

Of course it depends on the song, but it's usually very involved. I think a lot of people don't realize how potent these bass parts are because the band is mostly centered around the guitars as the focal point. That’s evident in the way the records are mixed. But if you really listen, the bass is doing a lot more than people realize. For me, it’s become a matter of balancing the “busier” parts with the grooves - knowing when to take up space and when to backoff and hold down the fort for Doug to go off to outer space.

What is it like playing these songs live?

It was a tough mind game for me at first. I felt a lot of pressure to play Brett Nelson's basslines perfectly and initially I didn’t want to leave any room for interpretation for myself. I spent a lot of time held up in my practice space with the intent of getting into Brett’s mind. With time, I was eventually able to develop a deep understanding of the specific parts and the intent of each part too. That's where I found room to bend it in ways that could fit this current live lineup. I'm grateful that Doug has a lot of confidence in us and how he puts enough trust in us to play these parts correctly with our own personalities in it at the same time.

Photo by Ben Gastright

How did you go about dialing in the tone to match what was recorded on the album?

I did some studying and initially changed my tone a lot to sound more like the record, but I kept finding in rehearsals that I was inhabiting too much of Doug's frequencies where it would sound weird and sort of clash. I ended up rounding out my tone a little more like I usually do to make more space. With my LEH bass, I've been finding it very handy to boost my mid and treble fader up when I need a little more brightness for specific parts/songs. It's been perfect for these live shows. The versatility is what sets them apart. I often get very picky with my tone and the faders allow me to be more specific.

How and when did you first play an LEH bass?

Ellis and I started chatting online and after I perused their work. I decided to stop by the studio in Portland last year when Built to Spill was passing through. Ellis showed me their process in building basses, and I really admired their technique and opinions on woods and pickups. I loved the feel of the basses. I feel very honored to be playing one of Ellis’ basses.

What was the process like for your build?

It was wonderful. Ellis kept me updated, sending me photos of the process and how it was looking. They were always checking in with me and making sure I was happy. Ellis really nailed the specs I asked for and was willing to play around with color too. My heart was set on the 70's lime green color early on, but it took a while for me to settle on the color of the pickguard. Man, we tried so many different colors and combinations, but Ellis stuck with me until it felt right. The minute I saw the photo of the tortoise shell red, that was it, I knew it was perfect. It's all about having patience for those “a-ha!” moments.

 What was your first impression of the bass when you got it?

I teared up! Ellis and I kept in touch during the entire process, so I got to see photos while it was being built but nothing compared to the moment when I finally got to hold it in my hands. It was pure magic.

Photo by Ben Stas

 What is it about LEH basses that you love?

I love the body and how it's similar to classic Fenders but it's a little smaller, which is much better for my body type as a woman. Then the faders with the built-in preamp have been a game-changer for me in terms of dialing in different tones on the fly when I need it.

Your other project, Blood Lemon, is a powerful trio centered around emotive vocals and big riffs. How did you first assemble?

I knew Lisa [Simpson] and Lindsey [Lloyd] from the Boise music scene. We all had a mutual admiration for each other and our own projects. After I left my old band, I was intent on starting an all-femme band that wrote raw, heavy songs. It all came together pretty quickly when Lisa and I started talking and conceptualizing.

Blood Lemon (Photo by Matthew Wordell)

 What do you love about the dynamic of being in a trio?

There's something about a trio that really feels like the best formula for an expressive bassist like myself. It's fun because it's open enough for you to cover a lot of ground but you can still be the driving force and anchor to everything.

How and when did you first start playing bass?

I began playing in 7th grade because I wanted to leave choir and play an instrument instead. I decided to get good at the bass guitar and play for my middle school's jazz ensemble.

Photo by Luke Ivanovich

You’re a classically trained musician. What was your musical upbringing and education like?

My parents made me a fan of 70's rock n’ roll and classic rock. This eventually morphed into an appreciation for the bass, and I felt a deep desire to learn how to play it. After I started playing in jazz ensembles, I joined friends’ bands and kept playing in orchestras and pep bands… whatever I could get involved in. Then I got a scholarship to play the upright bass for the BSU jazz ensemble and symphony orchestra. I just kept going and never stopped.

What’s the best advice you’ve ever been given about bass?

I remember in high school my private bass teacher told me that the bass is the instrument that everyone moves their bodies to, sonically and emotionally. “Don't get in the way of letting it do that job,” he said. I try to find that balance every day.

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