For a guy who doesn’t consider himself tech-savvy, or studied, John Campbell sure is effective in one of the most demanding gigs in the business. Campbell’s role in the mighty Lamb Of God (LOG) might appear unassuming upon first impression, as LOG’s wicked guitar riffs, titanic drums, and provocative lyrics garner most of the attention. But underneath those signature attributes, Campbell holds the line, determinedly plowing the subterranean depths of LOG’s music with a unique, highly proficient sound and style that belies his unstudied approach. Derived mostly from homegrown influences and an innate desire to buck the status quo, Campbell’s guttural approach to bass provides the perfect foil to the band’s technical precision and other overt musical elements. LOG was formed in 1994 under the moniker Burn The Priest, when Campbell, guitarist Mark Morton, and original drummer Chris Adler met at Virginia Commonwealth University in Richmond. After some early lineup changes, including the addition of vocalist Randy Blythe, they signed with Prosthetic Records in 2000 and released New American Gospel under the Lamb Of God name, quickly becoming the prime architects of the New Wave of American Heavy Metal. They toured incessantly, and their work ethic and a growing fan base earned them esteemed gigs, including Ozzfest and the first-ever Headbangers Ball tour. They also released now-classics of the genre, including As the Palaces Burn and Ashes of the Wake, and earned two Grammy nominations along the way (losing to Judas Priest and Iron Maiden). As perhaps the loftiest acknowledgment of their status as pop-culture icons, LOG has also been featured in the games Guitar Hero II, Guitar Hero Smash Hits, and Rock Band. At the heart of LOG’s sound is John Campbell’s unfettered bass playing. The development of his singular approach to the instrument can be traced back to two important factors. The first was whittling his Guild Pilot bass down to a 3-string (sans the G) during his formative years, at a time when everyone else seemed to be gravitating toward 5- and 6-string basses. The second was eschewing the usual “essential listening” bass players, choosing instead to absorb the live playing of musicians in his vibrant local music scene in Richmond, including GWAR’s Mike Bishop (a.k.a. Beefcake the Mighty), John Peters (Alabama Thunderpussy), and Chris Bopst (Mao Tse Helen/GWAR). His instincts for bucking trends and his reverence for homegrown talent have resulted in a style that was recently acknowledged when he handily landed in the top spot of Bass Player magazine’s 2020 reader poll of the 10 Best Bassists in the World Right Now. On LOG’s latest release, Omens (their ninth overall), Campbell expands his repertoire beyond his well-respected ability to match, note-for-note, the insane riffage of guitarists Mark Morton and Willie Adler. His playing has evolved, and he now also demonstrates maturity and restraint, often playing more f