Metallica bassist Robert Trujillo joins a new episode of Adam Clayton’s “Don’t Ask Me, I’m The Bass Player” on SiriusXM’sU2 X-Radio (Ch. 32).

During the episode, Trujillo reflects on what surprised him most after joining Metallica in 2003, saying the biggest adjustment wasn’t learning the music but adapting to the relentless demands of life in the band. Looking back on his first year with the band, Trujillo said nearly every aspect of the job was more demanding than he expected.

“Metallica was a challenge because everything was intensified,” he says.

That included far more than just performing onstage.

“The press schedule was intensified. The shows are two hours, and I’d never played that long on stage before, so they were much more physical.”

Tune in to hear the full conversation on “Don’t Ask Me, I’m the Bass Player,” airing on SiriusXM’s U2 X-Radio during the times below and available anytime on the SiriusXM app.

Plus, listen to episodes of Robert Trujillo’s exclusive show on SiriusXM’s Maximum Metallica, in which he spotlights music from bassists that have inspired him.

About U2 X-Radio

SiriusXM’s U2 X-Radio (Ch. 32) brings you the world of U2. Featuring the songs of a band from the Northside of Dublin. A complete immersion into the music of Bono, The Edge, Larry Mullen and Adam Clayton. The band’s history, idols, influences and current passions. Plus inspiration, conversation, culture, commentary and ideas. U2 X-Radio will introduce listeners to old friends and new stories; as well as artists, writers, thinkers and activists who are changing the world. All curated by U2.

Robert Trujillo on the Intense Challenge of Joining Metallica

Robert Trujillo: Metallica was a challenge because everything was intensified. The press schedule was intensified. The shows are two hours. I never played that long on stage, you know, so they were more physical. In fact, my knees, I had tendonitis in my knees sort of the first year and then I discovered yoga and I realized I had to train and get a professional trainer. All these things needed to happen when I joined Metallica because it was just such a next-level situation, and you know, even playing the songs physically, like I told you, I had to sort of develop my three-finger technique. You know, I’m sure there’s other bass players—yeah, they could—everybody’s different. There’s guys that could play that stuff with two fingers or a pick or whatever, but for me, I know what I needed to do and I had to do that, so you find a way to get it right and to get through and to get it in your fingers and there was a lot of that the first couple years. I had a lot of cheat sheets on stage because I never knew what we were going to play. It was never—you ask each guy in the band which set—what would be the setlist that, you know, we may be playing next week or whatever, and everyone had a different view of what we’d be playing and I didn’t want to bother them too much because they were concentrating on the new album and the tour and they had a lot on their plate. They got families and I didn’t want to be a burden, so I was trying to learn everything as best as I could and then ask the questions. Ask James like, “So, what’s that note in this song or that song?” And, you know, sometimes the bass was a little low in the mix, you know, like “And Justice for All.” Where’s the bass? You know? So, at that time, it wasn’t like you had the stems like you do today and all that going on. I didn’t even know to ask for that to be honest, so I was going through music books. I was actually buying, purchasing a Metallica book to figure out what the notes were of specific songs so I didn’t have to bother anybody unless I really had to. So basically, I’d learn the song as best as I could, and then I’d ask, you know, what the notes were specifically. At a certain point—this is important—there were songs I really wanted to play that they hadn’t played either in a long time or ever, and I wanted to play those songs, so I started learning those songs before they did and getting them into my fingers because I knew at some point I was going to ask if we could play that song or this song or “Dyers Eve,” which is this crazy song, “The Frayed Ends of Sanity,” you know—songs that hadn’t been played, and then at some point, yeah. We got to play those songs and I was ready to play those songs because I had gotten a two-year head start on them and that’s just because the first two years it was just so difficult to catch up and also learn the songs off that album that I joined on, which was St. Anger, which they had not also played, you know, in a live setting either, so it was a lot of work.

Robert Trujillo on Balancing Band Personalities and the Reality of Touring

Robert Trujillo: It was definitely a rebuild for them and it’s amazing that they powered through and came together and that I could be a part of that. As you know, in any band, the playing part of it is one thing. You know, there’s a lot of great players, but the personalities and how you balance the personalities and how you understand each other, that’s everything. That is so important and sometimes I don’t know if the fans understand that. You know, they want what they want. I get it, but at the same time, you know, people are people. There’s so much involved between family and emotions and life, and what it takes to be a band and to tour. Touring is not easy at any level, and traveling can be difficult too, so there’s a lot in it that doesn’t have a whole lot to do with playing your instrument. I mean, that’s obviously a priority and it’s important, but there are other sides to this that need to be understood if you’re going to be in a band that’s going to last 45 years. 

Robert Trujillo on the “Dream Come True” of Playing and Writing with Ozzy Osbourne

Robert Trujillo: I grew up playing in a backyard party band when I was 15 or something, and we would play Black Sabbath songs and some of Ozzy’s solo material. Obviously, Geezer Butler has a very unique style of playing. When you dive into Black Sabbath’s music at a young age and then, all of a sudden, you’re on stage with Ozzy playing “Iron Man,” moving and grooving together, it’s just like a dream come true. You’re breaking down the songs and learning Geezer’s parts, and then eventually, you become friends with Geezer Butler and there’s mutual respect and all that. It’s such a beautiful journey. Sometimes I’m just like, “Man, this is a dream for me”. The balance of that music is incredible because it all goes back to groove. It’s such a powerful groove, and the bass playing is dynamic and very soulful. He’s bending the notes in certain ways that have a unique sort of position in the song. Everything is just like they’re jamming and it’s free and there’s just magic in that. It’s like going back to being teenagers again. It just feels so sincere, honest, and unique, like they were just having fun and breaking rules but not fully trying. Maybe Bill Ward was trying to play swing and jazz and was pulling from Gene Krupa or something, and then you’ve got Geezer throwing in some James Jamerson in there too. A lot of the runs he’s doing, you feel that, and then Ozzy has this bluesy, soulful voice, and obviously Tony. I mean, the flatted fifth, the evil tone. He has a finger—his fingers are—and I’m wondering, he didn’t quite reach the note, so all of a sudden you invented the riff in that way. It’s just such an amazing story where they came from and how that applies to it too, but yeah. For me, coming up and having that experience with Ozzy and also being able to work with him again three or four years ago was like a reconnection, I guess you could say. Unfortunate losing Ozzy, but reconnecting with him was really amazing for me. I always wanted to write and record with him, which I got to do 30 years ago. It was something like that—maybe not quite 30—but it was different this time because I was involved in writing half of the record and he finally got some nominations and won a couple three or four years ago. That meant a lot to him. I think that having that Best Hard Rock Album and the Grammy for that and stuff like that, and so just to be able to help and just be a part of that was a beautiful thing for me. Obviously, Metallica playing the “Back To The Beginning” show in Birmingham was a really special moment for us as a band. Taking on a song and putting our stamp on it, which is what Metallica does, but for some reason, that just felt extra special to perform in that setting. A lot of times I just feel like I’m living my dream because I get to work with my heroes and perform and create with them and I’m grateful.