One of the most valuable lessons Eliza Petrosyan has learned is that “everything is temporary, and the more you embrace that, the easier things will be.” Taught guitar by session icon Paul Jackson Jr., she left Chappell Roan’s band in 2024, and she’s looking forward to learning more.
“Being a freelancer involves a lot of ups and downs, and being able to ride that wave is important,” she notes. “Having different outlets for creativity and work helps with that. It’s good to stay curious and remember why you chose this path.
“Most of us have that little kid inside who became obsessed with music and wanted to learn everything about it. Keeping that attitude, and doing it for that kid, is so important.”
What drew you to the guitar over other instruments?
“I’m not sure why I became obsessed from a pretty young age. My aunt, who lived in Armenia, was a classical piano teacher. Her influence led me to beg my parents for a guitar. They told me if I still wanted to learn guitar in six months they’d get me one. Six months later I got my first 3/4-size classical guitar.
“As a teenager, I got to a crossroads about whether I wanted to continue studying classical guitar or go to school to become a touring/session guitarist. I’d become so invested in classical, but I was still discovering other paths.”
You studied with Paul Jackson Jr. at USC. What was the biggest lesson you learned?
“To make the song I’m playing on feel good. He’s one of the greatest rhythm guitarists, and his feel and guitar parts taught me a lot. We dissected a lot of funk and R&B rhythm parts; he’d have me transcribe and record rhythm guitar layers from songs by Chic and Michael Jackson.
“He really stressed the importance of learning from session players like Ray Parker Jr., David Williams, Al McKay and Steve Lukather. I visit his own extensive discography frequently because there’s always so much to learn.”
What was it like playing guitar with Patrice Rushen?
“I got to play with her at an event centered on race and gender in jazz. I’d looked up to her for so long. Her mentorship means so much to me, but I was just excited to be there sharing the stage with her. Everyone was incredible and it was a big learning experience. She’s such an inspiring music director, musician and person.”
How did you end up playing guitar for Chappell Roan?
“I auditioned in 2022 and got a callback. We did some of her first headline shows that summer and then went on tour opening for Fletcher in the fall.
“She’s very particular with her taste, which I admire. Not all artists are as involved with the nuances of what instrumentalists are playing. If she didn’t like a voicing or a rhythmic pattern, she was great at communicating that. She has a great ear and instinct.
“Her music director, Heather Baker, is a phenomenal guitarist, and she does all the arrangements, so the guitar parts are pretty meticulous and well-crafted.”
What was your typical rig like?
“I used a Line 6 Helix for amp modeling and tones. Before, I’d been using an analog pedalboard through an amp.”
What was it like interpreting songs like Pink Pony Club?
“The solo is very recognizable and crucial to the song, so it was clear that sticking to the record was the best choice. We did a reprise at the end of the show, and that’s where I took liberties and improvised.”
You played some seriously high-profile gigs such as Tiny Desk and Coachella – what was that experience like?
“Tiny Desk was minimal in terms of gear. It was mostly acoustic and very intimate, with some string players and the band, so I used a Gibson L-00 for the entire set. It was a very different vibe from the usual setup – playing certain lines with acoustic guitar, cello, violin, and Mellotron gave the songs a new light.
“When we played Coachella it was the last show of that tour leg, so everything was very fine-tuned and instinctual. The set was really high-energy since it was the first festival we’d played. I used my usual setup with the Helix Floor.”
I had a great run in Chappell Roan’s band. Every project makes an impact on my development
What led to you moving on from Chappell’s band?
“I had to pause touring last year for personal reasons. But I had a great run in that band, which I’ll always be grateful for. I think every project I’m in makes an impact on my development – the projects I’ve played on since then have also taught me a lot.”
If you had to boil your rig down to one guitar, one pedal and one amp, could you do it?
“It would be hard for me to let go of my gear, because every guitar has such a different personality and feel. But if I had to, I’d probably stick with my Harmony Comet. It’s my main guitar for a lot of reasons; I love the shape of the neck and it just fits so well in my hands.
“I’ve always loved semi-hollow guitars for their warmth and sustain, and the gold-foil pickups on the Comet also do great with bright tones. My favorite part is the responsiveness of the pickups and the dynamic range.
“My pedal would be the Strymon Flint. It’s one of my favorite reverbs, and the tremolo options are classics. They go really well with the Harmony Comet.
“My amp choice would be a low-wattage Fender, like the Princeton Reverb. The edge-of-breakup sound of that amp, with a little bit of tremolo and reverb from the Flint, combined with the Harmony Comet, is one of my favorite tones.”
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