When you think of iconic TV themes, the Better Call Saul intro immediately comes to mind. Behind that unforgettable 20-second piece is Barrie Cadogan, a rhythm guitar master who has toured with Liam Gallagher, played with legendary acts like The The, and created a distinctive style that blends funk, soul, and blues.

In this deep dive interview, Barrie shares the techniques, philosophy, and creative approach that have made him one of the most distinctive rhythm guitarists working today. Whether you’re a beginner looking to improve your rhythm playing or an experienced player seeking new inspiration, these insights will transform how you think about the guitar.

The Story Behind the Better Call Saul Theme

Before diving into technique, Barrie revealed the fascinating origin story of one of television’s most recognizable themes. The producers heard a song called “Why Don’t You Do It?” from his band’s second album and loved the guitar sound. They asked him to create something similar.

The process was intense: Barrie composed 17 different theme ideas over a weekend, then another 12 when the producers wanted more options. In total, he submitted 29 different themes, knowing other composers were also competing for the job. The producers ultimately chose number seven, which became the iconic theme we all know.

The brief required the theme to be exactly 20 seconds long, timed perfectly to cut at a specific visual moment. This constraint forced Barrie to be incredibly precise with his composition, demonstrating how limitations can actually fuel creativity.

The Hybrid Picking Technique That Changes Everything

One of Barrie’s most distinctive techniques is his approach to hybrid picking, where he simultaneously uses a pick and his fingers to create layered, dynamic rhythm parts.

How It Works

Barrie holds a pick between his thumb and index finger while using his other fingers to pluck strings. This allows him to create two distinct tonal colors simultaneously:

• The pick produces a harder, more definite attack (like a kick drum)
• The fingers create a softer, more subtle tone (like a snare drum)

This approach lets him treat the guitar like a complete rhythm section, thinking like a drummer while playing chords and melodic fragments.

Practical Application

Try this foundational exercise Barrie demonstrated:

1. Play a low note with your thumb (treating it like a bass drum)
2. Use your pick to accent the rhythm on the middle strings
3. Use your fingers to add backbeat accents on the higher strings
4. Start slowly, focusing on the gaps between notes
5. Gradually increase tempo while maintaining the groove

The key is understanding what your fingers need to do in each gap, making sure the pick answers the finger strokes to maintain consistent time.

Finding Unique Chord Voicings

Barrie emphasized that while classic cowboy chords are great, exploring different voicings can make your playing more interesting and personal.

The Thumb-Over Technique

Rather than using traditional barre chords (which he admits he finds uncomfortable), Barrie uses his thumb over the neck for bass notes. This Jimi Hendrix-inspired approach allows him to move more fluidly between rhythm and lead playing.

For example, instead of a traditional F barre chord, try:

• Thumb on the low E string (1st fret)
• Remaining fingers forming chord shapes on the higher strings
• This creates more freedom for adding melodic embellishments

Adding Color with Extensions

Barrie frequently uses chord extensions to add sophistication:

• Add9 chords for a shimmering, open quality
• Major 7 chords for a jazzy, sophisticated sound
• Sus chords for movement and tension
• Slash chords (like Bb/C) for unexpected bass movement

He demonstrated how a simple E minor to F# to G progression can be transformed by adding these extensions, creating something that sounds far more elaborate than the basic changes suggest.

The Art of Playing “Wrong” Notes Right

One of the most valuable lessons from Barrie is his embrace of dissonance and imperfection in service of emotion.

Bending Flat on Purpose

Barrie discussed how players like Keith Richards on “Gimme Shelter” deliberately bend notes flat or sharp of their target to create emotional impact. It’s not about being “correct” – it’s about how it feels.

As he put it, the blues feel lives in between the notes, not directly on them. That space between in-tune and out-of-tune is where expression happens.

Using Dissonance for Drama

Barrie actively seeks out notes that clash, especially when creating atmospheric parts. He noted that dissonance is particularly effective in lower registers, where intervals create more tension.

However, he cautioned that what works for one person might not work for another. There are no rules – just personal taste and the emotional response you’re trying to create.

Time, Groove, and the Grid Debate

Barrie shared a refreshingly human perspective on timing and feel.

Practicing Rhythm Without a Metronome

Rather than relying on metronomes, Barrie developed his sense of time by:

• Playing along with classic records (especially James Brown)
• Jamming on simple grooves with his bass player for extended periods
• Focusing on the pocket and the conversation between instruments
• Thinking of drum patterns and translating them to guitar

The Problem with the Grid

Barrie shared a story about a session where a producer complained that the band “slowed down” in the second verse, as shown on the computer grid. But when you listened to the music, it felt perfect. The slowdown served the emotion of the song.

This raises an important question: what does “in time” mean? Is it matching a grid, or is it what feels right? Barrie firmly believes that before digital recording, musicians relied on internal groove for thousands of years, and that natural push and pull is often what makes music feel alive.

When recording with his band, they never use click tracks, allowing the music to breathe and move naturally.

Dynamic Control: The Lost Art

In an era where many players rely on pedals for dynamics, Barrie emphasized the importance of controlling dynamics with your hands.

Techniques for Dynamic Playing

1. Pick angle and attack: Varying how hard you strike the strings
2. Pickup switching: Using neck pickup for fuller, louder tones and bridge pickup for cutting through
3. Volume knob control: Riding the guitar’s volume for swells and dynamics
4. Finger vs. pick balance: Adjusting the ratio in hybrid picking
5. Muting technique: Varying how much you dampen the strings

Barrie noted that there’s “a lot of sound in the guitar” before you even start thinking about what’s in your pedal chain. If you’re only playing at 60% of your potential dynamics, you don’t need a boost pedal.

The Tremolo Effect: An Old Friend

Despite using relatively few effects, Barrie has a deep love for tremolo. He describes it as expressive, allowing you to play less while still creating movement and emotion.

Why Tremolo Works

• It has a gospel-inspired, organic quality
• It goes straight to the heart emotionally
• It allows space in your playing while maintaining interest
• It works equally well for clean soul tones and psychedelic fuzz

Barrie demonstrated how tremolo can make even simple single-note lines deeply moving, and how it’s an extension of the guitar rather than a mask for it.

Inspiration and Musical Philosophy

Throughout the interview, Barrie referenced his influences and approach to learning:

Key Influences

• Jimi Hendrix: For combining rhythm and lead seamlessly
• Steve Cropper: For Memphis soul chord voicings
• Johnny Marr: For beautiful minor key melodies and chord progressions
• John Lee Hooker: For finger tremolo technique
• James Brown’s bands: For infectious, groove-driven rhythm
• Keith Richards: For emotional bending and feel over precision

Learning Philosophy

Barrie advocates for:

• Dipping into different styles without trying to master them all
• Drawing inspiration from drummers, not just guitarists
• Finding your own voice through exploration
• Playing along with records instead of just practicing scales
• Understanding that younger or newer players have value because they don’t know “the rules”

Key Takeaways for Your Playing

Here are the most important lessons you can apply immediately:

1. Practice hybrid picking slowly: Focus on the coordination between pick and fingers, treating them like different parts of a drum kit
2. Explore thumb-over voicings: This opens up new fingering possibilities and makes moving between rhythm and lead more fluid
3. Add chord extensions thoughtfully: Try adding 9ths, major 7ths, or sus chords to basic progressions
4. Embrace imperfection: Allow yourself to bend slightly flat or sharp when it serves the emotion
5. Play along with records: This builds your internal groove better than a metronome alone
6. Control dynamics with your hands first: Before reaching for another pedal, explore what you can do with picking dynamics, pickup switching, and volume control
7. Leave space: Having the confidence to play less can be more powerful than filling every moment
8. Think rhythmically: Even when playing chords, think about the drum pattern you’re implying

Final Thoughts

Barrie Cadogan’s approach to rhythm guitar reminds us that technique serves musicality, not the other way around. His style proves that rhythm guitar is not a “lesser role” but a creative space where you can be percussive, melodic, and expressive all at once.

The most important lesson? There are no rules. Whether you’re bending notes flat on purpose, playing dissonant intervals for atmosphere, or letting a song naturally speed up and slow down, what matters is how it feels and what emotion it conveys.

As Barrie said, “It’s your time. You’ve got to do what you want with it or just find things that excite you.”

Watch the full interview above to see these techniques in action, and don’t forget to check out Barrie’s latest album, especially the track “Count to Four” which showcases a different side of his playing.