Christopher Holt slips into vacant EAGLES guitar spot and talks Don Henley and Mike Campbell

Todd Houston

First off, what was it like growing up in Dallas in the 1970's and 80's? I always imagine it being a little bit like the movie Dazed and Confused. Sports, partying, music and Camaros. 

CH: Well, I don’t know how much partying I was doing, cause I was just a kid during the 70’s and most of the 80’s…maybe a bit in the late 80’s! But yeah, that’s vaguely how I remember it. I was way into the Cowboys, obviously, but strangely, I was even more into the Cincinnati Bengals as a kid. I remember when they went to the Super Bowl and lost to the 49ers in ’82, right after Dwight Clark knocked the Cowboys out with “The Catch.” I was obsessed with playing football until I was a teenager, when suddenly everyone else grew a foot taller and I didn’t. When I could no longer get any playtime on the field, I shifted all my energy to playing guitar. So much of my childhood was based around biking around my neighborhood and watching MTV. Those were the days.

You had mentioned that your father, MTV and older brother were partly responsible for getting you into music and ultimately the guitar at age 12. Do you remember much about your first guitar?

CH: The very first one ever was some no-name brand that I saw on the rack at a local store called Frets & Strings - I loved that place. I became obsessed with guitars from watching MTV, and when I learned that F&S existed, I used to ride my bike up there and annoy the shit out of the guys that worked there. Cause I never bought anything. I was just this obnoxious kid who would come up there and stare at guitars. I had a few friends who owned guitars, so I would occasionally get to mess around with one, but I began incessantly begging my parents to buy me one, probably around the age of 10 or 11. The one they finally bought me (for my 12th birthday in 1985) was a piece of junk, really. But it was black, with a cool tortoiseshell pickguard, that’s about all I remember. I messed around with it for a few months, took a few lessons, and then quit, because I hated it. I convinced my parents that it was the guitar’s fault, so they bought me a nicer one, probably a year later. Eventually I started teaching myself a bit and when I finally could tune the damn thing, and play a barre chord properly, they bought me a Kramer Baretta. And then when I started my first band, around 15, my Dad bought me a nice Les Paul. My Dad’s whole thing was, “If you can play ‘Johnny B. Goode’ convincingly for me, then I’ll buy you the guitar you want.” I worked hard to get that (and many other songs) up to snuff, so he finally took me to the guitar show out in Arlington, and I picked out my dream guitar (at the time) - a 1988 cherry sunburst Les Paul standard. I played that, and virtually nothing else, for the next decade, until sadly, it was stolen in Austin. And I’ve spent the rest of my life trying to replace it with a hundred others. A friend of mine from the old neighborhood actually bought my Kramer from my mom, after I’d gone off to college, and a few years ago he reached out and gave it back to me. So I’ve still got that old black Kramer hanging out in my studio at home. I have no idea whatever happened to my very first guitar though…it’s a shame, that would be cool to locate. And I never found the stolen Les Paul. I was so young and dumb, I didn’t write the serial number down. It’s probably still out there somewhere. I’ve had lots of gear stolen over the years and it’s always a heartbreaker.

Who were some of the guitar players that you were trying to emulate early on?

The first guys that really caught my ear (and eye) on MTV were guys like Alex Lifeson, Angus Young, Steve Clark and Phil Collen from Def Leppard, Randy Rhoads - I was completely obsessed with the sound he got on Blizzard Of Ozz. I was like “what is that??”  And then Van Halen, of course. Those were the early ones, for sure. But once I got a guitar and started learning, I began really listening to players like Jimmy Page, David Gilmour, Mike Campbell, Pete Townshend, Joe Perry, Joe Walsh - those were all big-time teenage influences for me. 70’s rock gods who were all still present and thriving in the 80’s. I listened to a lot of that 80’s hair metal early on as a kid, cause it was just everywhere, but I never really aspired to be one of those players. Eventually, in my later teens, I learned how to play pretty fast, but I never really wanted to be a shredder or a metal guy. I was way more into melodic, tasteful rock players. I loved how guys like Gilmour and Campbell could sound so huge with only a few notes, as opposed to the dime-a-dozen shredders that were out there. Technical prowess was always impressive, but everybody was doing it. And there’s always someone better than you. These days, there are 8-year-old kids who can outplay me technically, so I just try to play like me, whatever my natural thing is. I think I can say that I sound like myself now - it’s that eventual hybrid of so many different influences that come together to create your own idiosyncrasy. In my teenage years, I practiced diligently to build chops. By my 20’s, I was more interested in riffs and grooves, hummable solos, that kinda thing. Later I got really interested in songwriting and composition, which I guess was a natural path to take, given the preferences I had. But even as I got older, I used to play in bands where I would play fast and kind of over-the-top. I guess it just depended on the situation. I don’t really ever play like that anymore though. I’m not even sure I can.

You've made records with the bands Walter Mitty,  OLOSPO, The Slack, Bastards of Soul and with longtime Tom Petty guitarist Mike Campbell just to name a few. Later, your efforts would be geared toward writing and fronting your own band, releasing four Christopher Holt albums and finding a home with Dallas' Idol Records. Which do you prefer, the "do-all" sideman gig or fronting your own band?

I guess I like to straddle the line between the two. For years, I just wanted to be in charge of fronting my own band, basically calling all the shots musically and doing what I wanted. But as time went on, and I got a little older, I started realizing that I was making more money getting hired as a sideman - playing guitar or keyboards or bass or whatever anyone needed. The more versatile I was, the more calls I would get. So by the time I was in my late 30’s, I had a harder time justifying the artistic side of it, because I needed to make a living and I didn’t want to get a real job! Eventually, I got burned out being a bandleader and just wanted to escape into an easier way of doing things. When you’re the leader and the frontman, the main songwriter or whatever, you have to be the “bad guy,” you have to be the one dealing with all the bullshit, 24-7. But I found that when I was just a hired gun, it was so much easier - I just showed up and did my job and got paid well. I found that it was a much less stressful - and more financially fulfilling - way to play the game. That was really appealing for a long time. In my 40’s, landing big name gigs with Don Henley and Mike Campbell, and then eventually the Eagles, was the culmination of all those years of hard work. I made it to the top of the mountain as a sideman, and all I can do now is keep working, and hope that there will be more of these great gigs to come. But eventually the artistic bug starts to nibble at me until I have to scratch the itch. So the solo albums always come back around - it’s just inevitable that I will get back to doing my own thing from time to time. Being in a band where everyone is an equal partner - like The Bastards Of Soul - has its own challenges, because there’s a lot of compromise involved. Everyone has an opinion and everyone’s working toward a common collaborative goal. It’s rewarding musically, but it’s also trickier, especially with a bunch of different songwriters. Everyone’s trying to get their own songs on the record. When I do a solo project, I get to do whatever I want, and play everything myself. There’s a lot of freedom in that, and I love having those opportunities to just do whatever I please. So, again, it’s all about balance.

In early 2025 you accepted the offer to join the Eagles as touring lead guitarist replacing Steuart Smith. What was going through your mind during your first rehearsals with the actual band? 

Well, it was very surreal, to say the least. I grew up on the Eagles music and I was learning those songs in my bedroom as a teenager in the 80’s. To suddenly be with them onstage, playing those iconic solos and singing the harmonies, it was just nuts. It was a lot to process. But the best thing for me to do was not to think too much about it. You don’t wanna get in your own head. So I just had to remind myself that I know these songs instinctively, everyone does. I knew that I could play the parts the way they need to be played. You don’t wanna do your own thing in a band like the Eagles. You play the solos and the parts just like the record, because that’s the job. And I love the challenge of doing that and trying my damndest to get it right every time. It’s an actively difficult thing to do. When Don called me to ask me to join in 2024, he and I had already been working together for over a decade, in his solo band. So he knew my personality and my work ethic, he knew that I’d be a good fit, and that I was up to the job. So I went in there confidently knowing that I could do it. I just had to deliver, and fortunately, I’ve done that thus far.

What was the most challenging song or songs to perform from the Eagles back catalog?

They all have challenges, just in that they’re very precise, and I’m having to play a lot of lead guitar parts, while singing. I joke around that I’m doing all the parts that nobody else wants to get stuck with - some of the busier bits. Vince could very easily play any of this stuff, and so could Deacon, I think. But Vince is doing a lot of heavy lifting vocally - he’s singing lots of the Glenn Frey vocals and some of the Randy Meisner stuff too. He’s a monster player, but he doesn’t do as much guitar because he’s singing so many leads. He plays a couple solos, and so does Deacon. And Joe gets plenty of spotlights, where he gets to improvise and be the guitar god that he is. So there’s a balance there with all the guitar stuff, but I’m doing a lot of the lead parts - playing solos and fills throughout songs like “Lyin’ Eyes,” “New Kid In Town,” “Tequila Sunrise,” and “Boys Of Summer,” and then trading off leads with Joe on songs like “Life In The Fast Lane,” “Life’s Been Good,” and of course, “Hotel California.” I’d say that “Hotel” is probably the scariest one to do each night, because it’s just so iconic and crucial - you don’t ever wanna miss a note. And I’m playing a big bulky double-neck guitar, where I have to toggle back and forth between necks and pickups, while switching between sounds with my feet - it’s just a lot going on. I’m always relieved when that one goes well! I really love doing the solo in “One Of These Nights” - that’s such a great one. And Vince and I do a bluegrass duel in “Seven Bridges Road” - that’s a blast, and no easy feat to spar with him. One of the more surprisingly tricky ones is “Peaceful Easy Feeling” - I do all the B-bender Telecaster licks throughout that one, and the solo in the middle. There are a lot of smooth, rolling country licks there, and just executing them efficiently with the B-bender can be a real challenge. But I love that. I’m happiest when I’m tackling the tricky ones, and getting them right. I really love my job.

With you, Vince Gill and Joe Walsh all slinging guitars onstage who is taking the lion's share of the solos? It must be surreal trading licks with Joe Walsh on the iconic Hotel California solo. Thoughts?

I’m probably doing the lion’s share of the specific lead lines - the crucial solos and parts that are on the records. But whenever there are improvisational opportunities, Joe and Vince get to shine. Joe has spotlights throughout the show where he takes long, drawn out solos, in songs like “Witchy Woman,” “In The City,” “Rocky Mountain Way,” and “Life In The Fast Lane.” Vince and Joe do a really nice, long back-and-forth thing in “Funk 49.” And Vince I do the bluegrass duel that I mentioned in “Seven Bridges.” Deacon gets a few as well. He plays his father’s beautiful solos in “I Can’t Tell You Why” - and he crushes that. And he uses Glenn’s guitar too. That’s a really great moment for the fans. He and I also do a duet solo thing in “Already Gone,” which is super fun. Everybody gets their chance to shine and do what they do. And I get a ton of spotlights. Playing the solos on “Hotel California” with Joe every night is basically every guitar player’s dream, so I feel incredibly lucky and grateful for that alone. Getting to do all the rest of them is just icing on an already delicious cake.

Tell us about playing The new 2.3-billion-dollar Sphere in Las Vegas. I understand it has 160,000 speakers and a 16K resolution screen. Is all that really enough?  (laughs)

The Sphere is unlike anything I’ve ever seen before. I’ve played stadiums, arenas, theaters and clubs, and the Sphere is truly unique. It’s a total assault on all the senses. There’s so much going on visually, but the sound system is also just mind-blowing. It’s crystal clear and you can hear everything perfectly, even from the nosebleed seats. It’s just impeccable. And we don’t have amps onstage. We’re still using our tube amps - we’re old school guitar players - but they’re all in iso cabs in another room behind the stage. The sound is so well controlled. We’ve kept that stage setup going for our recent stadium tour - the sound is so much cleaner and balanced onstage. I think more and more acts are starting to do that. I don’t think we’ll ever get rid of the amps and go to the profilers or anything - like I said, Vince and Joe and I are still married to our old school ways. But the Sphere has introduced us to a new way of getting the best possible sound out of our gear, and the best mix for the audience.

I was told that you're a collector of vintage instruments, mainly guitars. What are some of your favorite pieces, the ones that you pick up when you're on the couch watching TV? (and which ones are you using with The Eagles?)

Oh, I don’t play the vintage game too much, because that can get very, very expensive. It’s stupid how much the really old guitars can cost these days. But I’ve got a lot of guitars. I’m not even sure how many I’ve got. They’re not all that old, though some of them are. I’ve always been a fan of Les Pauls and Telecasters. I’ve got a quite a few of those. But I love all kinds of guitars, and I’ve gotta have various ones for different sounds and songs - Strats, Jazzmasters, 335’s, etc. I’ve got a slew of Gibson, Fender, Gretsch, Duesenberg, Rickenbacker, Martin, Takamine, and other custom guitars. The one that I play on the couch in my house is an old Martin HD-28 that I found in a pawn shop in Tucson. I love that beat up old thing. In addition to guitars, I’ve got a ton of other instruments - various pianos and synthesizers, a Hammond organ and a great Gretsch drum kit. I have a humble home studio in my back house and that’s my little music sanctuary. So many toys to play around with. That’s where I made my most recent solo album, Across The Milky Way.

Favorite Saturday night album?

Oh geez…I don’t even know where to begin. Every Saturday night could be a different one. This week maybe it would be The Heart Of Saturday Night. But next week it could be Saturday Night Fever. I can never turn off “Night Fever” - that groove is so sick. And I know you didn’t mean just albums with “Saturday Night” in the title - but those two albums have long been favorites of mine. The real problem here - that is definitely worth acknowledging - is that in this current day and age, I rarely sit and listen to an entire album on a Saturday night. Everything is on shuffle most of the time. I have to force myself to actively sit down and focus on listening to an entire album. I’ve got a turntable in my studio, and I try, at least a few times each week, to pick a record and just sit with it. To listen straight through, flip it over, read the liner notes - all that. That’s such a beautiful part of our music culture that has gotten lost in the modern age. But even I have a tough time sticking to that plan every week. I get distracted easily, and streaming is just so convenient. I love it and hate it simultaneously.

Favorite place in Dallas to go out for dinner and relax when you're home?

Oh, I love nothing more than a good Tex-Mex meal. And there are a ton of those places in Dallas. I could name a dozen that I frequent. El Vecino over by White Rock Lake, that’s my current go-to. I don’t get over there nearly enough.

What do you sing in the shower?

Nothing consistently…just whatever pops into my head. I’m not really much of a shower singer. But occasionally something will come out - usually on a gig day if I’m trying to wake up my voice, or if I’m trying to learn a melody or something.

The last time you shook hands with Ringo Starr?

Ringo doesn’t shake hands…but the last time I fist-bumped him was last June (2025), when the Dirty Knobs played an outdoor show in Omaha with Ringo’s All-Star Band. We all hung out backstage chatting. I’m friends with Gregg Bissonette, Ringo’s other drummer, and he pulled me into a conversation with Ringo about the Dallas Cowboys. We’re both long suffering fans. Ringo told me a story about how he almost bought a house in Dallas back in the 70’s, but then the deal fell through and he blew it off. He’s delightful to talk to. Of course, I’ve seen him a couple times at the Sphere also, because his brother-in-law (Joe) is an Eagle.

Favorite movie of all time?

Raiders Of The Lost Ark. I saw it in the theater several times when I was eight years old, and I’ve watched it hundreds of times since. I watch it multiple times every year. I know every shot and every line, and every triumphant John Williams music cue. It never fails. It’s a Hollywood masterpiece made by two brilliant auteurs, and led by a national treasure, who is probably my favorite screen presence of all time. I could name a hundred other films, but that one’s long been at the top of the heap.

Don Henley = 

A master of his craft. A true artist. And a good friend. I’m forever grateful that our paths crossed and I’ve been gifted the opportunity to contribute to his incredible legacy. 

Steely Dan or Jellyfish?

Both. I could never choose between the two - and why should I have to? They’re so radically different, but similarly ambitious. I fell in love with both bands back in the early 90’s, when I was in high school and then in college. They’ve been all-time favorites ever since. Two very brilliant and unique bands.

What's next for Christopher Holt and how can we buy and listen to CH music?

Well, I’ve got more Eagles dates - we’ll be back at the Sphere in the Fall. Who knows how long that will go. Don said recently that he thinks this will be our last year, but he’s said that before. I’d be thrilled if it last a little bit longer. I don’t want it to end, but I know that all things must pass. 

I’ll be back out on the road with Mike and the Knobs in July. We’ve got a new album coming out in June, and we’ll probably stay busy for the rest of the year, as well. That’s tricky for me, having to coordinate my schedule between those two acts. A lot of jumping through hoops there.

At some point, I’m gonna try to finish up my next solo album. I started work on it a year or so ago, but the Eagles have taken up so much of my life, I’ve just kinda put it on hold. Hopefully I’ll get that done by the end of the year, and have some new music out there in 2027. 

In the meantime, you can check out and buy anything from my catalog from my Bandcamp page, the Idol Records website, or any of the streaming services out there. And check out my website too - christopherholtmusic.com. Some close friends of mine put it together a few years ago and did a really great job with it. It’s a comprehensive overview of my whole career, and well maintained. 

I don’t know where it all goes from here, but hopefully I’ll be able to keep making music for a long time.

CH

May 2026 Photo Courtesy Guitar World