When your last name is Van Halen, expectations in the music world are monumental. For Wolfgang Van Halen—son of the legendary Eddie Van Halen and bassist for one of rock’s most iconic bands—the scrutiny has been intense. But Wolfgang has proven time and again that he’s more than just Eddie’s kid; he’s a musician in his own right, with a distinctive style and approach to the bass guitar.
“People always assume my dad taught me everything,” Wolfgang shared in an interview. “He called me a ‘rhythm bassist,’ but really, all he taught me was a power chord and an AC/DC drum beat. From there, I just figured things out on my own.”
Wolfgang Van Halen and his contributions to Van Halen became undeniable on their twelfth and final studio album, A Different Kind of Truth (2012). On tracks like China Town and Honeybabysweetiedoll, he redefined the bass guitar’s role in the band, stepping up to match his father’s virtuosity while also holding down the groove. On others, such as Tattoo and You and Your Blues, Wolfgang took a more restrained approach, allowing the songs to breathe while anchoring them with his distinctive playing style.
Reflecting on the recording process, Wolfgang revealed his desire to preserve the band’s legacy while pushing their sound forward. “Every time I went into the back room of the studio, I’d see walls of tapes with music nobody’s ever heard. I thought, ‘People need to hear this.’ My dad wrote those songs in the same headspace as classics like Dance the Night Away and Runnin’ with the Devil. I wanted to bring some of those ideas back to life.”
How Wolfgang Van Halen Picked Up the Bass
Though he’s now celebrated as a talented bassist, Wolfgang’s musical journey didn’t start with the bass. “I started on drums when I was 10, moved to guitar at 12, and finally picked up the bass around 14 or 15,” he explained. His introduction to the instrument came unexpectedly. “One day, Dad and Al [Alex Van Halen] were jamming in the studio, and they asked me to join them. A few weeks later, it started feeling serious. We called Dave [David Lee Roth], and the rest is history.”
His decision to focus on the bass was partly practical. “It was the only open position in the band,” he laughed. “The other spots were filled by the best guitarist and drummer in the business. But what I love about bass is that it’s so integral to the song without being in the spotlight. People focus on the singer and guitarist, but the bass is what ties everything together.”
Inspirations and Playing Style
Wolfgang’s bass-playing heroes span a wide range of styles and genres. “Les Claypool was a big inspiration for me early on,” he said. “I also listened to a lot of AC/DC, Muse, and Tool. Justin Chancellor [of Tool] is one of my favorites—his approach to rhythm and time signatures really pushed me to challenge myself.”
Interestingly, Wolfgang never studied music theory formally. “All my friends were taking music classes and telling me I needed to learn theory, but I didn’t have time. We were rehearsing almost every day. After school, I’d head straight to the studio and play for hours.”
When it came to learning Van Halen’s classic material, Wolfgang took a straightforward approach. “I’d sit and listen. I have a small setup at home with my computer and a Line 6 bass amp. I’d figure out the basic changes and then add my own flair. I don’t try to replicate Michael Anthony’s parts exactly; I’ll keep the essence but throw in different runs to make it my own.”
His favorite Van Halen tracks to play include deeper cuts like Girl Gone Bad and Out of Love Again, as well as newer songs like China Town and The Trouble with Never. “I also love She’s the Woman because it has so much open space where I can experiment.”
Contributions on A Different Kind of Truth
The album itself was a blend of old and new. “In August 2009, we recorded a demo of She’s the Woman, and that really set the tone,” Wolfgang recalled. “We ended up writing seven new songs and reworking seven older demos. Looking back at those early ideas helped us tap into the simplicity and energy of Van Halen’s classic sound.”
The record’s wide range of bass tones—from punchy to downright gritty—was a deliberate choice. “I’ve always played through an EVH 5150 III guitar head for dirty sounds, but we also experimented with vintage Ampeg SVT heads and a Fender Super Bassman. The dirt adds clarity, in my opinion.”
Technique and Approach
Wolfgang’s technique often blurs the line between bass and guitar, with his use of double stops, slides, and tapping. “A lot of people think my dad is using an octave pedal when they hear me play, but it’s just me,” he said. “Take the intro of China Town, for example. I was messing around in the studio with a capo on the ninth fret of my bass, and the tapping part just clicked.”
His experimentation is partly driven by boredom. “Sometimes I overplay because I get restless. My dad tells me that all the time,” he admitted with a laugh.
As for his preferred playing style, Wolfgang is unapologetically a pick player. “I started on guitar, so using a pick just feels natural. The only song I play fingerstyle is Tattoo because I can get a better groove that way.”
