Interview by Paul Salfen
The phone crackles with energy as Paul Salfen of AMFM Magazine connects with Randy Bachman, the legendary Canadian guitarist and songwriter behind some of rock’s most enduring anthems. It’s the eve of Bachman’s performance at the Majestic Theatre in Dallas, Texas, on August 26, 2025, as part of the Roll On Down The Highway tour. At 81, Bachman’s voice brims with the same fire that fueled hits like “Takin’ Care of Business” and “You Ain’t Seen Nothing Yet” with Bachman-Turner Overdrive (BTO) and “American Woman” with The Guess Who. He’s not just a survivor of rock’s golden era—he’s a torchbearer, still igniting stages and inspiring generations.
“Every single night, everybody’s on their feet dancing and screaming and singing and playing air guitar and drums,” Bachman tells Salfen, his enthusiasm palpable. “It’s a great, classic rock revival, basically all over the country. I love it.” The tour, a celebration of his six-decade career, is a testament to his staying power. From Winnipeg’s gritty music scene in the 1960s to sold-out arenas worldwide, Bachman’s journey is a masterclass in resilience and reinvention.
The conversation turns to a new song, inspired by a Winnipeg overpass named in his honor. “I thought, Holy cow, that’s great,” he laughs. The track, a nod to 60 years of rock ‘n’ roll, weaves together memories of his teenage years jamming with future legends like Neil Young, Burton Cummings, and Fred Turner. “We were 14 or 15 or 16 years of age in the mid-60s, starting rock and roll bands that were still out in the world, rockin’,” he says. Even now, he stays in touch with his old Winnipeg crew, hinting at potential collaborations in 2026. “Who knows what happens next year? We have great, exciting opportunities.”
What makes this tour special is the family affair. Bachman shares the stage with his son, Tal, a multi-instrumentalist whose wife, Koko, channels the thunderous drumming of John Bonham and Ringo Starr. “I call it the Rolling Thunder,” Bachman says proudly. “Fans are gonna love it. We sound like the original BTO—boom, boom, cultural backward.” The setlist is a time machine, blending BTO staples with a Guess Who medley, including “American Woman” and late-’90s hits like “She’s So High.” “They’re getting music from the late ’60s, the ’70s, and the late ’90s all in one concert,” he says. “The audience is going nuts.”
Bachman’s passion for live performance hasn’t dimmed, but he’s candid about the grind. “You gotta keep trying,” he advises aspiring musicians. “Get in a room and bounce off each other. People want to see humanity—the feel of guys on stage jamming together, not playing in perfect time with auto-tune.” He scoffs at the idea of polished perfection, citing icons like Elvis, Aretha Franklin, and the Beatles, who embraced the raw, human edge of music. “You break a string, you try to get in tune. People don’t really like perfection. It’s great to look at once, but then it’s over.”
Reflecting on his career’s defining moments, Bachman recalls the 2003 SARS benefit concert in Toronto, where The Guess Who performed for half a million people alongside the Rolling Stones, AC/DC, and Justin Timberlake. “I’m singing ‘American Woman’ and ‘Takin’ Care of Business’ to a half a million people as far as I could see,” he says, still awestruck. “I said, ‘Put your hands up in the air,’ and a million hands go up. My daughter, about 5 or 6, said it looked like a big box of McDonald’s French fries.” He also remembers the telegrams—pre-cell phone relics—that announced “American Woman” and “You Ain’t Seen Nothing Yet” hitting number one globally. “Those are like big Yahoo moments,” he chuckles.
Bachman’s not done yet. He teases a double vinyl release of a rediscovered 1974 BTO live performance in Japan, capturing the band at their peak after a 90-day world tour. “We were playing like Led Zeppelin, driving out the middle of every song, doing extended solos,” he says. New music is also in the works, with contributions from Tal and guest vocalists, despite health challenges for some bandmates. “The vaccination destroyed our fingers,” he notes, referencing struggles shared by peers like Eric Clapton and Brian May. Still, the show goes on.
As the conversation winds down, Bachman’s excitement for Dallas is infectious. “Texas is a great rock and roll state,” he says, reminiscing about past gigs at Billy Bob’s in Fort Worth and a private party at a “rich guy’s house” with three stages. He’s ready to deliver a night of pure rock ‘n’ roll, fueled by a legacy that spans The Guess Who, BTO, and beyond. “I’m in my 80s, and I feel like I’m in my 40s,” he says. “I’m still doing it.”
For fans packing the Majestic Theatre, Bachman promises a night of thunder, nostalgia, and raw energy—a reminder that rock ‘n’ roll is a family tradition, and he’s still takin’ care of business.
