An Interview with
'Felipe Rodrigo'
Guitarist of
'The Mercury Riots'
that took place on 13th March, 2025.
Interviewed by Glenn Milligan.
Glenn: You come originally came from Uruguay, what is the music scene like there and how does it differ from where you are now?
Felipe: Uruguay’s got a killer music scene—real raw, real passionate. The rock scene there is this wild mix of punk, ska, reggae, and traditional Uruguayan sounds like candombe, murga and tango, which gives it a vibe you don’t hear anywhere else. It’s a tight-knit, DIY scene where people play because they love it, not because they’re chasing a paycheck. But it’s a tough place to make a living off music, just ‘cause the market’s so small.
Glenn: What do you miss about Uruguay that you don't have access to in North America or L.A. for that matter?
Felipe: First thing’s first—family and food, no doubt about it. Being that far from home, you start craving the little things, like a proper asado or a good mate, and let’s just say L.A. isn’t exactly overflowing with Uruguayan spots. But beyond that, there’s a whole different rhythm to life down there—things move slower, people take their time, and there’s this real appreciation for just being in the moment. L.A.’s a beast, man—always moving, always chasing. Sometimes, I miss that feeling of just slowing down and soaking it all in.
Glenn: How did you originally end up in Los Angeles?
Felipe: Man, I was 18, fresh outta high school, and just knew I had to be in L.A. Packed up my guitars, threw my Marshall in a busted-up Chevy Astro, and hit the road. The damn van broke down in the middle of the desert, 200 miles from El Paso—thought I wasn’t gonna make it. But there was no turning back, you know? L.A. had this pull, this rock ‘n’ roll energy, like all the ghosts of my favorite bands were still floating around those streets. It just felt like the only place to be.
Glenn: What initially made you decide to choose guitar or did it somehow chose you?
Felipe: Yeah, I’d say the guitar chose me. I was all set on playing drums, but when I turned 12, my dad put a guitar in my hands instead—and man, it just clicked. There was something about it, the way it felt, the way it sounded, that just made sense.
Glenn: What is your guitar brand preference and for what reasons?
Felipe: I’ve been playing Fender for the better part of the last decade, and it just feels right. Don’t get me wrong, I grew up idolizing players who swore by Gibson, but there’s something about a Thin-line Telecaster that just clicks. It’s got that perfect balance—warm and full, but still sharp enough to cut through when you need it to. At the end of the day, it’s all about what feels natural in your hands, and for me, that’s a Tele.
Glenn: Who would you say your main influences are when it comes to guitarists and what turned you onto them first time around?
Felipe: It’s always shifting, you know? Depends on what’s speaking to me at the time, but the ones who’ve been there from the start—Angus, Jimmy Page, Eddie Van Halen, Jeff Beck, Billy Gibbons—those are the constants. Each of them has something unique, whether it’s the feel or their attitude approaching their instrument. Brian May and Django deserve a nod too—both of them have such a distinct voice on the guitar. That’s what it’s all about, really—finding your own sound, something that’s unmistakably yours.
Glenn: How would you describe your playing style and what would you say makes you stand out from all the other guitarists in and around L.A. and beyond?
Felipe: I’d say describing my own playing is a bit tricky, it’s like looking at yourself in the mirror, you don’t really see what others see. But what I can say is, I play straight from the heart. There’s no thinking, no planning—it’s just me and the guitar, trying to let the emotions flow through. I guess what sets me apart is that authenticity, that connection with the music, not forcing anything. You might be better off asking the other guys in the band what they think—I'm curious to hear their take on it too, haha.
Glenn: What were the 1st shows you ever did and how did they go down?
Felipe: The first shows were just me and some friends at a local coffee shop, jamming on blues progressions. I remember being nervous before stepping onstage, but once I did, it all just clicked and felt natural. It was like I found my place, but of course, there was a learning curve. The more I played, the more I got comfortable with it, and the more I could express myself up there. It’s like time starts moving slower once you’re on stage.
Glenn: Sorry if this comes across like the millionth time you have answered this. How did you get to going from a local guitarist to stepping into the bigger league onto an Internation level in Bullets & Octane?
Felipe: I started out playing with Gene Louis in a band called The Brave Ones, which led to my connection with Bullets & Octane. I’d always been a fan of their albums, so when Gene asked me to join, it felt like the natural next step. Growing up playing in punk bands, those old Bullets songs felt right at home with me—it was a comfortable fit. Writing and recording with them was a real joy, and we created something special together. Looking back, I’ve got a lot of great memories from that time, and I’ll always treasure them.
Glenn: What memories both good or bad do you have of being the guitarist of Bullets & Octane?
Felipe: I’ve got mostly great memories from Bullets & Octane, really. Being in a touring band—it’s not always smooth sailing, but we all respected each other’s role and what we contributed. Of course, there were bumps along the way, but that’s part of the ride. What sticks with me is that it was the first band I toured outside of the States with, so those experiences will always hold a special place for me. The highs, the lows—it’s all part of the journey.
Glenn: How would you say the differences are on a personal basis from being in The Mercury Riots than Bullets & Octane?
Felipe: The Mercury Riots are definitely more groove-driven, which is a bit of a shift from the more aggressive edge of Bullets & Octane. There’s a certain ease I feel with The Riots, more space to let the guitars breathe and the vocals carry the melody. Both bands had their own vibe, but with The Mercury Riots, it feels more like a homecoming—just a bit more natural for me.
Glenn: I remember seeing Bullets & Octane play Corporation in Sheffield in the small room just over 8 years ago – any recollections of that show?
Click here for a direct link to the Show Review
Felipe: I do remember that show—Sheffield, eh? It was great, especially being in Def Leppard’s stomping grounds. We’ve always loved their music, so it felt special to be there. I’ll never forget the couple who’d flown all the way from Hungary just for that gig—talk about dedication. We made sure we gave them a good time, made it worth every penny
Glenn: Can you possibly tell us all about the company, Think Music Inc, and you became involved in it and what it personally means to you to be part of it?
Felipe: Think Music is a music licensing company, and I’ve been with them for nearly eight years now. It’s been an interesting journey, seeing our tracks get placed in things like Netflix shows and commercials—there’s something surreal about hearing your music in those spaces. It’s great, though, because it feels like you’re sharing your work with a whole new audience. Being part of it is just another way to connect with people and get the music out there. It’s not just about the exposure, though; it’s about knowing your work’s being appreciated in a different light.
Glenn: How was it for you recording the 'In Solstice' Album and what were your thoughts on how it was received by the industry and those that matter most, the buying public?
Felipe: Recording. 'In Solstice' with Mike Fraser was an incredible experience—like a dream, really. The whole process felt so organic, just capturing the sound as it was meant to be. As for the reception, I try not to get too caught up in what others think; if I enjoy the music, then that’s what matters. But it’s been nice to see the positive response, especially when people connect with the songs and sing them back to us. It’s a real gift to know that your little contribution has meant something to others.
Glenn: How did you get to know Mike? I notice he has worked alongside Rush, Aerosmith and AC/DC! That's a top biller right there!
Felipe: You’re right—he’s worked on some of my favorite records, like Aerosmith’s Pump, AC/DC’s The Razor’s Edge, and even some of Jimmy Page’s solo stuff. We met Mike through our good friend Jens Lundberg. Mike came out to see us play at the Whisky a Go Go and I guess he liked what he heard. From there, we started talking, and it just felt right to bring him in to record the album—it was like a natural connection.
Glenn: What's it like for you making promo-videos? They look great but can sometimes take forever right? Anything stand in your mind making any particular ones?
Felipe: Haha, yeah, I’m not the biggest fan of making promo videos. I totally get why they’re important, though. I remember being a kid, waiting for the latest music video to drop from bands I loved—it was exciting, you know? But now, the process can drag on and sometimes it feels like a bit of a chore. I enjoy them when they’re done, though, and it’s always nice to see the final product.
Glenn: Love the one for 'LA Girls' that's shot on Sunset BLVD and Hollywood BLVD. Who came up with the ideas for that one?
Felipe: That was mostly Justin’s idea, really. He had this vision of capturing that Sunset Boulevard and Hollywood Boulevard vibe—those iconic spots just feel right for a track like 'LA Girls'. We shot some of the footage in Hollywood, and the band stuff was filmed at our good friend Balloonski’s art studio in downtown LA. It all just came together naturally, with a bit of that raw, unpolished energy that felt right for the song.
Glenn: Tell us about your favourite places you love going to in the LA Area for Live Music and great bars overall.
Felipe: I used to love this spot called The Satellite, really great vibes there. Sadly, it shut down during the pandemic, but it was always packed with incredible local talent, and the sound was spot on. There’s also Good Times at Davey Wayne’s, which is a whole vibe—you walk through a 70's fridge, and suddenly you're at a house party, with great music too. Of course, the classics on the strip are hard to beat: The Viper Room and The Rainbow are still the two of my favorite spots in town.
Glenn: What venues do you like to play in Los Angeles and beyond? Would you say they have a certain vibe to them and if so, what's that vibe that sets them apart from other places in the area?
Felipe: I still love playing places like the Viper Room and the Whisky a Go Go—there’s a real history there, you know? The vibe is unique, something about those places just feels like rock 'n' roll's soul is still alive in them. LA’s music scene took a hit, especially with all the clubs closing during the pandemic, but it’s starting to come back, little by little.
Glenn: What have been the funniest Spinal Tap like happenings that have taken place in your musical career so far that that can talk about?
Felipe: Oh, there’s been plenty of those moments—comes with the territory, doesn’t it? We’ve definitely had the classic “lost backstage” scenario, wandering around endless hallways while the intro music’s rolling. Then there was the time we showed up at a hotel only to find they’d booked one tiny room with one bed—for the whole band. Our tour manager once filled the van with AdBlue instead of diesel, which, as it turns out, is not a great idea. And of course, there’s the occasional moment of realizing we’ve driven for hours…to the wrong city… always a good laugh after the fact.
Glenn: What do you about touring and why?
Felipe: Well, it’s all about the music, isn’t it? Playing every night with your friends, feeling that energy from the crowd—it’s what we always wanted. But then there’s the travelling, seeing new places, meeting people from all over, and realizing that, no matter where you go, we’re all not that different. Cultures change, languages change, but music connects everyone in a way nothing else does. It’s a reminder that, at the end of the day, we’re all just trying to find something that moves us.
Glenn: What parts of touring all over Europe and the UK stood to you as a memory for either good or bad reasons since there is no way the highs are there without the odd pitfall?
Felipe: Yeah, not every night’s gonna be perfect—some gigs feel like magic, and others, well, you just push through and learn from ‘em. But even on the rough nights, you’ve gotta remind yourself that you’re out there doing what you love, playing music in places you never thought you’d see. The highs wouldn’t mean as much without the lows, you know? It’s all part of the ride. Just gotta keep your head straight and enjoy it while it lasts. Easier said than done, that’s for sure.
Glenn: For me personally, the jet-lag can be a bitch now and again and all of a sudden, hit you like a brick wall. How do you overcome the time differences as a member of a band who tours all over as it can no doubt be mentally and physically exhilarating?
Felipe: Yeah, jet lag can really knock you sideways if you let it. I come from a long line of aviators in the family, and my dad always said, “When in Rome, act as the Romans,” meaning you’ve got to sync up with wherever you land—no mid-day naps, no giving in. Just push through ‘til the sun goes down, then crash. It’s not always easy, but if you stick to it, your body catches up a lot faster. Besides, when you’re on the road, the adrenaline of playing every night does a pretty good job of keeping you going.
Glenn: Who have been the coolest bands you have shared a stage with and even gone onto become great co-horts and friends of yours long-term? Here's a chance to mention the likes of Nic Rudd, Drummer of Sour Tusk & Doomsday Outlaw... Haha! Or anyone else for that matter!
Felipe: Haha, yeah, Nic’s definitely one of them! We’ve been really lucky to share the stage with some incredible bands and even better people. The guys from Last Hounds, the lads in Massive Wagons, and our Aussie brothers in Electric Mary—all top musicians and even better company. When you’re out on the road together, dealing with the madness of touring, you form a bond that sticks. Long after the gigs are done, those friendships stay, and that’s one of the best parts of doing this.
Glenn: What are you currently up to at the moment and when we expect some new material from The Mercury Riots, not to mention some UK Shows?
Felipe: Oh yeah, we’re deep into writing the second album right now, and it’s all coming together in a really exciting way. A few of the new songs have already snuck their way into the live set, so if you’ve seen us lately, you’ve probably heard a taste of what’s coming. We’ll be heading into the studio this summer to get it all down properly. As for the UK, we can’t announce anything just yet, but I will say—we’re definitely looking forward to getting back over there. It won’t be too long now.
Glenn: What songs would you say go down best from your repertoire and which ones mean the most to you and why?
Felipe: Yeah, that’s a tricky one because some songs just have that personal connection, like 'Sweet Melody'. I half-wrote that one in my sleep—woke up with a voice recording and the main idea already there, like it had just come from somewhere else. Then you’ve got songs like '99 Degrees' or 'Be Your' that are just a blast to play live, pure energy from start to finish. The new ones are always interesting too, ‘cause they’re still evolving on stage—you find little changes, new ways to play them, and it keeps things fresh. That’s the beauty of it, really—some songs are personal, some are just fun, but they all take on a life of their own.
Glenn: What do you enjoy doing when not involved in music?
Felipe: It’s not always easy to step away from music, but when I do, I like to dive into history—it’s fascinating to see how everything connects. Jonny and I get into true crime podcasts too, which can be pretty wild. And when we’re on the road, we all end up watching sports together—Jonny’s all about the Eagles, Justin’s a Saints guy, and I stick with Peñarol from back home. It’s a nice way to unwind before diving back into the music.
Glenn: What would you say have been the greatest milestones in your career so far that you are proud of?
Felipe: The greatest milestone for me has been getting The Mercury Riots off the ground. There’s something deeply satisfying about creating something that’s truly yours, putting your own music out there, and sharing that with the world. Being able to play our own songs, express ourselves without limits—it’s a freedom I didn’t take for granted. It’s all been about building this thing from the ground up, and seeing it take shape, knowing we did it all ourselves, is something I’m really proud of.
Glenn: Is there anything you'd like to talk about that I have not covered in the Interview – feel free to mention anything at all you like that means something special to you?
Felipe: I’d just like to take a moment to thank you, Glenn. It’s funny how things work out, isn’t it? One day, we’re at the Rainbow sharing a "Lemmy," and the next, we’re talking about the music that brought us together. That’s the magic of it all—music connects people, breaks down borders, and creates something bigger than ourselves. It’s these moments, these connections, that make it all worth it. That’s what truly matters, at the end of the day.
Glenn: What would you like to say to the folks reading this Interview overall on Metalliville Zine?
Felipe: Well, first off, thanks for taking the time to read this. Make sure to grab a copy of our debut album, In Solstice, and give your local music some love—it really does make a difference. You can follow us on social media to keep up with what’s coming next, we’re always sharing the good stuff.
We’re hitting Sweden Rock this summer, and we’ll be announcing our 2025 tour dates soon. Hope to see you out there, connecting with us and making some new memories along the way.