Dougie Poynter, bassist of British pop-rock band McFly, has long held a deep passion for his instrument. Over two decades into his career, Poynter remains steadfast in his belief that the bass is an “unsung hero” in modern music. Despite friends occasionally failing to notice his parts in songs, he reminds them with a grin that he’s “the thing that’s making the seat rumble.” His loyalty to the bass guitar is unwavering, and he wishes more people recognized its crucial role in shaping a band’s sound.
McFly, formed in 2003 alongside vocalists and guitarists Tom Fletcher and Danny Jones, and drummer Harry Judd, carved out a significant niche in the UK pop-rock scene at a time when American bands like Blink-182 and Sum 41 were dominating the charts. Their debut album, Room On The 3rd Floor, reached number one in the UK, and their catchy, guitar-driven sound became emblematic of a generation. They were not only a soundtrack to countless teenage memories but also a gateway to more alternative guitar music for many fans.
Currently, McFly and fellow 2000s chart-toppers Busted are reigniting an old rivalry. Rather than reuniting under their previous supergroup banner “McBusted,” the two bands will embark on a competitive tour under the name Busted Vs. McFly. Poynter hints that it will be far from a standard concert. Production discussions have already included theatrical elements, even “WWE-style” stunts, such as potential stage magic to move band members around arenas. Both bands, he suggests, have the creative flexibility and personality to pull off such bold showmanship.
Central to McFly’s upcoming performances will be a standout instrument: the American Ultra II Meteora bass from Fender. Poynter has developed a deep infatuation with this model, which began in 2022 when he first tried Fender’s Player Plus Meteora bass. He was immediately taken by its size and comfort—an important factor for the five-foot-eight bassist, who previously relied on the smaller Music Man Sterling. He customized the Sterling with Quarter Pound Seymour Duncan pickups to suit his tone preferences, but once he tried the Meteora, it quickly became his new favorite.
His attachment grew during the creation of McFly’s Power To Play album. Around the same time, he also joined the Laney amp team and added a SansAmp Geddy Lee preamp to his gear. The combination of these upgrades provided the tonal flexibility he had long been searching for.
Last October, Fender officially launched the American Ultra II series, and Poynter was quick to grab the Solar Flare Meteora. The yellow-green bass has yet to be officially named, though fans have suggested “Shrek” due to its distinctive color. While he and his guitar tech usually pick names based on ease of communication during live shows, “Shrek” is likely to stick.
The instrument itself is packed with premium features, including Ultra II Haymaker Humbuckers, a modern “D” neck profile, and a high-performance preamp system with S-1 switching. This makes it suitable for both aggressive rock performances and more delicate tones. Poynter describes it as his new “workhorse” bass, capable of covering the full range of his playing styles. Whether he’s playing an ‘80s rock-inspired track with a pick or a smooth, walking bass line with his fingers, the Meteora can handle it all. For him, the design and balance of the bass allow him to feel completely in sync with the instrument during live performances.
Poynter explains how the bass suits McFly’s diverse sonic palette. He appreciates how it seamlessly adapts to various genres and techniques—from the punch of pop-punk to vintage McCartney-like tones. Even the bass’s physical design contributes to its usability on stage, with its weight distribution and solid feel helping him stay grounded during high-energy sets. He praises how the instrument gives him freedom to move and play without worry, calling it fun, functional, and inspiring.
Fender’s Justin Norvell once likened the American Ultra II series to a “sports car,” crafted for precision and performance. Poynter echoes this sentiment, noting how the bass “doesn’t fight you” and balances modern innovation with classic feel. Despite its rock-oriented leanings, the Meteora can be easily dialed back for softer, more nuanced playing. He values how it maintains traditional bass values while offering modern flexibility.
Reflecting on the broader musical landscape, Poynter admits he’s slightly envious of newer musicians. With online resources so readily available, aspiring bassists can now learn directly from legends. He cites Guy Pratt—who’s worked with Pink Floyd, Madonna, and Michael Jackson—as a favorite and marvels at how a quick online search can now reveal every detail of a professional’s rig. In contrast, when he was growing up, such insights required hours of guesswork and watching music videos on Kerrang! TV.
Poynter believes the bass deserves more recognition than it typically gets. He likens it to a hidden yet vital ingredient in a cake—essential to the whole, even if not individually noticed. While bassists and producers can easily identify tone differences, the average listener often overlooks how foundational the bass is to a song’s groove and impact. Still, he proudly champions the instrument, celebrating its unique role within the band dynamic.
As the bassist of McFly, Poynter feels privileged. He treasures the connection he shares with drummer Harry Judd, emphasizing how their musical interplay is critical to the band’s cohesion. Together, they lock in rhythms, complement fills, and refine the smallest details during rehearsals. For Poynter, this bond defines his place in the group and deepens his love for the role. He beams as he describes his job as “the best in the world,” confident that the bass—though often unsung—is truly indispensable.
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