You founded Kamelot back in the early ’90s. Especially in the US, the melodic metal scene wasn’t what it is today. What drew you to this sound? Was playing this type of music always your vision?
From the very beginning, I was drawn to music that felt cinematic, with melodies that carried emotion, arrangements that felt larger than life and stories that transported you somewhere else. In the early ’90s, that kind of melodic, dramatic metal wasn’t really a thing in the US. But I grew up loving bands from Europe that blended heaviness with melody and atmosphere, so it felt natural to chase that vision even if it wasn’t the trend at the time. Kamelot was always meant to be a world of its own – part metal, part theatre, part film score. Even when the scene didn’t exist around us, the vision was already clear.

To go back even further, how come you ended up playing the guitar? What drew you to this instrument and who were some of your very first influences?
I started playing music on the saxophone in middle school. When I moved to Tampa after my father passed away, I was given a guitar for Christmas. It was a nylon string; I still have it. From there I got into different types of music, including classical, new age and metal. My earliest influences were a mix of classic rock and early metal, Rush, Brian May, Randy Rhoads, Iron Maiden and some of the ’80s guitar heroes. But I was also inspired by film composers like John Williams and later Hans Zimmer. That blend of melody, drama and precision shaped the way I still write today.

Starting in the early 1990s, you’re coming up on 35 years as a band. Looking back on all these years, tours, albums and shows – if you had to pick out a few absolute milestones along the way, what would they be and why? Moments that felt like real turning points for Kamelot, creatively, professionally or for you personally?
Signing our first international record deal, our first major European and Japanese headline tours and playing some of the larger venues in North America now are all dream-come-true moments. The Live at the 013 DVD shoot was a massive show – and all the new stage concepts we’ve brought to life, from set designs to theatrical elements, have all been defining milestones for Kamelot. I am always humbled by our fans and their support. 

Obviously, since the early ’90s, technology has come a long way. Looking back, how has your songwriting process changed then compared to now? Do you find it easier and more inspiring to write now than back then?
Back then, writing involved a Fostex cassette recorder, a drum machine and a lot of imagination. Today, we can build full productions at home before ever entering a studio. Technology has definitely made the process more efficient – making it easier to experiment, rearrange ideas and blend orchestral and electronic elements. But the heart of it hasn’t changed. A good song still starts with an emotional spark, a melody, a lyric, a chord progression that feels honest. Technology enhances the process, but it doesn’t replace the human part. I am also very fortunate to have major songwriters in the band like Tommy and Oliver.

In your creative process, which Toontrack tools do you rely on and how do they help?
Superior Drummer allows me to sketch drum ideas with incredible realism. When we are building demos, having those tools makes everything feel more alive from the start. The quality and flexibility let us focus on creativity instead of wrestling with technical limitations. Our drummer Alex always puts his final stamp on the drum parts and recordings, but these tools help us build ideas and song structures in a very professional and focused way. 

With everything that comes with being in a band (writing, recording, touring, promotion – the list goes on), what is your favorite part?
There’s nothing like stepping on stage and hearing the crowd. That exchange of energy, it’s addictive. But I also love the early creative phase when a song is just being born. So for me, it’s a tie between the spark of creation and the moment it comes alive in concert.

What’s your favorite Kamelot song to play live – why, and what makes it special for you?
“Liar Liar,” “Insomnia” and “Forever” are also massive moments in the set. “March of Mephisto” will always be special – the atmosphere, the drama, the crowd reaction. But the real answer is – the one where the crowd is singing so loudly that I can’t hear my guitar.

Are there any musical projects outside Kamelot you’d like to explore someday?
I’d love to collaborate with artists outside the metal world. But Kamelot is the heartbeat, so anything outside would be an extension of that creative world. A solo album has been discussed many times, but that has to wait.

Walk us through a typical day “in the life of” Thomas Youngblood – on tour and at home!
On tour: Wake up on the bus, grab coffee, visit some “must-see” part of the city, back to the venue and check in with the crew, handle soundcheck, meet fans, prep for the show – and then it’s 90 minutes of adrenaline. Afterward, hang out with the band or fans, then roll to the next city.
At home: It’s a mix of family time, writing sessions, business emails and trying to maintain some form of a normal schedule. I usually work on music in the morning when my mind is freshest, then handle logistics and touring plans later in the day.

What’s next for you and the band?
We’re deep into the next chapter, new music, new concepts and a new touring cycle. There are some very exciting things on the horizon that we can’t announce just yet, but 2026-2028 is shaping up to be one of our most ambitious eras. Sonically and visually, we’re pushing things further than ever.