Norse Guitar Feeds

Word on the grapevine is that those were the original lyrics Bryan Adams wrote for Summer of ’69, but due to a last minute lyric change, the concept of a Fender Cafe became lost in the pages of what could have been. Until now…

That’s right, Fender has just dipped its toes into the bistro business, opening up a brand new cafe in Japan – and the menu is full of guitar-themed items, from Telecaster Maple Lattes to Six-String Burgers.

While Fender’s Tokyo store currently has an in-shop cafe, this is the first time Fender has opened a fully fledged cafe in its own right. Situated in the Shimokitazawa neighbourhood, a trendy, creative area known for its thriving music scene, the Fender Cafe joins the area’s selection of basement jazz bars and quirky cafes.

• READ MORE: Bryan Adams reveals the story behind his “first real six-string” in hit song Summer of ’69 – and it actually wasn’t bought at a five and dime

While there wont be a selection of guitars to peruse, the Fender Cafe promises to offer a more guitar-centric flavour to the eccentric district regardless. Visually, there’s nothing too guitar-y about it; the cafe simply looks like a modern, modern version of Edward Hopper’s famous Nighthawks cafe painting, complete with huge glass windows and almost brutalist, exposed cement walls.

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But there are glimmers of Fender sprinkled across the stylish joint. The coffee machines are branded with Fender Cafe, while stools are plectrum-shaped and branded in ode to the Fender Heavy pick. There’s also a 1969 rosewood Tele mounted on a wall for good measure, considering it was the guitar that inspired Fender to set up the cafe in the first place.

“The new store adopts a space design inspired by the 1969 Rosewood Telecaster that has left its name in music history,” Fender Japan explains [via Guitar World]. “Fender combines the spirit of rock and roll with California coffee culture with Japanese sensibilities, craftsmanship, and subtle hospitality.”

“Fender Cafe Shimokitazawa aims to blend in with nature’s daily routine in this city and create a community place where music-loving people can connect at ease,” Fender Japan adds. “Musicians, community people, live house attendees, and musicians.”

The menu is also where things feel a little more Fender. We’re talking Stratocaster rose lattes, Six Strings Burgers, Chicken Overdrive Rice, and even a special coffee bean blend, First Set.

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The post I got my first real six-string… bought it at the Fender Cafe Shimokitazawa appeared first on Guitar.com | All Things Guitar.

As we all know, Megadeth are finally calling it a day after 43 years of thrashing. However, frontman Dave Mustaine seems to have one final card up his sleeve…

In an interview with Turkey’s Apaçık Radyo, Mustaine revealed that there’s a “fucking massive” Megadeth announcement on the horizon. With plans to reveal it later this month, Mustaine can hardly contain his excitement, teasing: “It’s out of this world, let me say it like that… I gave you a clue right there!” [via Blabbermouth]

• READ MORE: Megadeth drummer says Dave Mustaine “invented thrash metal”

For now, all we can do is speculate. However, last November, Mustaine did suggest a rather “out of this world” goal in conversation with Metal Hammer; when discussing his ultimate dream for the farewell tour, Mustaine said that he would love to see Megadeth out amongst the stars. “I hope we’ll be playing up in space,” he said. “I think that will be a really fitting climax.”

“And I’m not talking about on the side of a vomit comet!” he insisted. “A gig on the moon – a full moon landing. That would be cool!”

Of course, there’s no guarantee as to what the plan really is. While we are yet to find out if Mustaine is going to be knocking out a space suit, we do, however, have confirmation that he’ll be hopping into a set of swim shorts in the near future.

That’s right, there’s going to be another Megacruise. “We got another Megacruise we’re starting to work on… the Peace Sails cruise,” he reveals.

Back in 2019, Mustaine was unfortunately too ill to join fans on the Megacruise due to his throat cancer diagnosis. This time around, he’s keen to hit the high seas. “[Missing the first cruise] was a real shame for me…” he reflects. “That was the beginning of the evidence that I was developing [throat] cancer. And so I had to stay home.”

Megadeth’s Farewell tour has kicked off without a hitch, with many fans lapping up the band’s cover of Metallica’s Ride The Lightning in particular.

For more info on the band’s final world tour, head to Megadeth’s official website.

The post Megadeth are currently on their last tour ever after 43 years – but Dave Mustaine is teasing another “f**king massive” announcement appeared first on Guitar.com | All Things Guitar.

Smiths legend Johnny Marr has issued a dig at FedEx, after the shipping company allegedly lost a guitar belonging to Grammy-winning guitarist Ella Feingold.

Feingold recently revealed that one of her guitars had gone missing in transit, and quickly got in touch with FedEx to find out what had happened. In a screenshot shared to social media thereafter, it seems the company was less than helpful in locating the instrument.

• READ MORE: “I choose guitars that stay out of the way of the vocals”: how Ella Feingold became the most versatile rhythm guitar player on the planet

“I completely understand where you’re coming from and I sincerely apologise for the trouble and frustration this situation has caused,” read a message to Feingold from FedEx.

“The package was marked as lost only after the investigation team conducted a thorough search and ultimately determined that they were unable to locate it. Thank you.”

Johnny Marr reposted the screenshot with a dig of his own at FedEx: “We lost your guitar… Deal with it,” he wrote.

‘We lost your guitar…deal with it’ @FedEx https://t.co/RzkE4oTVxH

— Johnny Marr (@Johnny_Marr) July 6, 2026

Afterwards, Feingold took to Instagram to vent her frustration at the seemingly automated reply and limited avenues she was offered to try and track down her guitar.

“FedEx loses guitars,” she wrote. “The real disappointing thing is how you never get to speak to a human being, just an automated AI copy and paste response for the last week. No communication and no humanity involved. Like, how do you lose a guitar that’s literally scanned onto a truck and supposed to show up on my front door [saying] it’s arriving within a half an hour to the guitar just being lost forever.

“All I get is automated messages and then asking me to fill out a survey if I’m pleased…”

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Johnny Marr followed up again, writing: “So FedEx just ‘lose’ guitars now? Belonging to renowned guitarist Ella Feingold, too. And one that was scanned and reported to be on the truck? How does that happen? Shocking. You need to DM her and find her guitar.”

At the time of writing, it doesn’t appear that Feingold’s guitar has been found, but hopefully with the pressure placed by high-profile musicians like Johnny Marr, the instrument will be returned to her soon.

Unfortunately, this is far from the first time a company involved in transportation has treated guitars without the care they deserve.

Back in March, a viral video sparked outrage showing an airport baggage handler throwing guitar cases on the tarmac. And a number of other artists have faced damage to their instruments over the years following flights, too, including Emily Wolfe, Madi Diaz, Pete Thorn, and more.

The post “We lost your guitar… deal with it”: Johnny Marr blasts FedEx for losing Ella Feingold’s guitar appeared first on Guitar.com | All Things Guitar.

The SG is one of Gibson‘s more beloved, timeless models. Countless iconic guitarists have sang its praises over the years, from Jimi Hendrix to Tony Iommi – and dynamic blues guitarist Samantha Fish is a modern guitar great to sing the guitar’s praises.

In a new interview with Guitarist, the Grammy-nominated Fish explains that her Gibson SG has become her most prized axe in her collection. Her reasoning? It’s the ultimate all-rounder. “I find that the SG is the most versatile guitar in my whole arsenal,” she explains. “Some people might disagree and think, ‘No, it can only sound a certain way.’ But I feel like I can just apply it to a range of songs and I can shape the tone in a way.”

• READ MORE: The Close Up: Muse guitarist Matt Bellamy’s most iconic and beloved guitar, the Manson 007

With the American guitarist’s palette spanning from country rock to bouncy funk, the adaptability of the SG is crucial. “When I first got it, it just felt like me, and I’ve had [the one I’m using live] since 2015,” she says. “I really love this guitar. It feels good in my hands. It’s expressive when I need it to be. I can tame it when I need to… and it looks cool!”

When considering how she first wound up with an SG, Fish isn’t quite so sure. But she is certain there was some influence from Angus Young, Sister Rosetta Tharpe and Derek Trucks, who have all wielded their own SGs over the years.

Though Fish has other beloved guitars in her arsenal – namely her sparkly Gibson Custom ES-335, which sounds so beefy she has to almost “tame” it onstage – the SG will always be her top dog. Even if just for how natural the SG feels to perform with. “It’s my most comfortable guitar,” she adds. “The way the neck feels… I just feel the most comfortable playing it. When I stretch out on solos and everything, it fits my personality.”

Considering how personally Fish is invested in her SG it begs the question… will Fish ever receive a signature SG? We’ve collated a list of artists who deserve their own signature SG in the past, but Fish might be a late addition. Perhaps it could even emulate the look of her personal model, which she explains has been “relic’d [herself] through the sweat and everything, just playing it” without the need of “[taking] any tools to it”.

Fish’s recently released a live version of  2025’s Paper Doll, which was nominated for Best Contemporary Blues Album at this year’s Grammy Awards. Paper Doll (Live) is out now.

The post “Sometimes you’re just naturally called to things”: Samantha Fish explains her love of the Gibson SG – and why it’s the most “versatile” guitar in her arsenal appeared first on Guitar.com | All Things Guitar.

Oasis, Sunday roasts, a cuppa tea… these are but a few staples of the quintessential British experience. With that in mind, it only makes sense that this year’s World Cup has seen the England team celebrating their wins to the sound of Oasis’ Wonderwall – and Liam Gallagher is pretty chuffed about it.

The Three Lions team most recently kicked off a full stadium singalong to Wonderwall following their 3-2 win against Mexico on 6 July, earning them a ticket to the quarter-finals. The celebration was so fierce that it left team captain Harry Kane with a sore throat from singing along too enthusiastically. In a post-match interview with the BBC, Kane apologised to presenter Kelly Somers for his (hilariously) rough voice, explaining: “My voice is gone!”

• READ MORE: The Close Up: Muse guitarist Matt Bellamy’s most iconic and beloved guitar, the Manson 007

As the interview cut back to the BBC team all laughing at Kane’s hoarse voice, Liam Gallagher was quick to hop onto X. “It’s hard work that singing, Harry Kane,” he wrote. “C’mon ENGLAND! C’mon WONDERWALL!”

It’s hard work that singing Harry Kane cmon ENGLAND cmon WONDERWALL

— Liam Gallagher (@liamgallagher) July 6, 2026

The final was also nearly predicted by the Oasis star earlier in the day. While he didn’t quite land the Mexico score, he guessed that England would win with three goals. When a fan pointed it out, Liam simply replied with a smug: “I told you”. Liam was also responding to saddened Mexico fans in his typical sarcastic fashion, joking simply ‘Stop Crying Your Heart Out’.

Stop crying your heart out

— Liam Gallagher (@liamgallagher) July 6, 2026

Another X user insisted that it was “mandatory” to have Oasis flown out if England manage to reach the World Cup final to perform Wonderwall live. “We’ll see… I’m ready,” he wrote.

The Wonderwall singalong also saw a more serious injury on the team; footballer Jordan Henderson attempted to hop over a short wall mid-celebration, unfortunately leading to an injured his wrist – the half wall was the opposite of a “wonderwall”, we suppose.

“He injured his wrist,” England coach Thomas Tuchel told reporters [via NBC news]. “He’s at the moment in the hospital, so it’s a quite serious injury. And it just doesn’t fit to the evening that Jordan is now not with us. I don’t know the procedure, what’s going on. I just did the press, and the doctor told me that he’s in hospital.”

While Liam is clearly loving the England team’s celebration anthem being Wonderwall, his brother, Noel Gallagher, has also been in favour of Wonderwall being England’s unofficial 2026 World Cup anthem. Following the England team’s win 4-2 win against Croatia back in June, Noel told The Sun: “Wonderwall belongs to the people, and it was a magical moment between the people and the players… Best of luck to everyone who’s made the trip out there.”

England are set to play against Norway this Saturday (11 July). If a win is on the cards, we’ll have to see if Wonderwall makes yet another appearance.

The post “I told you”: Liam Gallagher nearly predicted the England Mexico result – as Wonderwall once again soundtracks Three Lions win appeared first on Guitar.com | All Things Guitar.

€119, neuraldsp.com

Bass distortion is, famously, difficult. There’s a tightrope walk of pleasingly articulate aggression that hangs over two canyons of failure: sounding like a sub-sonic fart, and sounding like a wasp in a tin can. One of the most sure-fire ways to sound good is to grab literally any Darkglass product, bass preamp/distortion pedals that have long been the go-to for bassists looking to raise any amount of hell.

• READ MORE: Fender Studio Pro 8 and Quantum LT 16 interface review: a guitar-recording match made in heaven?

On the digital side, Neural DSP has already offered a suite recreating the B7K Ultra and Vintage Ultra pedals – which makes sense, given that Neural founder Doug Castro was also a co-founder of Darkglass. That was Darkglass Ultra – and now for 2026, we have Darkglass Ultimate, an expanded version of the suite.

Image: Press

Neural DSP Darkglass Ultimate – what is it?

The core idea is not particularly new, nor are there any new preamps on offer here. What is new is the more extensive signal chain – where Ultra just had the preamps and speaker simulation, Ultimate adds a set of pre- and post-effects to bring the full signal chain more into line with the rest of the Neural suites. The full signal chain – which will be familiar if you’ve ever used another Neural plugin – now consists of a set of pre-effects, the preamps, speaker simulation, post-EQ and post-effects.

The pre-effects are a pretty standard – but unsurprisingly well-executed – set of virtual pedals. You’ve got a compressor, auto-wah, octaver and a fuzz – each of which with the bass-friendly bells and whistles you’d expect, including a clean blend for the fuzz and compressor. The post-effects aren’t as extensive as some of Neural’s more guitar-focused plugins – there’s only a chorus and a delay, so no reverb here, but that’s not too surprising given its bass focus.

The two preamp pedals simulated are the B7K Ultra and Vintage Ultra. The former is much more in the realm of modern, tight, clanking distortion and bright cleans, while the latter is more rounded and full for the cleans, and has a more old-school approach to its saturation – a little more ragged and tube-like. And finally the cabs – there’s a choice between a 2×10 and an 8-10, for similar applications –one brings a focused sound, the latter brings an excess of weight and impact.

Image: Press

Neural DSP Darkglass Ultimate – usability

Neural has had years to tweak their own take on the ‘virtual gear suite’ format and interface, and its experience in this regard is pretty evident. Everything is exactly where you’d expect it to be, and the virtual gear all presents clearly. There are even tooltips that appear (unobtrusively in the bottom bar) to explain each virtual knob as you mouse over them. Neat!

I’m also happy to see some changes made to how the base suite software is working – you can now lock the output gain and transposition intervals so that when you scroll through presets, you’re not constantly re-adjusting. This isn’t totally new for this plugin, Neural has been doing this for a while – but it’s a welcome result of the upgrade from Ultra to Ultimate. All of the other features of Neural’s full suites – transposition, a tight noise gate, a tuner, a metronome and so on – are also good to see.

Image: Press

Neural DSP Darkglass Ultimate – sounds

So, you may be unsurprised to hear that Darkglass Ultimate sounds pretty damn excellent. The sounds you’d want from a modern bass plugin are all here – all the way through from the glassy, bright cleans to the more chuggy, bright and articulate heavy tones. If you’ve heard a real Darkglass pedal before, you’ll know they have a particular knack for keeping that articulation present while never really undermining their own aggression – this is faithfully recreated here.

The preset library is pretty extensive, mostly thanks to the artist side of things – each one is well-considered and does what it says on the tin, which is ideal for both finding a good sound quickly, and for having a starting point to tweak from. The nature of the two preamps – and not to mention the sheer size of the bucket of positionable mics Neural provides – means that an unbelievable amount of sonic ground is covered, and, to be honest, I couldn’t really find a bad sound within it.

Neural DSP Darkglass Ultimate – should I buy it?

So, is it a totally transformative upgrade? Yes and no – there’s obviously a lot of good things added in terms of sounds and usabilities, but the core appeal remains the excellent simulations of the B7K preamps. So would I recommend grabbing an upgrade if you already own the first version of the plugin? Well, given that Neural has generously made this a free upgrade for people who already own it – absolutely. For everyone else, give the free trial a spin and see how it goes.

The post Neural DSP Darkglass Ultimate review – the best in-box heavy bass tones you can get? appeared first on Guitar.com | All Things Guitar.

With two single-coils and a humbucker in the bridge position, an HSS-configured electric guitar is an indispensable option to have in your tonal palette. And if your arsenal is currently lacking in the HSS department, now might be the time to plug the gap.

Right now at Thomann, you can get this Mooer GTRS Standard 800 SB – complete with hundreds of onboard effects, guitar simulations, a looper and even a drum machine – for just £175 down from £289.

That’s right. Until 14 July, you can get this impressively spec’d entry-level HSS guitar at a 39% discount, or £114 off.

Obviously, chief on the spec sheet is its onboard electronics, which include 126 guitar effects, nine guitar simulations, four selectable and editable presets, an 80-second looper, a drum machine and even Bluetooth 5.0, but it’s decently spec’d in the hardware department, too.

It features an American basswood body, roasted maple one-piece C-shape bolt-on neck, rosewood fingerboard with 22 nickel silver jumbo frets, and a cream pickguard, which beautifully accentuates the guitar’s striking Sonic Blue finish.

In terms of pickups, the guitar sports GTRS SC-1N and SC-1M Alnico V single coils in the neck and middle positions, and a GTRS HM-1B Alnico V humbucker in the bridge position, with singular volume and tone controls and a five-way selector switch.

There’s also an accompanying Mooer GTRS app for additional tonal control plus a handy tuner, too.

So whether you’re looking for your first guitar, or an HSS model to plug that hole in your collection, with the Mooer GTRS Standard 800 SB, you won’t go far wrong – certainly not at this price.

Learn more at Thomann.

The post An HSS S-type for under £200? Yes, please appeared first on Guitar.com | All Things Guitar.

By: Rick Landers

Dave Kline, four strings, plucking and a bow; electrified. These are the ingredients that Kline brings to the stage and into the studio. Pull in some more world-class musicians and they stir a cauldron of some of the best music you’ll ever hear.

Moving to the States from his native England in the Seventies, Dave brought with him experiences he gathered at music gatherings where artists, now legendary, influenced and inspired him.

Rather than mention them here and now, it’s better to hear the story behind the names directly from him.

As a multi-instrumentalist, Mr.Kline rolls out stunning riffs on his violins, guitars and piano. And “stunning” isn’t limited to his musical fireworks, but includes some of the most emotionally stirring instrumentals in his songwriting quiver. And, at times, he occasionally reaches back to songs composed by some of his music heroes.

Besides being the bandleader of his own Dave Kline Band, Dave’s weighed in with others, including: Veronneau, Chick Corea, Dwight Yoakam and more.

“Great music man! Great tunes and such warm renditions. I love your musical universe … it’s so fresh and creative …And keep the music fires burning bright. You know why? Simply because you can! And do it so well.” Chick Corea

In the studio, along with adding session work on others albums, Dave’s rolled out several of his own releases, including: Eclectricity, Life’s Little Mysteries, and Shifting Borders. And, he’s got a stack of more compositions he’s written that his fans can anticipate hearing on future albums.

Now home-based in Northern Virginia, he lays down tracks in his own studio and has played at some of the finest music venues in the area, including the legendary Blues Alley, The Music Center at Strathmore, the Creative Cauldron, Earp’s Ordinary, Gypsy Sally’s, along with other venues and festivals.

Whether Dave’s punching our fiery licks on his violin or venturing into some of the most refined, polished romantic tunes you’ll ever hear, he’ll tug on your heartstrings or get you revved up in a most perfect way.

Guitar International is honored to present violinist extraordinaire, Dave Kline, to our readers.

******

One by one, it seems the amp purists are falling. Some of rock’s most notable old guard – who tend to prefer tube amps over their modern-day digital counterparts – have been experimenting with amp modellers as of late, and have been mightily impressed with the results.

Take Joe Bonamassa, as a prime example. The blues maestro is an avid collector and lover of vintage gear, so much so that he has two museum-style locations in Nashville and LA – Nerdville East and West, respectively – dedicated to the stuff. But even JoBo recently revealed he’d made the switch to digital, at least partially, after sharing that he’d been using Fender Tone Master amps on tour.

“When I first plugged into it, I realised this s***’s good. I really wanted to dislike it! But I couldn’t,” the guitarist said last month. He also revealed that he was prepared to “take a lot of s**t” for his adoption of digital modelling gear.

• READ MORE: “Dreams come true”: Gojira guitarist reacts as Kirk Hammett uses his Jackson signature model onstage with Metallica

Deep Purple guitarist Simon McBride has also made the switch to digital, and like Bonamassa, acknowledges fans who might criticise him for doing so.

“I have a lot of amps, but for most of the Purple stuff I use my live rig, which is the [Neural DSP] Quad Cortex,” he tells Guitarist in a new interview.

“I can hear a lot of Ritchie Blackmore fans crying out, going, ‘No! He’s using digital stuff!’ But it’s brilliant.”

As for why he chose to incorporate a Quad Cortex into his rig in 2025, the decision ultimately came down to a desire to streamline his setup.

“I had to change my sound a bit because you’re dealing with Don Airey, who plays keys, the Hammond and Leslie, and a Marshall head and cabinet,” McBride explains. “He’s in a very similar frequency range to [my] guitar, so I had to figure something out to make the guitar sound more powerful.”

Guitar World notes that McBride asked Engl – who made Steve Morse’s signature amp and gave him his own Artist Edition head – to tweak it and give him more power to occupy his own areas of the frequency spectrum.

“I asked them to tweak it and put a lot more power in the lower mids and low-end. I knew the Leslie and Hammond didn’t have that, so that could be my little space and would cut through but also make me sound powerful when we play a riff together.”

GW notes that while the guitarist doesn’t explicitly say so, he insinuates that his Engl amp has been captured and incorporated into his Quad Cortex.

Many high-profile guitarists have now adopted amp modellers, including James Hetfield, Nita Strauss and Mike McCready.

The post “I can hear Ritchie Blackmore fans crying out!”: Deep Purple’s Simon McBride on switching from tube amps for amp modellers appeared first on Guitar.com | All Things Guitar.

Psychedelic metal band Uncle Acid and the Deadbeats allegedly had their set cut short at Roskilde Festival after Damon Albarn “threw a hissy fit” and accused them of being “too loud”.

This is according to Uncle Acid themselves, who shared a statement on social media after the alleged incident took place, in which they apologised to fans and thanked the festival crew for “trying to intervene”.

• READ MORE: “I am going to take a lot of s**t for this”: Joe Bonamassa reveals he’s using digital amps for his new tour

Gorillaz were headlining the Danish festival’s Orange stage on Thursday 2 July while Uncle Acid’s played on the Legune stage. Danish media outlet Politiken reports (via NME) that Albarn spoke to the crowd during his set, saying, “Is it supposed to be possible for me to hear the other music so clearly? We can just stop playing and listen to the other thing instead, that’s fine with me.”

Uncle Acid’s statement reads: “Apologies to everyone who came to Roskilde festival hoping to see us play a full set last night. Pop diva Damon Albarn of the novelty cartoon act Gorillaz threw a hissy fit while we played, threatened to storm off stage before finally getting our set shut down because we were ‘too loud’.

“They were the only headliner of the whole weekend who couldn’t cope with playing at the same time as other artists. Unfortunately we only managed 25 minutes of assaulting his precious ears from our stage half a mile away before his goons came over and pulled the plug.”

They conclude, “Despite us being below the festival dB limit and offering to turn down FOH to continue the show, they wanted us off. Thanks to the Roskilde crew and stage manager who tried their best to intervene but it was ultimately out of their hands. Orders from above. p.s to our Danish fans….we love you and we’ll see you next year in Copenhagen.”

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While Gorillaz fans in the comments are disputing the claims, Roskilde Festival has provided a statement on the matter to NME. It calls the incident an “extremely unfortunate situation for everyone involved”.

“We are sincerely sorry for the disappointment caused to both our participants and the artists, all of whom had been looking forward to a fantastic experience. The decision was made as a result of a combination of wind conditions and technical factors that adversely affected the sound production. When staging a large outdoor live event, shifts in weather and wind conditions can occasionally create operational challenges.”

It adds, “As the weather forecast indicated that windy conditions would continue Friday, we decided to make a series of adjustments and rotations to the programme. These measures were taken in order to reduce the risk of similar situations and ensure the best possible experience for both our participants and the artists.”

Guitar.com has reached out to representatives of Gorillaz for comment.

The post Uncle Acid and the Deadbeats accuse Damon Albarn of being a “pop diva” after he allegedly forced their set to end early appeared first on Guitar.com | All Things Guitar.

It already houses Greeny – the legendary ‘59 Les Paul Standard once owned by Fleetwood Mac’s Peter Green – and a host of other now-iconic instruments like his ‘79 Flying V and ESP “Ouija” guitar – but it seems Kirk Hammett’s Metallica guitar arsenal just got a little bit bigger, as he’s added Gojira guitarist Christian Andreu’s newest Pro Plus Series signature model.

Andreu’s new signature arrived back in March, and boasts the unique accolade of the first-ever Jackson Rhoads model to feature an EverTune bridge, the patented design favoured by metal guitarists for rock-solid tuning stability.

It turns out Andreu’s love affair with the Rhoads shape started at just 15, when he saw Kirk Hammett wield the two-pronged design onstage with Metallica. Now, that moment’s come full-circle, after Hammett played Andreu’s own signature model onstage during one of Metallica’s London shows at the weekend.

• READ MORE: Metallica have donated $100,000 to earthquake relief in Venezuela

Metallica hit London Stadium in the British capital this weekend for two back-to-back no-repeat sets to conclude their massive M72 World Tour. Gojira and Knocked Loose were in support.

Sunday’s show saw the likes of For Whom the Bell Tolls, Ride the Lightning, Blackened and Enter Sandman, while Friday’s set included Creeping Death, Fade to Black, Master of Puppets and Seek & Destroy, the latter of which Hammett wielded Andreu’s signature model for. Watched fan-filmed footage below:

A starstruck Christian Andreu takes to Instagram in a wholesome new post: “London, you fought fire with fire! Thank you Kirk for using my custom Jackson Rhoads guitar on Seek! Dreams come true.”

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Gojira’s own set on the night packed in 11 tracks, including Stranded, Silvera, Amazonia and Mea culpa (Ah! Ça ira!), the song with which the French metallers won a Grammy after performing it during the 2024 Paris Olympics opening ceremony.

Metallica’s M72 World Tour has now wrapped, but the metal titans will head to Las Vegas for a residency at the Sphere later this year. For a full list of dates, head to the band’s official website.

The post “Dreams come true”: Gojira guitarist reacts as Kirk Hammett uses his Jackson signature model onstage with Metallica appeared first on Guitar.com | All Things Guitar.

Wet Leg’s Rhian Teasdale is a big believer that some of the best songs have just two chords, and that music doesn’t need to be overly complicated to be respected.

Looking back on her own journey into music, she’s faced a “demystifying” process after coming up against musicians who feel guitar music in particular should have vast numbers of chords and complex solo arrangements.

• READ MORE: How Women Are Giving Metal Guitars A Mainstream Moment

Speaking of her own early listening habits, Teasdale’s own interests in guitar music piqued with music that felt fun and even at times a little bit trashy. In an interview with The Cut, she recalls learning songs by Kings Of Leon and revelling in the indie rock era of the 2010s.

“The first song I ever tried to play on guitar was Molly’s Chambers by Kings of Leon — back when the band was super-trashy and fun. It was a real epiphany to learn that you don’t have to be a virtuoso guitarist to enjoy playing music with your friends,” she says.

“It’s been a bit of a journey demystifying music-making for myself. I’m not from a musical household, and I even got kicked out of my GCSE music course because I was too far behind the rest of the class, which is kinda hilarious.

“There are so many loser gatekeepers who want you to believe that you need 20-plus chords in a song for it to be worthy. In reality there are so many bangin’ songs that literally are just two chords.”

She goes on to add, “I was also a big fan of PJ Harvey before I realised that I could make music myself, and Björk. Everyone in the band is a fan of Big Thief. When I started going to gigs and festivals, it was very much that indie rock era: Alt-J, Mystery Jets, the Wave Pictures. I love the Strokes.”

Find out where you can catch the band on tour via the official Wet Leg website.

The post Wet Leg frontwoman disagrees with guitar’s “loser gatekeepers” who think songs need “20-plus chords” to be good appeared first on Guitar.com | All Things Guitar.

Taylor Momsen of The Pretty Reckless has been reflecting on the genius of Chris Cornell and her love of Soundgarden.

The Pretty Reckless toured with Soundgarden on the last tour with Cornell in 2017, which was cut short due to his sudden passing. Her reflections about his work land after the release of new album Dear God from The Pretty Reckless, in which she explores grief and depression.

• READ MORE: “I thought, this is not me”: Kim Thayil explains why Chris Cornell played guitar during the verses of Soundgarden’s Black Hole Sun

Speaking to NME, she says, “I can only speak for me, I can’t speak for the world, but for me all of Chris Cornell’s work speaks to me on a level that nothing else does. When something touches you that way, it’s hard to put into words just exactly why.

“There is just this connection, and it’s like it is speaking to you on a level that is so deep that it feels like a part of you. I’ve listened to his solo work and to Soundgarden so many times, but every time I listen to them, it evokes something different in me.”

She adds, “There is the sheer amount of depth and sensitivity and aggression… [but] also, it’s so smart. It’s musically exquisite and complex — like this never-ending onion where you discover something new about it and about yourself every time you listen to it. I think that is so powerful and so fucking rare. It’s coming from a place that’s so deep and so powerful that it touches your soul.”

Momsen is also asked about the recent news that Soundgarden are hoping to release the final album they worked on with Cornell before his death. According to guitarist Kim Thayil, it had always been a goal for the band to complete the record, and releasing it would feel like a gift to the fans, and to Cornell too.

Momsen says, “Oh, man, I don’t think that’s my place to talk about. But what I will say though is that I love those guys. I’m so excited and proud of them and everything that they are doing, and just stay tuned.”

The news of the project arrived alongside the announcement that Soundgarden were due to be inducted into the Rock And Roll Hall Of Fame.

Speaking to Rolling Stone at the time, Thayil said: “Our objective and goal was always to complete that. I probably have OCD enough to not want to leave something unfinished or incomplete like that, so I think the more we can attend to our body of work and our catalogue…

“I think everyone in the band feels that way. I don’t just want to attend to my work, but the collective work, and in this case specifically, the work of Chris.”

The Pretty Reckless’ new album, Dear God, is out now. Find out where to catch them on tour via their official website.

The post Taylor Momsen on “powerful and rare” Chris Cornell: “His work speaks to me on a level that nothing else does” appeared first on Guitar.com | All Things Guitar.

Gamers of a certain age might remember FIFA 06 for its legendary intro movie, or the faces of a young Wayne Rooney and Brazil legend Ronaldinho gracing the cover. But for a young Towa Bird, the thing that had the most impact was the twanging electric guitar riff of LCD Soundsystem’s Daft Punk Is Playing At My House that blasted from the title screen.

Towa Bird on the Guitar.com Cover. Image: Kristen Jan Wong for Guitar.com

Towa Bird is far from the only one initiated into the world of guitar thanks to a video game soundtrack, but with her its influence was a profound one. Today, the Hong Kong-born, British-Filipino artist is an internet-moulded guitar star, adored by both the music and fashion industries. She opened for Billie Eilish on her Hit Me Hard and Soft tour and appeared as a guitarist on Olivia Rodrigo’s Driving Home 2 U documentary. She’s a regular face for Italian high fashion brand Miu Miu, and has toured with her girlfriend Reneé Rapp.

It all feels a long way from when she would sit on livestreams sharing personal coming-out tales, cool viral guitar covers and original songs online to a few hundred followers. So, as Bird fizzles onto our Zoom screen for her Guitar.com cover interview, there’s plenty to celebrate.

Most pressingly, there’s her brand-new second studio album, Gentleman, which has been lauded for its riffy, hot queer tracks in the guise of 60s-meets-70s rock, dipping into riot grrrl territory as well as alt-pop and synth palettes.

Image: Kristen Jan Wong for Guitar.com

“It’s hard to sort of summarise two years,” Bird ponders casually, flicking through album anecdotes – flying between Los Angeles and New York, working with producer Patrick Wimberly (the former member of Chairlift who has credits with MGMT and Blood Orange), finishing writing last November and getting ready to let go of a year-long project.

“It’s really difficult not to attach your entire self-worth and the reception right before I put it out. I was so giddy, like a child, with excitement and joy,” she smiles. Soon after Gentleman dropped, however, Bird was ready to step aside and let fans and critics alike leave their mark on the album. “I knew I needed to anchor myself in this feeling, because I know as soon as it goes out, people put their two cents in and tell me their opinions and the feeling sort of changes,” she explains.

“Being a guitarist, that’s really fucking important to me. It’s the reason why I got into music in the first place”

Poster Girl

Bird’s star began to really rise with her debut album, American Hero, back in 2024 – but she never really imagined that songs like the amped up B.I.L.L.S or the lusty, smirking Drain Me would resonate with an audience so powerfully.

“It’s all truly been really fucking mind-blowing, to be honest,” she reflects. “I had no fantasy of where I would be; I know that a lot of artists grow up being told I’m going to become a pop star or a rock star, but I never felt that way.” That doesn’t mean she lacked ambition. Bird was working hard to build her career long before her solo career took off, most notably playing guitar on tour with Cassyette, before things fell into place.

Image: Kristen Jan Wong for Guitar.com

“I care so deeply about what I do and I put so much effort into it, but I never really had the fantasy element to it,” she explains. “I think that comes from a place of insecurity rather than security, because I never really gave myself the permission to have those big, big dreams.

“Coming from a mixed family, immigrant parents, and there’s a level of realness, and in their culture and that’s what they passed down to me. It’s much more of an American ideology to dream big and wish for what you want, and in the UK that’s not necessarily the case.”

The hard work has won Bird a broad and incredibly active fanbase – one that transcends the usual online guitar audience – and she admits that she perhaps downplayed her guitar artistry as a result.

Image: Kristen Jan Wong for Guitar.com

“With the first record, I had such a deep desire to prove myself,” she says. “I wanted people to take me seriously as an artist and as a singer-songwriter, and move away from the guitarist label. Now, in the second album, I feel much more excited about being a guitarist and that’s really fucking important to me – it’s the reason why I got into music in the first place.”

If her previous music wasn’t about celebrating technique, it still showed something fundamental and important – inspiring connection, resonating with the hum of the guitar, and finding a level of self-acceptance that she continues to build on.

“I definitely feel so much more aligned with who I am and, with the next album, I hope I’ll continue to get even closer,” she says. “I fell in love with this instrument, so I think it would be a disservice to myself and the audience to put that in the background. I think that comes with growing up a bit, becoming more confident in yourself, and remembering who you are.”

“I had no fantasy of where I would be… I never really gave myself the permission to have those big, big dreams”

Chord Theory

To understand how entwined Towa Bird’s artistry is with the guitar, and how she thinks about music, it’s worth noting that she chooses to talk about her musical evolution through her favourite guitar chords.

Back in the day, she proudly told an interviewer of her love of the Emaj7 chord. “I think that is sort of funny!” she reflects now. “It’s like a representation of where I was. The E major seven is a wonderful and colourful chord. It’s an extended chord, so there are more notes in the actual chord itself.

“It’s kind of funny because that’s representative of how I was trying to prove myself. Now, I’ve simplified, so I go for an E power chord, which is essentially the same. It’s basically all of the same notes, minus two, so it’s much more straightforward – it’s the people’s chord!”

Image: Kristen Jan Wong for Guitar.com

When it comes to her instrument of choice, while she’s become synonymous with her black and gold Gibson Firebird, she’s moved into a more semi-hollow direction of late – leaning on the indisputable charms of a cherry red ES-335.

“I’ve been really enjoying using it; it’s a big body,” she explains. “They’re just big and kind of like Beatlesy and like very 60s. The reason why I love it so much is because it’s huge and so resonant because of the acoustic body. You can feel the vibrations against your stomach and chest as you play it.

“It’s more of a holistic experience where you can feel the music. Instead of an extension, it feels much more like an attachment, and has a warm and nice sound. It’s very classic, and one of the oldest electric guitars, so it’s been around for most of popular music history.”

“I fell in love with this instrument, so I think it would be a disservice to myself and the audience to put that in the background”

Security Blanket

Bird’s first brush with guitars came at a young age, during school lessons when she lived in Thailand. In those early days, she persevered because of her dad’s insistence that she had talent, but nowadays the instrument is an extension of her sense of self. “It gives me a sense of security. When I’m on stage, and I don’t have my guitar, I feel fucking naked,” she admits.

There’s a throughline in her life and art, where instrument, identity and sound mesh. Bird had no intentions of becoming “the lesbian Mick Jagger”, but after watching an awe-inspiring Jimi Hendrix documentary (and plenty of old YouTube tutorials), Bird picked up enough tricks. Flipping the script, then, with Gentleman, was playful subversion, bringing her own queer lens to gender.

“When I was growing up, I never really saw myself fitting into any specific box in terms of sexuality or gender identity,” she says. “My androgyny comes from a place of comfort in the same way that a guitar made me feel really comfortable.”

Image: Kristen Jan Wong for Guitar.com

Olivia Rodrigo is a pop artist who is also credited with inducting a new generation of fans to the magic of guitar, and the celebration of music from a bygone age. It’s something that Bird got to experience up close, and has clearly left an impression.

“Honestly, one of the things that I feel about Olivia – while she’s on a different level – we’re sort of doing [things] in tandem,” she says. “I had Kathleen [Hanna] on my record and [Olivia] has Robert Smith, and she did something with David Byrne as well, recently. We’re bringing these legacy artists and bringing it to people who are maybe under 21.”

The Hanna collab in question is the track All Gone, which sees Bird and the Bikini Kill icon revel in skittering drums, power chords and buzzed-up vocals. It’s a demonstration and a reminder that riot grrrl music is thriving and the guitar scene is anyone’s game.

“When we were writing this record, we were sending reference playlists back and forth, and on every single playlist was a Bikini Kill song or one of Kathleen’s records,” Bird recalls. “So when we were looking for collaborations, we thought we should just fucking swing for it and it happened – I got my dream.”

“My androgyny comes from a place of comfort in the same way that a guitar made me feel really comfortable”

Making Gentleman was a long process for Bird – it took nearly 12 months for her to get the music to a place where she felt revived and authentic. You can hear that fresh enthusiasm in the guitars across the album, positively thrumming with hope and panache.

And Towa Bird is in no hurry to plan her next move – the thoughtfulness that has come to epitomise her guitar style playing out in her career, even as she jets around the world from New York to LA, Hong Kong and beyond.

“I’m not really rushing to make a decision. I’m trying to be okay with living in the unknown a little bit,” she says. “I’m doing well as a person and that is a foundation that is going to really help inform my next project. I’m writing from a place of security and joy, instead of desperation and approval seeking. I think a listener can really tell when it’s writing for oneself rather than writing for the world.”

Words: Z. Raza-Sheikh
Photography: Kristen Jan Wong
Location: 503DTLA

The post “It’s the reason why I got into music in the first place” Towa Bird on reclaiming her status as a new generation guitar hero appeared first on Guitar.com | All Things Guitar.

Crazy Tube Circuits announces the White Whale Junior

July 3, 2026 Due to changing circumstances on the home front, I am moving and purging a lot of stuff. This means over 60 years of musical memories in books and instruments. In honor of July 4, we are encouraging people to learn, or improve their music reading skills. We will be starting a new […]

The post Totally Guitars Weekly Update July 3, 2026 appeared first on On The Beat with Totally Guitars.

Varnishing, is really time consuming, taking almost as long as it takes to build a guitar…



Today on the podcast, we are joined by guitarist Louis Campbell, who talks to us about growing up playing traditional music, studying with Martin Simpson, his affinity for using the electric guitar like a piano, and much more.

You can check out his original music via his duo Spafford Campbell: https://www.spaffordcampbell.com

Above photo: York Tillyer

Join us at our 2026 Fretboard Summit in Chicago (August 20-22, 2026) for three days of guitar demos, concerts, workshops and live podcasts with some of our favorite artists.

This year’s Summit has over 80 luthiers and brands, performances by Hand Habits, Deep Sea Diver, Jake Xerxes Fussell, Shane Parish, Michael Daves and Antoine Boyer!

Register here: www.fretboardsummit.org.

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The post Podcast 556: Louis Campbell first appeared on Fretboard Journal.

Jones plays acoustic versions of her songs “Tough on a Woman’s Heart” and “End of Time.”

Aerosmith’s Joe Perry has shared there’s one guitar of sentimental value that he’s hoping to be reunited with, after selling it on a whim and regretting it just a matter of months later.

The guitar, a red Höfner S-style guitar, was played by Perry in the 1990s when he would perform on the 4 July each year for Lake Sunapee locals with a rendition of The Star-Spangled Banner.

• READ MORE: “It’s alright, I’ve got another one”: Wings engineer remembers Paul McCartney’s relaxed reaction when he told him his Höfner Violin Bass had been stolen

Speaking to Guitarist, he says, “I did that for a couple of years with that particular guitar, and as the years went on the guitar ended up getting back with my main collection. I was kinda in one of those moods at the end of the tour, and I had like 400 of these guitars that I never played.

“I said, ‘I gotta get rid of some of these things. It’s time to clean house a little bit.’ I earmarked a few guitars to go and somehow that guitar got on the list. And like three or four months later, I found out that it was gone and was like, ‘Next time, I gotta pay more attention to this. I’m not getting rid of anything else for a while.’”

Strangely enough, it was just a couple of years later that Perry came across the guitar again in a fleeting moment on a bullet train in Japan: “As the bullet train is pulling out 30 or 40 people follow us up there. As the train was moving along, I saw a kid holding that guitar out for me to sign it,” he remembers.

“The train was already moving, slowly pulling out, and the kid was holding it out with a Magic Marker. I’m thinking, ‘Man, I gotta get the kid’s number to see if I could buy it back or trade it for something else,’ because it did have some sentimental value, you know?

“But we were off to the next city, and at that point I didn’t have any ideas about how to get in touch with the guy. I suppose I could have tracked him down through the fan club and tried to figure out who it was, but it was lost.”

Perry is still hoping to get it back somehow. He says, “I’ll buy it back. I’ll trade it for something else, you know? It would be fun to get that back… I regret having lost that.”

The post Joe Perry is still hoping to buy back a red Höfner guitar that he regrets selling: “I saw a kid holding that guitar out for me to sign it… I regret having lost that” appeared first on Guitar.com | All Things Guitar.