General Interest

Our annual Fretboard Summit takes place August 21-23, 2025 at Chicago’s Old Town School of Folk Music.

Click here to register.

Wondering what the heck the Fretboard Summit is?

You’ve come to the right place. We’ve created this first-timer’s guide to help you wrap your head around the proverbial tailpiece of this special gathering. Our 2025 Summit will be our sixth, and largest, to date.

What is the Fretboard Summit?

It’s a hang, a conference, and a music festival rolled into one.

Basically, it’s our take on the ultimate guitar geek weekend, where you can meet the heroes we celebrate on our pages and podcasts (players and builders); see some ridiculously cool concert lineups; try out (and buy) some insanely unique guitars; learn a bunch; and make some new friends.

It’s also one of the only open-to-the-public conventions that features a who’s-who of legendary guitar and gear makers. And, yes, you can actually meet them all.

Why?

Because we wanted to celebrate the community around the Fretboard Journal. Acoustic and electric. We also wanted you to be able to meet all these great personalities we interview and showcase in our magazine.

You don’t need to be a serious collector, gigging musician, or virtuoso to attend. Just have an open mind and you’ll have a blast.

Who is playing this year?

An eclectic bunch of artists you’ve probably read about in our magazine and a few we can’t wait to turn you on to.

We’re still making announcements and additions to the lineup (a few are secrets we can’t divulge quite yet), but we can tell you that Charlie Hunter and Ella Feingold will be there, performing and teaching. Ella is a funk guitar god who was recently featured on our podcast. It remains one of the most downloaded episodes we’ve ever done. Charlie will be playing a solo blues set honoring Blind Blake. It’ll be amazing. We’ll also hear about their new duo record.

We also know that jazz guitar great Jonathan Stout is coming back, as is FJ favorite Ryan Richter (pictured above). This year, Ryan is bringing Dylan Day and Harrison Whitford – two of LA’s best session guitarists – out to the Summit. We’ll hear from all three. Fretboard Journal Assistant Editor Sofia Wolfson is going to teach a songwriting class. We’ve also got sessions on everything from the Fender history to African guitar.

Last but not least, you will be playing. This is a festival made for musicians of all stripes. Beyond all the included guitar workshops, there are unlimited opportunities to play, jam with friends, or try out new guitar gear. We have soundproof rooms if you want to rock out (or just try guitars in private).

Space is limited because this is about as interactive as festivals get. We want you to get hands-on time with cool gear.

What is the Old Town School of Folk Music?

A Chicago institution. Founded in 1957 the Old Town School of Folk Music provides a wide range of music, dance, theater, and visual arts courses to people of all ages, abilities, and backgrounds. It’s a magical 501(c)(3) not-for-profit with an expansive campus featuring two buildings across the street from one another. We take over both facilities and fill them to the brim with sessions, workshops, jam rooms, and demo spaces.

When you picture Chicago, you may think of Wrigley Field or some busy downtown street or that one Wilco cover with the two buildings. The neighborhood that Old Town is in is easily walkable and there are dozens of nearby cafes, shops and restaurants. It’s like the cool neighborhood in your town, but in Chicago.

Who attends the Summit?

An eclectic mix of guitar fanatics (of all abilities), collectors, luthiers, industry members, and working musicians from around the world. Our crowd tends to be more eclectic and diverse than you’d think – young and old, all genders. But we all connect over a love for guitars.

Having said that: We limit Summit all-access passes to just a few hundred. We want everyone who attends to see the concerts, meet their heroes, and have fun without crowds. So if you want to come, it’s best to register soon before it sells out.

Who will I meet?

That’s up to you!

This year’s Summit has some of the most respected names in guitar craft: You can meet the crews behind Martin, Collings, Santa Cruz, Taylor, Beard, Yamaha, Gallagher, and Chase Bliss. It’s a rare opportunity to talk to lutherie legends like Andy Powers (Taylor Guitars), Richard Hoover (SCGC) and Wayne Henderson.

We have interective exhibits – a

In 2023, Bill Frisell led a guitar orchestra that anyone could join; the year prior the Milk Carton Kids all taught us how to harmonize. We also attract some of the biggest YouTube and podcast influencers around (Rhett Shull will be there, along with Emily from Get Offset and many others).

Best of all, you’ll meet a bunch of great players who probably aren’t currently on your radar…and fellow collectors.

What does a day look like?

Each day has over 12 hours of programming planned. We don’t expect you to catch it all (that would be crazy), but it’s there for you.

Get to Old Town School on Friday morning (August 23) at around 9 or 10 a.m., get your pass, browse the schedule and decide whether you want to browse guitars at the lutherie showcase or attend a workshop. Proceed however you like. The Old Town campus has two buildings and it’s a little daunting at first, but just consider it a giant guitar funhouse. (Someone from the FJ or OTS will be at the front registration desk to help you if you have any questions.)

I encourage pass holders to take their time and not expect to attend everything. Some of the coolest music moments happen in the lobbies or just by sticking around a sponsor booth for a while.

There’s a lunch break every day where attendees and their new friends grab a bite nearby. I like the Indian place about a block away, but there burgers, dumplings, cafes and more within about 300 yards of the venue. You’ll see lots of Summit badges at neighboring restaurants. Don’t hesitate to introduce yourself. In the afternoon, there’s a whole new slate of afternoon sessions.

Concerts tend to start after dinner in the two theaters: The historic Maurer Concert Hall (capacity 420) is where our bigger names play, while across-the-street at Szold Hall you can catch some of the more adventurous programming. Your pass gets you into everything. You can come and go as you please.

What are the workshops like?

Once you find a class or session you’d like to attend, just show up. No reservation is needed with your all-access pass. Some classes are intimate affairs, some have 20-50 people. We put the bigger draw workshops in the big theater, but there’s typically room for everyone. We’ve had live podcast tapings, serious master classes on guitar technique, AMAs with guitar celebrities and more.

If you want to leave a session early, just politely get up and go. There are usually two to three sessions going every hour so you can try something else.

What styles of music are represented?

Rock, bluegrass, roots music, blues, jazz, folk, singer-songwriters, and all points in between. Basically, the pages of the FJ coming to life.

How expensive is it?

We’ve preserved our pricing from last year: Three-day passes are $400.

This includes everything, all-day-long: Admission to all the evening concerts, all the instructional workshops, opportunities to win some truly cool guitars in our raffles, the ability to buy Summit exclusive gear, networking events, a great swag bag, and surprises.

You also get early and unlimited access to the lutherie showcase featuring over 70 guitarmakers.

Even without the rest of the Summit programming, this is arguably the largest handmade and boutique guitar showcase in North America.

Walkable dining options abound near the venue at every price point. You can stay wherever you like (see below).

Where should I stay?

We get asked this a lot.

Honestly, you can stay wherever you like in Chicago. Probably aim for a hotel or Airbnb that fits your price range somewhere north of downtown Chicago and south of downtown Evanston. If the reviews online look good and it fits your price range, go for it. (Checking your cab fare ahead of time using an online calculator is also a good idea.)

All Summit activities take place at Old Town School, from morning to night. So once you’re there each day, there’s no need to go anywhere else. Hotel Zachary near Wrigley is an Old Town staff favorite, but you really can’t go wrong if the Tripadvisor reviews and room rate meet your standards.

If you’re on a guitar forum or have friends into guitars, post about the Summit and see if you can go in on an Airbnb. There are many in the vicinity of Old Town, but they tend to get reserved quickly.

New this year: We’re setting up a What’s App channel for attendees to connect on ride shares, lodging or just horse trade guitars.

What guitar should I bring?

Over half of our attendees don’t even bother bringing a guitar, but we’ve also seen plenty of pre-war dreadnoughts, Taylors, homemade creations, and all points in-between. We’ve seen plenty of new and old electrics, too.

Our Truth About Vintage Amps Podcast Room – filled to the brim with great, rare and obscure vintage amps – always has a few electrics to use, too.

Yes, there is a fully secure guitar check-in room if you want to drop an instrument to run errands or eat.

What brands and builders are attending in 2025?

It’s a long list that includes Martin, Collings, Yamaha, Henriksen, Chase Bliss, D’Addario, Gallagher, Beard, and Taylor. We’ve also got smaller-batch builders like Mike Baranik, 3Bender, Huss & Dalton, Bruce Guitars, Cedar Mountain mandolins, Sam Guidry, Shock the Fox,Grez, Greenfield, Cardinal, R. Robinson, Mule, Paul Woolson, and dozens more. The full lineup of exhibitors is here.

Also, if you’re in the Chicago area and just want to go guitar shopping and not attend any of the panels, concerts, parties or workshops, we’ll offer single-day lutherie showcase passes soon.  

How do I sign up?

Register today at www.fretboardsummit.org. And holler if you have any questions.

Still trying to picture this event? Check out these totally unsolicited videos posted by some of our past attendees… 

The post A First Timer’s Guide to the Chicago Fretboard Summit 2025 first appeared on Fretboard Journal.

Dave Navarro and the other members of Jane’s Addiction have filed a lawsuit against Perry Farrell following an on-stage altercation that caused them to cancel their remaining tour dates. The frontman has also launched his own lawsuit against his bandmates.

The much-publicised incident that spurred this situation ocurred in September 2024, when Farrell shoved and seemingly punched guitarist Navarro during their gig at the Leader Bank Pavilion in Boston. The show then ended abruptly, and the rest of their tour was also cancelled.

• READ MORE: Jane’s Addiction reunion? “No chance,” says Dave Navarro, following onstage fight last year

The band filed their lawsuit on Wednesday (16 July), with Farrell filing a separate legal complaint (not a countersuit) against them just a matter of hours later. As reported by Variety, Navarro, Eric Avery, and Stephen Perkins’s lawsuit alleges that they lost $10 million due to the tour cancellation and suspension of all other band activities following the on stage scrap.

There are also claims of a backstage altercation between the two, with both giving a different version of events. Due to this alleged incident, and their highly publicised on-stage fight, Navarro is also suing for intentional infliction of emotional distress, negligence, breach of fiduciary duty, and breach of contract.

Farrell, however, alleges that the trio orchestrated a year-long campaign of bullying and harassment against him, and claims he had no say in the cancellation of their tour and the break up of the band.

A statement from Farrell’s team shared exclusively by Variety reads, “As a founding member and creative force behind Jane’s Addiction, Perry Farrell has always prioritised the band’s legacy and its supporters, which is why the events of September 13th, 2024 in Boston and the resulting fallout was so devastating.

“Without warning or consultation and using Perry as a scapegoat, Dave Navarro and the other band members took it upon themselves to abruptly cancel the remaining tour dates – violating contracts and disregarding all professional obligations…”

It continues, “Dave Navarro then intentionally and publicly blamed Perry for the cancelled tour dates, effectively destroying Perry’s reputation and causing him irreparable harm. Despite this continued bullying perpetuated by Navarro, Perry’s dedication to Jane’s Addiction and the preservation of its positive impact on the music industry remains unshaken.”

Christopher Frost, attorney for the three JA bandmates, comments, “Persuaded by Perry Farrell to revive the legendary configuration of the band, Dave Navarro, Eric Avery, and Stephen Perkins had high hopes that they could capture the pure spirit of the band’s early days and build on it. Initially they did, in the studio and onstage. But, as our lawsuit explains, they did so with a fourth bandmate who was by turns unwilling or unable to perform to a reasonable standard and who repeatedly threatened to derail the tour.

“Ultimately, with the attack on Dave Navarro seen around the world, Perry Farrell abruptly and unilaterally ended all the plans for a Jane’s Addiction revival. He also left his bandmates holding the bag for an unfulfilled tour and record deal, as our lawsuit explains in detail. Dave, Eric, and Stephen never wanted it to come to this.”

In regards to the claims of violence between the two away from the public eye, Navarro alleges he was punched by Farrell backstage, whereas Farrell denies this and claims it was Navarro who “aggressively assaulted” both himself and his wife Etty Lau.

The post Dave Navarro and the rest of Jane’s Addiction sue singer Perry Farrell over on-stage bust-up, claiming they lost $10 million as a result appeared first on Guitar.com | All Things Guitar.

Fernandes Guitars has entered bankruptcy proceedings once again, but this time there is some hope that the legendary Japanese guitar brand might continue in some form.

This news arrives after the company previously filed for bankruptcy back in July 2024.  Shortly after, Fernandes withdrew its petition, but the company hasn’t made any announcements since.

• READ MORE: Mesa/Boogie officially releases Mark IIC++ modified amplifier to the public for the first time

Now, however, Tokyo-based news outlet, Nikkei Asia, has confirmed that the company has re-filed bankruptcy, with filings claiming the brand has amassed a total debt of around 730 million yen ($4.9 million). The Tokyo District Court granted permission for proceedings to begin on 9 July.

An interesting wrinkle to the new filing, however, is the confirmation that part of the Fernandes trademark has been transferred to another company in advance of these proceedings. While no details have been revealed at this stage, it could potentially mean that Fernandes will continue in some part.

Fernandes’ history begins in 1969, and it grew to become a go-to provider for budget import guitars. In addition to making guitars, Fernandes was also widely known for its Sustainer pickup – which is widely used by other brands and as an after-market add-on.

It ceased trading when it originally filed for bankruptcy last year, and its website remains closed. At the time, Fernandes released a statement in which it said, “Fernandes Co., Ltd. (hereinafter referred to as ‘Fernandes’) is currently owed a considerable amount of debt to multiple creditors, and unfortunately, it has become impossible to continue business.”

It later added, “Creditors and business partners who have claims or debts against Fernandes will be contacted in writing by the attorney representing them in the bankruptcy proceedings… We apologise for the inconvenience and thank you for your patronage over the years.”

Green Day’s Billie Joe Armstrong has used a Fernandes S-type model (affectionally known as Blue) across their live shows for years, having owned it since the age of 11, and even Metallica’s Kirk Hammett has owned one too – his FST-13, named Edna, appears on the cover of Metallica’s The $5.98 E.P.: Garage Days Re-Revisited. Other notable Fernandes players include Ed O’Brien of Radiohead, and Robert Fripp of King Crimson.

Guitar.com will report on any further information regarding the future of the Fernandes Guitars brand.

The post Fernandes guitars files for bankruptcy again – but there may be hope for the future of the brand appeared first on Guitar.com | All Things Guitar.

John Hornby Skewes & Co, also known as JHS but unrelated to the US pedal brand, has announced that it is closing down after over sixty years in business.

JHS owns the Vintage, Encore and Fret-King brands, as well as being one of the UK’s largest distributors – currently supplying the UK market with brands such as Danelectro, Godin, Donner, Lava Music, Shubb, Wilkinson and many others.

• READ MORE: Vintage REVO Series Integra – can a neck-through guitar this cheap be any good?

In a statement released this morning, JHS is at pains to point out that the closure has nothing to do with financial troubles that have dogged the UK music retail sector in recent months, but due to a rather unique set of circumstances spurred by the death of the company founder, John Hornby Skewes, in September of last year.

In a statement from JHS shared with Guitar.com, these unique circumstances. “The JHS business comprises of a property company and a trading company, both majority owned by family trusts set up by the late John H. Skewes,” it reads. “The settlor of those trusts stated that after his death, the Companies should be sold.

“Steps have been taken over the last few months to try and secure a buyer to take John Hornby Skewes & Co. Ltd. forward under new proprietorship. This has thus far not been possible.”

It goes on to explain, “The trustees, shareholders, and board of John Hornby Skewes & Co. Ltd. have concluded that to achieve the settlor’s mandate, a process of conducting an orderly winding down of John Hornby Skewes & Co. Ltd. will commence with immediate effect.”

The company stresses that this is not a liquidation or administration process, and that JHS is “entirely solvent”. It anticipates that its closure process may take up to 12 months as it continues to trade, downsizing along the way, “gradually disposing of its stock and assets, including its valuable trademarks and other intellectual property”, which will be sold to the highest bidder.

JHS has created a variety of in-house brands over the last few decades, including Encore, Vintage and Fret-King – the latter two working in close tandem with after-market guitar hardware and electronics pioneer, Trevor Wilkinson.

The future of these brands will no doubt be determined in the coming months, but for the time being it seems to be business as usual as JHS begins the process of winding down its operations.

JHS concludes, “The trustees, shareholders, and directors of JHS would like to pay tribute to those who have engaged with us over the decades, in whatever capacity or manner of contribution.”

The post Vintage and Fret-King owner John Hornby Skewes & Co is shutting down despite being “profitable” and “entirely solvent” appeared first on Guitar.com | All Things Guitar.

Damon Albarn is primarily known for his work in Blur and Gorillaz, he’s had plenty of musical projects in his time. But one of his most interesting musical ventures – Africa Express – also led to an unexpectedly intense reaction to an acoustic Welsh folk song.

In a new interview with Mojo, Albarn looks back at two decades of Africa Express – a non-profit organisation that facilitates cross-cultural collaborations between musicians in African, Middle Eastern, and Western countries. Not all of these collaborations have been well-received by the audience however.

• READ MORE: The essential guitar albums of 2025 that you (probably) missed

Albarn recalls the most memorable of these took place in Lagos, Nigeria in 2008, where things really turned sour.  Why? “Gruff Rhys decided to do a ballad in Welsh,” Albarn explains.

The Super Furry Animals frontman’s performance was just an acoustic folk tune, with Rhys taking to the stage with just his acoustic guitar. “I accompanied him and held up Welsh-language placards,” Albarn says. “It went over the head of the audience, and they started throwing things. First it was booze, then it was bottles, then tables and chairs, until [Nigerian saxophonist and activist] Femi Kuti calmed things down.”

At least the experience didn’t sour Albarn’s affection for the Welsh language – even if the Nigerian crowd probably won’t be putting Fuzzy Logic on their Spotify playlists. Albarn even recorded some of The Good, The Bad & The Queen’s – his art-rock supergroup – sophomore record, 2018’s Merrie Land, in North Wales.

Speaking to Mojo about his motives for starting Africa Express, which was spurred by the lack of artists from the African continent appearing on the Live 8 benefit concerts.

“I didn’t want to put on a white linen suit and be helicoptered into a disaster zone,” he explains. “Which was the route of the celebrity in Africa up until that point. Maybe that’s an unfair assessment but that’s how I felt then. I thought I would love to go to Mali but do what I actually do, make it something real to me.”

“We went to Salif Keita’s home in Bamako and he sang three songs then handed his guitar to Martha Wainwright, and she played three,” reflects cofounder Ian Birrell of that first Africa Express show. “[Malian duo] Amadou & Mariam were there, Jamie T… We spent time with Toumani Diabaté, went to an amazing show at Bassekou Kouyaté’s house. As we left, Norman Cook said it was like the best Later… With Jools Holland he’d ever seen.”

The post “First it was booze, then it was bottles, then tables and chairs”: Blur’s Damon Albarn recalls how an acoustic folk song turned a gig into a riot appeared first on Guitar.com | All Things Guitar.

We all know Eddie Van Halen was a great appreciator of classic British rock bands – Van Halen’s cover of You Really Got Me on their debut showed that. But according to Van Halen bassist Michael Anthony, teenage Eddie was so obsessed with The Who, he could replicate Pete Townshend note for note – even as a teen.

In a new interview with Professor of Rock, Anthony recalls Eddie’s impressive skills when he first auditioned to join for Van Halen. “When I jammed with Eddie and Alex that first time, they played some of their original stuff,” the bassist explains. “They were going through these time changes and I’m [thinking], ‘Whoa! What a trip!’”

• READ MORE: The essential guitar albums of 2025 that you (probably) missed

“They were great players,” he continues. “They really impressed me… [Eddie] could play the whole Live at Leeds [The Who] album, playing it note for note. It was just as good, if not better than [Pete] Townshend!”

Rather than being intimidated by Eddie and Alex’s talent, Anthony rose to the challenge. “They were putting me through time changes, and I was really digging it because it was something new to me,” he admits.

Anthony would learn over 300 songs, both covers and original tracks, to keep up with the band. “Every day at rehearsal, I’d be learning,” he recalls. “Just cramming songs in because we’d be auditioning for little clubs around the area.”

As Van Halen grew in popularity, their dedication and talent would impress fans and peers alike. In fact, David Lee Roth soon alerted Eddie to the fact that peers were listening in on rehearsals in the hopes of stealing ideas.

“Friends of his that play guitar would sit outside our little rehearsal garage and listen to us,” Anthony says. “They’d be out there listening to what Eddie was doing because they knew that he had something going on that they weren’t doing.”

To avoid artists poaching ideas off of Van Halen, Roth came up with a ploy to disguise Eddie’s talents. “Dave used to tell him, ‘hey, when you play solos… turn your back to the audience because you don’t want these guys to see what you’re doing!’” Anthony explains. “So a lot of times Ed would do that!”

The post The Who album that Eddie Van Halen loved so much that Michael Anthony claims he could play it “note for note, probably better than Townshend!” appeared first on Guitar.com | All Things Guitar.

When Shinedown’s Zach Myers gave his John Mayer PRS Silver Sky signature a hot pink paint job and a relic’d finish, it was treated like an act of sacrilege. While Myers loved the final product, inspired by Mayer’s beaten-up BLK1 Strat, the backlash initially made him resent his custom project.

In a new interview with MusicRadar, Myers admits that he once considered destroying the guitar by throwing it into a blaze of onstage pyro. “I was like, ‘One night I’m just going to throw that thing in the fire and let it burn to death because I’ve had [so much] drama around this guitar,’” he reveals

• READ MORE: The essential guitar albums of 2025 that you (probably) missed

Though Myers isn’t too sure who got wound up over his custom Silver Sky, Myers notes that Paul Reed Smith himself didn’t seem mad about it. “He didn’t say anything!” he explains. “He notoriously doesn’t like relics – it’s well documented, his hatred of relics. Yet it’s fine. Hey, I would never relic a flame-top guitar – I just felt the Silver Sky lent itself to that kind of cool thing.”

In the past, Myers has hinted that some of the backlash seemed to come from other members of the PRS team. This could potentially be because the company was gearing up to release Mayer’s signature in Roxy Pink in 2021, after Myers had already debuted his pink John Mayer Silver Sky onstage.

Speaking to Premier Guitar in 2022, Myers explained that he received “an upset phone call” after the company heard of the guitar. “I don’t know if it was [Mayer] that was upset – I’ll just say someone was upset that I had my own white guitar painted pink,” the guitarist explained.

“They were like, ‘Well, what if other artists want a pink guitar and you have one?’” he recalled. “If John wants to get mad, I basically just copied the BLK1. That’s really all I did! It’s exactly the same… If you’re a Mayer fan, you can probably tell.”

Myer’s tech, Drew Foppe, has publicly supported Myer’s custom Silver Sky in the past. “For people who don’t quite understand what a tribute relic job looks like, and just want to talk trash about what kind of wear and tear a guitar should or shouldn’t have… you’re missing the entire point in the first place,” he wrote.

His post shows Mayer’s BLK1 Fender Strat alongside the ‘infamous’ relic’d PRS Silver Sky. “I get some people don’t like relic guitars,” he wrote. “But to talk trash on a really, really good relic job is just ridiculous!”

“This is a TRIBUTE to the original, not just a random heavy relic job,” he continued “Some of you people have lost your dang minds to speak on something you know nothing about!”

Nowadays, Myers can look beyond the hate, explaining that his custom Silver Sky is one of his favourite axes. “It’s still one of my coolest looking guitars,” he tells MusicRadar.

The Shinedown guitarist is set to release a new signature guitar of his own very soon. He’s even played a prototype onstage at recent shows – but it’s not too dissimilar to his last signature. Rather ironically, the new release is just a paint job.

“Really, it’s pretty much the same thing as the last one – but it’s a different colour,” he says. “I believe we might have done something different with the pickups. It’s basically a different colour variation of the Myers Blue, of the last version of the Myers. It’s a cool colour, matching headstock. It’s very pretty.”

The post “I’m just going to throw that thing in the fire”: Shinedown guitarist admits his relic’d PRS Silver Sky inspired so much “drama” that he wanted to get rid of it appeared first on Guitar.com | All Things Guitar.