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Buying new guitars is always exciting, but finding a reasonably-priced storage solution for your collection can often feel far less glamorous. But, now’s the time to act, as these whopping deals on Gator racks at Thomann make the process far less painful.

These guitar racks come in varying sizes and styles, and are reduced from three-figure sums down to just two, with 67 percent off each one. Thomann is currently offering a bunch of savings across the instruments and accessories on its site with Music Days, which run until 14 July.

• READ MORE: Thomann Music Days deals are here: guitars, pedals, amps and accessories we’d actually buy

For a simple and small storage solution, you might want to opt for a Gator Elite 3/4 guitar rack, which comes in black, grey, brown and a natural wood finish. These are now priced at £85.

These smaller racks offer adjustable dividers with rubberised protective linings to keep instruments and cases stored safely, are suitable for asymmetrical body shapes, and have soft padding on the bottom of the stand to prevent the underside of the guitar from coming into contact with the wood.

If you’re in need of more space, the Gator Elite 5 E/A racks offer more space and features, yet still come in at just £96 with their reduced price. Fit up to five electric/acoustic guitars or five-seven cases among its adjustable dividers.

Again, these racks are suitable for asymmetrical body shapes, offer soft padding, and have convenient cable storage hanger hooks on both sides. The racks come in grey or dark brown wood.

As part of Thomann’s Music Days, there are also savings on a number of guitars and gear brands. You can save on models from Schecter, Epiphone, Taylor and more, or get a deal on an amplifier from the likes of PRS or Blackstar.

To shop these deals and more, head over to Thomann.

The post In need of a new guitar rack? Get over 60% off on these Gator display and storage solutions at Thomann appeared first on Guitar.com | All Things Guitar.

Musician and producer Finneas says, like many, he’s “confused” about Rick Rubin’s self-proclaimed lack of technical knowledge, and feels he maybe isn’t being so literal when he says he “knows nothing” about music.

In a 2023 interview for 60 Minutes, Rubin claimed he didn’t know how to use a mixing desk and said, “I’ve no technical ability. And I know nothing about music.” He also made similar comments about the freedom of “knowing none of the rules” of music in discussion with Rick Beato in 2024.

Finneas, who recently composed the score for season 2 of Netflix’s Beef, was asked about the evolving role of being a producer and his thoughts around Rubin’s unique practices in a new interview.

• READ MORE: Finneas says he and Billie Eilish sometimes bicker about guitar technique: “Her number one piece of feedback is to be quieter… She wants that super-tender thing”

Speaking to Billboard, he explains “He’s made work that I’m really inspired by. I’m a little confused by his kind of… He swears that he knows nothing at all about music, and it’s like, just Google Rick Rubin, Johnny Cash. There are many videos of him setting up the mics. He doesn’t know ‘nothing’.

“I think what I assume he means by that, and I respect this, is similar to what I’ve said before: There are a lot of people that know a lot more than I do. I don’t know the most, but I also don’t know ‘nothing.’”

Finneas goes on to add: “I think I try to do the same thing, which is, I don’t want to make people feel like it isn’t achievable. I think that you don’t want to intimidate somebody out of trying to make something by way of, ‘I have my 10,000 hours, I know so much, you’ll never know as much as I do.’ So I like that about [him].

“I also think that the other thing that he really does, and I’m sure he is happy to talk about this, is he provides this environment. And I think that environment is incredibly important to me. I sometimes do think that, similarly to him, that’s the best thing I can offer some people.”

Interestingly, The Cult’s Billy Duffy lifted the lid on what it’s like to work with Rubin in an interview last year. Speaking on the Rockenteurs podcast, he recalled collaborating with Rubin on their 1987 record, Electric.

“He did hire Andy Wallace to be the engineer – Rick’s always used great engineers, he’s not stupid,” Duffy admitted. “And [producer and A&R exec] George Drakoulias was there all the time. Rick and George were like a team… [but] George was more musical. Rick’s not musical… at all,” he said.

“He’d say ‘can you play one of those pussy AC/DC English chords there?’” Duffy laughed. “We literally deconstructed the album on the spot. I went from a Gretsch with the Roland and the chorus and the echoes. And he was like, ‘Well, that’s a Marshall, that’s a Les Paul, off you go.’ It was quite traumatic for me, I gotta tell you.”

As for Finneas, he’s often best known for collaborating with his sister, Billie Eilish. In 2024, he spoke to Guitar.com around the release of his signature Fender Acoustasonic Telecaster, and shared how guitar remains his favourite instrument choice when taking to the stage.

“I happened to be doing this interview the other day with Hans Zimmer, and Hans was talking about touring, playing live – Hans plays everything and can conduct! And I was like, ‘Yeah, but whenever I see footage of you playing a concert, you’re just always shredding!’ and he was like, ‘Playing guitar is the most fun’ – and it really is true! It’s five or six times more fun to play a guitar or a bass than it is to sit and play a keyboard on stage. It’s so fun!”

The post Finneas shares “confusion” around Rick Rubin’s self-confessed lack of technical ability: “What I assume he means by that is, there are a lot of people that know a lot more than I do” appeared first on Guitar.com | All Things Guitar.

In this lesson we will explore how chord shapes are especially useful for soloing over songs that use chords from outside the key.

Lost footage captured at The Beatles’ performance on Top Of The Pops in 1964 has been found and is due to be restored.

The Fab Four appeared on the BBC music show to play Can’t Buy Me Love and You Can’t Do That, the A-side and B-side of a single they released the following day, marking their fourth UK Number One.

• READ MORE: Paul McCartney’s advice to young bands: “Don’t rely too much on gadgetry. Just play it all, learn it all, write it all”

The show was recorded on the 19 March 1964 at the BBC’s Television Theatre (now known as The Shepherd’s Bush Empire), in London, right at the height of Beatlemania. The footage was believed to have not been preserved by the BBC, but film preservation group Film Is Fabulous! has managed to get hold of it.

The group says it will return the digital scan and 35mm negative film to the BBC Archives, and will hold a discussion with the BBC about making the content widely available to audiences.

In a post on Facebook, it says, “Film is Fabulous! is delighted to confirm the 35mm negative presented to John Franklin at the recent British Film Collectors’ Convention (BFCC) in Oxted [in Surrey], on behalf of the family of a deceased former industry professional, contains the missing BBC film inserts of The Beatles first appearance on Top Of The Pops.”

It continues, “Passages of the film recording show the studio, the technicians, and the make-up ladies. There were four takes of the first song, Can’t Buy Me Love, with two being aborted because of technical errors. During breaks, the Beatles openly joked, and could be seen dancing to amuse themselves.

“The other song, You Can’t Do That, had two takes. During the second of these recordings John Lennon pulled a funny face when the camera came in for a ‘close-up’. It’s an amusing piece of Beatle history.”

In other Beatles news, the first-ever official Beatles fan experience is due to open in 2027 at 3 Savile Row in Mayfair, London, where the band played their final gig.

3 Savile Row is a Grade II listed mansion, and was one of the original headquarters for Apple Corps Ltd, the band’s multimedia company. They recorded their final album, Let It Be, in its basement, and played their last gig on its rooftop in 1969.

The post Lost footage of The Beatles’ performance on Top Of The Pops has been found appeared first on Guitar.com | All Things Guitar.

Joe Satriani has opened up about the time David Lee Roth tried to recruit him for a Van Halen cover band – while Eddie Van Halen was still very much active.

Speaking to Thinking About Guitar in a recent interview, Satriani reveals how Roth had called him sometime around 1995 or 1996 with an ambitious plan to perform Van Halen material outside the group.

“I remember in the mid ‘90s, David Lee Roth called me, and he wanted to put together a band to do Van Halen songs,” says the guitarist. “He went on and on about how we were the only guys who could really do it right, and he had all these crazy plans.”

• READ MORE: “After I learned the song, I’d spend an hour or two on YouTube”: How the online guitar community helped Joe Satriani nail Eddie Van Halen’s riffs

Satriani, however, couldn’t get past one obvious issue.

“I said, ‘But Dave, Ed’s still alive! He’s still making amazing records. He’s still on tour. What guitar player would ever try to imitate him while he’s still working?’ I said, ‘It makes no sense.’ And, of course, I said, ‘Look, I’m not the guy.’”

While the proposal never got off the ground, it wasn’t the last time Satriani’s name would be linked to Van Halen. Following Eddie Van Halen’s death in 2020, the guitarist was approached again – this time by Roth and drummer Alex Van Halen – regarding the latter’s long-rumoured tribute project.

Even then, Satriani remained unconvinced he was the right person for the job.

“Dave has a lot of creative ideas, and every once in a while, he’ll reach out, and you just have to listen to him. I mean, he really is a brilliant performer and musician, and I kind of expect it, you know,” says Satch.

“When he and Alex called me after Ed had passed away, it made a little bit more sense, even though I tried to convince them I was not the person who could do it justice, because I said I’ve tried to avoid playing like Ed for so long that now I really can’t.”

Instead, Satriani suggested other players he felt were better suited to the role, including Nuno Bettencourt and Steve Vai. Ultimately though, the project never materialised.

Ironically, Satriani would eventually find himself playing Van Halen songs onstage anyway. In 2024, he joined Sammy Hagar for the Best of All Worlds tour, celebrating the singer’s tenure with the band.

Looking back, Satriani also admits he was somewhat relieved when Alex Van Halen’s tribute plans fell apart, largely because they appeared set to overlook a significant chapter of the band’s history.

“When it fell apart, I was kind of relieved because I was really concerned about how we were going to do it justice as a show, top to bottom, and not reflect Sammy’s period in the band, which was huge,” he says.

“I think they got more number one records and sold more records in general than the Roth era. So it was confusing to me that they wouldn’t want to reflect that at all. But that’s a whole other story. It’s not my place to get into.”

The post Joe Satriani recalls David Lee Roth’s “crazy” attempt to recruit him for a Van Halen cover band in the ‘90s: “I said, ‘But Dave, Ed’s still alive!’” appeared first on Guitar.com | All Things Guitar.

CIOKS Introduces DC7 v2

Sponsored by Taylor Guitars: At 11 years old, Trey Hensley had been playing guitar for less than a year when a chance encounter changed everything. After hearing Trey perform at a county fair, Marty Stuart invited the young guitarist onstage. Two months later, Trey found himself performing on the Grand Ole Opry. What followed was a […]

There’s something to say about how far digital modelling technology has come when even a self-confessed tube aficionado like Joe Bonamassa ends up using it on tour.

The blues guitarist has recently been “beta testing” Fender’s Tone Master range on the road and it’s clearly made more of an impression than he expected.

• READ MORE: Joe Bonamassa thinks Eddie Van Halen wouldn’t have been as “cool” if he’d used a Quad Cortex instead of vintage analogue gear: “People hear with their eyes”

Speaking to MusicRadar, Bonamassa admits he went into the experiment ready not to like what he heard: “I’ve got to be honest with you and admit when I’m wrong,” says the virtuoso.

“I still have my other tube amps behind me. It’s just that the [Fender ‘59] high-powered Twin is now a Tone Master. When I first plugged into it, I realised this shit’s good. I wanted to dislike it, I really wanted to dislike it! But I couldn’t.”

The reaction wasn’t just his own, either. According to Bonamassa, the people around him on tour were hearing the same thing.

“My production manager, my sound tech, even my other guitar player Josh Smith – they were all telling me it sounds better and feels right. And I was like, ‘I know!’”

The “trick”, says Bonamassa, “is to be physically pushing out sound.”

“You have to be moving air. By having the right speakers, the Tone Master works. It’s not like I’m plugging into a direct box, which I could, but I don’t think that would sound good.”

“That’s where a lot of this digital modeling stuff can start sounding a little generic,” he continues. “With a lot of the things out there, you’re not moving air, and the dynamic range is limited. For me, moving air is essential, just like playing loud.”

First introduced in 2019, Fender’s Tone Master range was developed to digitally recreate the sound and feel of the company’s most iconic tube amplifiers. The lineup has since expanded to include digital versions of classics such as the Twin Reverb, Deluxe Reverb, Princeton Reverb and more.

The post “When I first plugged into it, I realised this s***’s good. I really wanted to dislike it! But I couldn’t”: Joe Bonamassa on digital amps winning him over appeared first on Guitar.com | All Things Guitar.

PRS has teamed up with Mammoth touring guitarist Jon Jourdan on a limited-edition signature guitar that’s “stripped back to the bare essentials”.

Designed with the guitarist’s touring needs in mind, the all-new PRS Jon Jourdan Limited Edition features a single bridge humbucker, one volume control and an all-mahogany construction built for life on the road.

• READ MORE: Anime fans can get a real-life version of the guitar from Rock Is A Lady’s Modesty thanks to PRS

Limited to just 200 units worldwide, the model takes a decidedly minimalist approach to electric guitar design. There’s no neck pickup, no tone control and very little standing between the player and their amp.

Instead, the guitar uses a single PRS Metal pickup in the treble position paired with a lone volume control in the tone pot’s traditional location. Given that Jourdan typically plays with the volume control wide open, the repositioned knob ensures that he won’t hit it when going all out during a performance.

The guitar also features a 22-fret Pattern Regular mahogany neck topped with an ebony fretboard that forgoes traditional inlays altogether. Visibility in low light is handled by green Luminlay side dots, while hardware includes a PRS adjustable stoptail bridge, proprietary nut material and Phase III locking tuners with ebony buttons.

“At the end of the day, my guitar is a tool. I want it to do exactly what I need it to, so we took out all the ‘extra’ stuff I don’t need,” says Jourdan. “This guitar sounds huge and is incredibly fun to play. There’s something about taking out any unnecessary wiring and removing the neck pickup so its magnets aren’t pulling on the strings that makes it feel alive. I can’t imagine anyone playing this guitar having a bad time.”

Only 200 units of the PRS Jon Jourdan Limited Edition will be made in 2026, with each guitar arriving with a backplate hand-signed by the guitarist.

Available in Platinum Metallic and Gunmetal Metallic finishes, the model is priced at $4,200 – not exactly pocket change, though we’re keeping out fingers crossed for an SE version down the line.

Learn more at PRS.

The post “I want my guitar to do exactly what I need, so we took out all the ‘extra’ stuff”: Mammoth guitarist Jon Jourdan’s new PRS has just one pickup, one knob, and zero distractions appeared first on Guitar.com | All Things Guitar.

Two Notes has launched a 2.0 update for its GENOME platform, providing a “major evolution” that introduces iPad compatibility, a free intro trial for new users, and new capture technology.

GENOME was first teased in 2022 during NAMM, and was later awarded a 9/10 in our review for its focused set of virtual amps, cabs and pedals, making it a sturdy option for an affordable “full signal chain” plugin. Now, the platform is getting a much broader glow up by expanding beyond the desktop and bringing in new features and modern enhancements.

• READ MORE: Two Notes Reload II review: is this the new king of amp-top attenuators?

The GENOME 2.0 launch on iPad is described as “full scale”, meaning no watered-down mobile version features. Instead, the software has been “rebuilt for touch from the ground up”, with all the same capabilities as normal.

The launch of GENOME Intro also means new users can try the platform for free through desktop and iOS. Again, Two Notes stresses that this isn’t a basic version, but that it rather “delivers a complete rig-building experience with a curated selection of Amplifiers, Pedals, DynIR Virtual Cabinets and Studio FX”.

A key addition to the update is the Two Notes Capture Studio, a free standalone capture environment built to bring your own gear into your GENOME rig. Users can create static NAM captures for CODEX, or build multi-parametric AmpNet captures for an all-new PARADEX component, preserving how your amp responds across its full control range.

In response to demand, there’s also a new generation of stock TSM-Ai amplifiers on board, bringing “decades of legendary amplifier design” inside GENOME’s hybrid modelling engine. Global Transpose also unlocks full-system pitch control across an entire rig in real time.

Take a look at the video below to find out more:

“Since day one, GENOME has moved fast, each release pushing the boundaries of what the platform can be. With 2.0, we’re not just continuing that momentum – we’re redefining it. This is a new line in the sand…” says Guillaume Pille, CEO of Two Notes Audio Engineering.

“GENOME 2.0 is about innovation, effortless control, and precision – putting a truly uncompromised, next-generation rig-building experience into the hands of every player, wherever they are.”

To learn more about GENOME 2.0, visit Two Notes.

The post Two Notes’ GENOME software gets a “full-bore” 2.0 upgrade – here’s everything you need to know appeared first on Guitar.com | All Things Guitar.

Winzz Guitars has launched the WCG 370, an electro-acoustic model with nylon strings that unites classical warm tone with modern playability.

The model is said to blend a familiar electric guitar feel with the expressive character of nylon strings “to answer a growing need” among today’s guitarists. Its body shape certainly resembles modern electric guitars, but its headstock retains classical guitar character.

• READ MORE: Sick of tuning issues on the road? These new guitar cases from D’Addario feature integrated humidity control

The WCG 370 has a thin profile African mahogany body paired with a spruce top and flame maple veneer. It has a gloss polyester finish, available in Honey Burst, Vintage Sunburst, and Red Tiger Special colours. As Winzz is a budget-friendly brand, the model is also priced under $500.

The African mahogany neck, constructed with a 4-bolt joint with a satin finish, offers a comfortable C-shape profile and a 25.5” scale length. The neck is completed by a rosewood fingerboard with a 16” radius, 22 medium nickel silver frets, white position inlays, and Luminlay side dots. Its 1.89” bone nut, narrower than traditional classical dimensions, is tailored to players accustomed to steel-string and electric neck widths.

The WCG 370 also utilises an under-saddle piezo pickup powered by an onboard, 9-volt battery, and comes with controls for Master Volume, Bass Control, and Treble Control.

The model is finished with a rosewood bridge and bone saddle for “enhanced tone and improved transfer of string vibration to the top of the guitar”, and 18:1 tuning machines for “reliable tuning stability”.

Credit: Winzz

Winzz was founded in 2006 through a partnership between guitar builders from Germany’s village of Winz and Aileen Music in China. It believes music should be accessible to everyone, and says the WGS150 embodies that mission by offering “a professional instrument that welcomes beginners, creators, and seasoned musicians alike”.

The WCG 370 is available now for $399.99 USD. Find out more via Winzz Guitars.

The post This nylon electro-acoustic guitar is designed for “crossover musicians” seeking classical tone with “modern playability” appeared first on Guitar.com | All Things Guitar.

There are only two things that really help you deal with a heatwave – powerful AC, and saving big on some great gear. Thomann has launched its summer Music Days deals, and there are some awesome discounts to be had on amps, guitars and pedals as part of its big summer savings event. Let’s dive into our favourite deals across the huge deal event Thomann has just launched.

Best electric guitar deals

D’Angelico Premiere Mini DC and SS in Sky Blue – over 50% off each

These two excellent semi-hollow guitars have had their pricetags cut by over half – a huge saving for fans of D’Angelico’s gorgeous design.

The SS version is a single-cut, also available in that lovely Sky Blue finish:

Epiphone Bonehead Riviera – 19% off

This signature guitar for Oasis guitarist Bonehead is a tidy 19% off, meaning you won’t need to look back in anger about this purchase…

ESP LTD EC-401 – 44% off

Almost 50% one of the best heavy-focused single-cut guitars out there? This EC-401 is loaded with all that you need for bone-crushing riffs – and is only £489.

ESP E-II Horizon NT-II – €1,100 off

There’s a saving of 34% to be had on this high-spec’d S-style shredder from ESP. With 24 extra jumbo frets and an eye-catching purple finish, this premium riff machine might be the last guitar you need.

Best acoustic deals

D’Angelico Premier Gramercy – 60% off

This great acoustic from D’Angelico is a whopping 60% off, meaning that for under £200 you’re getting a solid sitka spruce top, high-quality electronics, and a unique look thanks to the Black Cherry finish and antique bronze hardware.

Martin Guitar 00-18 – 29% off

This classic Martin Grand Concert guitar is almost £900 off for the Music Days event, neaning that now would be a great time to commit to getting that high-end acoustic you always dreamed of.

Martin Guitar 000-16 StreetMaster – 29% off

For something a little less traditional, this Auditorium guitar in a darker, aged finish with vintage-style hardware is a real enticing guitar at only £1,555.

Taylor GT811E Grand Theater – 30% off

This classic Taylor acoustic is over £800 off for the Music Days event, and features classic Taylor appointments and a timeless look.

Best deals on effects pedals

EarthQuaker Devices Ledges Glaciers Reverberation – 26% off

This is a fantastic little reverb pedal that doesn’t do anything too fancy, instead it just offers some brilliant takes on Room, Hall and Plate reverb modes, with preset save/recall and expression control to boot.

Eventide H9 Max Harmonizer – £40 off

This pedal is famously powerful, offering over 50 effects algorithms, all which sound utterly phenomenal, particularly if you’re of a more ambient persuasion.

KHDK Night Of The Living Shred

Get half off this limited-edition version Zacky Vengeance’s signature preamp. The Avenged Sevenfold player has crafted a high-gain fuzz and preamp alongside KHDK, and there’s some gloriously retro zombie art to go with it.

Marshall Drivemaster – 47% off

The Marshall Drivemaster may not the most famous of Marshall’s original overdrive lineup from the 1990s, but this authentic recreation has just as much of a cool saturated distortion sound, albeit a little heavier than its Bluesbreaker sibling. A discount of almost 50% has brought the price down to a nice £69 for the Music Days event.

Best deals on amps

Mesa Boogie Mark Five:25 – 12% off

Save on this compact but powerful head from Mesa Boogie. An integrated load and cab sim lets you record it direct – while a 25 watt power section still lets you bring the volume on stage.

PRS Archon Classic 50 Head – £43 off

This vintage-style amplifier head from PRS is a no-nonsense 50-watt monster – and it can be acquired for an excellent price right now.

Blackstar Debut 30E – 29% off

Looking for a great starter amplifier? The Blackstar Debut is a great amp for the price anyway, but for Music Days its been discounted by almost 30%. Clean-sounding and loud, this is a great starting point for new players who want to move some air for the first time.

The post Thomann Music Days deals are here: guitars, pedals, amps and accessories we’d actually buy appeared first on Guitar.com | All Things Guitar.

“When I pick up this guitar, it makes me play the way I play and come up with the ideas I come up with that are different to when I play any other type of guitar.”

Muse’s Matt Bellamy is one of the most influential guitarists of the last two decades, but the way he approaches the construction of the instrument is as vital and interesting as the actual notes he plays. This is because for the majority of Muse’s career Bellamy has used custom instruments created by UK luthier Manson Guitar Works – but the 007, also known as “Black Ed”, is perhaps his most iconic and famous. It’s the guitar that can be seen in the video for Time Is Running Out, it’s the guitar one you hear on New Born, Stockholm Syndrome, Uprising and Starlight. It’s no exaggeration to say that it’s the most often-heard guitar in the entire Muse canon.

“I would say that on every album Muse has made since this guitar was built it has been featured on about 50 per cent of every song we’ve ever recorded,” Bellamy explained to Manson MD Adrian Ashton. “It’s the number one, most go-to recording guitar for me. I did use it on stage a lot as well, and it took a bit of a beating! And I won’t say it was the only one, but it was pretty much the only one that was always getting recorded consistently on Muse albums.”

Plug In, Baby

Back in the early 2000s, Bellamy came to Manson founder Hugh Manson with a plan. He’d already been getting Hugh Manson to install various pedal circuits into the T-style guitars Bellamy had been using, enabling him to tweak his sound on the fly without having to mess with a pedalboard. But now he wanted to squeeze the much more involved gubbins of a DigiTech Whammy pedal into one of the customised T-type guitars Bellamy had been using in Muse.

Rather than load the guitar with a bunch of heavy electronics and batteries, Manson suggested that a more elegant solution would be to: install a touch-sensitive strip that could control the pedal via MIDI, and achieve the same results. The idea spurred Matt Bellamy to take the idea further – just how much could you squeeze into one conventionally-proportioned instrument? A lot, it transpires.

The finished guitar ended up with a Fernandez Sustainer pickup to offer crazy infinitely sustaining notes, a killswitch for stuttering effects, a Z.Vex Fuzz Factory for distortion and perhaps most uniquely of all, a Z.Vex Wah Probe. The Wah Probe is a bizarre, unique creation that uses a theremin-like copper plate to alter the sound of the effect depending on where your finger sits. Naturally, Manson built the plate into the guitar’s pickguard with a specific purpose.

“Whenever we went to Japan, we used to always go and buy weird pedals, basically,” Bellamy recalls. “That was just a thing that we did. A lot of [bassist Chris Wolstenholme]’s synth pedals come from Japan. There were certain shops we used to know in Tokyo, and they had all the best collections and stuff. And I remember seeing a Z-Vex Wah Probe over there for the first time. I bought one and played it and said, ‘Let’s do this!’

“The idea behind it was to try to get this theremin vibe going – with a sustainer holding the note, but just trying to get the note to have some movement.”

And as if that wasn’t enough, the fretboard also lights up with LEDs, kicking off Muse’s longstanding practice of making their instruments just as part of the visual spectacle of a show as everything else.

Back In Black

Fitting it wasn’t a problem, said Hugh, but the resulting guitar would weigh a huge amount purely because of the number of batteries you’d have to squeeze in there to run the tech.
A better solution, Hugh suggested, would be to install a MIDI controller in the guitar. MIDI is the standardised means of digital communication for music technology, and Hugh reasoned that Matt could use it to control an outboard Whammy just as effectively.

The resulting guitar sported a touch-sensitive MIDI control strip above the pickups to control said Whammy, but Matt wasn’t done there. Manson had already been building various other pedals into Matt’s guitars, and with 007 he kicked it into high gear. The guitar features internal circuitry and controls for a Z.Vex Wah Probe (the theremin-like control plate takes the place of a scratchplate on the bottom horn), a Z.Vex Fuzz Factory, and an MXR Phase 90, as well as the addition of a Fernandes Sustainer pickup above the Seymour Duncan hot P-90 neck pickup. Oh, and the fretboard also lights up with LEDs, kicking off Muse’s longstanding practice of making their instruments just as part of the visual spectacle of a show as everything else.

Bellamy first began using this unique and remarkable instrument Black Ed in 2001, and it quickly became his go-to guitar. As you can see from Guitar.com’s photos, the guitar had taken some serious punishment over its time as a stage instrument, and around 2011 Matt decided to retire it from the stage for practical reasons. “It has a very specific tone, but it was a bit heavy for me on stage,” he reveals. “Some of my latest guitars, I’ve had them made deliberately from lighter woods, sometimes with hollowed-out bodies to be extra light. And that’s one of the reasons why I stopped touring with it so much: because it was heavy. But it had the best tone of all the guitars.”

You might start to spot it again soon, however… sort of. Last year Manson (which Bellamy took ownership of in 2020) released the Matthew Bellamy Signature Black Edition – an identical replica of the 007 guitar down to every scratch, chip and repair, while exactly replicating the guitar’s truly unique internals. “If I could only have one guitar in the world, the Black Edition would be it,” Bellamy explains. That’s how important this guitar is to him, and why Manson spared no expense to ensure he can continue using a version of it for years to come.

The post The Close Up: Muse guitarist Matt Bellamy’s most iconic and beloved guitar, the Manson 007 appeared first on Guitar.com | All Things Guitar.

Smiths legend Johnny Marr is having a clear our, with plans to auction off nearly 100 pieces from his personal collection later this year. Consisting of almost 80 instruments, as well as amps and other bits of gear, the collection will be a chance to take home a piece of Marr’s diverse and colourful musical back catalogue.

The auction will be held in collaboration with Christie’s auction house, with prices ranging from £1,000 to £80,000. One of the higher ticket items could potentially go for up to £150,000 though – namely his 1960 Cherry Red Gibson ES-355, a gift Marr received from Seymour Stein when signing to Sire Records. The guitar is a pivotal piece of Smiths history, featuring on the iconic Heaven Knows I’m Miserable Now.

• READ MORE: Be aware – AI deepfake scammers of women guitar influencers are on the rise

Another notable guitar up for grabs is Marr’s iconic black and white 1982 Rickenbacker 330 Jetglo, which was another staple instrument of his Smiths era. Featuring on the band’s self-titled 1984 debut, the guitar can be heard throughout, including on cuts like This Charming Man and What Difference Does It Make?

The Manchester-born Marr also leant this guitar to fellow Mancunian Noel Gallagher during the recording of Oasis’ Definitely Maybe, so that’s some extra Northern spirit contained within this axe. Oasis even gave a little nod to the Rickenbacker’s influence by featuring it on the cover of 1994 single Supersonic.

Other highlights include Marr’s Martin D-28 (famously featuring on the timeless There Is A Light That Will Never Go Out), as well as a one‑of‑a‑kind Roger Giffin Korina Custom ‘Tele’ (an engagement gift from his now-wife), and a 1984 Gibson Les Paul Standard, which Marr apparently claims has been used on more recordings than any other guitar up for auction.

One of the most modern guitars available is Marr’s 2018 Fender Johnny Marr Signature Jaguar. But that doesn’t mean it’s lacking in experience – the guitar was used to record on Hans Zimmer’s soundtrack for the 2021 James Bond instalment, No Time To Die. It features on both the film’s instrumental theme, as well as Billie Eilish’s Oscar‑winning theme song.

Speaking about the upcoming auction, Marr explains: “I have loved guitars for as long as I can remember, since the first one I got at the age of five. Each guitar I have acquired over the past 50 years or so has helped me evolve as a musician, bringing new songs, new sounds and techniques.”

He notes that writing his 2023 book, Marr’s Guitars, gave him some perspective on his collection. In his mind, it’s time to set these instruments free so they can go forth and make some more memories. “The book turned out to be a cathartic experience and when it was time for these beautiful instruments to go back into storage, I couldn’t imagine them being put away and left unplayed,” he writes.

“It’s bittersweet to be parting with these guitars but I want them to go to new homes and new people who will love them as much as I have,” he concludes. “I hope they bring as much joy, inspiration and fun – and new songs – as they have given me.”

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Marr is promising to donate 100% of the profits from 10 lots to a pair of charities: The Guide Dogs for the Blind Association and The National Autistic Society.

The public will be able to view a selection of collection highlights prior to the auction. New York will have a chance from June 25th to July 1st, before returning to Christie’s headquarters in London. Then, the public will be able to view the collection from September 9th to 16th.

Following the grand clear out, Johnny Marr will surely be able to focus on his new album The Age of Everything. The record is due to drop October 2nd, with latest single Spin serving as a taste of what to expect.

For more information, head to Chirstie’s auction house.

The post “I couldn’t imagine them being left unplayed”: Johnny Marr is auctioning off nearly 100 bits of gear, including pivotal Smiths guitars appeared first on Guitar.com | All Things Guitar.

There’s no denying that Kirk Hammett is a masterful, coordinated guitarist – but he can be pretty clumsy on his feet. What with the Metallica axeman injuring his leg onstage back in 2023, he took his antics up a notch last weekend in Ireland, taking a tumble right into the crowd.

The fall happened at Dublin’s Aviva Stadium on Friday 19 June during Seek & Destroy. In an effort to treat front-row fans to a clear view of his fretwork, the heavy metal legend stood right on the edge of the stage – and things got a little more up-close and personal than he’d intended.

• READ MORE: Be aware – AI deepfake scammers of women guitar influencers are on the rise

In a video of the fall, you can see Hammett moving closer to the eager fans. Everyone looks delighted – before he slips and falls down onto their heads, that is. Thankfully, the crowd all reacted accordingly, helping Hammett back up and on his feet without much of a hitch.

Despite the head-first dive, Hammett was easily able to continue on with the show. He’s seemingly not got any injuries from it either, if we consider his joke-y response on Instagram hours after the show: a simple “SLIP AND DESTROY!!!!” over a video of the incident.

Again, Hammett has been known to be clumsy. The internet is full of videos of him slipping on his wah pedal, slipping on thin air, and even a few of him just collapsing to the ground.

Hammett’s plunge isn’t the first onstage antic that’s gained him attention on this leg of Metallica’s M72 world tour. On 13 June, Hammett’s choice of attire raised a few eyebrows, with the guitarist opting to wear a comedic shirt reading “Taylor Swift Is A CIA Psyop”.

Moving forward, Metallica’s M72 tour will continue with their two-night stops in each city, with the promise of no repeats across the pair of shows. They’ll be hitting the rest of the UK throughout the end of June and into July, with dates schedules in for Cardiff, Glasgow, and London.

View the full list of tour dates at the Metallica website.

Kirk Hammett wears t-shirt that says "Taylor Swift is a CIA Psyop," mocking conspiracy theorists during a show in Budapest.

This satirical shirt humorously critiques and mocks the absurdity of the real-world conspiracy theories that assert Swift is a government asset.

The…

— BBQ Chiefs (@BBQChiefs) June 19, 2026

The post “Slip and destroy!”: Kirk Hammett took a tumble offstage during Metallica’s Dublin show appeared first on Guitar.com | All Things Guitar.

Thomann is suing Fender over its recent campaign of cease-and-desist regarding alleged infringement on the Stratocaster body shape. The retailer has also confirmed that its sub-brand Harley Benton has received a letter over its own guitars.

• READ MORE: Fender CEO responds to cease-and-desist backlash, says company is “not suing anybody”

Per a statement published by Thomann, the brand said it has been following the development of Fender’s cease-and-desist campaign “with great concern,” and noted that the original legal decision that empowered the letters was a default judgement, delivered when the defendant did not appear in court. The statement continues: “On this basis, Fender is now attempting to enforce a fundamental copyright claim to the body shape of the Stratocaster and is simultaneously taking action against European dealers and manufacturers. American manufacturers who sell their instruments in Europe, however, are also affected.”

“After careful consideration, we have decided to take legal action. We have done so because we are convinced that the questions raised here go far beyond a mere legal dispute and affect the future of diversity, innovation and competition in our industry.”

Until now, it was known that the letters were fairly widespread, however PRS and LSL were the only two brands to publicly confirm that they had received them. Thomann’s statement confirms what many commentators suspected – Harley Benton was one of the brands to receive a letter.

The statement as a whole asserts that Thomann wants to see the matter resolved in unbiased court proceedings. As the initial decision was simply a default judgement, legal proceedings were limited – discovery relating to the usage of the S-style body shape didn’t take place, and so it is possible that a more involved case could come to a different conclusion to the copyright and/or trademark status of the body shape.

While the letters have inspired furor and backlash on social media and YouTube for weeks – particularly due to the size disparity between Fender and LSL – LSL only recently confirmed it was gearing up for a legal fight, hiring experienced guitar lawyer Ron Bienstock. Thomann’s lawsuit is the first legal rebuttal to the campaign from an affected brand that goes on the offence rather than the defence.

CEO Hans Thomann echoes this David-and-Goliath within Thomann’s statement: “We used to be a small music store ourselves and know exactly where we have come from,” he says. “Diversity, fairness and respectfully dealing with each other have always been part of our philosophy. Many of those affected do not have the financial and legal means to conduct such a legal dispute. We therefore see it as our responsibility to have this matter clarified in court not only for our own company, but for all parties involved.”

The full nature of the lawsuit and Thomann’s actual legal arguments are not yet public, however the existence of the suit itself is a notable shift in temperature for Fender. Thomann is the biggest musical instrument retailer in Europe, and doubtless one of Fender’s own biggest dealers. The fact that Thomann is initiating its own legal action, rather than waiting for Fender to follow-through on the threats within the cease-and-desist, indicates a certain level of confidence regarding the issue, and that strength of feeling around Fender’s campaign is not limited to just social media and YouTube commentators.

Fender has been contacted for comment.

The post Thomann sues Fender over Stratocaster cease and desist letters appeared first on Guitar.com | All Things Guitar.

Blues ace Jared James Nichols has commented on becoming an official Marshall Endorsing Artist, after announcing he was parting ways with Blackstar last month.

JJN released a number of signature amplifiers with Blackstar during a long partnership with the British amp brand, but he’s now pivoted to Marshall – arguably the leading amp manufacturer for rock music of the past few decades.

• READ MORE: Be aware – AI deepfake scammers of women guitar influencers are on the rise
  

“I’ve always associated Marshall with the sound that made me want to play guitar in the first place,” the guitarist says.

“Those amps are part of the DNA of rock music. To now be part of that family genuinely means a lot.”

“Jared represents everything we look for in a Marshall artist – feel, power, and a real connection to the instrument,” adds Hugh Gilmartin, Artist Relations & Marketing Manager at Marshall.

“His approach to tone and performance reflects the spirit that has driven Marshall for over 60 years.”

During a recent conversation with Tyler Larson (Music Is Win), Nichols recalled trying out a number of new amps for his rig.

“About a year ago, I started supplementing my rig with different amps. I was trying everything: Fenders, Supros, even some old-school Sunn and EVH amps,” he said [via Guitar World].

“But a friend of mine gave me a 1968 Plexi on permanent loan, and that was the sound. When I played, it was almost like I made every note count even more. It was rejuvenating; I could still feel my fingers, no matter how much gain I stacked on top of it. Marshalls are the heartbeat of rock n’ roll and the sound that I love.”

The new Marshall partnership arrives following the release of Nichols’ latest album Louder Than Fate, which was recorded in part at Foo Fighters’ Studio 606 in LA.

Jared James Nichols has a number of tour dates lined up for 2026. View a full list at Ticketmaster.

The post “Those amps are part of the DNA of rock music”: Jared James Nichols on becoming a Marshall endorsee appeared first on Guitar.com | All Things Guitar.

From plagiarism to miming, the online guitar space has been rife with controversy in recent years. Unfortunately, things might have just gotten even worse; guitarist Sophie Burrell has discovered that an AI ‘influencer’ is regularly generating deepfake replicas of her content.

In a new interview with Guitar World, Burrell recalls the first time she encountered one of her AI counterparts. “I was scrolling on TikTok and got recommended a video of a ‘girl’ playing guitar,” she says. “It was identical to my setup. Same camera angle, same room, same guitar, same movements. It took me less than a second to realise it was literally my video, except I’d been replaced by an AI-generated character.”

• READ MORE: “I patently refuse to use AI in my music creation”: Billy Corgan calls AI “a deal with the devil” that could “wipe out” generations of songwriters

Around the time, Burrell shared her discovery with her followers by comparing her own video with the AI replica. Just as she explains to Guitar World, everything is a perfect parallel, right down to her facial expressions. Though, there are a few tell-tale signs of it being AI – namely the finger placement, with AI infamously having issues with consistently generating fingers.

“She is so good that she can even do bends without putting her fingers on the fretboard – why didn’t I think of that!” Burrell joked.

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Despite the uncanny performance and slightly bodged fretwork, the AI influencer has steadily gained traction. “It honestly feels like a Black Mirror episode,” Burrell tells Guitar World. “It blows my mind that instead of learning an instrument or developing a skill, people would rather steal someone else’s work, slightly alter it with AI, and then take credit for it themselves.

“I’m angry that people can steal my content without my consent, replace me entirely using AI, repost it without crediting me, gain attention from it, and then use the engagement to funnel people towards whatever they’re selling – which is usually something inappropriate,” she adds.

To add insult to injury, Burrell has had to defend herself against AI accusations in the past. A video of her trying to make her riffs sound like Beethoven got a particularly high influx of “fake!!” claims, with Burrell having to post a stripped back version. In it, she only performs with a metronome.

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“I don’t want you to ever think of me as someone who fakes my playing,” she later commented on the Instagram post. “I’d rather show you my stuff with mistakes and me sounding sloppy, than deliver something inauthentic. So this is me and this is what it sounds like.”

The stripped back performance video is serving as one of the only ways to prove your genuine skill – even viral shredder Ichika Nito was forced to post a one-take, no edits performance back in February to prove his innocence against “fake” performance accusations.

Elsewhere in the Guitar World interview, Machine Gun Kelly guitarist Sophie Lloyd also spoke out about her own experience with AI cloning her work and using her likeness. “I’ve received dozens of emails from people claiming they’ve been speaking with me over video calls for months – clearly scammers using AI impersonation,” she says. “Some of the situations are genuinely devastating, with people being scammed out of large amounts of money.”

“The idea that our music and content can be stolen so easily is really disheartening,” she continues. “We rely on interactions with our content for visibility, monetisation, and opportunities. It’s literally our livelihood being stolen, and platforms need to start treating it that way.”

Back in 2025, Joe Bonamassa shared his own fears of generative AI scamming his fans. The guitarist shared a deepfake based on an old 2021 clip of himself, which, though slightly robotic, felt unnervingly uncanny. “This is so fucked up,” Bonamassa wrote at the time. “An AI generated designed to mislead and scam people. Please be aware… 2025 is a scary time my friends.”

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The post Be aware – AI deepfake scammers of women guitar influencers are on the rise appeared first on Guitar.com | All Things Guitar.

$599/£599, danelectro.com

Danelectro’s place in the history of electric guitars is as unique as it is impactful. When Nathan Daniel started producing no-frills, low-cost guitars made of Masonite and tape in the late 1940s, you wouldn’t have imagined he expected his creations would end up in the hands of some of the most influential musicians of the next seven decades.

• READ MORE: Heritage Standard II H-575 review: “a hell of a lot of guitar for the money”

But whether it’s Jimmy Page and Bob Dylan or Phoebe Bridgers and Mac DeMarco, the unique sound and vibe of a Danelectro guitar (or very similar examples sold under the Silvertone brand) has remained captivating for guitarists of every stripe.

The original US Danelectro brand disappeared in 1969, but since the late 90s, the brand has been reborn (now made in China) and has set about producing a steady stream of instruments mainly based on the company’s early designs.
Now though, the brand has changed the recipe somewhat – introducing a new model that pulls together various parts of Dano history and makes something a bit different…

Image: Press

Danelectro Dan O. Cool – what is it?

Everything about the Dan O. Cool has a touchstone with the company’s 1950s heyday. So, that distinctive ‘full bell’ headstock shape is from 1954, the ‘skate key’ tuners are from 1958, while the rosewood-saddle bridge is from 1958. The body shape is of course Dano’s classic ’59 design, while the pickguard is a rare textured type from a 1955 U3.

The five colours – including this very fetching shade of Aqua – are also pulled from Danelectro’s 50s locker, and of course you get that most impactful and unique Nathan Daniel innovation from this decade, the lipstick pickup.

In this case, the lipstick pickups are hotter than ones seen on previous models – offering around 20 per cent more volume in the neck and 30 more from the bridge pickup. Construction is also very classic Dano – a solid spruce frame with Masonite (aka hardboard) panels for the top and back.

So why then, are Dano purists up in arms about it? Well, in part it’s because of that headstock – compared to the elegance of the classic ‘Coke bottle’, most of the other pegheads in the Dano range are something of an acquired taste, to say the least.

But mainly, it’s not the shape but what’s on it that has gotten the Dano faithful worked up – because instead of the classic Danelectro box logo, we have a new and rather stark “DANO” word mark.

On the one hand, it should be no big deal – after all, most musicians will call the guitar a Dano anyway – but there is something a little off about the execution. In a guitar that tries so hard to signal its 1950s credentials, it’s hard to imagine a 1950s guitar leaving any factory with such a modern minimalist logo on the headstock.

Image: Press

Danelectro Dan O. Cool – build quality and playability

There’s a weird tension whenever you pick up a Danelectro guitar – and I should know as I own both an original US-made model and a modern Chinese reproduction. The fundamental truth is that these are not made like other electric guitars, and there’s a certain level of inherent jankiness about them that you have to be willing to embrace as part of its unique charm.

You might argue that this is a polite way of saying that Danelectro guitars are not made as well as other Asian guitars at this price point, but again, to compare this to a solidbody guitar made in more traditional fashion is somewhat missing the point.

This is for all intents and purposes a guitar made of board held together by tolex tape – that doesn’t make it flimsy, but it does mean you have to approach it differently than you would a normal instrument.

And by the standards of Danelectro guitars old and new, the Dan O. Cool is a pretty solid example – the finishing of the body and neck is decent, the body tape is evenly and neatly applied.

The frets are a little duller than I’d like, but they are perfectly smooth in operation, and so are the new tuners, with a rosewood bridge providing solid resonance and decent tuning stability. Personally, I can take or leave the rosewood bridge and its intonation compromises – Danelectro also produces an adjustable six-saddle bridge that drops in, and I’d swap it out in a heartbeat.

The C-shaped neck isn’t going to win any awards for character, but it’s plenty comfortable – a nice palmful that remains an easy player all the way up the fingerboard.

Image: Press

Danelectro Guitars Dan O. Cool – sounds

The lipstick pickup sound is the primary reason why generations of musicians have been drawn to Danelectro guitars, and they are wonderfully unique. Nathan Daniel’s decision to wrap a crude bar magnet in wire and shove it inside a lipstick tube might have been done mainly for cost, but it gives the pickups a jangly, chiming, clear, and detailed sound that is unlike anything else.

This type of pickup on vintage guitars can be somewhat anaemic and brittle in use, however – you often need a pedal or a cranked amp to boost them enough to really make them usable. The Dan O. Cool has none of these drawbacks – the extra output offered from these new pickups makes this a much more muscular experience than I’m used to. It’s plenty loud in all positions, while the middle position – with both pickups engaged – is the real cream of the crop, offering an almost mini-humbucker-like tonality.

Danelectro Guitars Dan O. Cool – should I buy one?

I understand a little of why the purists are freaking out about this Dan O. Cool, but I think the reservations about that new headstock logo have distracted from what is a very Dano-coded instrument that retains much of the vintage mojo we know and love, just put together slightly differently.

The Dan O. Cool looks like a good time before you even pick it up, but with its comfortable playing experience, improved tuning stability and most of all, those upscaled pickups, it takes that mojo and makes it more usable in the real world.

The lack of a gigbag is a drawback given the guitar’s unique shape, but otherwise it takes much of the temperamental nature and fragility of vintage Danos and banishes them without losing the unique sonic and visual qualities that make the brand’s guitars so iconic. It’s two thumbs up from me, Daddy-O.

Danelectro Guitars Dan O. Cool – alternatives

There’s nothing really like a Dano out there, but if you want something that’s more of a faithful recreation of a classic model, the 59M ($569) is a wonderfully fun instrument. The reborn Silvertone offers a bunch of the brand’s classic guitars, including the Dano-in-another-name 1303 ($399). For more esoteric catalogue-style recreations, Airline’s Jetsons Jr 2P ($799) offers the classic Res-O-Glass look with more normal construction, while if you want a US-made alternative, Harmony’s Juno ($1,499) is a compact, US-made single-cut with gold foil humbuckers.

The post Danelectro Dan O. Cool review: is this the most polarising Dano ever? appeared first on Guitar.com | All Things Guitar.

Press Release

Source: Prospect PR

Joe Bonamassa has officially released The Spirit Of Rory Live From Cork, a powerful live album and concert film celebrating the music and enduring legacy of Irish guitar legend Rory Gallagher. Available now via J&R Adventures, the project captures Bonamassa’s sold-out tribute performances in Cork, Ireland, where Gallagher’s influence remains woven into the fabric of the city itself. Alongside the album release, Bonamassa has also unveiled the epic live performance video for the project’s emotional centerpiece, “A Million Miles Away (Live).”

Recorded with the blessing of Gallagher’s family and performed before passionate hometown audiences, The Spirit Of Rory Live From Corkdocuments what many in attendance described as a once-in-a-lifetime musical event. A lifelong admirer of Gallagher, Bonamassa approached the material with deep reverence, bringing together a band capable of honoring the fire, spontaneity, and emotional honesty that defined Gallagher’s work while allowing the performances to breathe with their own energy.

Rory Gallagher remains one of Ireland’s most beloved musical figures, revered worldwide for a style that fused traditional electric blues with hard rock intensity, Celtic influences, and fearless improvisation. His distinctive guitar tone, expressive slide work, and deeply emotional performances inspired generations of players, including Bonamassa himself. Together, the album and film capture both the scale of Gallagher’s influence and the deep personal connection his music continues to inspire among musicians and fans around the world.

Click here to view the embedded video.

At the heart of the release is “A Million Miles Away,” one of Gallagher’s most beloved and emotionally resonant compositions. Originally released on 1973’s Tattoo and a legendary extended rendition on his Irish Tour ‘74, the song captures themes of loneliness, longing, and emotional distance, pairing poetic imagery with one of Gallagher’s most vulnerable vocal performances. Joe’s DVD bonus features include a special interview with Rory’s brother, Donal, who recounts the story behind the song’s creation and visits the dramatic Irish cliffs whose rugged beauty helped inspire its emotional power.

Bonamassa’s interpretation embraces that emotional core. Filmed in front of a packed Cork audience, the performance unfolds with patience and restraint before building into a soaring guitar statement that reflects both Gallagher’s influence and Bonamassa’s own musical voice. The result serves as a fitting centerpiece for a project built on admiration, respect, and a shared love of the blues.

What began as a single tribute concert ultimately grew into a three-night sold-out run in Gallagher’s hometown, with fans traveling from around the world to celebrate the music. The atmosphere throughout the performances was electric, creating what Bonamassa describes as one of the most meaningful experiences of his career.

Early praise has already begun to reflect the significance of the project. Guitarist Magazine praised the release, writing, “Joe does his hero proud…a very fitting affectionate tribute to one of the most notable blues guitarists of our age.” Blues Matters hailed The Spirit Of Rory “one of the finest live albums ever produced,” while Powerplay awarded the project a perfect 10/10, writing that “Bonamassa has captured Gallagher’s genre-defining influence and honored it with flawless perfection.”

Across fourteen carefully selected songs, The Spirit Of Rory Live From Corkexplores the full breadth of Gallagher’s catalog, from explosive live staples like “Walk On Hot Coals,” “Bullfrog Blues,” and “Bad Penny” to deeply personal performances including “Tattoo’d Lady” and “I Fall Apart.” The broader setlist was also inspired in part by the spirit of Gallagher’s legendary Irish Tour ‘74 era, which first introduced many listeners, including Bonamassa, to Gallagher’s singular live power.

The project also includes several moments of special historical significance, including Bonamassa’s performance of “As The Crow Flies” on Gallagher’s own 1930 National Triolian resonator guitar, generously loaned by the Cork Public Museum. Additional DVD and Blu-ray bonus features include The Inspiration of Rory, featuring conversations with Brian May and Slash, along with Rory’sAcoustic Guitar and Ballycotton – A Million Miles Away.

In celebration of the album’s release, European fans can now enter a special raffle benefiting the Keeping The Blues Alive Foundation, with the chance to win a one-of-a-kind signed Rory tribute guitar.

The raffle runs from June 19th through July 20th, with donations supporting KTBA’s ongoing mission of funding music education and assisting musicians in need. The centerpiece of the raffle is a Classic Series ‘60s Fender Stratocaster personally purchased by Bonamassa at Cork’s legendary Crowley’s Music Centre and was subsequently signed backstage by Bonamassa, members of the band, Rory Gallagher’s family and others involved in the historic event. The prize package also includes a Joe signed copy of the Red Marble Double Vinyl, a CD/DVD or CD/Blu-ray package, and a $100 merchandise credit to the Joe Bonamassa online store.

Ultimately, The Spirit Of Rory Live From Cork stands as both a celebration and a thank-you letter – from one guitarist to another, from one generation of blues musicians to the next, and from a devoted fan to an artist whose influence continues to resonate decades after his passing.

As Bonamassa wrote in the project’s liner notes: “What you hear on these recordings is our best effort to pay tribute to Rory Gallagher, a man I never met, but admire so deeply. His music is part of me and I’m grateful that we were able to contribute in some small way to his ongoing legacy.”

CD Track Listing
1. Cradle Rock (Live)
2. Walk On Hot Coals (Live)
3. Tattoo’d Lady (Live)
4. I Wonder Who (Live)
5. Calling Card (Live)
6. Who’s That Coming? (Live)
7. Messin’ With The Kid (Live)
8. Bullfrog Blues (Live)
9. Treat Her Right (Live)
10. Bad Penny (Live)
11. I Fall Apart (Live)
12. A Million Miles Away (Live)
13. As The Crow Flies (Live)
14. Back On My Stompin’ Ground (Live)

DVD / Blu-Ray
1. The Spirit Of Rory (Opening Scene)
2. Cradle Rock
3. Walk On Hot Coals
4. Tattoo’d Lady
5. I Wonder Who
6. Calling Card
7. Who’s That Coming?
8. Messin’ With The Kid
9. Band Introductions
10. Bullfrog Blues
11. Treat Her Right
12. Bad Penny
13. I Fall Apart
14. A Million Miles Away
15. As The Crow Flies
16. Back On My Stompin’ Ground
17. Ballycotton (End Credits)

DVD / Blu-Ray Bonus Features:

• Ballycotton – A Million Miles Away
• Rory’s Acoustic Guitar
• The Inspiration of Rory (A Conversation with Brian May & Slash)

Vinyl  (180 gram Red Marble Double LP)

Side A
1. Cradle Rock (Live)
2. Walk On Hot Coals (Live)
3. Tattoo’d Lady (Live)
4. I Wonder Who (Live)

Side B
5. Calling Card (Live)
6. Who’s That Coming? (Live)
7. Messin’ With The Kid (Live)
8. Bullfrog Blues (Live)

Side C
9. Treat Her Right (Live)
10. Bad Penny (Live)
11. I Fall Apart (Live)

Side D
12. A Million Miles Away (Live)
13. As The Crow Flies (Live)
14. Back On My Stompin’ Ground (Live)

U.S. SUMMER TOUR 2026
June 26 – Bethel, NY – Bethel Woods Center for the Arts w/ JJ Grey & Mofro & D.K. Harrell
June 27 – Atlantic City, NJ – Ocean Casino Resort
June 28 – Newark, NJ – New Jersey Performing Arts Center
July 4 –  Sioux City, IA – Saturday in the Park
July 29 – Vienna, VA – Wolf Trap w/ Gov’t Mule
July 31 – Bangor, ME – Maine Savings Amphitheater w/ Gov’t Mule
August 1 – Gilford, NH – BankNH Pavilion w/ Gov’t Mule
August 3 – Hyannis, MA – Cape Cod Melody Tent
August 5 – Bridgeport, CT – Hartford HealthCare Amphitheater w/ JJ Grey & Mofro
August 7 – Selbyville, DE – Freeman Arts Pavilion
August 8 – Baltimore, MD – Pier Six Pavilion w/ Gov’t Mule
August 9 – Youngstown, OH – The Youngstown Foundation Amphitheatre w/ Gov’t Mule
August 11 – Huber Heights, OH – Rose Music Center at The Heights
August 12 – Highland Park, IL – Ravinia Festival
August 14 – Interlochen, MI – Kresge Auditorium w/ Gov’t Mule
August 15 – Welch, MN – Treasure Island Resort & Casino w/ Gov’t Mule
August 16 – Lincoln, NE – Pinewood Bowl Theater w/ Gov’t Mule
August 19 – Cheyenne, WY – Cheyenne Civic Center
August 20 – Salt Lake City, UT – Eccles Theater
August 22 – Albuquerque, NM – Sandia Resort & Casino
August 23 – Morrison, CO – Red Rocks Amphitheatre
September 26-27 – Austin, TX – Eric Clapton’s Crossroads Guitar Festival @ Moody Center

EU FALL TOUR 2026
October 21 – Helsinki, FL – Veikkaus Arena
October 23 – Stockholm, SE – Stockholm Avicii Arena
October 24 – Oslo, NO – Oslo Spektrum
October 25 – Gothenburg, SE – Göteborg Partille Arena
October 27 – Copenhagen, DK – K.B. Hallen København
October 29 – Rostock, DE – Stadthalle Rostock
October 30 – Berlin, DE – Uber Arena
October 31 – Dortmund, DE – Westfalenhalle
November 4 – Milan, IT – Unipol Forum
November 6 – Toulouse,FR – Zenith Toulouse Metropole
November 7 – Barcelona, ES – Barcelona Sant Jordi Club
November 8 – Madrid, ES – Madrid Palacio Vistalegre
November 11 – Wroclaw, Poland – Ethno Festival

ABOUT JOE BONAMASSA
Blues-rock superstar Joe Bonamassa is one of the most celebrated performing musicians of his generation. A five-time GRAMMY-nominated artist and 15-time Blues Music Award nominee – with four wins – he recently notched his 30th No. 1 album on the Billboard Blues Chart with B.B. King’s Blues Summit 100, extending his record for the most No. 1 albums in the chart’s history. With more than 50 releases spanning studio and live recordings, he has built a far-reaching, multi-genre catalog.

Beyond performing, Bonamassa plays a central role in today’s blues landscape as a producer and curator. Working closely with Josh Smith, he has produced albums for artists including Joanne Shaw Taylor, Marc Broussard, Larry McCray, and Jimmy Hall through his Journeyman and KTBA labels. He also curates and headlines sold-out destination events like Keeping the Blues Alive at Sea and Sound Wave Beach Weekend, while his Keeping the Blues Alive Foundation has funded hundreds of music education projects across the country.

A dedicated student of the instrument, Bonamassa is also known as one of the world’s leading guitar collectors and historians, with a deep connection to the lineage of blues and rock. For more information, visit http://www.jbonamassa.com.