GALLERY: Shaky Knees 2016

Shown here is Shaky Knee’s Peachtree Stage inside Atlanta’s Centennial Park—also where the 1996 Summer Olympics were held.

The 1975’s Adam Hann

The lead guitarist for one of the U.K.’s hottest pop-rock bands uses an unlikely sonic tool—a Music Man John Petrucci Signature model. For some of the distinctive clean tones on the 1975’s new record, Hann used a Music Man John Petrucci his parents gave him when he was a teenager. “It’s got these two humbuckers in it,” he says, “but the out-of-phase position has both coils split, so you get like a single-coil out-of-phase on it.” As for the wild color scheme: “It’s this horrible maroon color and when it came to doing it live, the color was so bad that we ended up getting this white vinyl that we cut out and painstakingly stuck over the entire guitar. We then covered up the hardware with tape and threw a load of multicolored paint over it. Now it’s got this weird Jackson Pollock-esque look to it.”

Against Me!’s Laura Jane Grace

Generally, a devote Rickenbacker user—typically a 360 or 370—LJG has recently switched to a pair of Fender Coronado IIs to help her get those jangle-punk tones.

All Them Witches’ Charles Michael Parks, Jr.

During the band’s headlining Friday night set at the Buford Highway stage, bassist Charles Michael Parks, Jr. jams on an amputated 1972 Rickenbacker 4001 for most of the night. The guy he bought it from was left-handed and so he had chopped off the upper bout, slashed off some of the headstock, and flipped it around to play lefty. So Parks got the bass super cheap, had set it up to play right handed, reworked the electronics, shaved the bridge and moved it back, and then outfitted it for the proper stereo jack. It usually has D’Addario Half Round (.050–.105) strings on it. Learn more about this bass and his whole setup in our Rig Rundown.

All Them Witches’ Ben McLeod

Whether it’s in the studio or on the road, guitarist Ben McLeod travels light and lean when the band tours. He only brings two guitars and neither one of them are backups for the other. His main squeeze is a Les Paul Traditional that he’s modded by replacing the plastic nut with one made of bone—he says it not only helps with intonation but gives the guitar a silkier sound—and swapped out the LP’s stock Classic ’57 humbucker for a DiMarzio Super Distortion. He landed on that particular pickup after he dressed up as The Sword’s guitarist Kyle Shutt for a Halloween show and used Kyle’s guitar. He was so impressed with it that after the show Kyle’s tech gave Ben a spare Super Distortion for his Traditional. A final aesthetic tweak to his guitar was the removal of its pickguard because he is such a big fan of Duane Allman and he didn’t feel like covering up the full burst anymore. This particular 6-string uses a set of DR Strings Pure Blues (.010–.046) and is typically tuned to drop C. Learn more about this guitar and his whole setup in our Rig Rundown.

At the Drive-In’s Omar Rodriquez-Lopez

ORL has been a longtime user of his signature Ibanez ORM1, but as you can see here, during the band’s current reunion tour and the performance of “Arcarsenal,” he’s been favoring a Music Man Albert Lee HH signature model.

Baroness’ John Baizley

The frontman and guitarist John Baizley used to bring the heavy with Les Pauls and handmade First Act Custom Shop creations, but during the process of recording their latest album, Purple, he opted for single-coil guitars—like this G&L ASAT Alnico S-series—for more dynamics and clearer clean tones. To learn more about the band’s new album and Baizley’s gear, click here.

Bloc Party’s Russell Lissack

The co-founding guitarist bought this guitar after receiving his first album advance when the band was signed to Wichita Records in the early 2000s. The only mods done to this Fender Standard MIM Telecaster are the plethora of stickers on its pickguard and all the button flair he added to his strap.

Bloc Party’s Justin Harris

When he joined the Bloc Party in 2015, Harris inherited two basses that were integral to the band’s earlier recordings, but he’s seen here using a 1976 Fender Precision Bass that he had stolen from him 15 years ago in Portland, Oregon. He ran across an acquaintance that was selling the bass and realized it was his because of the matching serial number and he had swapped out the original pickguard for this faux tortoiseshell one.

Cold War Kids’ Matt Maust

One of two original members in the band, bassist Matt Maust rocked his rubbed-raw (barely) white Fender P bass for the entire set. He’s shown here playing during the band’s opener “Don’t Let Your Love Grow Away From Me.”

Cold War Kids’ Nathan Willett

The leader of the CWK doesn’t always play guitar, but when the band queues a song like “Miracle Mile,” Willett plays a Fender American Vintage ’64 Telecaster.

The Decemberists’ Colin Meloy

Traditionally seen with various Gibson acoustics, Meloy ramps thing up on “A Bower Scene” with this Gretsch hollowbody.

The Decemberists’ Chris Funk

The lead guitarist (who also dabbles on pedal steel) gets things going during “The Hazards of Love 1 (The Prettiest Whistles Won’t Wrestle the Thistles Undone)” with a Reverend Club Kin 290. On Reverend’s website, Funk said he dug this 6-string because, “The neck is really interesting and playable. The body shape is totally different and you can really hear the tone of the body.”

Deer Tick’s Christopher Dale Ryan

Besides a few songs that required standup bass duties, Christopher Dale Ryan never strayed too far from his Fender P bass.

Deer Tick’s John Joseph McCauley

Bringing a healthy dose of songs off their latest release, Negativity, singer/guitarist John Joseph McCauley was prepared for the harshest elements thanks to his fly-fishing waders and his trusty Fender Classic Series ’72 Telecaster Custom loaded with a Tele single-coil in the bridge and a Wide Range humbucker in the neck.

Deftones Stephen Carpenter

Rocking ESP’s since the ’90s and a tenured signature artist, Stephen Carpenter brings the auditory punishment on “Be Quiet and Drive (Far Away)” with his 7-string baritone that features his signature Fishman Fluence SRC pickups.

Deftones’ Sergio Vega

Vega is trying to whip the crowd into a frenzy during their opener “Rocket Skates,” and as for his sunburst Jaguar 4-string—chalk it up to his heroes: "I've been overtaken by Jaguar guitars because I'm a huge My Bloody Valentine, Kevin Shields, and Johnny Marr fan," admitted Deftones bassist Sergio Vega in our 2013 Rig Rundown. "Once they started making those Jag basses in the mid 2000s, I started playing them. And they turned out to be perfect, because they're easy to play and, sonically, they have great upper mids and a crisp overall tone. I always play with a pick so I have a lot of attack and distortion, and these Jaguars provide a clear, cutting sound." All of Vega’s basses are stock, and he generally rotates between three or four a night to cover the band's various tunings, including standard, C, and drop C. He uses Jim Dunlop's .050–.110 string sets, and he says he uses 1 mm Tortex Triangle picks exclusively because he remembers reading as a kid that Metallica bassist Jason Newsted used a similar pick.

Explosions in the Sky’s Mark Smith

One of the band’s three guitarists, Mark Smith started the set by playing bow on his Fender Tornado for most of the first song “Wilderness.”

Explosions in the Sky’s Michael James

When the band records all of the members take up multiple instruments, but Michael James was the only one to bounce from bass and guitar during their Sunday night set at Shaky Knees. When he wasn’t rocking a Fender P bass, he spent quality time with a road-worn ’90s Ibanez Talman with lipstick-tube pickups.

Eagles of Death Metal’s Dave Catching

Prolific desert-rock producer and EODM lead guitarist Dave Catching gives the crowd a good look at his Echopark Albert Flying V. Catching quickly became friends with luthier Gabriel Currie who opened his Echopark Guitars shop across from the band’s rehearsal studio. Currie, a big fan of the guitarist and his many bands, built a replica of a 1958 Gibson Flying V that Catching uses throughout most EODM sets because “it plays perfect and never goes out of tune.” He strings up all his guitars with Ernie Ball Slinkys .010–0.48. Also, he and Hughes play the same open-G tuning (G–G–D–G–B–D) all night. To learn more about Albert and the rest of Catching’s gear, click here.

Eagles of Death Metal’s Jesse Hughes

Boots Electric begs the lively Atlanta crowd to boogie down with him while he plays his a custom-made Maton MS500 on EODM’s “I Only Want You.” The guitar features lightning bolts instead of f-holes and hotter-wound humbuckers that free Hughes from having any pedals at his feet due to the pickup’s ability to get him right to edge where clean and distortion meet. To learn more about the MS500 and the rest of Hughes’ gear, click here.

Foals’ Jimmy Smith and Yannis Philippakis

Stopping the dual-guitar assault for just a second, rhythm guitarist Jimmy Smith lets his Olympic white Fender Jazzmaster chill while he leads the crowd on a clap-along section of “What Went Down” while his guitar counterpart Yannis Philippakis keeps the song moving forward thanks to his ’70s Travis Bean TB-1000.

Foals’ Yannis Philippakis

Taking a break from guitar duties Yannis hits the front row to get some help to close out the band’s set with fan-favorite “Two Steps, Twice.”

Frightened Rabbit’s Scott Hutchison

The Scottish ringleader exclusively used this Fender Telecaster for the band’s 12-song, midday Sunday set. It has been modified so the only pickup option he has is the neck position Wide Range humbucker.

Frightened Rabbit’s Andy Monaghan

For “Modern Leper,” FR’s lead guitarist went with this Hagstrom Viking Classic.

Ghost’s Papa Emeritus III and a Nameless Ghoul

The Grammy-winning metal act held mass during Friday afternoon of Shaky Knees. Here Papa Emeritus III—supposedly the band’s third lead singer—compels one of the Nameless Ghouls to bring hell and brimstone in the way off riffs from his Gibson RD.

Huey Lewis

Ensuring that everyone in downtown Atlanta was having a good time, Huey Lewis and his band the News brought smiles all throughout the set—especially during “The Heart of Rock & Roll.”

Huey Lewis and the News’ John Pierce

The most dapper man on the grounds of Shaky Knees was without a doubt bassist John Pierce who rocked this sleek Music Man Sterling 5 HH the most on Saturday afternoon.

Huey Lewis and the News’ Johnny Colla

If he wasn’t blowing on his sax, guitarist Johnny Colla had his mitts all over this Fender Strat for the News’ set that included some of their biggest hits and even a Hank Williams cover (“Honky Tonk Blues”).

Jane’s Addiction Dave Navarro

Leaning heavy on albums Ritual de lo habitual and Nothing’s Shocking, Dave stuck with his custom ’90s PRS Signature Navarro model for most of the band’s early ’90s material.

Jane’s Addiction Dave Navarro and Perry Farrell

Navarro again with his custom ’90s PRS signature strikes a lovely pose with frontman Perry Farrell at the end of “Ain’t No Right.”

The Kills’ Alison Mosshart

The commandeering leading lady who fronts both the Raconteurs and the Kills is seen here brandishing a Gretsch Corvette for “Kissy Kissy.” Her main ride is outfitted with stars she applied when she dressed up for Halloween as the night sky and wanted her guitar to match. Learn more about her gear and signal chain in this Rig Rundown.

The Kills’ Jamie Hince

The main guitar vigilante of the Kills roars back at the crowd during the band’s Friday night set. Here, Hince is using his a Hofner Galaxie model for “U.R.A. Fever.” During our recent Rig Rundown, Hince spoke about his love—especially their pickups—for the Galaxie and 176 models: “They’re just the greatest pickups I’ve ever heard,” says Hince. “I like a really clear, clean sound that’s just loud—kind of distorting because it’s so loud.” Hince now puts Bigsbys on all of his guitars to help with hand dexterity after an accident impaired the middle finger of his fretting hand.

Lemmy

While the rock ’n’ roll legend passed away December 28th, 2015, his live-fast-die-hard spirit was embodied in this huge suit complete with cigarette, Jack Daniels, and his signature mole.

Murder by Death’s Matt Armstrong

Bassist Matt Armstrong handles low-end duties with a road-tested Fender P bass.

Murder by Death’s Adam Turla

Turla spends some quality with his Gretsch G6120 Chet Atkins—that is tuned down a whole-step to D—during “Strange Eyes.”

My Morning Jacket’s Carl Broemel

To start off the band’s headlining Saturday night set, Broemel grabbed a Duesenberg Caribou for “Victory Dance.” (He said in our Rig Rundown, he goes with this one over his Duesy Starplayer because it’s “more rocking.”)

My Morning Jacket’s Jim James

On “Compound Fracture” Jim James used an old Harmony H72 that has been outfitted with a headstock bearing his name.

My Morning Jacket’s Jim James

Never too far from a trademark Flying V, James strapped this bad boy on for “Off the Record.”

Phosphorescent’s Matthew Houck

The lone permanent member of Phosphorescent, singer-songwriter Matthew Houck, opted for an old friend in a Fender Jazzmaster on songs like “Terror In The Canyons (The Wounded Master)” and “A Charm / A Blade.”

Savages’ Ayse Hassan

The London-based low-end warrior relied almost exclusively on her Fender 60th Anniversary Precision bass that has an ash body, maple body, and a vintage-voiced Precision bass split single-coil pickup.

Savages Gemma Thompson

While Thompson’s main ride is a 1966 Fender Duo-Sonic II, she used this equally vibey 1963 Fender Jaguar for “City’s Full.” She told us in a recent interview that she prefers gear from the ’60s because, “I like to know the instrument has character. I find that really important—that it’s got a history. I feel there’s something ingrained in the character of the instrument from that.”

Shakey Graves

Due to a downed generator killing the stage’s power, Shakey Graves—aka Alejandro Rose-Garcia—grabbed a Martin acoustic and momentarily entertained the crowd with an unplugged rendition of his hit “Dearly Departed.”

Shakey Graves

After postponing his set for 30 minutes due to a power outage and breaking a string on his Loar LH-650 during the second song, he took out his frustration in the most rockstar way possible.

Shakey Graves’ Patrick O’Connor

Rhythm guitarist Patrick O’Connor (left) goes lick for lick alongside his 6-string counterpart with a red, Bigsby-equipped D’Angelico EX-175.

Silversun Pickups’ Nikki Monninger

The bassist didn’t put down her Gibson Thunderbird once during Saturday’s afternoon set in Atlanta. Shown here, she’s jamming with it on “The Royal We.”

Silversun Pickups’ Brian Aubert

The band’s frontman/guitarist brings it during “Well Thought Out Twinkles” with a 1994 Epiphone Sheraton—his go-to guitar that splits time with a ’65 Firebird. Recently featured in PG’s “Opening Notes,” we found out that the Sheraton was originally bandmate Christopher Guanlao’s guitar, and since taking over ownership Aubert has since replaced the pickups with a set of Seymour Duncan Antiquity humbuckers. Aubert on the pickup swap: “I love playing hollowbodies in an untraditional way,” says Aubert. “The feedback is part of our sound.”

The Sword’s Kyle Shutt

Originally a Les Paul man, and most recently a fan of the relaunched Electra axes, The Sword guitarist’s newest black beauty is a Reverend Manta Ray HB.

The Sword’s J.D. Cronise

Like his guitar brethren Kyle, J.D. was a longtime user of Gibson Les Pauls, but he’s seen here with a single humbucker “super strat” shred machine that was used on “Tres Brujas.”

The Dear Hunter’s Casey Crescenzo

Most guitar players are gearheads, but few take it to the level of The Dear Hunter and The Receiving End of Sirens frontman Casey Crecenzo who builds his own guitars. This “Orion” model is a funky take on a Fender Starcaster and may even tip its cap to the BiLT Volare. (Casey also has been seen playing Volares onstage, too.)

Unknown Mortal Orchestra’s Ruban Nielson

Ruban used to be a Telecaster man until his friend gifted him the Jag-Stang seen above. In a 2015 interview with PG, Nielson explains the attraction to the quirky guitar: “It was just this funny guitar my friend gave me. When I started on the UMO stuff I pulled it out. It would never stay in tune and sounded really strange, but when I plugged it into a Blues Junior, I started to come up with completely different ideas. I tuned it a half-step down and started playing with my fingers. It was just a whole new style that emerged in the space of about two weeks after messing with this guitar. The neck is really perfect. When I tuned a half-step down—which I just did because Jimi Hendrix did it and I thought if I was going to start writing some new music this was my chance to start messing with that—that loosened the strings up. The neck was a smaller scale so it gave me the ability to do completely different things. I was able to get around the neck a lot easier—more comfortably than I ever had with a Telecaster. I’ve tried to upgrade my guitar and I always come back to the Jag-Stang. It has a lot of personality.”