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Listen to the December 2018 PG Spotify Playlist
We’ve got tracks by heavyweights like former Rage Against the Machine and Audioslave guitarist Tom Morello, garage-rock icons Mark Arm and Steve Turner from Mudhoney, and Sleep and High on Fire frontman Matt Pike.
There’s something beautifully paradoxical about Luther Dickinson’s new album, Dead Blues Vol. 1. It’s a collection of blues standards that were performed by the Grateful Dead throughout their career, yet it sounds like neither traditional blues nor Dead-style interpretations. Instead, it exists in some liminal space between the Mississippi Delta and the cosmos—a place where Blind Lemon Jefferson meets synthesizers and omnichords, and Willie Dixon’s words floats over funk grooves and ambient soundscapes.
“I would never claim to be a bluesman,” Dickinson says during a phone interview from the road, somewhere between Asheville and Nashville. For someone whose band, North Mississippi Allstars, has earned multiple Grammy nominations exploring roots music, it’s a surprising admission. “I’m more of a psychedelic folk rocker, you know? That’s what I claim, if anything.”
This perspective—reverent toward tradition but unbound by its conventions—defines Dead Blues Vol. 1. The album reimagines nine blues songs from the Dead’s repertoire, featuring the remarkable vocals of Datrian Johnson alongside contributions from Phil Lesh’s son Grahame Lesh, the Hold Steady’s Steve Selvidge, Dickinson’s brother and Allstars band mate Cody, and pedal-steel wizard Ray Ray Holloman.
The genesis of the record stemmed from two separate ideas colliding in Dickinson’s mind. In 2013, Phil Lesh invited Dickinson and his brother Cody to join Phil & Friends, the legendary Grateful Dead bassist’s rotating collective of musicians. As Dickinson studied up on the Dead catalog for rehearsals and performances, he and Grahame Lesh began performing casual Dead Blues shows focusing specifically on the blues songs in that band’s repertoire. “Grahame and I started doing the Dead Blues to do looser, easier shows outside of the Dead musician pool,” Dickinson explains. “We’d bring in musicians and artists outside of Phil’s scene to play with us. That was really fun.”
Around the same time, Strolling Bones Records approached him about doing a Grateful Dead tribute. “I was like, man, I don’t know,” he admits. “My only in was like, ‘Well, I could do a Dead Blues thing.’ But that was years ago, and I didn’t really consider it. It wasn’t at the top of my to-do list, you know?”
Johnson and Dickinson bring the blues to Tipitina’s in New Orleans.
Photo by Camilla Calnan
The project might have stayed dormant had the pandemic not shifted Dickinson’s creative direction. When touring stopped in 2020, he found himself working on an instrumental record—and not only that, but one “where I didn’t play guitar,” he explains. Instead, he wrote the material on bass and keyboards during the lockdown, creating spacious, experimental soundscapes with no connection to the blues standards—"Who Do You Love,” “I’m a King Bee,” “Little Red Rooster”—they would eventually be paired with.
Then came the revelation. “I woke up one morning and I was like, ‘Datrian could sing the Dead Blues lyrics on top of this instrumental record!’ And sure enough, it just happened so easily. It was so fun that, within three sessions, we had the record done. And after the fact, I went in and overdubbed guitar on it as the last flavor.”
Which Dickinson actually does frequently. “Usually if I’m overdubbing guitars, I’ll do it at the last minute,” he says. The guitar work he added referenced the original blues melodies even when Johnson’s vocals didn’t directly follow them. “Even if Datrian isn’t singing it, the guitar work I added is more referential, a nod to the original melodies. My stance is the melody and the poetry is to be protected. All the trappings of production, the beats, the fashion of an interpretation—that’s malleable. But the melody and the poetry is what’s interesting to protect.”
Datrian Johnson proved to be the crucial element that transformed the project. Keyboardist John Medeski had introduced Dickinson to the Asheville-based vocalist a couple of years ago during work with The Word, Dickinson’s band with Medeski and Robert Randolph. The chemistry was immediate. “He’s one of the most moving vocalists I’ve ever worked with onstage,” Dickinson says. “I’ve worked with Mavis Staples, John Hiatt, Patty Griffin, Robert Plant, Chris Robinson—some of the best vocalists in rock ’n’ roll. But Datrian has this thing. People are like, ‘What the…?’”
Indeed, his delivery on tracks like “Little Red Rooster” and “High Heeled Sneakers” demonstrates an interpretive depth that honors the source material while completely reimagining it. “He’s such a humble, unassuming guy,” Dickinson continues of Johnson. “And then he starts singing … I just remember people’s reactions. I’ve never seen anyone make an audience gasp before.”
The album’s unconventional approach—featuring melodica, Wurlitzer, DX7 synthesizer, omnichord, and what Steve Selvidge calls “space-funk guitar”—reflects Dickinson’s philosophy about roots music. These blues standards may be traditional, some stretching back nearly a century, but Dickinson gives them a somewhat futuristic-sounding treatment. Which, to his mind, puts him in the same forward-thinking tradition as the bluesmen themselves. “Musicians that try to be old-timey—I’m not into it,” he says. “If you think about it, Charley Patton was revolutionary. He was forward-thinking. Howlin’ Wolf was forward-thinking. Little Walter, Robert Johnson … none of these guys were trying to be old-fashioned. Every great musician—Charlie Christian, Jimi Hendrix—they were all forward-thinking.”
Dead Blues Vol. 1 reimagines nine blues songs from the Grateful Dead’s repertoire.
“Every great musician—Charlie Christian, Jimi Hendrix—they were all forward-thinking. No one was trying to be old fashioned.”
That same spirit could be found in the Grateful Dead, though Dickinson’s relationship with the band came relatively late. “I didn’t grow up with it. I stayed away from it,” he says. That changed in 2013, with Phil Lesh’s invite. “We jumped at the opportunity and studied up on the catalog,” Dickinson recalls. The education deepened over years of performances, particularly at Lesh’s venue Terrapin Crossroads. “Most of our work was on the West Coast, but then when Phil took me to New York and I saw the East Coast Deadheads, I was like, ‘Holy shit.’ They were singing along to every word. It’s not just the parking lot and the dancing and the jamming. It’s the songs.”
That realization also deepened Dickinson’s appreciation for Robert Hunter’s lyrics, which he calls, “pure, classic Americana, on a par with Dylan, I think,” he says. “That generation, Garcia as well, they weren’t hippies, they were beatniks. They were older than the hippies. They grew up reading Jack Kerouac and listening to the radio. They remember before rock ’n’ roll. That generation of writers that grew up like Dylan and Hunter and my dad—they grew up listening to the radio before TV, and they had a way with words that will never come again.”
Dickinson dedicated Dead Blues Vol. 1 to Lesh, who passed away in October 2024. “Phil changed my life,” Dickinson says. “He welcomed me into his crew, taught me his repertoire, shared his improvisational approaches, and introduced me to a whole new community of musicians. This record reflects Phil’s wild musical spirit and approach to reinterpretation.”
Dickinson combines slide guitar with synthesizer on Dead Blues Vol. 1.
Photo by Jim Summaria
“When Phil [Lesh] took me to New York and I saw the East Coast Deadheads … they were singing along to every word. It’s not just the parking lot and the dancing and the jamming. It’s the songs.”
That wildness manifests in bold instrumental choices and fearless reimagining. The omnichord, played by Paul Taylor, adds an otherworldly shimmer. Ray Ray Holloman’s pedal-steel work provides both traditional country blues flavor and sci-fi textures. Steve Selvidge’s “space-funk guitar” creates grooves that feel simultaneously vintage and futuristic. Selvidge has been in Dickinson’s orbit since childhood—their fathers played in a band together. “Steve is so multifaceted,” Dickinson says. “He can play country blues like his dad, he can play rock ’n’ roll—he’s my favorite rock ’n’ roll player of my peers. With the Hold Steady he’s straight rocket. But space funk, that’s the style he’s playing on this record.”
For his part, Dickinson discovered that synthesizers could intertwine with slide guitar in ways that feel both ancient and futuristic, which can be heard throughout the album, particularly on tracks like “Little Red Rooster” and “High Heeled Sneakers.” “I realized a synth can be as expressive as a slide guitar,” he says. “And I’ve never experimented with slide guitar and synths together before, which was really fun. I was like, ‘These sound cool.’”
Perhaps the track that best exemplifies the album’s aesthetic is “Who Do You Love,”—a Bo Diddley classic transformed by layers of funk guitar and bass, DX7 synthesizer, cajon, and omnichord into something that sounds like it could soundtrack a midnight drive through Mississippi on Mars. Yet Dickinson’s guitar work, added last, references the original melody, grounding the experimentalism in tradition. “That one worked really nicely,” Dickinson says, especially when we realized we could put the hook over that melody. And then Datrian made it so smooth.”
Dickinson steps out front for a solo at Tipitina’s.
Photo by Camilla Calnan
“I realized a synth can be as expressive as a slide guitar.”
For Dickinson, Dead Blues represents the next step in a significant shift in his approach to guitar. “During 2020, I sold most of my Gibsons,” he reveals. “I grew up playing Les Pauls and 335s, and I just got burned on that very sound I used to strive for—the neck pickup, midrange feedback, sustain, fat, oozy tone. It started hurting my ears. I think it was just too much of a good thing.”
Dickinson says there were “a lot of things” that led to him changing up his sound, but working with Phil Lesh was an important factor. “Playing with Phil, I was finally able to become comfortable playing clean as opposed to relying on distortion or fuzz. It really changed my life. My whole time I’ve been trying to make an electric guitar respond like an acoustic guitar. And what really turned me on was that Steve Selvidge gave me a guitar, a partscaster, with Lollar Regal pickups—Fender-style wide-range humbuckers. Man, those pickups are so cool because they’re a quiet humbucker, but they don’t sound like a PAF or whatever. They’re beefier than a Strat, kind of like a civilized gold-foil. Those pickups just changed my life. And then my friends and I started making guitars called Vibratone. Those two guitars are a lot of what you hear on the album.”
Even as Dickinson releases Dead Blues Vol. 1, he’s characteristically busy with multiple projects. North Mississippi Allstars are continuing to tour behind their recent album, Still Shaking, and also preparing for a new studio effort. Additionally, Dickinson reports he’s working on what he calls an “ambient blues” project—“like a folk film score. Instrumental modern acoustic country blues with organic drones.”
In this regard, Dead Blues Vol. 1 is of a piece with Dickinson’s restlessly exploratory approach—whether it’s ambient blues or Dead Blues, he’s always pushing boundaries while staying rooted in tradition. It’s about honoring and celebrating the past more than it is about attempting to preserve it. “American roots music as a whole is worthy of being protected,” Dickinson says. “When old-timers teach you the repertoire, you owe it to them to keep that repertoire alive. But if you can’t evolve and adapt, you won’t survive.”
Luther Dickinson’s Gear
Guitars
Partscaster with Lollar Regal wide-range humbuckers
The in-demand gunslinger brings a load of silverware to arenas across the world.
Devon Eisenbarger, session ace and touring shredder for stars including Chappell Roan and One Direction’s Zayn Malik, met up with PG’s Chris Kies at Nashville’s Bridgestone Arena before hitting the stage with Katy Perry to show off the sleek 6-string rig she’s using on Perry’s Lifetimes tour.
Eisenbarger cut her teeth on a Stratocaster, and its sonic character still feels like home. She filmed a demo for Fender using this American Professional II Strat with a coil-splitting humbucker in the bridge—the best she’s heard so far. This one and all other electrics run D’Addario strings (.010–.046).
Fiery Fiore
Eisenbarger just scored this PRS Fiore before this tour. It has a beefier, slightly more midrange-y sound than the Strat.
Silver Surfer
This Ernie Ball Music Man StingRay II, designed in collaboration with Cory Wong, was made for Eisenbarger just before this run of shows.
Saintly Signature
Eisenbarger uses this Ernie Ball Music Man St. Vincent Signature for “I Kissed a Girl.”
Taped-Up Taylor
This Taylor 814ce, wrapped in silver tape, comes out for a mid-show acoustic set.
Devon Eisenbarger’s Rack Setup
Eisenbarger runs an all-digital rig, contained in this rack backstage. The key pieces are a Radial JX42, two Shure AD4Ds, a Kemper Profiling Amplifier, and a Fractal Axe-Fx. The Kemper runs a SELAH SOUNDS pack of profiles and impulse responses.
With no onstage monitors, Eisenbarger’s signal runs only to in-ear monitors and front of house.
The life of a guitar tech is equal parts craft, chaos, and on-the-fly problem-solving. Though Ryan Chan, Luis Munoz, and Drew Foppe share this whirlwind existence, their unique paths—and the gigs those paths have led to—highlight just how varied and demanding it can be.
Luis Munoz makes the catch.
Chan’s journey began long before he was wrangling digital and hybrid rigs for bands like Loathe and Spiritbox. Growing up in Hong Kong, he dreamed of music production, though a move to the U.K. would quickly alter that goal. Munoz took a more deliberate path, landing in Hollywood and sharpening his skills as a luthier before finding himself in the middle of pop-rock’s great revival working for Olivia Rodrigo. Foppe, meanwhile, initially had no desire to work in music, but he still found himself pulled into a decades-long career with some of the biggest names in the business.
These three techs come from very different places, both professionally and geographically. Still, their stories converge in the relentless grind of touring life, full of long days, constant travel, and endless hours working behind the curtain to keep internationally-known guitarists playing and sounding their best. Here, they step out from behind that curtain to discuss the stories, rigs, and realities that shape a life lived just out of the spotlight.
Ryan Chan (Loathe, Spiritbox)
Ryan Chan gets in tune.
You were born in Hong Kong and literally moved halfway across the world to start your career. Tell me about that journey and how you became a guitar tech.
Ryan Chan: I wanted to be a producer, so I came to Leeds six years ago because of music university, where I joined the music production program. There was one guy in my course named Adam, who’s a good friend of mine, and he was a front-of-house engineer for Loathe. I think at one point they needed a tech, and he was like, “You like to mess with guitars. Come do it with me on the road.” And that’s how it all started.
You’re currently working with Loathe and planning a big North American tour. What’s a day in the life for you when you’re out with them?
Chan: We don’t load in until maybe 2 o’clock. From there, it’s just kind of getting everything set up. I get all the pedalboards laid out and everything else ready to be thrown on the stage. Then it’s soundcheck, show, and then pack down, and on to the next show. I usually restring the guitars maybe once every three to four days.
As of this next tour, they’re also having me more involved outside of just the touring stuff. Like, two days ago, I was at Loathe’s new space helping program some sets with the playback and MIDI stuff.
Loathe showcased some of their unique guitars and equipment on one of ourRig Rundowns. What are they taking out these days?
Chan: There are four guitars and four basses. Some of them are spares that get used depending on how they’re feeling that day. We don’t carry different guitars with different tunings. They use multiple tunings, but they’ll tune everything themselves. The main variation is, one’s a baritone and one’s a normal-scale guitar. And I’m the only backline tech, so I’m also the one who looks after all their MIDI keyboards and stuff, too.
Loathe still use tube amps, although a lot of bands have turned to digital modelers for touring. How has the rise in digital touring rigs affected your work?
Chan: I’m used to it. Digital’s reliable, and it’s predictable. You’re not rolling the dice every time you put the amp in the trailer. When I worked with Spiritbox, they’ve always been all digital.
But with Loathe, it’s actually an interesting hybrid of [Fractal] Axe-Fx and amps. Eric [Bickerstaffe] plays with a [Marshall] JCM800 and treats the Axe-Fx as a big front-end pedalboard. Faisal [El-Khazragi], the bass player, uses an Ampeg SVT. But I believe, for this next tour, we’re actually switching back to Axe-Fx for pure simplicity. I guess, maybe more so for bass, the trade-off is worth it.
You’re still in the early part of your career. Are there any lessons you’ve learned on the road that make you better at your job?
Chan: One thing I’ve had to learn is how to communicate and ask people for help, rather than waiting for someone higher up to do the asking for me. You’ve gotta be a bit more assertive, and be like, “All right, here’s an issue. I need to go find the people that will help me fix this issue.” Also, if I’m gonna say no to something, I’d better have a really good reason as to why we can’t do it.
Talk about the reality vs. the expectation of being a touring guitar tech.
Chan: I don’t want to undersell it, but it’s not as glamorous as people might want to make it out to be. It is very much a job. When you first get into it, it’s so fresh, and it’s so exciting. It’s so fun. Then suddenly that wears off, and you have to look at it as a responsibility. So learning to enjoy the road again has been a fun experience for me.
The three tools Ryan Chan can’t live without:
● Dunlop String Action Gauge
● Multi-bit screwdriver
● USB-powered soldering iron
Luis Munoz (Olivia Rodrigo, Smashing Pumpkins, Bush, LP)
Luis Munoz brings an Ernie Ball Music Man St. Vincent to the Olivia Rodrigo stage.
Your goal was always to be a guitar tech. But how did you get your foot in the door in such a competitive industry?
Luis Munoz: It’s a hard community to get into, but once you’re in, you’re in forever. So I remember thinking to myself, “I’m going to become undeniable and really good at what I do.” So, I went to Guitar Craft Academy in Hollywood and started working in shops around town. But I always wanted to go on tour. Then one of my clients and another buddy got me a gig, and I went on my first tour for an artist that goes by the name of LP. Just like that, I started getting call after call.
You’ve worked for some massive rock bands. But working in a huge pop production like Olivia Rodrigo’s has to be a lot different. What’s a typical day in that camp look like?
Munoz: My days would start with changing strings and doing all the stuff that I need to so that, when the stage is rolled into place, we can start plugging in, patching, and making sure everything works. We do a quick line check, and then the band would come out and run a song or two. Then you hurry up and wait until it’s your time to do a show.
Doing the show is, I feel, what’s different in the pop world versus the rock world. I was part of the show. I would hand [Olivia] the guitar way out at the end of the thrust. Then I’d have to run that whole thing back, and, when she’s literally about to hit the chord, I would hit the unmute button. Then, when she’s done, I’d mute it, go on stage, and she’d throw me the guitar. After every show, I’d be drenched in sweat, like I just worked out.
Olivia is featuring a ton of guitar in her shows these days, and you’re responsible for three players, including your wife, bassist Moa Munoz. What kind of gear does the production require?
Munoz: Olivia loves rock and wants to try different things. So, this last tour we went from having two guitars to seven. It’s another funny pop-world thing, but we had different guitars for different outfits.
And yeah, I would also take care of my wife, Moa, who had five basses, and Daisy [Spencer], the second guitar player. She was doing a lot of acoustic stuff, but said, “I want to play electric on this tour.” I thought the [Ernie Ball Music Man] St. Vincent might look cool, and she was like, “Fuck yes. That’s the one!”
Ariana [Powell, guitar] also had a whole guitar boat to herself. My buddy takes care of her on stage right.
With such a choreographed production, are you guys using digital amp modelers?
Munoz: Definitely, I don’t think people understand how many variables you have to deal with when using amps. Everything from if the power is different to amps going from a trailer to a sea container to a plane to a bus. So Daisy and Ari were on Kempers, and then Moa was on Helixes. It’s all MIDI-controlled, because even the band actually has choreography now.
Tell me about a humbling experience or a lesson you learned on the road that made you better at what you do.
Munoz: When I was still doing local repairs and things, [Bush guitarist] Chris Traynor’s tour manager called me and asked, “Have you ever been on tour as a tech?” And I was like, “You know what? No. But I can’t imagine it being hard.” I remember he was like, “Did you just say it was going to be easy? I don’t think this is gonna work out.” [Laughs.] I was trying to sound overly confident. But, funny enough, a year or two later, Chris hit me up again, and I actually tech’d with Bush.
For people wanting to get into your world, what’s a reality of the job they should prepare for?
Munoz: It’s different hats when you’re a luthier and when you’re a tech on the road. Being a tech has helped me to not be so precious. You know, “If you’ve got a stripped strap button, you can’t just shove toothpicks in there and super glue.” And it’s like, of course not—in a perfect situation. But sometimes you just need to get it fixed.
You earned a soccer scholarship and degrees in mathematics and psychology. How did you end up as a guitar tech?
Drew Foppe: I never planned to really be involved in music, ever. I wanted to do social work. But guitar kind of took over, and I just started following it. I got into a band and did that for about a year and a half. About five days after I quit, my buddies said, “Hey, why don’t you tech for Opiate for the Masses?” I was like, “What’s a tech?” [Laughs.] So I became a guitar tech, and haven’t stopped in almost 25 years.
Now you’re on the road with Shinedown, one of the biggest rock bands of the past few decades. What does a typical day look like for you when you’re on tour?
Foppe: When I get in, I immediately go and set up the warm-up room. The next hour and a half or so, I’ll change strings. That takes about three hours to do all 20 guitars. After I get done, I’ll get all the gear in position and start running all the cables for the keyboards, pedalboards, and all that stuff. Then it takes about 20 minutes to change all the wireless packs to the correct frequencies. Shortly after that, we line-check the gear with a crew jam. Everything’s pretty dialed at this point.
When the show starts, every single song is a guitar change, and they have four stages. I do about 10 to 12 miles of steps during a show!
Zach Myers’ love for gear is well known in guitar circles. Tell me about the rig you handle for him every show?
Foppe: We’re getting eight channels from Zach. There are three electric wireless lines and one acoustic. The acoustic goes out to a Fishman DI. The electric goes to two pedalboards. I have one in my tech world and one on the stage. From the boards, it goes to the [Fractal] Axe-Fx III. And from the Axe-Fx, we’re using Synergy power amps that hit two 112 ISO cabinets. We also send the amps to UA OX Boxes with a modeled 112 open back cabinet. Then there’s the outs from the Axe-Fx.
Digital modelers are usually employed to simplify signal chains. You obviously use them very differently. Do you pick a side in the digital vs. analog debate?
Foppe: I was probably right in the heart of when analog and digital were fighting for commonplace in the industry. Digital just gave you more options. Transitioning between the two, I think they’re integrated so well now that I don’t think it matters. I’ve done both for the biggest artists in the world, and stadium artists use digital and stadium artists use analog. They just use what they like and what they’re comfortable with.
You’ve worked with some incredible artists across multiple genres. Is there a secret to getting called back for the next artist or tour?
Foppe: I truly believe that having a psychology degree has helped me navigate these waters. When you’re working with artists who know exactly what they want, you just gotta listen and take it all in instead of coming in like, “I can do whatever. I can’t do whatever.” I think if you just listen to what people are saying, that gives you a good head start. That’s what really helps you grow as a tech and get other jobs.
Surrounding yourself with music, gear, and travel sounds romantic, but what are some truths about teching that you’d like to share with people considering it as a career?
Foppe: The first thing you’ve got to do is learn the craft of guitar repair, amp repair, programming, signal flow, and troubleshooting. All that stuff comes before you actually get a job. But the work aspect is only maybe 40 percent of the job. Working well with people and being self-motivated is pretty much everything else.
It’s also long hours, being away from your family, and you start to almost change your friend groups. That’s why they call it your “tour family.” So learning guitar skills, working well with people, and being okay to work when you’re tired is ultimately the key to being a guitar tech.
The cosmic-country cowboy touts a rig inspired by the greats and powered by a mix of vintage and modern-day gear.
Hot on the heels of his new record, Horizons, Daniel Donato took PG’s John Bohlinger on a trip through his live setup, which spans more than 70 years of electric-guitar history.
This Fender Custom Shop 1963 Telecaster has “everything that a great traditional Telecaster needs,” says Donato.
Jack of All Trades
This DGN Custom Guitars T-style, built by Dan Neafsey, is dubbed the Epoch. Donato wanted a Tele that he could play all night without tiring of the tones, so Neafsey assembled this do-it-all electric. Its body is an eighth of an inch smaller than a traditional Tele’s, and its flame-maple neck sports a compound radius. Neafsey wound the PAF-style pickups, which can be configured as overwound single-coils via a coil-tap function. The steel ashtray bridge was cut to fit a humbucker.
Donato plays Dunlop Jazz III picks, and loads his guitars with a .010–.052 set of Ernie Ball Slinky strings.
Pro Tip
This 1966 Fender Pro Reverb is the first black-panel amp Donato ever purchased. It’s been converted to a 2x12 configuration in place of the usual 1x15, and it’s loaded with Weber 12F150 speakers.
Daniel Donato’s Pedalboard
Donato says that while the Pro Reverb is the steak, the Fender Tonemaster Pro is the best thing to season it with. His effects run into this floor unit, which is set to a black-panel Twin Reverb program, through a Radial Highline, and out to the front of house at a clean, crisp level. Donato uses some of the Tonemaster Pro’s onboard effects, too, like a graphic EQ and tape echo.
The rest of the board, designed by XAct Tone Solutions, carries a Dunlop X Volume Mini and CAE Wah, Gamechanger Audio Plus, Greer Lightspeed, a Keeley Noble Screamer, Cosmic Country Phaser, and Rotary, a Strymon TimeLine, Walrus R1, Universal Audio Max, DigiTech FreqOut, and Eventide H90.
An EHX Hum Debugger, always on, rests on top of his amp to keep his Teles in line.
After their Covid-delayed, smash-success reunion tour a few years back, My Chemical Romance plotted the Long Live the Black Parade North American stadium tour this past summer.
PG’s Chris Kies joined the run at Soldier Field in Chicago, and before the show, he rendezvoused with techs James Bowman, Josh Schreibeis, and Joe Saucedo—who handle Frank Iero, Ray Toro and Mikey Way’s rigs, respectively—for a look at the axes, amps, and effects the heavy-hitting emo titans are using these days.
After Iero got this Castedosa Marianna Semi Hollow, it became the show starter for this summer’s tour. This, and all other guitars, are tuned down a half step with Ernie Ball Paradigm strings (.011–.052).
Bury Me in White
Iero favors Ernie Ball StingRays like this one, in matte “Stormtrooper” white. The only mod on this guitar is the addition of Luminlay dots on the side of the neck.
One and Done
This 1992 GibsonLes Paul gets played only for the title track off the band’s 2006 record, The Black Parade.
Under Pressure
This tiny, light Abernethy Guitars electric takes Bowman forever to string. If anyone has tips, send them his way.
Purple Reign
After using Marshall Super Lead heads with the Dookie mod on the previous tour, Iero found these slick purple heads and brought them to Dave Friedman to match the Dookie specs and add some EQ tweaks. These two, a main and backup, are responsible for the bulk of Iero’s sounds.
A Fender Twin Reverb onstage is responsible for “small-amp sounds,” while a Twin Reverb Tone Master underneath it sends a clean DI signal for the mix in Iero’s in-ear monitors.
Welcome to the Rack Parade
Iero’s backstage rack includes three main racks of effects, all powered by Strymon Zumas.
The first carries a Mesa Boogie 5-Band Graphic EQ, Amaze by Analogman Prince of Tone, Bowman Audio Endeavors Bowman Overdrive, JHS Hard Drive, and Hayashi Craft Trick Gain.
Drawer two is about modulation, and includes a Boss TR-2, MXR Phase 100, Boss DM-2W, EarthQuaker Devices Ghost Echo, EHX Micro POG, and EHX Holy Grail.
The last drawer bears a Jackson Audio Twin Twelve, EHX Deluxe Memory Man, Ibanez Tube Screamer Overdrive Pro, and Bowman Audio Bellyacher.
Toro’s Top
Toro plays this 1978 Les Paul to start the show, including tracks “The End.,” “Dead!,” and “House of Wolves.” He runs .011–.052-gauge strings on all his guitars.
Second Fiddle
This sunburst Les Paul has been outpaced by the black ’78, but it still comes out for “Welcome to the Black Parade” and “Famous Last Words.”
Super 6
This 2005 Fender Custom Shop Telecaster sees action on six tunes in the band’s set.
Ray Toro’s Amps
A head combo of a Marshall JMP and Metropoulos Amplification Metro (both running into Fryette PS-100s) comprise Toro’s main tones, while an Amplified Nation Wonderland Overdrive 1x12 combo is used for solo sounds, and a Fender Deluxe Reverb handles cleans. Toro’s signal is pumped through two 4x12 cabs—one Marshall, one Bad Cat.
Ray’s Really Rockin’ Rack Rig
A Shure Axient wireless system sends his guitar’s signal to this system backstage, where it hits a Radial JX44 and a pair of RJM Effect Gizmos.
One drawer holds an MXR Duke of Tone, MXR Custom Badass ’78 Distortion, Boss GE-7, Boss CH-1, Kernom Moho, Kernom Ridge, and Wampler Gearbox.
In the next are two Boss GE-7s, two Bowman Overdrives, a Death by Audio Fuzz War, a Source Audio EQ2, a Bowman Bellyacher, and a Keeley Compressor Mini.
The third shelf is home to an EHX POG2, 1981 Inventions DRV, Chase Bliss Preamp MK II, Boss TR-2, MXR Carbon Copy, Keeley Loomer, and MXR EVH Phase 90.
A fourth level hosts a Strymon TimeLine, Strymon BigSky, and Source Audio EQ2.
Out onstage at his feet, Toro keeps a pedalboard with a TC Electronic PolyTune, a custom RJM Mastermind PBC/6X, Ibanez TS808, Bowman Audio Bowman Overdrive, EHX Micro POG, Boss TR-2, MXR Carbon Copy, and Strymon BigSky.
Strymon Zumas keep everything chugging along.
Comeback Kid
This silver-sparkle Fender Jazz bass was built for the band’s reunion tour, intended to mimic Way’s earlier signature model. It’s since been treated to more affordable Mexico-made production runs. Way runs Ernie Ball Hybrid Slinky strings (.045–.105) and plays with Clayton triangle picks.
Red!
This eye-catcher was made by Fender’s Brian Thrasher, and is equipped with pickups from the Adam Clayton signature bass. Way relies heavily on this one, then switches to an identical one for down tunings.
Dodger That
Way secured permission from Major League Baseball and the Los Angeles Dodgers to use the team’s exact hue of blue on this custom instrument.
Mikey Way’s Amp
Way runs through a Fender Super Bassman head into matching 8x10 cabs, with a DI signal also running to front of house.
Mikey Way’s Effects
Way keeps things simple. Along with an Origin Effects DCX Bass and Cali76 set to push his Super Bassman, his setup includes a pair of Aguilar Agros, an MXR Sub Octave Bass Fuzz, and a Malekko B:assmaster.
![Devon Eisenbarger [Katy Perry] Rig Rundown](https://www.premierguitar.com/media-library/youtube.jpg?id=61774583&width=1245&height=700&quality=70&coordinates=0%2C0%2C0%2C0)
Luis Munoz makes the catch.
