Boubacar "Badian" Diabaté's debut release, Mande Guitar, will shatter your preconceptions about what the instrument is truly capable of. Don't believe me? Then take it from Bill Frisell, the sonic groundbreaker who practically reinvented the jazz guitar playbook. In Frisell's words, "Boubacar 'Badian' Diabaté blows my mind. He's doing things I've never heard anyone do before."
Comprised of mostly solo guitar gems with occasional overdubs and a smattering of guitar duets (with Badian's brother Manfa Diabaté and producer/African music historian Banning Eyre), Mande Guitar is a musical kaleidoscope, imbued with unexpected moments of jaw-dropping virtuosity. While the album's instrumentation is stripped-down, the original plan was even more austere. Eyre had wanted Badian [that nickname translates as "tall father"] to record a strictly solo guitar album. Along the way, some compromises were made, including the addition of percussionist Baye Kouyaté, who plays tama (talking drum) and calabash on one track, "Fadento." "Some people like to just listen to one instrument, but others like to hear the ambience of an interaction between players, so I wanted to touch both things and strike a balance," says Badian. "Also, when you play solo, you have to cover everything—you have to keep the line, the harmony, and the rhythm, whereas when someone is accompanying you, you're freer to do a lot of things that you can't do if you're playing alone."
Badian Diabaté et Goussou Kouyaté
In Badian's circle of musicians, the cultural norm is that everyone is raised to be an adept multi-instrumentalist. We know that most guitarists can dabble on bass, but in Badian's clique, it's the real deal—there's no faking it. "I usually perform with two or three additional musicians, and we'd switch instruments from song to song. It's very normal to start with one instrument and then move on to another and to experience the music from these different directions. The musicians I play with can play multiple instruments: guitar, ngoni (a 4-string instrument), tama, etc. If I have a drummer, he can typically play the calabash. I've actually made recordings in Mali where I've played all of these instruments. In concert, I mostly play guitar, but I would also play some ngoni or some tama."
A Rich Musical Tradition
Guitar geeks might tune into Mande Guitar for its fretboard fireworks, but for Badian the album serves a greater purpose. "I wanted to show the world the value of this culture," he says. "There's rock 'n' roll, there's jazz. Everything's out there and people know those things, but they don't know that this rich culture exists."
Boubacar "Badian" Diabaté (left) recorded Mande Guitar with his brother, Manfa (right), at Afropop Worldwide's Studio 44 in Brooklyn, New York. In Diabaté's circle of musicians, everyone is a multi-instrumentalist and able to switch duties from song to song. "It's very normal to start with one instrument and then move onto another and to experience the music from these different directions," Diabaté says.
In Badian's case, his rich musical culture dates back several generations. "I was born in a griot family. In the world of griots, people grow up in an environment where music is a traditional profession—my mother was a singer. My father was a functionary, an official in the government of Mali. Although he was a griot, he did not play guitar. It's a world where music is 'the thing' and you're surrounded by all of these instruments." His first instrument, when he was very young, was the tama. From there he went to the ngoni, which a lot of Malian guitarists start on. "Ngoni is the principal instrument of griots in Mali, along with voice," says Badian, "The ngoni is also the closest [traditional] instrument to guitar in Africa, so the natural instinct of a guitarist in the tradition is to try to imitate the ngoni. The guitarist improvises with the sound of the ngoni in his ear." Baidan switched to guitar when he was about 10, after hearing the music of Mande guitar great Bouba Sacko.
"The ngoni is also the closest [traditional] instrument to guitar in Africa, so the natural instinct of a guitarist in the tradition is to try to imitate the ngoni."
The origins of Mande Guitar began in 1995, when Eyre went to Africa to study guitar with Djelimady Tounkara for six months. One day, Badian came over to the house and was introduced by Tounkara, who, with a slight mix of (as Eyre put it) "disapproval and awe," described Badian as a "young player who will surpass me one day." Eyre had a Hohner G3T that Badian really wanted, so Eyre proposed giving Badian the guitar in exchange for permission to film him. "I realized he was a unique talent," Eyre says. A deal was struck and Eyre filmed a two-hour session of Badian playing in both solo and duet (with ngoni) contexts, all taking place in a construction site repurposed as a studio.
Boubacar “Badian” Diabaté’s Guitars
Diabaté has a fondness for electrics without headstocks, and this Steinberger SS-2F, which replaced a Hohner G3T, is his current plugged-in mainstay.
- Steinberger SS-2F
- Traveler Guitar
- Seagull 12-string
Badian and Eyre remained friends, and Badian reached out to Eyre when he came to New York with his wife, singer Nene Soumano, in 2010. Numerous times over the years, Badian asked Eyre for help recording an album, and in 2021, when Eyre launched Lion Song Records, his request was fulfilled. Eyre pegged Badian to record Lion Song's debut offering, Mande Guitar.
Remaking Malian Music
Eight of the cuts on Mande Guitar are traditional Malian songs, and the challenge for Badian was in trying to inject his own diverse musical personality into them while keeping true to the tradition. "I went to the Institut National des Arts de Bamako, which is the best music school in Bamako [Mali's capital], and there I learned Western pop music and jazz, pentatonic music, because there's a lot of pentatonic styles in Mali that's branched from the blues," says Badian. You'll hear such blending in "Bayini," the jazzy chromatic phrases in "Miri" and "Korosa," and some repeating short fragments in "Sakonke" played at hyper-speed à la Carlos Santana. He and Eric Clapton are Badian's favorite Western guitar heroes.
Dressed for his role as griot—a traditional artist who preserves and shares oral history through music, poetry, or storytelling—Boubacar "Badian" Diabaté cradles his Seagull acoustic 12-string. While he also plays 6-string, Diabaté may be one of the finest 12-string acoustic players on the planet.
You'll also hear some unexpected cross-cultural influences on Mande Guitar. "My favorite track is 'Bayini,' which starts with a Mande feel, then jumps into a Spanish flamenco feel," Badian says. "That's to show that Mande music can be fused with any kind of music, because music is universal. But for this record, I wanted to stick mostly to the Mande folklore. You might hear some of that stuff here or there, and on other projects I would bring in a lot more of those influences. But here I went for traditional Mande guitar."
"I wanted to show the world the value of this culture."
Exemplary Technique
In keeping with the traditional right-hand technique of Malian guitar players, Badian plays using his thumb and index finger. This method can look unusual to uninitiated Westerners watching the guitarist use his index finger to pluck in both directions. But Badian plays with an exemplary version of this technique that is impressive and incendiary. "I'm going up and down like a pick," he explains. "The fingernail becomes like a flatpick, and just with the thumb and forefinger I can play four strings. The thumb plays the tonic of the key, which is very defining to the atmosphere of the piece. The thumb's main role is to keep that in the picture at all times. It's not exactly like playing a bass line. Rather, its main role is to emphasize the tonic. However, there are times when the thumb will also contribute to a melody."
TIDBIT: Producer Banning Eyre originally wanted Diabaté to record a solo guitar album, but the guitarist insisted on overdubs and a few duets to add additional colors.
There are a few unusual tunings on Mande Guitar, like F–A–D–G–C–E, but most of the album is in standard tuning, and the album was recorded live with no click track. The only overdubbing was on tracks where Badian accompanied himself.
"The fingernail becomes like a flatpick, and just with the thumb and forefinger I can play four strings. The thumb plays the tonic of the key."
Necessity Is the Mother of Invention
"Right now, I just have two guitars: a 12-string Seagull acoustic and a Steinberger electric," says Badian, whose penchant for headless guitars creates a conundrum of sorts. Double ball strings, as used on the Steinberger and his previous Hohner G3T (which got its neck broken off after being loaned to Badian's brother), are hard to find even in music capitals like New York City and Los Angeles. But where there's a will, there's a way. "Even now, there's no store in Mali where you can buy these kinds of strings. The first thing to do is try to get someone that's going to France to bring you some," explains Badian. "But sometimes I would just make my own double-ball strings. I would cut strings and attach a new ball to them. You take the little ring off another string and wind it very tight."
This Seagull 12-string and Steinberger SS-2F are Badian's only two guitars. Getting strings for the Steinberger is nearly impossible in Mali, so he has them shipped from friends and family in New York or France, or jerry-rigs his own double-ball-end strings.
Badian also sometimes relies on a care package from family for accessories. "I get strings from my brother in New York, and I just use whatever he sends. My preference is medium gauge strings, but I'll work with whatever comes in." His resolve to make any piece of gear work is the antithesis of how GAS-stricken gear nerds roll, and Badian is living proof that tone is, indeed, in the fingers. "When I play a gig, I'll rent an amp, and I'll work with whatever I get. As long as it works, I'll make it sound good."
YouTube It
With transcendent elegance and virtuosity, Boubacar Diabaté, on 12-string, and kora player Ballaké Sissoko team up for a performance at a Parisian festival. Prepare to be blown away by their improvisational genius. It's that simple.
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A mix of futuristic concepts and DeArmond single-coil pickups, the Musicraft Messenger’s neck was tuned to resonate at 440 Hz.
Until its untimely end, Musicraft made roughly 250 Messengers in various configurations: the mono-output Messenger and the flagship Messenger Stereophonic, both of which could come with the “Tone Messer” upgrade, a built-in distortion/fuzz circuit. The company’s first catalog also featured a Messenger Bass, a wireless transmitter/receiver, and various models of its Messenger Envoy amplifier, very few of which have survived, if many were ever made at all.
“To this day, even fans will sometimes call the decision to use DeArmonds the Messenger’s ‘Achilles’ heel.’”
Upon its release, the Messenger was a mix of futuristic concepts and DeArmond single-coil pickups that were more likely to be found on budget instruments than pricier guitars such as these. The Messengers often featured soapbar-style DeArmonds, though some sported a diamond grille. (To this day, even fans will sometimes call the decision to use DeArmonds the Messenger’s “Achilles’ heel.”) The Stereophonic model, like the one featured in this edition of Vintage Vault, could be plugged into a single amplifier as normal, or you could split the bridge and neck pickup outputs to two separate amps.
One of the beloved hallmarks of the guitars are their magnesium-aluminum alloy necks, which continue as a center block straight through the tailpiece, making the guitars relatively lightweight and virtually immune to neck warping, while enhancing their playability. Thanks to the strength of that metal-neck design, there’s no need for a thick heel where it meets the body, granting unprecedented access to the higher end of the fretboard.
This Stereophonic model could be plugged into a single amplifier as normal, or you could split the bridge and neck pickup outputs to two separate amps.
The neck was apparently also tuned to have a resonant frequency of 440 Hz, which, in all honesty, may be some of that 1967 “whoa, man” marketing continuing on through our modern-day guitar discourse, where this fact is still widely repeated on forums and in YouTube videos. (As one guitar aficionado to the next, what does this even mean in practice? Would an inaudible vibration at that frequency have any effect at all on the tone of the guitar?)
In any event, the combination of that metal center block—resonant frequency or not—the apple-shaped hollow wooden body of the guitar, and the cat’s-eye-style “f-holes” did make it prone to gnarly fits of feedback, especially if you engaged the Tone Messer fuzz and blasted it all through the high-gain amp stacks favored by the era’s hard rockers.
The most famous devotee of the Messenger was Grand Funk Railroad’s Mark Farner, who used the guitar—and its Tone Messer circuitry—extensively on the group’s string of best-selling records and in their defining live shows, like the Atlanta Pop Festival 1970 and their sold-out run at New York’s Shea Stadium in 1971. But even Farner had some misgivings.
The Messengers often featured soapbar-style DeArmonds, though some sported a diamond grille.
In a 2009 interview, he talked about his first test-run of the guitar: “After I stuffed it full of foam and put masking tape over the f-holes to stop that squeal, I said, ‘I like it.’” He bought it for $200, on a $25-per-pop installment plan, a steal even at the time. (He also made it over with a psychedelic paint job, befitting the era, and experimented with different pickups over the years.)
When these guitars were new in 1967, the Messenger Stereophonic in morning sunburst, midnight sunburst, or mojo red would have run you $340. By 1968, new stereo models started at $469.50. Recent years have seen prices for vintage models steadily increase, as the joy of this rarity continues to thrill players and collectors. Ten years ago, you could still get them for about $1,500, but now prices range from $3,000 to $6,000, depending on condition.
Our Vintage Vault pick today is listed on Reverb by Chicago’s own SS Vintage. Given that it’s the stereo model, in very good condition, and includes the Tone Messer upgrade, its asking price of $5,495 is near the top-end for these guitars today, but within the usual range. To those readers who appreciate the vintage vibe but don’t want the vintage price tag, Eastwood Guitars offers modern reissues, and eagle-eyed buyers can also find some very rare but less expensive vintage MIJ clones made in the late ’60s and early ’70s.
Sources: Reverb listing from SS Vintage, Reverb Price Guide sales data, Musicraft July 1, 1967 Price Schedule, 1968 Musicraft Catalog, Chicago Music Exchange’s “Uncovering The Secret Sounds of the 1967 Musicraft Messenger Guitar,” MusicPickups.com article on the Messenger.Submarine Pickups boss Pete Roe at his workstation.
Still, we think we know what pickups should sound and look like. Lucky for us, there have always been plenty of pickup builders who aren’t so convinced. These are the makers who devised the ceramic-magnet pickup, gold-foils, and active, high-gain pickups. In 2025, nearly 100 years after the first pickup bestowed upon a humble lap-steel guitar the power to blast our ears with soundwaves, there’s no shortage of free-thinking, independent wire-winders coming up with new ways to translate vibrating steel strings into thrilling music.
Joe Naylor, Chris Mills, and Pete Roe are three of them. As the creative mind behind Reverend Guitars, Naylor developed the Railhammer pickup, which combines both rail and pole-piece design. Mills, in Pennsylvania, builds his own ZUZU guitars with wildly shaped, custom-designed pickups. And in the U.K., Roe developed his own line of hexaphonic pickups to achieve the ultimate in string separation and note definition. All three of them told us how they created their novel noisemakers.
Joe Naylor - Railhammer Pickups
Joe Naylor, pictured here, started designing Railhammers out of personal necessity: He needed a pickup that could handle both pristine cleans and crushing distortion back to back.
Like virtually all guitar players, Joe Naylor was on a personal tone quest. Based in Troy, Michigan, Naylor helped launch Reverend Guitars in 1996, and in the late ’90s, he was writing and playing music that involved both clean and distorted movements in one song. He liked his neck pickup for the clean parts, but it was too muddy for high-gain playing. He didn’t want to switch pickups, which would change the sound altogether.
He set out to design a neck pickup that could represent both ends of the spectrum with even fidelity. That led him to a unique design concept: a thin, steel rail under the three thicker, low-end strings, and three traditional pole pieces for the higher strings, both working with a bar magnet underneath. At just about a millimeter thick, rails, Naylor explains, only interact with a narrow section of the thicker strings, eliminating excess low-end information. Pole pieces, at about six millimeters in diameter, pick up a much wider and less focused window of the higher strings, which works to keep them fat and full. “If you go back and look at some of the early rail pickups—Bill Lawrence’s and things like that—the low end is very tight,” says Naylor. “It’s almost like your tone is being EQ’d perfectly, but it’s being done by the pickup itself.”
That idea formed the basis for Railhammer Pickups, which began official operations in 2012. Naylor built the first prototype in his basement, and it sounded great from the start, so he expanded the format to a bridge pickup. That worked out, too. “I decided, ‘Maybe I’m onto something here,’” says Naylor. Despite the additional engineering, Railhammers have remained passive pickups, with fairly conventional magnets—including alnico 5s and ceramics—wires, and structures. Naylor says this combines the clarity of active pickups with the “thick, organic tone” of passive pickups.
“It’s almost like your tone is being EQ’d perfectly, but it’s being done by the pickup itself.” —Joe Naylor
The biggest difficulty Naylor faced was in the physical construction of the pickups. He designed and ordered custom molds for the pickup’s bobbins, which cost a good chunk of money. But once those were in hand, the Railhammers didn’t need much fiddling. Despite their size differences, the rail and pole pieces produce level volume outputs for balanced response across all six strings.
Naylor’s formula has built a significant following among heavy-music players. Smashing Pumpkins’ Billy Corgan is a Railhammer player with several signature models; ditto Reeves Gabrels, the Cure guitarist and David Bowie collaborator. Bob Balch from Fu Manchu and Kyle Shutt from the Sword have signatures, too, and other players include Code Orange’s Reba Meyers, Gogol Bordello’s Boris Pelekh, and Voivod’s Dan “Chewy” Mongrain.
Chris Mills - ZUZU Pickups
When Chris Mills started building his own electric guitars, he decided to build his own components for them, too. He suspected that in the course of the market’s natural thinning of the product herd, plenty of exciting options had been left unrealized. He started working with non-traditional components and winding in non-traditional ways, which turned him on to the idea that things could be done differently. “I learned early on that there are all kinds of sonic worlds out there to be discovered,” says Mills.
Eventually, he zeroed in on the particular sound of a 5-way-switch Stratocaster in positions two and four: Something glassy and clear, but fatter and more dimensional. In Mills’ practice, “dimensional” refers to the varying and sometimes simultaneous sound qualities attained from, say, a finger pad versus a fingernail. “I didn’t want just one thing,” says Mills. “I wanted multiple things happening at once.”
Mills wanted something that split the difference between a humbucker’s fullness and the Strat’s plucky verve, all in clean contexts. But he didn’t want an active pickup; he wanted a passive, drop-in solution to maximize appeal. To achieve the end tone, Mills wired his bobbins in parallel to create “interposed signal processing,” a key piece of his patented design. “I found that when I [signal processed] both of them, I got too much of one particular quality, and I wanted that dimensionality that comes with two qualities simultaneously, so that was essential,” explains Mills.
Mills loved the sound of alnico 5 blade magnets, so he worked with a 3D modeling engineer to design plastic bobbins that could accommodate both the blades and the number of turns of wire he desired. This got granular—a millimeter taller, a millimeter wider—until they came out exactly right. Then came the struggle of fitting them into a humbucker cover. Some key advice from experts helped Mills save on space to make the squeeze happen.
Mills’ ZUZUbuckers don’t have the traditional pole pieces and screws of most humbuckers, so he uses the screw holes on the cover as “portholes” looking in on a luxe abalone design. And his patented “curved-coil” pickups feature a unique winding method to mix up the tonal profile while maintaining presence across all frequencies.
“I learned early on that there are all kinds of sonic worlds out there to be discovered.” —Chris Mills
Mills has also patented a single-coil pickup with a curved coil, which he developed to get a different tonal quality by changing the relative location of the poles to one another and to the bridge. Within that design is another patented design feature: reducing the number of turns at the bass end of the coil. “Pretty much every pickup maker suggests that you lower the bass end [of the pickup] to compensate for the fact that it's louder than the treble end,” says Mills. “That'll work, but doing so alters the quality and clarity of the bass end. My innovation enables you to keep the bass end up high toward the strings.”
Even Mills’ drop-in pickups tend to look fairly distinct, but his more custom designs, like his curved-coil pickup, are downright baroque. Because his designs don’t rely on typical pickup construction, there aren’t the usual visual cues, like screws popping out of a humbucker cover, or pole pieces on a single-coil pickup. (Mills does preserve a whiff of these ideals with “portholes” on his pickup covers that reveal that pickup below.) Currently, he’s excited by the abalone-shell finish inserts he’s loading on top of his ZUZUbuckers, which peek through the aforementioned portholes.
“It all comes down to the challenge that we face in this industry of having something that’s original and distinctive, and also knowing that with every choice you make, you risk alienating those who prefer a more traditional and familiar look,” says Mills.
Pete Roe - Submarine Pickups
Roe’s stick-on Submarine pickups give individual strings their own miniature pickup, each with discrete, siloed signals that can be manipulated on their own. Ever wanted to have a fuzz only on the treble strings, or an echo applied just to the low-register strings? Submarine can achieve that.
Pete Roe says that at the start, his limited amount of knowledge about guitar pickups was a kind of superpower. If he had known how hard it would be to get to where he is now, he likely wouldn’t have started. He also would’ve worked in a totally different way. But hindsight is 20/20.
Roe was working in singer-songwriter territory and looking to add some bass to his sound. He didn’t want to go down the looping path, so he stuck with octave pedals, but even these weren’t satisfactory for him. He started winding his own basic pickups, using drills, spools of wire, and magnets he’d bought off the internet. Like most other builders, he wanted to make passive pickups—he played lots of acoustic guitar, and his experiences trying to find last-minute replacement batteries for most acoustic pickups left him scarred.
Roe started building a multiphonic pickup: a unit with multiple discrete “pickups” within one housing. In traditional pickups, the vibration from the strings is converted into a voltage in the 6-string-wide coils of wire within the pickup. In multiphonic pickups, there are individual coils beneath each string. That means they’re quite tiny—Roe likens each coil to the size of a Tylenol pill. “Because you’re making stuff small, it actually works better because it’s not picking up signals from adjacent strings,” says Roe. “If you’ve got it set up correctly, there’s very, very little crosstalk.”
With his Submarine Pickups, Roe began by creating the flagship Submarine: a quick-stick pickup designed to isolate and enhance the signals of two strings. The SubPro and SubSix expanded the concept to true hexaphonic capability. Each string has a designated coil, which on the SubPro combine into four separate switchable outputs; the SubSix counts six outputs. The pickups use two mini output jacks, with triple-band male connectors to carry three signals each. Explains Roe: “If you had a two-channel output setup, you could have E, A, and D strings going to one side, and G, B, and E to the other. Or you could have E and A going to one, the middle two strings muted, and the B and E going to a different channel.” Each output has a 3-position switch, which toggles between one of two channels, or mute.
“I’m just saying there’s some unexplored territory at the beginning of the signal chain. If you start looking inside your guitar, then it opens up a world of opportunities.” —Pete Roe
This all might seem a little overly complicated, but Roe sees it as a simplification. He says when most people think about their sound, they see its origin in the guitar as fixed, only manipulatable later in the chain via pedals, amp settings, or speaker decisions. “I’m not saying that’s wrong,” says Roe. “I’m just saying there’s some unexplored territory at the beginning of the signal chain. If you start looking inside your guitar, then it opens up a world of opportunities which may or may not be useful to you. Our customers tend to be the ones who are curious and looking for something new that they can’t achieve in a different way.
“If each string has its own channel, you can start to get some really surprising effects by using those six channels as a group,” continues Roe. “You could pan the strings across the stereo field, which as an effect is really powerful. You suddenly have this really wide, panoramic guitar sound. But then when you start applying familiar effects to the strings in isolation, you can end up with some really surprising textural sounds that you just can’t achieve in any other way. You can get some very different sounds if you’re applying these distortions to strings in isolation. You can get that kind of lead guitar sound that sort of cuts through everything, this really pure, monophonic sound. That sounds very different because what you don’t get is this thing called intermodulation distortion, which is the muddiness, essentially, that you get from playing chords that are more complex than roots and fifths with a load of distortion.” And despite the powerful hardware, the pickups don’t require any soldering or labor. Using a “nanosuction” technology similar to what geckos possess, the pickups simply adhere to the guitar’s body. Submarine’s manuals provide clear instruction on how to rig up the pickups.
“An analogy I like to use is: Say you’re remixing a track,” explains Roe. “If you get the stems, you can actually do a much better job, because you can dig inside and see how the thing is put together. Essentially, Submarine is doing that to guitars. It’s allowing guitarists and producers to look inside the instrument and rebuild it from its constituent parts in new and exciting ways.”
In continued support of their 3x GRAMMY-nominated album Dark Matter, Pearl Jam will be touring select U.S. cities in April and May 2025.
Pearl Jam’s live dates will start in Hollywood, FL on April 24 and 26 and wrap with performances in Pittsburgh, PA on May 16 and 18. Full tour dates are listed below.
Support acts for these dates will be announced in the coming weeks.
Tickets for these concerts will be available two ways:
- A Ten Club members-only presale for all dates begins today. Only paid Ten Club members active as of 11:59 PM PT on December 4, 2024 are eligible to participate in this presale. More info at pearljam.com.
- Public tickets will be available through an Artist Presale hosted by Ticketmaster. Fans can sign up for presale access for up to five concert dates now through Tuesday, December 10 at 10 AM PT. The presale starts Friday, December 13 at 10 AM local time.
earl Jam strives to protect access to fairly priced tickets by providing the majority of tickets to Ten Club members, making tickets non-transferable as permitted, and selling approximately 10% of tickets through PJ Premium to offset increased costs. Pearl Jam continues to use all-in pricing and the ticket price shown includes service fees. Any applicable taxes will be added at checkout.
For fans unable to use their purchased tickets, Pearl Jam and Ticketmaster will offer a Fan-to-Fan Face Value Ticket Exchange for every city, starting at a later date. To sell tickets through this exchange, you must have a valid bank account or debit card in the United States. Tickets listed above face value on secondary marketplaces will be canceled. To help protect the Exchange, Pearl Jam has also chosen to make tickets for this tour mobile only and restricted from transfer. For more information about the policy issues in ticketing, visit fairticketing.com.
For more information, please visit pearljam.com.