
"'If I fall and somehow my career ends on that particular day, then so be it," Joe Bonamassa says of his new hobby, bicycling. "If it's over, it's over. You've got to enjoy your life."
For his stylistically diverse new album, the fiery guitar hero steps back from his gear obsession and focuses on a deep pool of influences and styles.
Twenty years ago, Joe Bonamassa was a struggling musician living in New York City. He survived on a diet of peanut butter and jelly sandwiches and ramen noodles that he procured from the corner bodega at Columbus Avenue and 83rd Street. Like many dreamers waiting for their day in the sun, Joe also played "Win for Life" every week. It was, in his words, "literally my ticket out of this hideous business." While the lottery tickets never brought in the millions, Joe's smokin' guitar playing on a quartet of albums from 2002 to 2006—So, It's Like That, Blues Deluxe, Had to Cry Today, and You & Me—did get the win, transforming Joe into a guitar megastar.
Since achieving fame and fortune, Joe has spent most of his time in his various residences across the country. He's got Nerdville in sunny California and Nerdville East in Nashville. Both are almost-literal museums that house Joe's arguably unmatched collection of vintage guitars and amps. You will be very hard pressed to come across a finer collection. Yet in 2019, Joe found himself drawn back to New York City.
Joe Bonamassa - "Time Clocks" - Official Music Video
"It's a mid-life crisis. I always wanted to go back to where I lived 20 years ago, but not have to worry about hustling down sessions and gigs to make the rent every month," he says. "For as cool and exciting of a time as it was, it was also a very stressful time. I had this thing in my mind where I just wanted to be able to enjoy New York City and not have the stress of, 'Oh shit, it's either a subway ticket or ramen noodles tonight.'"
In February 2021, Joe went to Germano Studios in Manhattan's NoHo neighborhood to record Time Clocks, aka "The New York Album." Because of the pandemic, this recording session was like no other Joe had been involved with. Kevin "the Caveman" Shirley, Joe's longtime producer, was stuck in Australia due to strict COVID travel restrictions. The two have had a long working relationship and they've been inseparable for most of Joe's career. Shirley produced the guitarist's fifth studio album, You & Me, and has since produced over 30 of Joe's subsequent projects. So, when it came time to record Time Clocks—travel restrictions be damned—they found a way to work together. "We recorded it virtually with Zoom and some other technology where my producer in Australia could get the actual tracks from the session in real time or with about a second latency," says Joe. "It was totally fine. It was an odd record to make because of what we were doing, but it was also an odd time. So, why should anything be normal anymore?"
"I just wanted to be able to enjoy New York City and not have the stress of, 'Oh shit, it's either a subway ticket or ramen noodles tonight.'"
Even with the differences in time zones (Sydney, Australia, is 16 hours ahead of New York City), they found a way to make it work. "We would get there about noon. Kevin's an early riser so he would get to his studio, which is by his house in Sydney, by about 2 a.m. So, we would go from about noon to 6 or 7 at night, and he would go from 2 to 9 a.m., and then take naps."
Time Clocks is full of unexpected twists. It was recorded live as a trio with drummer Anton Fig and bassist Steve Mackey, and then other parts were layered in. The album has a diversity of sounds that belie Joe's blues categorization. "Notches" opens with an Ali Farka Touré-inspired 12-string riff, "Time Clocks" has a country-esque, Americana vibe, and "Curtain Call" is an homage to Led Zeppelin. "My ADD transcends into my musical life. It's a very different record for me. It's not a blues record, for sure. I just try to make records that don't bore me all the way through—we've got this groove covered, we've got that groove covered, let's put a sorbet in, something out of left field," says Joe.
TIDBIT: Bonamassa's longtime producer, Kevin Shirley, had his hands on the wheel again, but remotely. He produced from Sydney, Australia, while the band recorded live on the floor in New York City.
"Some people think that all I do is play blues. I don't just play blues. I play whatever. We've all been in this game for a long time where we can adapt to any musical situation. It's fun. Every once in a while, I'll go sit in with friends. I just sat in with Nir Felder [at NYC's famed 55 Bar]. If I sit in with Nir, I'll be like, 'When these chord changes get too fucking adult for me, I'm bailing.' You just know your strengths and your weaknesses."
For the Time Clocks sessions, Joe used a much leaner gear selection than you might expect, especially given his cavernous collection. "In New York City, you go with what you got. There were only three amps. I had a [JB signature] high-powered Twin sent from our inventory that's still in the spare bedroom in the apartment. I ended up using two Deluxes. I had one Deluxe Reverb and one brown Deluxe," says Joe. We wonder if Joe was referring to a reissue Deluxe Reverb that might have happened to be at the studio, or one of his rare closet classics. He immediately snaps, "Think about that critically and ask yourself again, 'Who are you talking to?'" Point taken, Joe!
Joe Bonamassa’s Gear on Time Clocks
“I’m not going to live my life in indentured servitude to the fucking guitar.”
Guitars
Strings
- Ernie Ball Burly Slinkys (.011–.052; .011–.056 on down-tuned guitars)
Amps
- Fender black-panel Deluxe Reverb
- Fender brown-panel Deluxe
- '59 Fender Twin-Amp JB Edition
Effects
- Klon Centaur
- Dunlop Joe Bonamassa Signature Wah
"When I was a kid, I had a black [panel] Deluxe Reverb. I think this is probably one of the ones that I had for 25 years," he clarifies. "The black and brown circuits are totally different, so you get that kind of sweet/salt mix. The brown Deluxe does the real thick midrange stuff and the black does the low and the high. That's kind of always been my M.O. It's never just one amp. You're mid-stacking with amps that don't necessarily do the same thing. The bigger, thicker tones you hear on the solo, that's the high-powered Twin. The more jangly stuff was the Deluxes."
"'When these chord changes get too adult for me, I'm bailing.' You just know your strengths and your weaknesses."
Joe also only used a handful of guitars on Time Clocks. "I don't keep a lot of guitars here," he says. "All I had was a Les Paul, a Strat, a 335, a Rickenbacker 12-string, an old bass from the movie Spinal Tap, the one that Nigel kept telling Rob Reiner not to touch—I actually own that one. But it was less than six guitars. I also used a Martin acoustic. All the acoustic stuff was done with one acoustic.
A recent snapshot of Bonamassa's pedalboard.
"In Nashville, I have all my road guitars, but to be honest with you, over the years I've never gotten into this thing where you bring 50 guitars and use five. I did that a long time ago. It's nothing but a photo op. Most of the time I bring a Whitman's Sampler of what I think would work. The days of humping in 50 guitars and setting up six racks of them and going, 'Look what I got'—that's a young man's game. That's for somebody in their 30s."
"I've been playing guitar and cranking amps for 40 years. Do you know the two things that prompt me to run away? Loud music and crowds. It's a paradox, I know."
Joe's newfound minimalism goes hand in hand with living in a New York City apartment, where even playing with an amp on 1 will get you the "broomstick on a ceiling" retaliation. "I've been playing guitar and cranking amps for 40 years. Do you know the two things that prompt me to run away? Loud music and crowds. It's a paradox, I know," he says. "So, when I'm at home and I'm enjoying a very quiet Sunday afternoon, I have zero, absolutely zero, desire to crank an amp. And I have zero-plus-5-percent desire to sometimes even practice on a given day. It gives you a break. It's important to be good at your job on a given day. It's important to also step away and give yourself some perspective, so you're not so consumed by it."
Rig Rundown - Joe Bonamassa [2018]
Every aspiring guitarist—no matter the genre—longs for their day in the spotlight. They too want to be a guitar god and inspire thousands of players and listeners, just like Joe. But what does it feel like on the other side—when you actually win?
The guitarist onstage with his frequent on-tour sparring partner in recent years, bass giant Michael Rhodes.
Photo by Debi Del Grande
"Then a whole 'nother set of circumstances come into play," he says. "It's managing time, managing your energy. It's also trying to keep in perspective what is it that you really do, because sometimes life comes at you twice as fast as it used to. All my energy is dedicated to the fans that keep me in business and come time and time again. That is 100 percent my biggest priority. When distractions and other things come into play that tend to take energy away from what you're supposed to be doing, that's the challenge. I realize I'm a very fortunate person, but I don't make any apologies for it, because, to be honest with you, that's what everybody strives for. Why should I apologize for working hard? I always tell people it's easy to dismiss, hard to replicate. If it was easy, as some claim, then it would be as easy as starting a TikTok. If it was that easy, then anybody could do it. But to be honest with you, anybody can do it. You've got to have the intestinal fortitude and the drive, and the ability to stick it out through thick and thin."
Bonamassa cradles his famed 1959 Les Paul Standard, Lazarus. The guitar was recreated for a limited-edition issue via Epiphone this year.
Older and wiser at 44, Joe, who started performing onstage at age 12, has now found time to explore other things in life besides guitar. He indulges in Law and Order marathons, is on an excruciatingly strict diet with Diet Coke as his only vice, and has found a new passion in cycling. He'll just as likely post details of his Central Park bike excursions on Instagram as he would another guitar-safari vintage find. Even with the potential danger of a career-ending fall, Joe, much like the late Allan Holdsworth—who was also an avid cyclist—is willing to chance it. "If I fall and somehow my career ends on that particular day, then so be it," he says. "I'm not going to live my life in indentured servitude to the fucking guitar. If it's over, it's over. You've got to enjoy your life."
Joe Bonamassa & Tina Guo - "Woke Up Dreaming" - Live At Carnegie Hall
Joe Bonamassa is labeled a blues guitarist, but anyone that's heard him knows that he brings a huge diversity of stylistic elements to the genre. In this breathtaking, hyper-speed duo, Joe's right hand is like an unstoppable machine that keeps the intensity of the performance alive for over 6 minutes.
- Joe Bonamassa: “People Don't Think I'm Self-Aware” - Premier Guitar ›
- Rig Rundown: Joe Bonamassa [2018] - Premier Guitar ›
- Beyond Blues: Eric Johnson vs. Joe Bonamassa - Premier Guitar ›
- Joe Bonamassa Rig Rundown Guitar Tour at the Ryman with John Bohlinger - Premier Guitar ›
Montana’s own Evel Knievel
If artists aren’t allowed to take risks, and even fail, great art will never be made. Need proof? Check Picasso, Hendrix, Monk, and Led Zeppelin.
In sixth grade, I went to a strict Catholic school. When you have an Italian-Irish mother, that’s just part of the deal. The nuns had the look and temperament of the defensive line of the ’70s Oakland Raiders. Corporal punishment was harsh, swift, and plentiful–particularly toward boys—and we all feared them. All but one second grader. I can’t remember his first name; nobody used it, because his last name was Knievel. His uncle was Evel Knievel, the greatest and perhaps only celebrity ever to come from my home state, Montana. On the playground, we would watch in awe as this wild Knievel kid raced by us, nuns chasing in an awkward, sluggish pursuit as he knocked kids over, dust, books, and gravel flying behind his path of terror. This kid was fearless. It was truly inspiring to watch.
I hadn’t thought about my schoolmate for decades, until recently, when I saw Dave Chappelle talking about a terrible show he had in Detroit where the audience rebelled against him and began chanting, “We want our money back. We want our money back.” Chappelle told the angry mob: “Good people of Detroit. Hear me now. You are never getting your f*****g money back. I’m like Evel Knievel. I get paid for the attempt. I didn’t promise this shit would be good.”
Good art is a gamble. Look at Picasso. In 1907, he spent nearly a year drawing rough sketches and eventually painting his jagged, raw, unpretty Les Demoiselles d’Avignon. Picasso kept Les Demoiselles d’Avignon in his Montmartre, Paris, studio for years after its completion due to the mostly negative reaction of his immediate circle of friends and colleagues. After its first public showing in 1916, critics were hostile. Today, the painting is hailed as a pivotal moment in art history—the first true work of both Cubism and modern art. Many argue that the 20th century began culturally in 1907, with this painting that today hangs in the Museum of Modern Art in New York. Picasso wasn’t paid to make folks comfy; he got bank for shoving boundaries.
Similarly, I remember my sister and I watching a clip of Hendrix’s feedback-drenched “Star-Spangled Banner” at Woodstock. I couldn’t really process it at the time, but I knew I was watching something that had never been done. When he got to the “bombs bursting in air” part, it sounded like a barrage of explosions. Then, he references the mournful military bugle call “Taps,” played on bases at the end of each day and at funerals. My sister was offended. When I asked why, she said it was “unpatriotic.” I watch it now and I see a Black Army veteran who justifiably had a complex relationship with the country he had served. Martin Luther King was assassinated a year earlier, police brutality toward Black citizens was common. Black Americans were disproportionately stuck in low-wage jobs, and unemployment rates for Black workers were roughly double those of white workers. And although Hendrix was discharged, many of his Army buddies were overseas fighting a war they did not understand or support. So, yes, unpatriotic seems appropriate. But Hendrix’s performance was iconic because he dared to try to show his complex feelings through his guitar.“That’s the sweet spot: Fearless doesn’t mean flawless.”
Listen to Led Zeppelin’s groundbreaking “Black Dog.” The B section is so wonky, sticking out like a sore thumb with that weird timing that always feels wrong to me, but it would not be the rock masterpiece it is without that unsettling section. Maybe that’s the sweet spot: Fearless doesn’t mean flawless. Thelonious Monk’s janky genius proves that; those off-kilter notes hit you in the gut, not the head. Beck, Bowie, Coltrane… they didn’t polish away the edges; they leaned into them. That’s what makes you feel like a kid at an amusement park, wide-eyed and along for the ride.
When somebody hires me, they get what they get. I want to nail it, but art is subjective, so my idea of what feels right may not jibe with theirs. Humans are not great at communicating, so often I walk away from sessions and gigs wondering if my contribution was good, great, or garbage. But that’s a stupid question I try not to allow myself to indulge. You can’t do great work playing scared. There are times when music is not creative, just painting by numbers, trying to give the customer what they think they want. I do a lot of that to make a living, but that’s more like being a vending machine spitting out custom orders, not an artist.
Real artists are like that Knievel kid—leaving a trail of chaos, and not apologizing for it. I think artists who do it the best flip the script. Their audience isn’t just a judge, but a co-conspirator in the mess. They’re betting on the artist’s next move, not buying a finished product. They’re paying for the front-row seat to potential, not a flawless show. The paycheck was for the swing, not the home run. If the audience pays for “enjoyment” that turns artists into jukeboxes, not creators… if artists aren’t free to fail… innovation dies.
Stringjoy has introduced the Ariel Posen Signature String Set, a heavy-gauge Nickel Wound set designed in close collaboration with acclaimed slide guitarist and singer-songwriter Ariel Posen.
The Ariel Posen Signature String Set from Stringjoy
Ideal for B Standard, Open C, and other lower tunings, this set offers exceptional tone and feel for players who want to explore new sonic territory while maintaining their guitar's unique voice.
Each string in this set is built with Stringjoy’s trademark quality: wound at tension with high compression winds for maximum output, durability, and smooth playability. The result? Strings that hold up under pressure while delivering a natural, expressive voice—perfect for hybrid playing and expressive slide work.
Ariel Posen Signature Set Specs:
• .014 – .018p – .026w – .038 – .050 – .062
• Wound 3rd string
“If you didn’t know these were 14-62 gauges, you’d swear they were just 11s tuned down,” said Ariel Posen. “They feel like home and preserve the sound of the guitar, even in lower tunings. That’s the biggest thing—it still sounds like guitar.”
“We’ve spent ten years experimenting and testing together to find the right combination,” said Scott Marquart, Stringjoy Founder & President. “This release is more than just a new product—it’s the culmination of a shared journey between friends and musicians. Ariel’s set is uniquely him, and I think players will love how it feels and responds.”
Stringjoy’s Ariel Posen signature string set carry a street price of $13.99. Learn more at at stringjoy.com.
Kemper updated the entire product range introducing the all-new Kemper Profiler MK 2 Series. More Power. More Flexibility.
KEMPER PROFILER - The all-new PROFILER MK 2 Series
Kemper today announces the immediate availability of the all-new KEMPER PROFILER MK 2 Series. Kemper continues to raise the bar with the upcoming Profiler MK 2 Series — a bold evolution of the Profiler lineup (All PROFILERs: Head, Rack, Stage, the Player, and the powered versions), delivering more power, more flexibility, and more creative potential than ever before.
At the heart of the PROFILER MK 2 Series works an upgraded processing engine, unlocking faster performance, with boot times clocking in around 20 seconds, and a host of new features that expand the boundaries of what a modern guitar or bass rig can do.
A New Era of Effects:
20 Blocks in Series, the most powerful effects architecture ever found in a Kemper unit - The PROFILER MK 2 Series now offers seven additional effect blocks, raising the total number of simultaneous audio effect blocks to an incredible 20 — all running with zero added signal latency. It’s like having an entire, fully integrated pedalboard with pedal essentials at your feet — but one that boots in seconds, never needs rewiring, and always remembers your settings.
A new Era of Profiling:
Kemper announces a new profiling technology for the MK 2 series. Availabilty is expected during Summer. Currently in extended testing with some selected third-party profile vendors the new profiling offers:
- More than 100,000 individual frequency points meticulously analyzed for the most precise amp recreation ever achieved.
- Next-Level Speaker & Dynamically adjustable Cabinet Resonance – Capturing the true dynamics of your setup with the longest and most complex impulse responses in the industry.
- Liquid Profiling Technology – Seamlessly integrate the original amp’s gain and tone controls, transforming a single profile into a fully dynamic, living amplifier.
- Unparalleled Precision & Feel – A cutting-edge hybrid approach combining precise, deterministic analog measurement with Kemper’s industry-leading profiling intelligence.
Overview - All that’s new in the PROFILER MK 2 in more Detail:
All-New FX Section – 7 Additional FX Slots - ThePROFILER MK 2-Series introduces an expanded FX section with seven dedicated “pedalboard essential” FX slots, featuring: A new second Noise Gate (Palm Ninja), Compressor, Pure Booster, WahWah, Vintage Chorus, Air Chorus, and Double Tracker.
Adding these to the pre-existing 10 audio blocks, Spectral Noise Gate, Transpose Effect, and Volume Pedal - in total this provides users with 20 simultaneous audio effect blocks, setup gig-ready right out of the box while maintaining full flexibility for customization.
This new layout makes it convenient to cover all the bases and offers 8 flexible FX blocks available for the acclaimed tone shapers and studio-grade unique FX the KEMPER PROFILER is famous for.
Performance Meets Portability - With a smarter internal design and new lightweight aluminum components, the Profiler Stage Mk 2 has shed excess weight — making it even more gig-friendly without sacrificing the tank-like build quality musicians rely on. Whether for touring the world or heading to a local session, this is the most travel-ready full-featured Profiler yet.
Mk 2-ready Player! - For all guitarists and bassists already rocking the compact PROFILER Player, there is good news: it’s been “MK 2”-ready from day one, meaning it’s fully aligned with the power and potential of the new series, and now, on LVL 1 already, it features 16 simultaneous FX in total. This new extended signal flow becomes available for all Player owners as a free update, and yes, it will get Profiling, too. Making the PROFILER Player out of the box the features richest and most professional performance and recording solution - with its travel-friendly footprint and convenient price point!
8-Channel USB Audio Support for the new Mk 2-Series - Native 8-channel USB audio support to all KEMPER PROFILER MK 2 Series units, enabling seamless multitrack recording and reamping directly into your DAW – no external interface required.
Loop Longer, Play Harder - The integrated Looper also gets a serious upgrade. With up to two full minutes of recording time, the MK 2 Series lets you capture extended phrases, build layered soundscapes, or craft entire performances — all on the fly. (Looper available from LVL 3 for the Player)
Speed and Responsiveness Upgrades - Major improvements under the hood. Boot times, preset switching, and UI responsiveness are noticeably faster and smoother, especially in Performance Mode.
Christoph Kemper, Founder & CEO:
“The new PROFILER MK 2-Series makes the PROFILERs feel more like a complete rig than ever before. With instant access to essential FX, full USB audio integration, and improved playability, we’re giving our users a platform that adapts and grows with them.”
Pricing & Availability:
The new KEMPER PROFILER MK 2 Series models are available now from dealers worldwide and directly from the Kemper Online Store. All the new features require a KEMPER PROFILER MK 2 Series device. Visit www.kemper-amps.com for downloads and release notes.
PROFILER Head $1,348.00
PROFILER Rack $1,398.00
PROFILER Stage $1,498.00
PROFILER Player $ 699.00
PROFILER PowerHead $1,798.00
PROFILER PowerRack $1,798.00
PROFILER Remote $ 469.00
At a glance!
The Kemper Profiler MK 2 Series isn’t just about doing more. It’s about doing it better, faster, and without compromise. With unmatched tonal power, surgical precision, and effortless usability, this is the most complete and forward-thinking Profiler platform yet.
The Billy Idol guitarist rides his Knaggs into Nashville.
There’s nothing subtle about Billy Idol, so it tracks that there’d be nothing subtle about the guitars used onstage by his longtime guitarist, Steve Stevens. Famous for his guitar work with Idol and the Grammy-winning symphony of sustain “Top Gun Anthem,” Stevens brought a brigade of eye-popping signature electrics and some choice other jewels out on the road with Idol this spring.
The tour touched down at Bridgestone Arena in downtown Nashville in May, and while Stevens was jetting into town, PG’s John Bohlinger met up with tech and guitar builder Frank Falbo to learn the ins and outs of Stevens’ rig.
Brought to you by D’Addario
Cherry Pie
This cherryburst is one of a score of single-cut Knaggs Steve Stevens signature models in Stevens’ arsenal. He plays with heavier Tortex picks and uses Ernie Ball strings, usually .010–.048s.
More, More, More (Sustain)
This Knaggs Steve Stevens Severn XF, complete with a Sustainiac pickup system, was designed to mimic the look of one of his old guitars, and the stage lights make this finish go insane. It comes out for three to four songs in any given set, including “Rebel Yell.”
Songs from the Sparkle Lounge
This Knaggs Steve Stevens, finished in silver sparkle, is outfitted with a killswitch, push-pull control knobs, and Fishman Fluence pickups. Falbo was on the R&D team that helped design the Fluences.
Other guitars backstage include a red sparkle Knaggs with PAFs, a Godin LGXT with piezo saddles and Seymour Duncan pickups that sends three signals (synth, electric, and piezo), a pair of piezo- and MIDI-equipped Godin nylon-string guitars, a dazzling Gibson Les Paul with stock Gibson pickups, a Suhr T-style electric, and a Ciari Ascender for travel and dressing-room rehearsal.
Tube Heart, Digital Brains
Stevens runs through a pair of Friedman heads—a B100 and Steve Stevens SS100, plus a third backup—with each panned hard to either the left or right. Both signals run through a Neve 8803 rack EQ into two RedSeven Amplification Amp Central Evo loadboxes, and through their impulse response programs to front of house. A Neural Quad Cortex is on hand as a backup and for fly dates.
Steve Stevens’ Pedalboard
Stevens’ pedal playground is masterminded by an RJM Mastermind GT, which lives on its own board alongside a Fractal FM3 MK II. He orchestrates most of the changes himself, but Falbo is ready to flip switches backstage in case Stevens is away from his board for a key moment.
The centre hub, built on a Tone Merchants board, carries a TC Electronic PolyTune2 Noir, Xotic Effects Super Sweet Booster, Vox wah, Ernie Ball volume pedal, Mission Engineering expression pedal, DigiTech Whammy Ricochet, Suhr Discovery, JHS Muffuletta, DigiTech Drop, ISP DECI-MATE, Walrus Voyager, Suhr Koji Comp, Zvex Super Ringtone, DryBell Vibe Machine, and Ammoon EX EQ7. An Ebtech Hum Eliminator, two Strymon Ojais, and a Strymon Zuma keep the wheels greased.
The board to the right carries a Boss RV-500, Fender Smolder Acoustic OD, Lehle Dual Expression, Boss GM-800, Empress Bass Compressor, Grace Design ALiX preamp, Fishman Aura, and a Peterson tuner. Utility boxes include an Ernie Ball Volt and a Radial J48.