JB gets a little help from his pedal friends and puts together the ideal stomp station for performing in Music City's SoBro district.
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D'Addario PWFPRR202 TS Right Angle to Right Angle Flat Patch Cable - 2-inch (1-pair)
Guitarist Erik Bickerstaffe exquisitely executes a tightwire act that contrasts and fuses brutality and beauty using a bargain baritone Gretsch and stock Tele.
Loathe is a challenging listen. In 10 years, they’ve released three dissimilar albums, a pair of pulverizing EPs, and a couple reinventive, collaborative covers (with Sleep Token and Teenage Wrist) of their own material, proving they thrive on juxtaposition and keeping your ears off guard. The Liverpool foursome morph from blissful dream state to Nightmare on Elm Street and everything in between. Their sound can be familiar like an old friend but thrilling like a first date.
From the ashes of Our Imbalance’s pure metalcore madness—featuring guitarist/vocalist Erik Bickerstaffe, vocalist Kadeem France, and drummer Sean Radcliffe before recruiting guitarist Connor Sweeney and bassist Shayne Smith—rose the reformation that became the experimental Loathe in 2014. (Current bassist Feisal El-Khazragi replaced Smith in 2018 and Sweeney left the band in 2021.)
Nu-metal bounce, djent precision, shoegaze shimmer, post-hardcore chaos, synth segues, barbwire breakdowns, moody melodies, and singalong choruses aren’t groundbreaking elements. But how they make them gel and grate against each other is what makes Loathe special. In a matter of minutes, they can make you scream, cry, and then dance before inciting you to do all three at once. The difference is in the disparate.
Their creative applications of the past, present, and future keep them ahead of the audience providing a deep musical menu. If you don’t like the first Loathe song you hear, there’s a chance the next one will be your favorite.
“The four of us have very differing influences, but when we work together, we create something very unique,” contends Bickerstaffe.
Even Bickerstaffe’s guitar choices are at odds. He wants the heaviest sound possible but avoids using 7- or 8-string guitars because of their brash tones and jagged aesthetics. He prefers to swing the sledgehammer in a classic costume of a Gretsch Jet (and formerly a Jazzmaster).
“We wanted a British-rock sound that pushes further into modern extreme-metal influence when we were writing. I don’t like anything too metallic or sharp sounding. For the band we are and what we’re trying to do musically, it’s not the right thing,” states Bickerstaffe.
It’s been over four years since their heralded I Let It In and It Took Everything, and the fans are growing impatient. The band is aware of the wait and are concerned with impressing themselves rather than capitalizing on the attention.
“There’s music in the world the four of us as individuals miss hearing, and we want to be the people that create that in our own style. Hopefully, people who agree with us are along for the ride, and if not, that’s absolutely cool. We’ve been through a lot, and we’re working really hard together to make sure the music that we put out is exactly what we want to put out. We’ll let it speak for itself when we release it,” explains Bickerstaffe.
Before Loathe’s opening slot supporting Knocked Loose on May 1 at Nashville’s Marathon Music Works, Bickerstaffe carved out some time to talk with PG’s Chris Kies. Bickerstaffe details the obtainable instruments that help him deliver both deathly and dreamy moments, why he shies away from the metallic edges of metal, and what fans should expect from the ever-evolving outfit’s new music.
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Baritone Is the New 7
Bickerstaffe started playing an ESP 7-string Stephen Carpenter model until his drummer Sean Radcliffe suggested he use a Bass VI like the Beatles to better fit the band’s sound and vision.
He played a Squier Vintage Modified Jazzmaster for years before landing on this current Gretsch G5260 Electromatic Jet Baritone that’s been getting it done since releasing 2020’s I Let It In and It Took Everything. It’s all stock aside from the nut filed open to hold Bickerstaffe’s monstrous .105 nickel bass string in the low-E position. The other five strings are from a pack of D’Addario EXL157 Medium Nickel Wound Electric Baritone set (.014–.018–.026w–.044–.056). He moves between a custom E (E–A–E–A–D–F#) and standard B tunings, and the .105 bass string helps keep the tension in a similar range.
Twisted Tele
For gentler songs like “Is It Really You?” and “Screaming,” Bickerstaffe turns to this Fender Player Telecaster that rides in a tuning utilizing the five highest strings of drop D with a low-A (A–D–A–D–G–B).
Come Fly with Me
Touring in the U.K. and on headlining runs, Bickerstaffe always opts for tube heads. He originally went with Hiwatt DR504s before moving onto Marshall JCM800s. Ideally, he’d bring a multiple-amp setup onstage to use the strength of each head (independently and combined) throughout a set depending on the song’s mood. Opening for Knocked Loose on this run, he simplified matters, relying on a Fractal Audio Axe-Fx III that leans heavily on a modded JCM800 amp model. Most of the utilitarian effects needed each night are provided by the Axe-Fx III, however, Bickerstaffe does have an inspiration station below. The Two Notes Torpedo Captor X is not being used right now since he’s not using amps or cabs and the Sennheiser EW 100 G4-Ci1 Wireless Guitar System relieves his need for cables.
Eric Bickerstaffe's Pedalboard
To keep things interesting and fun, Bickerstaffe does still tour with a proper pedalboard, but you’ll notice it’s more a place for experimentation than execution because several pedals are on their way in or out as they’re not being powered or in the chain. As of May 1 in Nashville, these are the tone twisters Erik had on deck: EarthQuaker Devices Zoar, Behringer SF300 Super Fuzz, 141FX Pillager, Third Man Mantic Flex, Electro-Harmonix Mel9, Boss HM-2 Heavy Metal, DigiTech Whammy Ricochet, Behringer FX600 Digital Multi-FX (his first pedal), EarthQuaker Devices Rainbow Machine, Electro-Harmonix Freeze, and a Boss TU-3 Chromatic Tuner. And there is one crucial pedal that he prefers over the Axe-Fx III option and that’s the DigiTech Whammy and its octave blend.
Shop Erik Bickerstaffe's Rig
Gretsch G5260 Electromatic Jet Baritone
Fender Player Telecaster
EarthQuaker Devices Zoar
Behringer SF300 Super Fuzz
Electro-Harmonix Mel9
Boss HM-2 Heavy Metal
DigiTech Whammy Ricochet
Behringer FX600 Digital Multi-FX
EarthQuaker Devices Rainbow Machine
DigiTech Whammy
Electro-Harmonix Freeze
Boss TU-3 Chromatic Tuner
Two Notes Torpedo Captor X
Sennheiser EW 100 G4-Ci1 Wireless Guitar System
D’Addario EXL157 Medium Nickel Wound Electric Baritone Set
Former bandmates of the late Steve Marriott unite to oppose plans by the Marriott Estate to release "new" recordings created with AI technology. A growing list of musicians in opposition include: Peter Frampton, David Gilmour, Robert Plant, and more.
The debate over AI-generated vocals continued this week with an exclusive Variety feature article by executive music editor Jem Aswad reporting on a still-growing list of celebrated musicians uniting with Mollie Marriott, daughter of the late Steve Marriott, in objection to plans by the Marriott Estate to release “new” recordings from the legendary Rock & Roll Hall of Fame singer created with AI-powered technology. A wide range of Marriott’s close friends and fellow artists have joined together in opposition to the project, including Marriott’s former bandmates Small Faces’ Kenney Jones and Humble Pie’s Peter Frampton and Jerry Shirley, along with Robert Plant, David Gilmour, Paul Weller, Paul Rodgers, Joe Brown, Bryan Adams, Matt Sorum, Glenn Hughes, Gary Kemp, Bob Harris, and others.
As reported by Variety, Los Angeles-based independent label Cleopatra Records has engaged in discussions with the Marriott estate about completing some of his unfinished demos with the aid of AI technology, though the label ultimately plans to release the recordings in their original form “for now” via three as-yet-unscheduled compilations. Chris France, who has been managing director of Marriott’s estate since 1997, admits that while “there are no confirmed plans to use Steve Marriott’s voice on AI recordings, that does not mean a deal will not be done with one of several suitors who have made offers…I am afraid that [Mollie Marriott’s] opinions are of no consequence to me or his estate.”
Humble Pie founding member, drummer Jerry Shirley, confirmed an attempt by Cleopatra to create a version of the “Georgia on My Mind” with AI-generated vocals “by” Marriott which he could then compare the result with his memories of Marriott’s own informal renditions of the song. The AI recording was “horrible,” Shirley told Variety. “It sounded like someone trying to sound like someone trying to sound like Steve Marriott.”
“The Marriott Estate is due to release an AI solo album of old and new songs of my father, Steve,” said Mollie Marriott in a previously released official statement. “Sadly, the surviving family which comprises just my siblings Lesley, Toby, Tonya, and I, have nothing to do with the Estate as there was no will. It is run by my stepmother who was only with my father for two years prior to his death and has since been re-married.
“We, along with his bandmates of Humble Pie and Small Faces are looking to stop this album from happening as it would be a stain on my father’s name. Someone who was known as one of the greatest vocalists of our generation, with such a live and raw vocal, it would absolutely break his heart if he were alive to know this. This is only for money, not art nor appreciation.
“It is the start of a campaign I wish to lead against this sort of thing, where deceased artists have no rights and that everything natural in this world is truly dying, including creativity and the arts, as AI comes into play. It’s a sad world to behold.”
Steve Marriott who passed away in 1991 at the age of 44, was among the most gifted and iconic artists in the long-storied history of British music. In a career that spanned two decades, the singer-songwriter-guitarist co-founded two of the most acclaimed and influential bands of the 1960s and 1970s, Small Faces (with whom he was posthumously inducted in the Rock & Roll Hall of Fame) and Humble Pie. Small Faces proved as influential as any band of their extraordinary era, bridging R&B, pop, soul, psychedelia, and the primal power of what soon became known as punk rock. The band’s distinctly English sound and vision later provided a blueprint for the Britpop movement of the 1990s. Upon Small Faces’ dissolution, Marriott co-founded Humble Pie and once again left his mark on rock ‘n’ roll with a new kind of hard rock built upon riff-driven no-frills boogie and simple raw power.
Marriott was already a star by the time he co-founded Small Faces, first as a child actor performing on London’s West End as The Artful Dodger in Oliver! and then as 16-year-old leader of the popular R&B group, The Moments. Marriott came together with drummer Kenney Jones and the late bassist-songwriter Ronnie Lane as Small Faces in 1965, joined the following year by keyboardist Ian MacLagan. The band immediately ascended to the forefront of the Mod scene with their high-energy sound, fronted by Marriott’s unmistakable soul-influenced vocals. Over their short but blazing lifespan, Small Faces scored eight UK Top 10 singles, including “Whatcha Gonna Do About It” (later covered by the Sex Pistols), “Here Comes The Nice,” “Itchycoo Park,” “Lazy Sunday,” “Tin Soldier,” and the #1 hit, “All or Nothing.” Their final album, 1968’s classic Ogdens’ Nut Gone Flake, spent six weeks atop the album chart and to this day stands tall as a British psychedelic rock landmark for its singular collage of rousing lysergic R&B, folk eccentricity, and pop-art imagination.
Marriott departed Small Faces in 1969 and teamed with guitarist Peter Frampton, bassist Greg Ridley, and drummer Jerry Shirley as Humble Pie. Considered one of the first supergroups for each member’s previous involvement in other popular bands, Humble Pie instantly proved a momentous outfit, their crushing blend of hard rock, boogie, and blues providing an early example of what came to be known as heavy metal. Marriott led Humble Pie through UK and US success in a range of incarnations, encompassing a further range of influences – from country to soul – but all were hailed for their charged live performances and of course, Marriott’s irrepressible vocals and songcraft at the forefront. A variety of reunions, collaborations, and solo efforts followed Humble Pie’s initial success. Marriott carried on through the 1980s, lighting up live stages in the UK and the US with over 200 gigs each year before his death in a fire at his Essex home on April 20, 1991.