Fender Musical Instruments Corporation (FMIC) today announces the launch of the Player II Modified — a bold expansion of its Player II series. Featuring select electric guitar and bass models enhanced with performance-driven upgrades, Player II Modified offers modern players refined tone, performance, and style straight out of the box. As an extension of the best-selling guitar series in Fender’s nearly 80-year history, Player II Modified builds on this legacy with expanded tonal versatility, elevated playability, and modern enhancements that meet the needs of a new generation of players.
Built to Be Reimagined
Since inception, Fender guitars and basses have been crafted with an inherent adaptability—designed to shape and be shaped by the artists who redefine music with them. Throughout the decades, musicians from every genre have transformed Fender instruments to suit their unique sound, making them a true canvas for creativity. The ethos of Fender is, in many ways, a history of modification—where each artist's personal touch, whether through altering pickups, adjusting necks, or reworking finishes, has shaped not just the instruments but the songs they are written with.
Performance-Driven Upgrades Straight From the Factory
"From the early days of players hot-rodding their Strat® and Tele® guitars to today’s musicians pushing sonic boundaries, Fender has always embraced the art of reinvention," said Justin Norvell, EVP of Product, Fender. "Leo Fender intentionally designed our instruments with modularity in mind—allowing them to evolve alongside the player and enabling more personalization than any other brand. Player II Modified carries that spirit forward, offering modern upgrades like our new Player II Modified noiseless pickups and locking tuners for rock-solid stability. It’s about delivering the most in-demand mods straight from the factory while continuing to push the envelope of innovation and support artists in shaping the future of music."
Player II Modified takes the best of the best from Player II Series and builds on it with new and improved performance-driven modifications, offering a refined playing experience straight out of the box.
Key features include:
●New Player II Modified pickups: Genuine Fender tone from the Player II Modified Humbucker and Player II Noiseless™ pickups.
●Upgraded hardware and electronics: From treble bleeds to brass block saddles, the most popular modifications for each model come standard.
●Rock-solid tuning stability: Locking tuners and tapered shaft tuners offer next-level reliability.
This spirit of reinvention is deeply embedded in Fender’s legacy, championed by trailblazing artists like Jimi Hendrix, who flipped his Stratocaster® upside down to redefine rock guitar, Kurt Cobain, who customized his Jaguar® for raw, grunge-driven power, and Thurston Moore, whose Jazzmaster® modifications fueled Sonic Youth’s experimental edge. Today, musicians continue this tradition—Chris Shiflett of Foo Fighters with his Signature Telecaster® Deluxe outfitted with noiseless P-90-style pickups, Julien Baker with her custom-modded American Vintage Thinline, and Brent Mason with his highly versatile ‘67 Telecaster®. Even bassists like Flea have reshaped their sound through modifications, such as the active circuitry in his Jazz Bass®.
In the Hands of IDLES
As part of the Player II Modified launch campaign, Fender has teamed up withIDLES, — a British band known for their explosive live performances and boundary-pushing take on rock—who are featured prominently in the campaign video. Their involvement in the campaign underscores how the Player II Modified series empowers modern players' need for flexibility, tonal range and sonic exploration, whether on stage or in the studio. Watch IDLES perform “Gift Horse” and see what they have to say about these souped up guitars and basses. “Every guitar that I’ve ever had, I’ve modified almost immediately,” said Mark Bowen, IDLES guitarist. “Modifications can definitely make a guitar more approachable,” added Lee Kiernan, IDLES guitarist. “Because everything is to your taste, and what it is you want it to do.”
Fender Mod Shop: A Global Tune-Up Experience
Like the world of automotive design, where customization and performance upgrades are part of the culture, Fender instruments have long been embraced as a canvas for creative expression. From paint colors inspired by classic cars to modding hardware and swapping pickups, musicians across decades and genres have made each instrument their own. Modification isn’t just part of the Fender story—it’s at the heart of it, fueling a legacy of innovation, individuality, and sonic evolution. Starting this April, Fender will bring the Mod Shop experience to players in key markets across London and Melbourne. In each city, Fender will transform a local auto shop into an immersive guitar garage —inviting musicians to get their instruments “tuned up” by a team of Fender mechanics. By night, the space will shift gears into a live venue, where English Teacher (UK) and Hot Machine (AUS) will take the stage with the new Player II Modified series, showcasing the upgraded guitars in action.
“IDLES is the kind of band that pushes boundaries every time they plug in," said Evan Jones, CMO Fender. "Their energy, on-stage presence, experimentation, and refusal to stay in one lane resonates with all of us here at Fender. The Player II Modified series is built for artists like them—musicians who want to evolve their sound, are looking to push boundaries, and make something uniquely their own. We're also excited to bring that spirit of modification & innovation of the Player II Modified Series to life with our upcoming Fender Mod Shop events in London and Melbourne in the coming months. With the Player II Modified series at its core, we're not just showcasing new gear; we're building on our commitment to continually give players & musicians at all levels the ability to find, adjust and perfect their sound.”
Player II Modified Stratocaster
The Player II Modified Stratocaster® is a classic guitar with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and 22 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Noiseless™ pickups deliver classic Strat® chime and sparkle while eliminating unwanted noise and the push/pull switch on the 2nd tone control provides even more tonal flexibility by adding the neck pickup into switch positions 1 and 2. The 2-point tremolo, short post locking tuners, TUSQ® nut, and modern string tree all combine to keep tuning incredibly stable, while the wider travel of the chamfered tremolo block allows players to coax even more expressive, musical vibrato from their instrument. Maple Fingerboard offered in 3 Tone Sunburst, Sunshine Yellow and Harvest Green Metallic. Rosewood Fingerboard offered in Dusk, Electric Blue, and Olympic Pearl.
Player II Modified Stratocaster® HSS Floyd Rose®
The Player II Modified Stratocaster® HSS Floyd Rose® is a classic guitar with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern“C”-profile with silky satin urethane finish on the back to the comfy 12”-radius slab rosewood fingerboard with smooth rolled edges and 22 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Modified humbucker is articulate with plenty of output and the Noiseless™ pickups deliver classic Strat® chime and sparkle while eliminating unwanted noise. For additional tonal flexibility, the push/pull switch on the 2nd tone control splits the bridge humbucker for classic Strat® single-coil tones. The Floyd Rose® Special tremolo enables subtle-to-wild tremolo action while keeping the guitar perfectly in tune and ready for more. Offered in 3 Tone Sunburst, Dusk and Olympic Pearl.
Player II Modified Telecaster®
The Player II Modified Telecaster® is a classic guitar with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and 22 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Noiseless™ pickups deliver classic Tele® twang and bite while eliminating unwanted noise and the push/pull switch on the tone control provides even more tonal flexibility by changing the pickup wiring from parallel to series for fatter tones. The 6-saddle bridge, short post locking tuners, TUSQ® nut, and modern string tree all combine to keep tuning incredibly stable for even the most demanding bends or roaring rock leads. Maple Fingerboard offered in Olympic Pearl, Electric Blue and Sunshine Yellow. Rosewood Fingerboard offered in 3 Tone Sunburst, Dusk and Harvest Green Metallic.
Player II Modified Active Precision Bass®
The Player II Modified Active Precision Bass® is a classic bass with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and 20 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Noiseless™ PJ pickups deliver classic Fender thump and growl while eliminating unwanted noise and the all-new active preamp with passive tone control and improved EQ section gives players the perfect tool to dial in their favorite tones. The 4-saddle HiMass™ bridge, tapered-shaft tuners, and TUSQ® nut all combine to keep tuning incredibly stable for even the most demanding performances. Maple Fingerboard offered in 3 Tone Sunburst, Dusk and Sunshine Yellow. Rosewood Fingerboard offered in Olympic Pearl and Harvest Green Metallic.
Player II Modified Active Jazz Bass®
The Player II Modified Active Jazz Bass® is a classic bass with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and20 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Noiseless™ pickups deliver classic Jazz Bass® growl while eliminating unwanted noise while the all-new active preamp with passive tone control and EQ section gives players the perfect tool to dial in their favorite tones. The 4-saddle HiMass™ bridge, tapered-shaft tuners, and TUSQ® nut all combine to keep tuning incredibly stable for even the most demanding performances. Maple Fingerboard offered in 3 Tone Sunburst, Olympic Pearl and Electric Blue. Rosewood Fingerboard offered in Dusk, and Harvest Green Metallic.
Player II Modified Active Jazz Bass® V
The Player II Modified Active Jazz Bass® V is a classic bass with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and20 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Noiseless™ pickups deliver classic Jazz Bass® growl while eliminating unwanted noise while the all-new active preamp with passive tone control and EQ section gives players the perfect tool to dial in their favorite tones. The 5-saddle HiMass™ bridge, tapered-shaft tuners, and TUSQ® nut all combine to keep tuning incredibly stable for even the most demanding performances. Maple Fingerboard offered in Dusk and Olympic Pearl. Rosewood Fingerboard offered in 3 Tone Sunburst and Electric Blue.
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Guitarists are used to coveting cranky, old gear, but if you’re not a rack user, the H3000 might not be for you! If you ever see one of these in a studio, be sure to take some time to check it out, and maybe give the plugin a try.When it debuted in 1987, the H3000 was marketed as an “intelligent pitch-changer” that could generate stereo harmonies in a user-specified key. This was heady stuff in the ’80s! But while diatonic harmonizing grabbed the headlines, subtler uses of this pitch-shifter cemented its legacy. Patch 231 MICROPITCHSHIFT, for example, is a big reason the H3000 persists in racks everywhere. It’s essentially a pair of very short, single-repeat delays: The left side is pitched slightly up while the right side is pitched slightly down (default is ±9 cents). The resulting tripling/thickening effect has long been a mix-engineer staple for pop vocals, and it’s also my first call when I want a stereo chorus for guitar.
The second-gen H3000S, introduced the following year, cemented the device’s guitar bona fides. Early-adopter Steve Vai was such a proponent of the first edition that Eventide asked him to contribute 48 signature sounds for the new model (patches 700-747). Still-later revisions like the H3000B and H3000D/SE added even more functionality, but these days it’s not too important which model you have. Comprehensive EPROM chips containing every patch from all generations of H3000 (plus the later H3500) are readily available for a modest cost, and are a fairly straightforward install.
In addition to pitch-shifting, there are excellent modulation effects and reverbs (like patch 211 CANYON), plus presets inspired by other classic Eventide boxes, like the patch 513 INSTANT PHASER. A comprehensive accounting of the H3000’s capabilities would be tedious, but suffice to say that even the stock presets get deliciously far afield. There are pitch-shifting reverbs that sound like fever-dream ancestors of Strymon’s “shimmer” effect. There are backwards-guitar simulators, multiple extraterrestrial voices, peculiar foreshadows of the EarthQuaker Devices Arpanoid and Rainbow Machine (check out patch 208 BIZARRMONIZER), and even button-triggered Foley effects that require no input signal (including a siren, helicopter, tank, submarine, ocean waves, thunder, and wind). If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute. (Spin the big wheel and find out what you’ve won!)
“If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute.”
But there’s another, more pedestrian reason I tend to reach for the H3000 and its rackmount relatives in the studio: I like to do certain types of processing after the mic. It’s easy to overlook, but guitar speakers are signal processors in their own right. They roll off high and low end, they distort when pushed, and the cabinets in which they’re mounted introduce resonances. While this type of de facto processing often flatters the guitar itself, it isn’t always advantageous for effects.
Effects loops allow time-based effects to be placed after preamp distortion, but I like to go one further. By miking the amp first and then sending signal to effects in parallel, I can get full bandwidth from the airy reverbs and radical pitched-up effects the H3000 can offer—and I can get it in stereo, printed to its own track, allowing the wet/dry balance to be revisited later, if needed. If a sound needs to be reproduced live, that’s a problem for later. (Something evocative enough can usually be extracted from a pedal-form descendant like the Eventide H90.)
Like most vintage gear, the H3000 has some endearing quirks. Even as it knowingly preserves glitches from earlier Eventide harmonizers (patch 217 DUAL H910s), it betrays its age with a few idiosyncrasies of its own. Extreme pitch-shifting exhibits a lot of aliasing (think: bit-crusher sounds), and the analog Murata filter modules impart a hint of warmth that many plug-in versions don’t quite capture. (They also have a habit of leaking black goo all over the motherboard!) It’s all part of the charm of the unit, beloved by its adherents. (Well, maybe not the leaking goo!)
In 2025, many guitarists won’t be eager to care for what is essentially an expensive, cranky, decades-old computer. Even the excitement of occasional tantalum capacitor explosions is unlikely to win them over! Fortunately, some great software emulations exist—Eventide’s own plugin even models the behavior of the Murata filters. But hardware offers the full hands-on experience, so next time you spot an old H3000 in a rack somewhere—and you’ve got the time—fire it up, wait for the distinctive “click” of its relays, spin the knob, and start digging.
You can access your complete TONEX library, including Tone Models, presets and ToneNET, quickly load favorites to audition, and save to a designated hardware slot on IK hardware pedals. This easy-to-use application simplifies workflow, providing a streamlined experience for preparing TONEX pedals for the stage.
Fine-tune and organize your pedal presets in real time for playing live. Fully compatible with all your previous TONEX library settings and presets. Complete control over all pedal preset parameters, including Global setups. Access all Tone Models/IRs in the hardware memory, computer library, and ToneNET Export/Import entire libraries at once to back up and prepare for gigs Redesigned GUI with adaptive resize saves time and screen space Instantly audition any computer Tone Model or preset through the pedal.
Studio to Stage
Edit any onboard Tone Model or preset while hearing changes instantly through the pedal. Save new settings directly to the pedal, including global setup and performance modes (TONEX ONE), making it easy to fine-tune and customize your sound. The updated editor features a new floating window design for better screen organization and seamless browsing of Tone Models, amps, cabs, custom IRs and VIR. You can directly access Tone Models and IRs stored in the hardware memory and computer library, streamlining workflow.
A straightforward drop-down menu provides quick access to hardware-stored Tone Models conveniently sorted by type and character. Additionally, the editor offers complete control over all key parameters, including FX, Tone Model Amps, Tone Model Cabs/IR/VIR, and tempo and global setup options, delivering comprehensive, real-time control over all settings.
A Seamless Ecosystem of Tones
TONEX Editor automatically syncs with the entire TONEX user library within the Librarian tab. It provides quick access to all Tone Models, presets and ToneNET, with advanced filtering and folder organization for easy navigation. At the same time, a dedicated auto-load button lets you preview any Tone Model or preset in a designated hardware slot before committing changes.This streamlined workflow ensures quick edits, precise adjustments and the ultimate flexibility in sculpting your tone.
Get Started Today
TONEX Editor is included with TONEX 1.9.0, which was released today. Download or update the TONEX Mac/PC software from the IK Product Manager to install it. Then, launch TONEX Editor from your applications folder or Explorer.
For more information and videos about TONEX Editor, TONEX Pedal, TONEX ONE, and TONEX Cab, visit:
www.ikmultimedia.com/tonexeditor
Valerie June’s songs, thanks to her distinctive vocal timbre and phrasing, and the cosmology of her lyrics, are part of her desire to “co-create a beautiful life” with the world at large.
YouTube
If you’re familiar with June’s sound, you know how effortlessly she stands out from the singer-songwriter pack. Her equal-parts warm, reedy, softly Macy Gray-tinged singing voice imprints on her as many facets as a radiant-cut emerald—and it possesses the trademark sincerity heard in the most distinctive of singer/songwriters. Her music, overall, brilliantly shines with a spirited, contagiously uplifting glow.
Owls, Omens, and Oracles opens with “Joy, Joy!” with producer M. Ward rocking lead guitar over strings (June plays acoustic on nearly all of the tracks and banjo on one). It then recurringly dips into ’50s doo-wop chord changes, blends chugging, at times funky rock rhythms with saxophones and horns, bursts with New Orleans-style brass on “Changed” (which features gospel legends the Blind Boys of Alabama), and explores a slow soul groove with electronic guest DJ Cavem Moetavation on “Superpower.” Bright Eyes’ multi-instrumentalist Nate Walcott helmed the arrangements with guidance from Ward and June, and frequently appears on piano and Hammond organ, while Norah Jones supports with backing vocals on the folk lullaby “Sweet Things Just for You.” The entire album was recorded live to tape, which was a new experience for June.
June shares her perspective on the album and her work, overall. “It’s not ever complete or finished, your study of art,” she offers. “It’s an adventure, and it keeps getting prettier as you walk through the meadow of creating or learning new things. Every artist that you bring in has a different way of performing with you, or the audience might be really talkative or super quiet. And all of that shapes the art—so it’s ever-expansive. It’s pretty infinite [laughs], where art can take you and where it goes.... I kinda got lost there a little bit,” she muses, laughing.
June’s favored acoustic guitar is this Martin 000-15M, with mahogany top, back, and sides.
Photo by Tim Bugbee/Tinnitus Photography
June didn’t connect with guitar in the beginning, but discovered her passion for it later, when the instrument became a vehicle for her self-empowerment. She took lessons as a teenager but was a distracted student, preferring to listen to her teacher share the history of blues guitarists like Big Bill Broonzy and Mississippi John Hurt. “I didn’t pick it up again until I was in my early 20s, and my band that I was in with my ex fell apart,” she says. “I still was singing and I still was hearing these beautiful voices sing me these songs, and I didn’t want to never be able to perform them. It was a terrible feeling, to be … musically stranded.
“And I was like, ‘Now, I could go get a new band and get some more accompaniment, but how ’bout I get my tail in there and keep my promise to my granddad who gave me that first guitar and actually learn how to play it, so I’ll never feel like this again.’ The goal was that I would never be musically stranded again.”
She became a solo performer, learning lap steel and banjo along with guitar, and called her style “organic moonshine roots music.” Today, she eschews picks for fingers, even when strumming chords, and is a vital blues-and-folk based stylist when she lays into her playing–especially in a live,solo setting. After two self-released albums, 2006’s The Way of the Weeping Willow and 2008’s Mountain of Rose Quartz, she connected with the Black Keys’ Dan Auerbach, who recorded and produced her 2013 album, Pushin’ Against Stone, at Nashville’s Easy Eye Sound, which helped launch her now-flourishing career.
Valerie June’s Gear
Guitars
Amps
- Fender Deluxe Reverb
Effects
- TC Electronic Hall of Fame
- MXR X Third Man Hardware Double Down booster
- J. Rockett Audio Archer boost/overdrive
Strings
- D’Addario XL Nickel Regular Light (.010–.046)
- Martin Marquis Silked Phosphor Bronze (.012–.054
Photo by Travys Owen
As we talk about art being a shared experience, June says she can be a bit of a hermit at times, but “when it’s time to share the art, then there you are. Even if you’re a painter and you just put your painting on a wall and walk away, that’s an interaction that brings you out of your studio or your bedroom to understand this whole act of co-creating—which to me is a spiritual act anyway. That’s why we’re here, to really understand those rules and layers to life. How do we co-create together?
“And I think it’s so fun,” she enthuses. “I enjoy learning, even when it’s hard. I’m like, ‘Okay, this chord is killing me right now, or this phrase.... but I’ma stick with it. And then that likens to something that I might face when I go out into the world. I’m like, ‘All right, I can get through this.’”
I suggest, “When you say ‘co-creating,’ it sounds like you mean something bigger.”
“Both in the creation of our art, but also in the creation of a life,” June replies. “’Cause how can a life be something this artistic? You get to the end of it and you’re like, ‘Wow, look at what I co-created! With all these other people, with animals, with nature, with sound that’s all around....‘ All of my life has been a piece of art or a collective creation. I imagine them like books: different lives on a shelf. And you go pick one—‘Whoa! I created a pretty fun one there!’ or, ‘Oh, man, I had no hand in that....’ Close the book, next one!” she concludes, laughing as she illustrates the metaphor with her hands.
“So does that make all of your inspirations your co-creators?” I ask.
Valerie June at one of her several Newport Folk Festival appearances, with her trusty Gold Tone banjo
Photo by Tim Bugbee/Tinnitus Photography
“Yeah! Even if they’ve gone before,” says June. “I was listening to some beautiful classical music the other day, and I was like, ‘Man, I don’t know who any of these artists are; they’re all dead and gone, but I’m just enjoying it and it’s putting me in a zone that I need to be in right now.‘ So, we’re always leaving these little seeds for even those who are coming after us to be inspired by.”
Some of her current non-musical co-creators are poets and authors, such as the poet Hafez, the philosopher Audre Lorde, poet Mary Oliver, and Robin Wall Kimmerer, a Potawatomi botanist whose works include Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teachings of Plants, The Serviceberry: Abundance and Reciprocity in the Natural World, and Gathering Moss: A Natural and Cultural History of Mosses.
“It’s not ever complete or finished, your study of art. It’s an adventure, and it keeps getting prettier as you walk through the meadow of creating or learning new things.”
“These books are so beautiful and show the relationship of humanity with nature and the way trees speak with each other; the way moss communicates to itself,” June explains. “Those ways of being can help humans, who always think we know so much, to learn how to work together better.”
As she’s sharing, I see her glance out her window. “Right now, I just saw a muskrat go across the pond,” she continues. “It’s about this big [holds hands about three feet apart] and it digs holes in the yard. It’s having such a great time and I’m just like, ‘Okay, you are huge, and I’m walking through the yard and falling in holes because of you [laughs]. I’m just watching you live your best life!’ And then there was a blue heron that came yesterday, and I watched it eat fish.... They’re my friends!” she exclaims, with more laughter.
Valerie June believes in the power of flowers–and all living thing–as her creative collaborators.
It might seem like we’re getting a bit off subject, but it’s residents of nature like these who are important in her creative process.
I share how, in my own approach to art, I feel as though we can always access creativity and our ideals, as long as we stay receptive to experiencing and sharing in them. June agrees, but comments that sometimes her best self only wants to sit and focus: “No more information; no more downloads, please.”
An encounter with Memphis-based blues guitarist Robert Belfour, who June frequently saw perform, expanded that perspective for her. She shares about a time she went up to him after a show: “I was like, ‘Hey, I would love to work with you on some music and maybe we could co-write a song or something.’ He was like, ‘Nope! I don’t wanna do it.’ And I said, ‘Whaaat?’ And he’s like, ‘No. I do what I do, and I do not do what anybody else does; I just do what I do.’”
Sometimes, she says, “I think that’s just as much of an outlook to have with creating as anything. It’s like, ‘Okay, I’m there, I’m where I wanna be. I don’t want to be anywhere else.’”
“That’s why we’re here, to really understand those rules and layers to life. How do we co-create together?”
Part of what’s so enjoyable about speaking with June is realizing that she truly exists on her own plane. She has no pretense, and in that, doesn’t hide some of the fears that weigh on her mind at times. But she doesn’t let those define her. It’s her easy, exuberant optimism that sparks a feeling of friendship between us, without having known each other before that afternoon. What are some of her guiding principles as an artist, I wonder?
“I sit with the idea of, ‘Who am I creating this for?’” she says, “and returning to the fact that I’m doing this for me, and, as Gillian Welch said, ‘I’m gonna do it anyway even if it doesn’t pay.’ This is what I wanna do. And reflecting on that and letting that kind of be my guiding force. It’s just something that I enjoy, that I really wanna do.”
YouTube It
From there, the conversation meanders in other directions, and June even generously asks me a few questions about my own artistic beliefs. We share about trusting your gut instinct, and walking away from situations and people who don’t serve us. This reminds her of a bigger feeling.
“With everything that these times hold for us as humans,” she shares, “from the inequality that we face to the environmental change, the political climate, and all the things that could lead us to fear or negativity.... I started to think about it, and I’m like, ‘Okay, well, maybe we are fucked! Maybe the planet is going to eject us and all of the other things are gonna come true! Well, if that’s what’s gonna happen, who do I wanna be?’
“I want to go out in a way that’s sweet or kind to other people, enjoying this experience, these last moments, and building togetherness through music. I want to co-create a beautiful life even in the face of all of that. That’s what I want to do.”
