The 15-year history of Rig Rundown has established that guitar gear fascination (and obsession) runs deep in our community. It’s the life blood of our show. But if there was ever antithetical example to guitar gluttony and equipment idolatry, it would be American Football. Their original self-proclaimed “bedroom college project” focused on self-expression, musical creativity, and working with what you had, which wasn’t much.
For the recording of their pioneering American Football album released in 1999, they borrowed most of their gear, shared a single guitar cable and tuner, didn’t use bass, and formulated odd open tunings that allowed for sinuously melodic cinematic passages between Kinsella and Holmes. Their exploration of unique open tunings inspire a legion of players include 6-string virtuoso Yvette Young. (She now ships all her signature Ibanez guitars in a tricky open tuning—F–A–C–G–B–E—derived from American Football.) Their ingenious and scrappy methods went on to inform the brand of Midwest emo that simmered a devoted fanbase waiting for their return after disbanding in 2000. First returning to the stage in 2014 and delivering two more American Football albums in 2016 and 2019, the band continues using minimal gear for maximum art.
Ahead of American Football’s headlining show at Nashville’s Brooklyn Bowl, cofounding members Mike Kinsella (vocals/guitar) and Steve Holmes (guitar) invited PG’s Perry Bean onstage for a refreshingly practical gear chat. Kinsella recalls the band’s basic beginnings and explains how he starts every American Football demo. Then, Holmes shows off his “gorgeous and favorite” Tele. Plus, we encounter a Rig Rundown first where the tech has veto power over setlists.Brought to you by D'Addario Trigger Capo.
A Fender From a Friend
American Football’s origins were aided by friends who borrowed them gear. The band recorded most of their earliest work on whatever equipment that worked and was loaned to them. (Guitarist/singer Mike Kinsella admits in the Rundown that he didn’t even own a guitar when they recorded the first EP.) Additionally, through their 26 years they’ve been ransacked several times depleting their gear collection, so they’re not too precious about anything. This Fender Player Plus Telecaster was recently given to him from pal Joe Trohman of Fall Out Boy. Kinsella believes Trohman gave Fender his specs or may have modded it before it was gifted to him, because the DiMarzio Chopper T was added before he got the T. Kinsella notes that he leaves the 3-way selector in the middle position most times.
Retail Therapy
“I really enjoying going to Chicago Music Exchange because their staff is so nice and helpful. I just have so much fun there,” states Kinsella. Every couple years Mike goes there with the intention of buying a guitar and most recently he got this Fender Vintera 70s Telecaster Custom that’s been upgraded with the DiMarzio Chopper T.
Dark and Dead
Another one of Kinsella’s causalities to crooks was a late-’90s Fender Tele-Sonic. He reacquired a different chambered Tele when visiting Texas. He uses this one onstage the least, but really enjoys his “dark, dead sound” that makes him feel in “total control.” This quirky Tele has a chambered mahogany body, a maple neck on a rosewood fretboard, a compact 24.75" scale length, and DeArmond Dynasonic single-coil pickups.
Keeping It Straight
Guitarists Mike Kinsella and Steve Holmes rarely play in the same open tunings. To make sure each set goes smoothly, the band’s tech Mike Garzon has veto power on song inclusion and order based on what he can pull off while also being an auxiliary member covering percussion and keyboards. Here’s a cheat sheet that helps map the choreography each song needs and where it could potentially work in the set.
Mike In Stereo
Fenders have long been part of the band’s tone and on this North American run Kinsella used a pair of Fender Deluxe Reverb reissues. He’s plugging into them both to give a fuller, spacier, dreamier stereo effect.
Mike Kinsella's Pedalboard
The band never used pedals when recording or performing their first EP and debut full length in the late ’90s. To achieve differing sounds, they would create open tunings, change pickup selections, and layer all guitars parts. Pedals didn’t enter the equation until they restarted in 2014 when they wanted to expound on their original ideas, or as Kinsella explains in the Rundown, “we wanted to make the dreamy part, even dreamier.” The embellishments are accomplished with a Keeley Caverns, an EarthQuaker Devices Avalanche Run, an Electro-Harmonix Holy Grail Nano, a Fat-Boost FB-3, and an EarthQuaker Devices Special Cranker. And an Ernie Ball MVP Volume Pedal is first in the chain before his Boss TU-3 Chromatic Tuner.
Steve's Squeeze
Before recording the band’s return album, LP2, Holmes secured this 2014 Fender American Elite Telecaster. “It’s a gorgeous guitar. It’s my favorite guitar. If I had three of them, that’s all I would play,” admits Holmes. He prefers to use the Elite for songs that require a more midrange sting.
Double Offsets
The Fender American Professional Jazzmaster gets stage time with Steve for the lowered tunings in their catalog, where the Fender ’60s Jaguar Fiesta Red works in the set for parts that require a more high-end, shriller attack.
Loud and Proud
Steve opted for the beefier, 85W Fender ’65 Twin Reverb reissue for these summer shows because of its ability to provide the volume and stay clean.
Steve Holmes' Pedalboard
The double EQD Dispatch Master layout is giving Steve a reverb wash while the second dream box adds in delay on top of the reverb. He will occasionally engage them both to build a climactic moment in a song. The Walrus Audio Emissary parallel boost works to push the signal and the Ibanez TS9 Tube Screamer adds in some snarl. Holmes relies on an Ernie Ball VP Junior 250K for dynamics and a Boss TU-3 Chromatic Tuner to keep his Fenders in check.
Shop American Football's Rig
Fender Player Plus Telecaster
DiMarzio Chopper T Bridge
Fender American Professional Jazzmaster
Fender Vintera '70s Telecaster Custom
Fender Deluxe Reverb
Fender Twin Reverb
Keeley Caverns
EarthQuaker Devices Avalanche Run
EHX Holy Grail Nano
EarthQuaker Devices Special Cranker
EarthQuaker Devices Dispatch Master
Walrus Audio Emissary
![Rig Rundown: Yvette Young [2023]](https://www.premierguitar.com/media-library/rig-rundown-yvette-young-2023.jpg?id=34150999&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
Since we last saw Yvette Young in 2019, the guitar-playing musical illustrator has been challenged, and proven courageous.
“I went from a situation where I was afraid of one of my bandmates, and did what I needed to do to free myself from what I felt to be an emotionally, and thus creatively draining, situation,” Young revealed to PG earlier this year. She parted ways with Covet’s members during the recording sessions for the new album, Catharsis, and had the bass parts re-done by noted touring and session bassist Jon Button.
Through the writing and recording process she found personal purification. “I feel like, on Catharsis, some of the songs are a bit darker and it was definitely me having an outlet for some stuff that was painful, but a lot of it is uplifting and very happy and dance-y,” Young said. “Music is transformative. If you’re ever feeling in a bad mood, if you write music that sounds really happy, it can uplift you. Writing music that sounds like how you wish you felt can be really helpful sometimes.”
And while processing her feelings through the guitar, she became reinvigorated with the instrument and rediscovered its inherent joy.
“I really have to be my own fortress and I have to really stay in tune with what excites me,” admitted Young. “The direction I go in becomes really clear when I focus on what gives me goosebumps when I’m playing, what makes me jump up and down ’cause I’m so excited about it.”
Her charismatic, vivid guitar stories excite us, so we wanted to get the scoop on her ever-changing tools and palette. Weeks after releasing Catharsis, Yvette Young and her Covet bandmates headlined Nashville’s Brooklyn Bowl. She invited PG’s Chris Kies onstage for a conversation covering her Ibanez YY10 signature models (and their potential upcoming changes), her dream pedal, and the key switches (and the alternative tones they produce) on her stomp station since the last Rundown.
Brought to you by the D’Addario Trigger Capo.
Signature Sparkle
During this headlining run, Young is traveling only with a pair of her signature Ibanez Prestige Series YY10 models with three Strat-style single-coil pickups. She has another Ibanez sig, the YY20, that is in a two-pickup, T-style configuration, but she notes in the Rundown that she prefers how the YY10 reacts with overdriven tones through her pedals and AC30. For Catharsis, she locked into F–A–C–G–C–E and wanted this set to feature fewer tuning moments and a more seamless musical narrative. Both touring YY10s have alder bodies with roasted maple necks, but “Creamsicle” has a rosewood fretboard and standard Seymour Duncan SSL52 Five-Two Strat pickups.
A fun fact from our 2023 PG interview with Yvette: These signature guitars are tuned (low to high) F–A–C–G–B–E when they are shipped. “I wanted to just kind of challenge people to try it,” she said. “I’ve been talking to a bunch of students and they’re like, ‘I never tried open tunings because I’ve always been scared of tuning it to something different.’ I was like, ‘Well what if it just came that way?’”
Green Machine
A roasted maple neck gives “Flubber” a different vibe, and its Wilkinson single-coils have sent Young down an experimental phase; she hints at P-90s potentially showing up in a future YY model. She says that the Wilkinsons are more “pristine and clear” in comparison to the Five-Twos that break up and get gritty in a pleasing way. This sparkly 6-string is reserved for tunings she drops down to D. Both guitars take D'Addario NYXLs (.011–.056).
Chime Time
Yvette has plugged into the same high input of the top boost channel of this Vox AC30 for years. Her settings reveal that she still uses the amp’s reverb even though there are two reverb pedals on her board, though Young does dial out all the amp’s trem.
Launchpad
Young has a lot of room to soar in an instrumental trio, so she travels with a plush pedal playground. Staples still being stomped on from the 2019 Rundown include a couple EarthQuaker Devices—The Warden and Avalanche Run—a MXR Carbon Copy Deluxe, an Electronic Audio Experiments Longsword, a Caroline Guitar Company Somersault, and a Meris Mercury7. For this tour, she’s welcomed some new noisemakers aboard, including a Universal Audio Galaxy ’74 Tape Echo & Reverb, a Hologram Electronics Microcosm, a Walrus Audio Julianna, a Beetronics Fatbee, a pair of Boss boxes—a DD-3 Digital Delay and OC-5 Octave—a double dose of DigiTech—Whammy Ricochet and FreqOut—a ZVEX Mastotron, and a Ground Control Audio Noodles. A D’Addario Chromatic Pedal Tuner keeps her YY10s in check.
