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Few rock bands have made a bigger splash over the past five years than Greta Van Fleet. Since their first full-length, From the Fires, won a Grammy for Best Rock Album, Jake and Sam Kiszka have constantly dug deeper to expand their band's sonic scope. GVF's latest, The Battle at Garden's Gate, is packed with deep, nuanced sounds that all need to be created live by a classic rock-trio lineup with an amazing singer.
The guitar-and-bass-playing team of brothers showed PG the gear they use to make it happen, at a recent tour stop at the FirstBank Amphitheater in Franklin, Tennessee. And special thanks to Greta Van Fleet's tech Bryan Manley for helping with the details.
[Brought to you by D'Addario XPND Pedalboard: https://www.daddario.com/XPNDRR]
Jake Kiszka’s No. 1
Jake's top dog hasn't changed from the band's first Rig Rundown in 2018. What is different about this guitar is that the crack around the control cavity he showed us then has been repaired, so duct tape is no longer this 1961 Gibson Les Paul's sole mod. (By the way, the SG name was adopted for this model in 1963.) Note the old-school sideways Vibrola whammy bar.
The Understudy
As a backup, Jake purchased a second all-stock 1961 Gibson Les Paul that has negligible signs of road wear or abuse.
Triple-Gainer
The updated whammy is the giveaway that the new, third Les Paul/SG you're looking at is a 1962 reissue. Jake uses Cleartone .010–.046 strings on all his electrics, plus Dunlop .60 mm picks and brass slides.
The Workhorse
Jake's main acoustic is a Gibson J-45 from the Bozeman, Montana, custom shop—a limited edition tobacco burst. This classic model has been a favorite for working musicians since back when Dylan hadn't plugged in yet.
High Flyer
His backup acoustic is a recent-year Gibson Hummingbird. This model was Gibson's first square-shouldered dreadnought, and debuted in 1960.
You Can See Us...
Onstage, Jake has a Marshall JCM800 and two matching 4x12 cabs, plus a vintage Selmer Zodiac Twin 30 amp that was once owned by Guns N' Roses' Richard Fortus. Looks good, sounds good!
...But Not Us
Onstage, Jake has a Marshall JCM800 and two matching 4x12 cabs, plus a vintage Selmer Zodiac Twin 30 amp that was once owned by Guns N' Roses' Richard Fortus. Looks good, sounds good!
The Keys to the Kingdom, Pt. 1
Here's where Jake keeps his Marshall Astorias set.
And zoom in to see how his Bletchley amps are dialed.
The Big Bad ’Board
First stop is a Dunlop Cry Baby wah wired to pan a wide sweep in stereo, in the PA and monitors. After that, an RJM Music Technology Mastermind GT controls the routing for all effects.
The Drawer-bridge
The bulk of the effects Jake needs to recreate his catalog of sounds live in three drawers. In the fullest, there are two TC Electronic Flashbacks, a Danelectro Back Talk, a EHX Mel9, a Jext Telez Range Van Lord, and a EXH Micro POG—all powered by an MXR Iso-Brick.
Inside Drawer Two Is...
The next drawer down includes an Electro-Harmonix Holy Grail, an MXR Micro Amp, a Fractal Audio FM3 Amp Modeler/FX Processor, and an MXR Iso-Brick.
Acoustic Doesn't Mean Unplugged
The final drawer is dedicated to acoustic effects—MXR Reverb, another EHX Holy Grail reverb, and a Line 6 HX Stomp.
Sam Kiszka’s Green Hybrid
Sam Kiszka's main axe is still his green Fender P bass with a Jazz bass neck. This bass stays strung with D'Addario flatwounds, .050–.105.
Plus One-Half
Fender built Sam a bass aiming to give him the same feel as his No. 1. This black P also features a Jazz bass neck, and it's tuned up a half step. For that higher tuning, the D'Addario flatwounds are a bit lighter: .045–.100.
And Plus One
As a backup, Sam tours with this 'burst finish Fender Jazz bass, in standard tuning, and strung with D'Addario flatwound .050–.105s.
Ready to Rumble
Sam thinks two heads are better than one. So here's his Fender Super Bassman, for starters. It's 300 watts and comes loaded with four 12AX7s and six 6550 power tubes. The Super Bassman hits a matching Fender Bassman 810 Neo 8x10 bass cabinet.
Here Comes the Sunn
His other head is a classic: a vintage Sunn 2000S, with a potential total of 280 watts. It has a solid-state rectifier and four 6550 tubes. The 2000S runs into a vintage Sunn 2x15 cab.
Stage Dressing
Onstage, Sam stands in front of a trio of cool-looking Acoustic cabs and, when fully set up, an Acoustic 361 head. Currently, they're not actually being played through for shows.
Personal Effects
Down on the floor, Sam runs a Neo Instruments Mini Vent II rotary pedal, a Mooer Tender Octaver, and a TC Electronic PolyTune powered with an MXR Mini Iso-Brick.
All Keyed Up
Sam spends almost half the show on keyboards, running bass pedals with his feet. The pedal rig's a Hammond XPK-200GL.
The Right Spin
That Hammond runs through a Leslie 122 rotary speaker—perfect for classic '60s and '70s rock tones.
The keyboard rig is completed by a Mellotron M4000D Digital Mellotron on top of a super-versatile Nord Stage 3 keyboard. Down below there's another set of bass pedals, so he can make the bottom rumble from either keyboard deck.
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Left to right: Joe Lally. Brandan Canty, and Anthony Pirog
So you might be surprised to learn that such an accomplished low-ender didn’t always feel confident about his own musical knowledge. “I spent all that time in Fugazi not formally being able to articulate about music very well with the other people in the band,” Joe says. “It was very frustrating at times. There were times I wanted to leave the band because it felt like I couldn’t even talk about what I wanted to do.”
It was only after Fugazi went on indefinite hiatus that, realizing he wanted to keep making music, Joe decided to get some education. “I took a few lessons at Flea’s school in L.A., the Silverlake Conservatory. I studied with Tree, the dean of the school, who showed me some things about songwriting on piano. I was looking at it like I was getting piano lessons, but really he was showing me the sound of major, the sound of minor, and the sound of the dominant 7 chord. Those three chords are the basic beginnings of learning music theory.”
As Joe learned it, the major sound was “Here, There, and Everywhere" by the Beatles, the minor was Santana’s “Evil Ways,” and the dominant 7 was “I Feel Good” by James Brown. “I learned to play those chord changes on piano, and came to understand more about songs and completing my own song ideas.”
Joe mainly learned by asking questions. “To a degree, that’s what I want people to get from the lessons I give,” he continues. “There’s so much you can go into theory-wise, but you don’t really need to to be able to write music, play music, and figure out other people’s music.”
Joe went on to write and release three solo albums, as well as two with Ataxia, his project with Red Hot Chili Pepper guitarists John Frusciante and Josh Klinghoffer. In 2016, he formed instrumental jazz-punk fusion trio the Messthetics with Fugazi drummer Brendan Canty and genre-spanning guitar virtuoso Anthony Pirog. They’ve since toured heavily and released three full lengths. He also joined Ian Mackaye—Fugazi’s and the Evens’s singer-guitarist—along with Evens drummer Amy Farina to form Coriky.
Lally’s humble online flyer.
“I foolishly never picked up a book because I thought it would ruin what I did know. When I told a friend I was teaching theory, he asked, ‘Has it ruined your playing yet?’”
When off the road, Joe worked different jobs in DC’s independent music scene to pay the bills. But when the pandemic lockdown came, he decided to start giving online lessons. He made flyers and posted them on social media.
“I’m not teaching formal theory, which I think is weird and abstract and doesn’t show people everything,” says Joe. “It takes years of learning formally to see how everything is connected to see how this thing is part of that other thing we learned years ago. Most of my students are adults who have been playing but now want to know more about what they’ve been doing.”
But music theory is something we all operate within, says Joe, whether we’re knowledgeable about it or not. “We are engaged in theory. We just may not know it. When you’re playing or writing a song, you might think ‘that note sounds right’ or ‘that note sounds wrong.’ It's because we are relating it to something in theory that we’ve picked up from all the music we’ve listened to.”
Joe recognizes that some people are apprehensive about learning music theory, and he admits that when he was in Fugazi, he was, too. “I foolishly never picked up a book because I thought it would ruin what I did know. When I told a friend I was teaching theory, he asked, ‘Has it ruined your playing yet?’
“But formal study should use your thinking mind, and when you play, you’re outside of thinking. Creativity is outside of thought. You hear about jazz players who practice scales over and over, and what they’re really practicing is the sounds of these things that they want to hear. But when they play, they let go of all of that. So I realized my playing is never going to change. I’m always going to write the way I wrote.”
To immerse yourself in Joe’s creative world, check out the Messthetics’s 2024 album, The Messthetics and James Brandon Lewis, which adds saxophonist Lewis to the trio, bringing together Fugazi’s powerful rhythm section with two players from the creative improv world.
To inquire about bass lessons with Joe Lally, contact him on Instagram at @joelally898.
