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Katelyn Tarver Chats About Last Single ‘Nicer’ And Announces New Single Release ‘Hurt Like That’ Out On October 21 Before Album ‘Subject to Change’ Drops In November.

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Katelyn Tarver has a new song out next week but I was lucky enough to get the chance to chat with her about her last release, ‘Nicer’, a song that reflects on the people pleasing tendencies that we all have sometimes and which has become almost an epidemic of non-confrontation leading us to bottle up all that angst. The first line of the song was inspired by her mum telling Katelyn off for honking at a car which had driven across her in traffic.

Katelyn says: “She was visiting me in LA and I guess didn’t think the guy who cut me off deserved a honk. “Gosh, Katelyn! You used to be nicer!”. It made me laugh, but it also weirdly stuck with me for years afterward. I think because it hit on a part of me that I was trying to get to know. The part of me that isn’t such a people pleaser who isn’t afraid to speak her mind a little more. To all the former rule followers and recovering people pleasers, may this song help us get out there and be a dick sometimes if we need to”

The brilliant video sums up this dichotomy in a very visual way with a split screen approach that works perfectly. Directed by Fiori it perfectly complements the new song that unfolds visually as it develops lyrically.

On the new album, Katelyn has aimed at capturing painful truth in a pop production that is the perfect foil for her soul baring lyricism and her radiant voice. The album will bring together strains of pop, folk, country and indie-rock to document a period of her life when things were constantly changing, constantly evolving.

She says:

“I think a lot of us go through that phase in life where you ask yourself, “is this it?” It can be so isolating and so hard to talk about, especially with social media and all the pressure to always have your shit together. Life is unpredictable. For all the stories of triumph and resilience, there are just as many stories of failure and getting lost. The addict relapses. The happy couple gets divorced. The ones you’ve put on a pedestal lets you down. Finding the love of your life doesn’t solve your problems. You know the expression; the only way out is through? These songs are making my way through. Giving myself permission to not have the answers. Letting myself feel all. The pain, the joy, the confusion, the bittersweet in-between…I learned that uncertainty can be an open door. And that change is a constant invitation I want to learn to accept.”

This is our chat; I hope it encourages you to check out this wonderful artist:

EP: I love the new song, ‘Nicer’, I think the video for the song is such a cool concept. Was it your idea, the concept, the dual screen idea?

KT: Well, I worked with this director, who is just up and coming. Her name is Fiori. And she actually came up with that concept and I loved it and we just quickly got to work.

I mean, we came up with the concept and then filmed it almost the next day. So it was a really quick turnaround. But yeah, we had a lot of fun. Just coming up with ways we could, you know, time the two sides to work together; one side being in reverse, one side being in forward, we’ve had fun with the symbolism of that in regards to how it fits with the song and how it kind of looks at your past self. Yeah, it was really it was a really fun video to get to do and I’m really excited for how it turned out.

EP:  It came out really. Well, I guess from any director’s point of view you’re acting background is a massive blessing as obviously not every singer brings that to the party.

KT: Yeah. I guess not.

EP: With the song, do you think you used to be nicer?

KT: I mean, honestly, a lot of a lot of the time, I feel like I’m still too nice but I didn’t think so.

Yeah, I mean, I think a lot of it can be, I don’t know, attributed to probably just getting older in general. I think we all lose a little bit of our, what’s a way to put it, care less. We don’t think it’s a good thing. I think for me in particular it’s being raised in the South and kind of being raised in a certain context. It can almost feel like the takeaway is, you know, the biggest thing in life is to be polite and to be accommodating and to be agreeable. That doesn’t really mesh well with creating art a lot of the time and writing about your life and wanting to challenge ideas. I think that’s what made me start taking a look at that instinct within myself to people please and make sure everyone around me is comfortable instead of, you know, saying what I really feel in a moment or saying what I really think about something because there’s all that fear of what people think and wanting to fit in; all that stuff that that we do. I think I’ve just started to try and shed that stuff a little bit more, you know, to live a more, I guess, authentic life if that doesn’t sound too unbearable.

EP: Do you think that the moving away from being ‘nice’, for want of a better description, has made you more honest, more relatable as a singer? Because, I guess everyone has had situations in their life when they’re maybe not as nice as they should be, or times when they wish they could have been nicer. Something that comes through for me in the other songs that I’ve listened to, the recent stuff, is that the lyrics in them are really quite honest. Do you think that’s a by-product of not being so accommodating?

KT: I do. I do think that. Yeah. I think, you know, in my head being nice equates to, in the context of the song, just kind of caring too much about what other people think and I think by, not being as nice, or not caring as much has made me a little more willing to be, like you said, more honest, bolder in my lyrics. Just kind of admitting things that I think we all deal with and I think it can be scary to put stuff out there like that. I think I just got to this point in my life where it was like if I’m not gonna be honest and say stuff that I really think, what’s the point?

EP: With the album coming out, is that a theme for the album? Does it relate to an episode in your life that you feel you need to be more honest about?

KT: Yeah, for sure. I’ve been writing songs, acting and, kind of, in this industry for a while and you know can get to the point where you’re just sort of moving forward on autopilot and then I think having to slow down with the pandemic and not having any distractions and not having anything to busy my mind with, made me take a look at a lot of stuff that, you know, I was maybe putting off until a later date. And so, yeah, I think it is just about a time in my life, where I decided to try and face a lot of things and realise that this process will probably be ongoing throughout my whole life with uncertainty, questions and change and all of that that we all experience. I think I definitely went through my own kind of journey with that and I think that’s what a lot of these songs mean; I wrote most of them during the last year so I think that’s where a lot of these songs are coming from. It’s just sort of honest, a little bit scared, a little bit sad, but ultimately just kind of an acceptance of life and where I’m at and what my life is. Just kind of trying to, I don’t know, be present. I guess that is where a lot of these songs came from.

EP: It’s been it’s been a really recurrent theme, when I’ve chatted to artists recently, that the lockdown period has been a period where songwriters especially have become a little bit more introspective and have had that time to kind of look inside a little. It’s amazing how much more of the song writing feels very honest coming out of the other side of a pandemic. Hopefully. In that way, do you think that the lockdown has been a good process for you because it’s allowed you that time to maybe develop as a songwriter.

KT:  I mean, I guess I’d have to say, yeah, I think it’s easy as artists, especially with social media, to have that kind of hovering feeling of like, “am I?” You know, if you compare yourself to everyone else’s story. It’s like there’s this easy way to constantly look and be, oh, this person’s doing that, or that person’s doing this. Am I falling behind? Where am I on the timeline of my life and my career? And I’ve, you know, at least for me, always had this fear that I was lagging or falling behind, and I think it was always the goal to sort of snap out of that and realise that’s not what it’s about. It’s about the music. It’s about the song writing. It’s about, you know, the art you’re making and not necessarily the outcome of what that brings to you. I think that’s a really challenging perspective to have in general, but I think having everything screech to a halt as far as no one’s going on tour, no one’s progressing in the way that feels like you’re really falling behind, sort of levelled the playing field and, in a small way, felt like we were all kind of facing the same thing. I think it was a good reminder of, hey, what are you doing this for in the first place? Is it just to look cool on Instagram or is it to actually make something that feels like it moves people and inspires people and relates to and connects people. I don’t know. I’ve noticed too, with my songwriter artist friends, that it was a time that was like a really good hard exercise. Do you really want to put in the time and the effort it takes to make music? Even if it means not reaching these certain markers, it’s still worth it, you know? And I think that’s a good question to ask yourself, and I think the pandemic just kind of forced us to do that.

EP: I think because everyone became time-rich, but simultaneously cash-poor because of the amount of things they could do. It kind of forced a lot of song writers, as you say, to realise that it’s difficult, it’s tough. This has been a really difficult period and it’s the guys that’ve hung in there were the ones that I really think of as honest song writers. It’s been a good thing for the music consumer because the music that’s coming out now really does feel much more honest, more authentic.

KT: Yeah, and I agree

EP: I think, also, because a lot of people that, maybe, wouldn’t have normally gone through mental difficulties in their normal day-to-day life may have gone through much more challenging periods with the lockdown. It makes the music subject more relatable, doesn’t it because we’ve all been in that same sort of position. It’s always been tough for artists, suddenly it was tough for everyone.

KT: Yeah.

EP: Your music for me brings together quite a few genres. The music I’ve listened to has got all sorts of stuff in there but with the kind of honesty in the lyrics it feels that there’s a lot of country in there, country music. Do you think that’s partly to do with where you grew up? I saw that one of your collaborators is Justin Gamella, who has worked with Lennon Stella before. Do you feel country influence in your music or is that something that, coming from the South, you want to get away from?

KT: I don’t know. I mean, I think the older I get the more I sort of connect with where I’m from and how I grew up and the place I come from. In the South, country music is big there but I grew up loving pop and country but since I moved to LA I’ve been pursuing a career in pop music. I think, when I was younger, I was maybe a little more quick to try and shed the country label or whatever, but I think the older I get the more I kind of connect to that style of music, that style of writing, because it is more storytelling. It is more, you know, sit down with your guitar and make it just about that and I think with the album that was a big part of it for me. I wanted the production to reflect the lyric and I wanted it to support the song rather than the other way around. I think that’s something that is big in country music and that genre is about making sure the lyrics and everything really add up and tell the story in the right way. I think that was definitely something I wanted to challenge myself with when writing these songs; I want the song writing to be the focus and the lyrics and, yeah, the story I’m telling and so I think it’s probably just like ingrained in me in some way because I did grow up there and it can’t help but influence, you know, probably a lot of my instincts.

EP: I guess it’s almost part of your DNA if you come from that part of The States.

KT: Yeah, I guess so, like I, I hope so. I think, yeah, I just tried to embrace a lot of my instincts. I just tried to embrace rather than, you know, push away from them. I think with this album that’s probably where the honesty is coming. I’m not gonna try and be something I’m not, I’m not gonna try and fit into this box, into this thing or that. I’m just gonna follow where my inspiration and my instincts are taking me and I think that’s why, to me, this album feels and this music feels like my most honest song writing. I think it’s pretty special to have it be kind of my first album and in a way it almost feels like a restart for me. In a lot of ways, it almost feels like I’m putting music out for the first time sometimes; I feel like I really tapped into something that I’m excited about.

EP: The stuff that I have heard is fantastic and it helps that the lines between the genres have been blurred. Country music is moving more towards pop and pop is moving closer to Country music; those lines have been blurred a little.

KT: Yeah, I think so.

EP: So I think, you know, from that point of view it lends itself very much to what you’re doing at the moment. So what sort of artists inspired you? Has that changed? You know, going forward, you said you were very much a pop artist so who inspired you with your musical development.

KT: It’s tough. I mean, I feel like in the past, growing up, I would listen to a bunch of different stuff but I’ve always been a big fan of John Mayer and I think that was a big influence on me in deciding to kind of lean more into my singer-songwriter roots. I grew up in the era of N’Sync, Backstreet Boys and Britney; these huge pop stars. So, I naturally found that very alluring and that’s what I wanted to do. I wanted to be on the stage with pyrotechnics and big choreography, but I think I have just kind of, like I said, embraced what I actually feel at the core of me. I sort of leaned into that singer songwriter world and I think I’ve pulled from that early influence of seeing an artist like John Mayer who was able to release album after album sort of just doing what he does. And so, that’s been a big inspiration to me. I mean lately, I’ve just been listening to a lot of singer songwriters like Sasha Sloan and Madi Diaz, Lennon Stella… I loved her album, JP Saxe, Julia Michaels, just this sort of singer-songwriter pop. Honest, introspective, emotional song writing. I’ve just been really drawn to it and I think that’s what inspired me the past few years and definitely a lot of what I’ve been gravitating towards in my own music.

EP: Well it sounds great, are there any plans to bring the music to the UK?

KT: Yeah, sure. I mean, I’m dying to get over there. I think especially now I’m like get me anywhere but I’ve spent some time in London and I really am dying to come back to the UK. So, let’s make it happen.

EP: That’d be great, I can’t wait for the album as well. Finally, one question which is completely off piste.  I’ve been watching the HBO TV show ‘Ballers’, I know I’m very late to the party with that but I’ve realised you’re in Season 4 of that hit show with The Rock and co.

It must have been a lot of fun working on that show. I’m only on Season 2 but I’m loving it!

KT: It was really fun. Yeah, it was such a cool experience. I’d, you know, done kind of more kid teen focus shows and then I got that part. So it was really fun to get to do something which was a little more of an adult show and a comedy; my character had a lot of insane, fun outfits, and just getting to work with that calibre of actors. I worked with The Rock, which was crazy, and Rob Corddry and then someone from the UK, Russell Brand, he’s also in season four and so I got to spend a little time with him. He is amazing. I mean, it was just so much fun. He would come into the scene every time with a different improvised line and it would just make me laugh every time and I was, like, this is such a fun set to be on, so, yeah, I felt really lucky to be a part of it. But yeah, get ready for my outfits. That’s all I’m saying.

EP: I’m loving the show; I expected it to be funny but I never expected it to be quite so moving.

KT: Yeah. I know, I agree. I know. I liked it too.

EP So the Rock didn’t inspire you all by singing ‘You’re Welcome’ on set?

KT: (laughing) I know, I know, I mean, he should have. It was definitely a little nerve-racking but I think the more I was on, like week after week, we all became a little more comfortable with each other. You know, The Rock is very nice, but he’s definitely a big presence (laughing)

EP: Well, Katelyn, it’s been an absolute pleasure speaking with you. I wish you lots of luck with the music. I’ve loved everything I’ve listened to and I can’t wait for the album or Season 4 of ‘Ballers’ (laughing). I can’t wait to see you in the UK.

KT: And thanks, I can’t wait to be there!

Pre-order ‘Subject To Change’ here, and find out more about Katelyn Tarver online on Twitter, Facebook, Instagram, Spotify, Apple Music, and her website.





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Get Back Run Time Defended By Director Peter Jackson

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For as much excitement as the new documentary The Beatles: Get Back has been getting since premiering on Disney+, it has also been getting one specific criticism – it’s too long. Now director Peter Jackson is stepping in to explain why the music doc goes to The Lord of the Rings epic length.

The three-part Beatles epic is a tough watch. Each episode comes in between two and three hours, essentially three movies, making it rough sledding for everyone except die-hards. Still, Jackson says everything had to be included:

“I’d like to say that I didn’t really leave out anything that I thought was important,which is why the duration has crept up to what it is today. I felt acutely – and this is the Beatles fan part of me kicking in – anything I don’t include in this movie might go back in the vault for another 50 years. I was seeing and hearing these amazing moments. I thought: ‘God, people have got to see this. This is great. They have to see this.’”

Have you watched The Beatles: Get Back yet? What are your thoughts on the bloated run time?





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Riva Taylor Releases A Timely Version Of ‘7 O’clock News/Silent Night’ With A Nod To Simon & Garfunkel – Essentially Pop

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Back in 1966, Simon & Garfunkel, the legendary American recording artists and songwriters, recorded their version of the timeless classic ‘Silent Night’. This Christmas Classic sold over ten million copies for Bing Crosby back in 1935 but has its origins back in 1816 when Father Joseph Mohr, an assistant priest in Mariapfarr Austria, wrote his German poem called ‘Stille Nacht’. Two years later as the priest of St.Nicholas parish church in Oberndorf, a village near Salzburg, on Christmas Eve, he asked organist Franz Gruber to compose a melody for his poem and the guitar accompaniment he wrote, because recent flooding had damaged the church organ, is a beautiful, poignant evocation where folk song meets poetry. The purity of the melody and the holy words of the poem combine to give us something of hymn like quality that will forever be the simple peace of Christmas that we all yearn for.

Simon and Garfunkel wanted to take this traditional hymn like song and bring it up to date and so what they did, as they recorded the version for the iconic ‘Parsly, Sage, Rosemary and Thyme’ album, was to sing the song in perfect two-part harmony but bleed in the sound of a news announcer bringing news of the day. That news was actually scripted and read by Charlie O’Donnell, a radio DJ who later found fame as host on many US TV game shows, and covered topics which painted the summer of ’66. These included the death of Lenny Bruce in Hollywood, a march in Cicero, Illinois by Martin Luther King Jr., the indictment of Richard Speck for nine murders and allusions to the war in Vietnam. The merging of radical 60’s style with the beautiful hymn like singing of Simon & Garfunkel is haunting and poignant, especially all these years later.

Jump forward to 2019 and indie artist Phoebe Bridgers along with Fiona Apple and Matt Berninger updated the classic ‘7 O’clock News/Silent Night’ only this time the headlines are pulled straight from 2019, with mentions of the abortion debate, sexting and the Trump White House. Apple harmonizes with Bridgers on the ‘Silent Night’ portions, while Berninger plays the role of “the newscaster”.

As with Simon & Garfunkel’s version, the contrast is stark and clear; it’s hard to maintain a still and magical sense of the togetherness of Christmas when the reality of life keeps sticking it’s nose into the proceedings. Or maybe, it’s an ode to the fact that peace and calm can bring us to the light at the end of the tunnel, however traumatic or filled with obstacles the path may be. The way this song is digested is very personal to the listener.

Now in 2021, twenty years after she made her stage debut at a Farm Aid benefit gala at the Royal Albert Hall garnering praise from HRH Prince Charles, Riva Taylor is releasing her version of this iconic take on a Christmas Classic. The acapella rendition of Silent Night will be released today. This time the news headlines come from the year’s top stories and are read by BBC/ITV presenter Yiolander Koppall.

Riva says:

“I’ve waited for the right moment to re-create this concept in my own way. I felt this year was the year with so much news, change globally, and questions being raised about the future of our planet. We wonder what the new normal looks like as we continue to navigate life in the midst of a pandemic.

The festive period and looking into a brand-new year has always felt like a moment for celebration as much as it has, a time for reflection. I hope the song leaves the listener feeling a sense of that, as well as happiness and hope that this time of year brings.”

To accompany the release, Riva will also package up Silent Night as an NFT (non-fungible token).

“I’m fascinated by the evolution of this space. I held my album launch in the metaverse and have already released a few NFT’s in 2021 to accompany my releases, says Riva. “My prediction for 2022 is that we will see more artists exploring creative ways to interact with fans and sell their music through platforms such as Opensea.”

Non Fungible Tokens are very much a thing of the future and to understand them we first have to understand the difference between fungible and non fungible. Fungible means Items or assets that are considered identical. They are directly interchangeable like-for-like, and generally divisible at least to some degree. Whereas non fungible means Items or assets with unique identities. They cannot be interchanged equally or divided. Value and ownership experience of different non-fungible items can vary greatly depending on individual properties. In fact, non-fungible simply means unique. The token acts as a digital certificate of ownership for whatever the creator, in this case a musician, decides to put up for sale. This can be anything from a single traditional album, to a bundle including extras such as gig tickets and exclusive bonus tracks.

Riva Taylor is always exploring new ways to create music and connect with her fans. This is just a step in that direction. Always a huge believer in collaboration, the NFT helps make the music fan the quintessential collaborator as they join their favourite artist on their journey and can directly support their art and creativity. For this I applaud her, and for this beautiful take on a wonderful version of a Christmas Classic I thank her.



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A Musical Instrument Auction To Benefit Music Rising – Essentially Pop

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U2’s The Edge and producer Bob Ezrin, Co-Founders of Music Rising have announced Guitar Icons: A Musical Instrument Auction to Benefit Music Rising to take place December 11th, 2021, starting at 10:00 a.m. PST. Hosted by Van Eaton Galleries (vegalleries.com) in Los Angeles, the live and online auction will offer a significant collection of guitars and other music memorabilia by some of the world’s most prominent musicians and friends of Music Rising.  The auction will take the charity back to its roots and help support the musicians of the NOLA region after a long period being without income.

Music Rising was co-founded by U2’s the Edge and legendary producer Bob Ezrin, along with a host of music industry partners in 2005 after the devastation of Hurricane Katrina. Since its inception, Music Rising has provided millions of dollars in aid to musicians and recipients of music education across the country.

Guitar Icons: A Musical Instrument Auction to Benefit Music Rising includes an exclusive collection of important instruments donated by friends of the charity. All of the instruments have a unique and special story and provenance and together make up an extraordinary example of some of the greatest moments in music history.

Highlights include:

  • The Edge’s 2005 Limited Edition Gibson Les Paul Music Rising guitar, often referred to as the ‘One’ guitar given its use on the Joshua Tree tours of 2017 and 2019 during performances of the hit ‘One’.

The Edge also played this guitar on ‘One’ and ‘American Soul’ during U2’s 2018 Song of Experience shows along with their famous 360 tour back in 2010, and serves as a significant iconic symbol for Music Rising, being one of the first guitars produced to benefit the charity at its inception. Of further significance to the ‘One’ guitar, The Edge also played this guitar at the first reopening of New Orleans Jazz Fest post Katrina in 2006 alongside Dave Matthews and during a performance at the Grammy Awards 2006 alongside Bruce Springsteen and Elvis Costello.

  • The Edge “I Still Haven’t Found What I’m Looking For” Custom Signature Fender Stratocaster.

Edge took this guitar on the road with him during the period of 2017-2019 and used it for performances of ‘Bad’ and the beloved chart topping hit single from ‘The Joshua Tree’, ‘I Still Haven’t Found What I’m Looking For’.

  • Paul McCartney’s Tour and Studio Played Left-Handed “Wings” Yamaha BB-1200 Electric Bass Guitar.

The Cherry Burst BB-1200 was a principal instrument used during his performances with Wings in the late 1970s. He was frequently photographed playing it on stage, during live performances and in the studio.

  • Lou Reed’s Danny Gatton Fender Stratocaster nicknamed “Goldie.”

Reed’s love of this guitar can be seen in the patina and wear throughout and can be seen in videos of Reed playing his rendition of ‘Jealous Guy’, at Radio City Music Hall, as well as on tour during 2005-2006.

  • Bono’s U2 Tour Played Custom Gibson ES-175 Electric Guitar used extensively on tour.

Bono played this guitar on the 1992-1993 “Zoo TV” tour during performances of the songs ‘The Fly’, and ‘Angel of Harlem’. The guitar was painted to Bono’s precise specifications and Bono also added a decal to the body of the guitar reading “I Feel Good”.

  • Slash’s signed Gibson Custom Shop “Victoria” Les Paul Goldtop Model Electric Guitar created to Slash’s specifications and includes an original drawing by Slash of “Skully” on the top of the guitar.
  • Noel Gallagher’s Tour-Played Nash Telemaster guitar which was played on tour with Noel Gallagher’s High Flying Birds. 
  • Legendary Producer Bob Ezrin’s Artist’s Proof Custom Frank Brothers Ezrin Model Electric Guitar.

This is a handmade instrument designed to capture the studio sounds of several of the iconic guitar players he has worked with over the years. Numbered “00” this guitar is one-of-a-kind.

Other exceptional highlights include:

  • Elton John’s Signed and Concert Played Yamaha Motif-8 Keyboard;

This was used by Elton John during live performances and on the road for nearly a decade. He also signed the instrument with black felt pen.

  • RUSH’s Alex Lifeson’s Tour Used Signature Hughes & Kettner RUSH Amp and Cabinet Half Stack;

Used extensively on the 40th Anniversary tour “Vapor Trails” and the “Snakes and Arrows” tour, as well as the “Time Machine” tour.

  • Adam Clayton’s Tour Played Fender Standard Precision Bass;

The U2 bassist played this guitar for performances of the song, ‘A Sort of Homecoming’, on The Joshua Tree tour from May-July, 2017. During the tour the bass was also used for the songs ‘Bullet, The Blue Sky’, ‘Running to Stand Still’, ‘One Tree Hill’ and others.

  • Alice Cooper’s Tournament Used “Big Bertha” Golf Clubs;

The music icon’s personal set of golf clubs in a customized “Alice Cooper” bag.

  • Chris Martin’s Tour Played Painted Fender Telecaster Deluxe guitar;
  • Pearl Jam’s Eddie Vedder’s Concert Smashed Fender Stratocaster;

The Lake Placid Blue Fender American Special Telecaster was decorated by Vedder with an embroidered red/white Chicago Cubs “C” sticker as a tribute to legendary Chicago Bears running back Walter Payton and used by Vedder during Pearl Jam’s August 20, 2018 tour at Wrigley Field and was smashed by Vedder at the conclusion of a cover of The Who’s, ‘Baba O’Riley’.

  • A collection of extraordinary silkscreened Pearl Jam concert posters signed by the band members;
  • KISS’ Paul Stanley’s one-of-a-kind Tour Played Ibanez Custom Shop guitar;

The collection will also boast additional instruments for auction including:

  • Bruce Springsteen’s signed Americana Original ‘50s Fender Telecaster; Joe Wash’s “Bono” Irish Falcon Gretsch guitar;
  • The Eagles Don Felder’s signed Epiphone G-1275 Double Neck Electric Guitar and Signed Art Print; Vince Gill’s The Eagles Concert Played Duesenberg Bonneville guitar;
  • The Rolling Stones’ Ronnie Wood’s Signed American Original 50’s Fender Stratocaster;
  • The Kings of Leon band signed Epiphone Dot Studio Guitar;
  • Steve Miller’s Signed Original and Hand Painted Maccaferri guitar;
  • Halestorm Lzzy Hale’s signed Tour Played Prototype Signature Epiphone Explorer guitar;
  • A Julian Lennon signed Martin & Co. Acoustic guitar;
  • A Green Day Band Signed Epiphone Les Paul Special guitar;
  • Ed O’Brien’s Radiohead Tour Played Signature Fender Stratocaster;
  • Flea’s Red Hot Chili Peppers Band Signed Signature Fender Jazz Bass;
  • Joan Jett’s Signature Gibson Worn White Melody Maker; Johnny Marr’s Signed Studio Played Limited Fender Jaguar guitar;
  • A Dave Grohl signed Gibson Explorer guitar;
  • Tom Morello’s Signature “Soul Power” Stratocaster;
  • Win Butler’s signed Prop Bass Guitar from The Arcade Fire music video “Everything Now;”
  • Zac Brown’s Personally Played Signed Natural Gibson ES-335 guitar;
  • Three additional guitars which were played and used by the late Lou Reed.

“The music of New Orleans has influenced various styles of music borrowed from early traditions. It is the birthplace of jazz and represents a musical culture which bears great significance to most every genre today.  I can’t imagine what it would feel like to lose my ability to do what I love – making music. Unfortunately there are many musicians and crew members who continue to struggle since the pandemic. If this multigenerational chain is broken, we lose more than just a few concerts we lose an entire culture that stretches back centuries. Some of the world’s greatest musicians and friends of Music Rising have generously donated their personal instruments to raise money for Music Rising. We hope you have a chance to bid on one or more of the beautiful instruments in the auction. The monies raised goes to musicians and crew. Your support continues to be invaluable to Music Rising.” –  U2’s The Edge

“When we launched Music Rising in 2005 we didn’t have any idea how significant a role the organization would play in helping musicians and music educators for as long as it has. Guitar Icons: A Musical Instrument Auction to Benefit Music Rising will be our biggest fundraising opportunity this year. We are working closely with the New Orleans Jazz & Heritage Foundation in bringing back the bright sounds of the music of New Orleans. We thank you for your support and hope you are able to bid on one or more of the extraordinary instruments offered in the auction. We are thankful for all of your continued support of Music Rising.” – Co-Founder and producer, Bob Ezrin

Music Rising has also launched a new apparel collection featuring limited edition t-shirts, hoodie, caps and tote. All the new apparel can be purchased at www.musicrising.com and benefits the charity. The iconic logo, which serves as the symbol for Music Rising is featured on each item.

The auction will take place at Van Eaton Galleries located at 13613 Ventura Blvd in Sherman Oaks, California beginning at 10:00 a.m. PDT on Saturday, December 11, 2021. The auction will also stream live and be online via various auction platforms all available through https://vegalleries.com/musicrising.  A public exhibition of the collection will begin Monday, November 22, 2021 at the gallery and can be visited by collectors and fans by appointment. Proceeds from the auction will be administered by the New Orleans Jazz & Heritage Foundation on behalf of Music Rising.

GUITAR ICONS: A Musical Instrument Auction to Benefit Music Rising

Van Eaton Galleries

13613 Ventura Blvd

Sherman Oaks, California 91423

PUBLIC EXHIBITION

Beginning Monday, November 22, 2021 10:00 a.m. PDT – 6 p.m. PDT

To confirm your visit please call Van Eaton Galleries at 818-788-2357 or email auction@vegalleries.com

EXHIBITION HOURS ARE Monday-Saturday, Closed on Sunday and Thanksgiving.

To register to bid or to view the online catalogue for the auction please click here.



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