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How Mike Dirnt honed his signature bass tone for Green Day’s Revolution Radio – and why it all starts with the wrist
By Jon D’Auria published
Working with Fender, Dirnt built a bass rig that allowed him to ditch distortion pedals and harness his distinctive sound

Jackson Dean on playing in Nashville alongside some of the best
By Jim Beaugez published
The viral star turned country hero discusses finding space as a picker surrounded by guys like Tom Bukovac, John Osborne, and the sideman who’s been with him since the beginning, Brandon Aksteter
![Tortoise: [from left] John McEntire, Dan Bitney, Jeff Parker, Douglas McCombs and John Hernon.](https://cdn.mos.cms.futurecdn.net/2YUmuCLFdmw3kARNUmCCBN-320-80.jpg)
Douglas McCombs on the long-awaited return of post-rock trailblazers Tortoise
By Adam Kovac published
We had to wait nigh-on a decade for new album Touch but it demonstrates that Douglas McCombs and his six-string lieutenant, Jeff Parker, have not lost theirs, nor for their taste in retro-audio engineering techniques

Everybody knows B.B. King played a Gibson guitar named Lucille – but what model was it really?
By Tony Bacon published
B.B. King will forever be known as the great bluesman who always played Lucille. But he had many Lucilles

Mark Collins on triumph, tragedy, and the long-awaited return of the Charlatans
By Henry Yates published
Collins explains why the Britrock survivors still believe in albums and real amps moving air, and discusses their return to the formative Rockfield Studios after three decades

Up close and personal with a '63 Strat and '70s Höfner Violin Bass with Oasis and Ocean Colour Scene connections
By Huw Price published
This 1963 Fender Stratocaster and 70s Höfner 500/1 violin bass guitar recently went under the hammer – and, as it turns out, these were Britrock unicorns for collectors

How Laura Cox threw the blues-rock rulebook out the window and found herself in the process
By Joe Bosso published
From the smallest screen in our pockets to the stage and studio, can anyone stop the French garage-blues prodigy from taking her rock sound to the to the masses?

The making of the Smiths’ 1986 classic The Queen Is Dead
By Henry Yates published
It was a square peg amid the shred scene and almost sank Johnny Marr, but the Smiths’ majestic third album ended up as the jewel in their crown

Why P-funk legend Michael Hampton is keeping an open mind in search of his solo sound
By Andrew Daly published
The P-Funk veteran takes us inside his latest life stage, a much more mellow place than the frenzied funk days of his past

How the Dirty Nil’s sound runs on vintage Marshall power and a healthy serving of the Rat pedal
By Jim Beaugez published
Weaned on the Stooges, Luke Bentham developed a taste early on for any player who could “peel paint” from the walls. Here, he walks through the high-volume approach behind the Dirty Nil's latest, which originally provoked a cease-and-desist from the Holy See...
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