{"id":23172,"date":"2024-12-28T09:21:00","date_gmt":"2024-12-28T09:21:00","guid":{"rendered":"https:\/\/guitarmadrid.com\/?p=23172"},"modified":"2025-01-12T14:50:27","modified_gmt":"2025-01-12T14:50:27","slug":"anti-colonialist-anguish-hope-joy-and-the-search-for-connection-all-through-his-guitar-thats-what-makes-a-guitar-hero-guitarists-of-the-year-2024-the-players","status":"publish","type":"post","link":"https:\/\/guitarmadrid.com\/es\/2024\/12\/28\/anti-colonialist-anguish-hope-joy-and-the-search-for-connection-all-through-his-guitar-thats-what-makes-a-guitar-hero-guitarists-of-the-year-2024-the-players\/","title":{"rendered":"\u201cAnti-colonialist anguish, hope, joy and the search for connection, all through his guitar. That\u2019s what makes a guitar hero\u201d: Guitarists of the Year 2024 \u2013 the players who took 2024 by storm"},"content":{"rendered":"
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\"Guitar<\/picture><\/div>\n<\/div>\n<\/div>\n

(Image credit: Jo Hale\/Redferns; Astrida Valigorsky\/Getty Images; Rebecca Sapp\/Getty Images for The Recording Academy; Mickey Bernal\/Getty Images; Sergione Infuso\/Corbis via Getty Images)<\/p>\n<\/div>\n

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Okay, it\u2019s time to run the ticker tape: we\u2019re paying tribute to the guitar players who made 2024 their own. Whether on the acoustic guitar or pushing the envelope on a high-performance electric guitar, these are the players who stopped us in our tracks.<\/p>\n

And while there are some familiar faces \u2013 two of which made this past year the one in which they finally collaborate on record after decades of friendship \u2013 there are a lot of players who are just coming to our attention now, and others who are only at the start of their guitar-playing journey.<\/p>\n

In other words, there are signs that the future will be blessed with the talent we need to take guitar-playing forward, inspiring us all in the process.<\/p>\n

Joe Satriani<\/h2>\n
\"Joe<\/figure>\n

(Image credit: Jen Rosenstein)<\/p>\n

Joe Satriani did more in one year than most players do in a lifetime, starting out with the G3 Reunion Tour alongside the original 1996 lineup of Eric Johnson and Steve Vai, playing shows that would\u2019ve been the highlight of any other year.<\/p>\n

But not when Satch also announced that he and Vai were touring and making music together, releasing their first single, The Sea of Emotion, Pt. 1<\/em>, in March, sharing a GW<\/em> cover and having big fun onstage. And definitely not when it was confirmed that Satch was going to be performing a de facto tribute to Eddie Van Halen on Sammy Hagar\u2019s Best of All Worlds Tour.<\/p>\n

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Joe Satriani – “Big Bad Moon” from G3 Reunion Live (Official Visualizer) – YouTube\"Joe<\/p>\n<\/div>\n

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After all the hoo-ha about the EVH tributes, this was a chance for one great to pay homage to the G.O.A.T., and Satriani approached it with his trademark humility. He got serious. First, fretting about the tone, he developed an all-new tube amp with 3rd Power to replicate Eddie\u2019s Live Without a Net<\/em>-era sound. Then he sweated the playing.<\/p>\n

Performing Mean Streets<\/em> on The Howard Stern Show<\/em> without a rehearsal was a baptism of fire. Everyone had an opinion. But he did what the greats do; they get in the room and practice, and when the shows came around, no-one was mistaking Satch for Eddie Van Halen \u2013 but they sure could\u2019ve been mistaken in thinking this was easy, because he made it look like a fun jam with friends, which is kind of what 2024 was for Satriani. Which brings us to Mr. Vai\u2026<\/p>\n

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All the latest guitar news, interviews, lessons, reviews, deals and more, direct to your inbox!<\/p>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n

Steve Vai<\/h2>\n
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Steve Vai – “Zeus in Chains” from G3 Reunion Live (Official Visualizer) – YouTube\"Steve<\/p>\n<\/div>\n

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As it goes with Joe, so it does with Steve, and although Vai didn\u2019t need a custom-built amp to play Van Halen night after night, he did have his own musical Everest to scale.<\/p>\n

Once he had fulfilled his post-G3, post-Satch\/Vai commitments, it was time to tour with Beat, reimagining King Crimson classic albums in the company of Crimson alumni Adrian Belew and Tony Levin, with Tool\u2019s Danny Carey on drums.<\/p>\n

The Beat tour is a big deal \u2013 65 dates across the States \u2013 and a heavy lift, with a set culled from King Crimson\u2019s Discipline, Beat<\/em> and Three of a Perfect Pair<\/em>, all performed for a fanbase who expects perfection. Vai wouldn\u2019t have it any other way.<\/p>\n

\u201cWhen the opportunity to do this gig was presented to me, I saw myself on the stage in my minds-eye and I knew it would be good,\u201d he wrote on Instagram.<\/p>\n

\u201cBut the way it is turning out for me has surpassed my expectations\u2026 I feel so comfortable being on this stage playing this absolutely superb music and being a part of something that offers the fans of this music an opportunity to hear it live after over 40 years of its release.\u201d<\/p>\n

Slash<\/h2>\n
\"Slash<\/figure>\n

(Image credit: Future \/ Jen Rosenstein)<\/p>\n

This year, Slash\u2019s Rolodex was every bit as important to him as a Gibson Les Paul or Magnatone amp, with the Guns N\u2019 Roses guitarist leveraging all his convening powers for the all-star blues album Orgy of the Damned<\/em> \u2013 before repeating the trick and launching the touring S.E.R.P.E.N.T. Festival to make money for good causes and take the art form nationwide.<\/p>\n

Orgy<\/em> was an opportunity to show the world a side to his playing that we hadn\u2019t seen since the \u201990s (via his Blues Ball live project), and yet you don\u2019t need to dig that deep into Slash\u2019s back catalog to find examples of blues phraseology \u2013 the influence has always been there.<\/p>\n

He had been wanting to do some of the Orgy<\/em> tracks since forever \u2013 Killing Floor<\/em> being one of them. \u201cIt\u2019s always been one of my favorite guitar riffs of all time,\u201d he told GW<\/em>. His high-energy shakedown of the Howlin\u2019 Wolf standard \u2013 with AC\/DC\u2019s Brian Johnson barking lava into the mic \u2013 showcased an ease with this material.<\/p>\n

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Slash feat. Brian Johnson – “Killing Floor” (Official Music Video) – YouTube\"Slash<\/p>\n<\/div>\n

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The GN\u2019R guitarist freshened up the rotation for Orgy<\/em>, predominantly playing through a Magnatone M-80 combo and breaking out his 1963 ES-355. The Gibson brand ambassador even switched codes to use a Fender Telecaster on a bravura take on Stevie Wonder\u2019s Living for the City<\/em> and a Strat on Peter Green\u2019s Fleetwood Mac standard Oh Well<\/em>.<\/p>\n

Green and fellow Bluesbreaker alumni Eric Clapton are primary inspirations, but as Slash argues, the O.G. trailblazers remain unsurpassed.<\/p>\n

\u201cMy favorite British guitar players are amazing, but they all pale in comparison to the original guys, because that was their own personal technique, from its origin, and everybody after that was just picking up on it and taking it somewhere else,\u201d he said.<\/p>\n

\u201cThose early blues guitar players from the \u201950s and \u201960s \u2013 and, of course, it goes further back than that \u2013 there was a thing there that was just raw and amazing and unique.\u201d<\/p>\n

Adrian Belew<\/h2>\n
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Adrian Belew full concert rockpalast 11-03-2008 – YouTube\"Adrian<\/p>\n<\/div>\n

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On the momentous occasion of the Stratocaster\u2019s 70th birthday (another big 2024 event), Adrian Belew had a revelation for Guitar World<\/em>. He was the owner of the world\u2019s first relic\u2019ed guitar, and Seymour Duncan did the relic\u2019ing.<\/p>\n

It goes back to a \u201cbrown sunburst\u201d Strat Belew bought in Nashville for $285, a bargain. But it had an \u201cugly-ass\u201d finish. Duncan knew just what to do.<\/p>\n

\u201cHe got in the trunk of his car and took out all these things \u2013 files and a screwdriver and spray paint and lighter fluid,\u201d Belew said.<\/p>\n

\u201cHe laid it on the lawn, and before I could say anything, he took the lighter fluid out and squirted it on the face of the guitar and set it on fire\u2026 It looked just like the beginning of Bonanza<\/em>.\u201d That was only the beginning. Screwdrivers came out. It got dragged around. Belew applied spray paint, and guitar history was made.<\/p>\n

As for Belew the player? We\u2019ll leave that to Vai, who has witnessed it up close on the Beat tour: \u201cI have never heard anyone even in his neighborhood when it comes to his creative mastery of guitartronics. I watch and listen to him take solos and find myself giggling in disbelief.\u201d And, as we see it \u2013 no Belew? No Beat tour!<\/p>\n

Dave Navarro<\/h2>\n
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Janes Addiction – “True Love” (Official Lyric Video) – YouTube\"Janes<\/p>\n<\/div>\n

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There\u2019s no need to go all Judge Judy here on what went down on that fateful Friday, September 13, in Boston, as the Jane\u2019s Addiction reunion imploded. We\u2019ve all seen the fan-shot footage, the alt-rock Zapruder film duly uploaded to YouTube. Perry Farrell took a pop at Dave Navarro. Everyone has had their two cents. He says. She says. Jane says.<\/p>\n

Well, it\u2019s done now. That Navarro managed to take part at all in the reunion is testament to his character, having contested with the grief of losing his friend in Foo Fighters drummer Taylor Hawkins, and still to fully recover from the effects of Long Covid. The tour began with Troy Van Leeuwen, then Josh Klinghoffer in his place.<\/p>\n

Navarro said it was tough sitting out the opening months. \u201cI love both of those guys, and I was fine with that, but it was hard not to be with my original band,\u201d he said. After Hawkins\u2019 death, he didn\u2019t pick up a guitar for a year. He soon made up for lost time.<\/p>\n

\u201cI spent most of my days during my illness just kind of woodshedding guitar and relearning things,\u201d he said. \u201cI played Jane\u2019s Addiction records front to back and tried to relearn things I\u2019d played in the \u201980s and \u201990s that I\u2019d forgotten. That was a challenge, and that was fun.\u201d<\/p>\n

Who knows what\u2019s next, but Navarro has emerged a better player, \u201ca little bit more confident\u201d of his abilities. He\u2019s available for hire.<\/p>\n

Gary Clark Jr.<\/h2>\n
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Gary Clark Jr. – MAKTUB (Official Music Video) – YouTube\"Gary<\/p>\n<\/div>\n

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There is much to be said for personal development and the wisdom that comes with life experience; but this shouldn\u2019t come at the expense of the inner-child \u2013 not if you want to retain that sense of play that animates the creative impulse. That\u2019s the lesson we took from Gary Clark Jr. and his radical reinterpretation of blues guitar on his 2024 album, JPEG Raw<\/em>.<\/p>\n

\"Aerosmith<\/figure>\n

(Image credit: Rayon Richards)<\/p>\n

Kerry King’s debut solo album, From Hell I Rise<\/em>, is the best Slayer record since 2001\u2019s God Hates Us All<\/em>, and the fact that it doesn\u2019t have the legendary Huntington Beach thrash quartet\u2019s name on it really seems to piss him off. As King says, Slayer split too soon and it \u201csucks\u201d not being in the band.<\/p>\n

\u201cI want Slayer to exist, so this is the only way I know how to do that,\u201d he said. \u201cTo me, it would be weird to do anything else.<\/p>\n

\u201cEverybody knows how I write. This is my comfort zone. I\u2019m a big metal guy. I don\u2019t want to make rock \u2019n\u2019 roll. I don\u2019t want to make anything else. If people say this album sounds like Slayer, I take that as a huge compliment.\u201d<\/p>\n

With Paul Bostaph on drums and rippers like Crucifixation<\/em> and Idle Hands<\/em> to destroy venues, it\u2019s business as usual.<\/p>\n

Grace Bowers<\/h2>\n
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Grace Bowers & The Hodge Podge – Wine On Venus (Official Video) – YouTube\"Grace<\/p>\n<\/div>\n

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If teenage phenom Grace Bowers rises any faster, she\u2019s going to need some time out in a hyperbaric chamber to realign her chakras. This year alone she has debuted on Jimmy Kimmel<\/em>, released a very well-received album and covered SRV\u2019s Lenny<\/em> and Scuttle Buttin\u2019<\/em> (exceptionally) \u2013 and her ascent shows no signs of slowing anytime soon.<\/p>\n

Her latest single, a rootsy, mesmeric cover of Led Zeppelin\u2019s Going to California<\/em>, gave props to her home state (California) and hero (Jimmy Page), demonstrating that nothing was off limits; only Heart have covered Led Zep with this kind of three-dimensional authority. \u201cWe stayed pretty truthful to the original, while giving it a deeper sound, I would say,\u201d she said.<\/p>\n

Speaking of Heart, Nancy Wilson is a big fan, identifying Bowers as a player with the precious gift of knowing how not to overplay.<\/p>\n

\u201cThere\u2019s a whole difference in my mind between just shredding, like wanking off, as opposed to melodically conversational-type shredding,\u201d Wilson told Total Guitar<\/em>. \u201cThat\u2019s what the great players do, like I think Grace Bowers is already at 17. \u201cShe has a significant voice. I would pick her out in a crowd of shredders, like, \u2018Oh, I know who that is,\u2019 like David Gilmour.\u201d<\/p>\n

David Gilmour<\/h2>\n
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David Gilmour – The Piper’s Call Live Around The World – YouTube\"David<\/p>\n<\/div>\n

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Once upon a time he was playing the ancient Roman amphitheater of Pompeii. In 2024, it was open mic night at a pub in England playing Wish You Were Here<\/em> with his daughter. But if David Gilmour\u2019s impromptu first live show in four years was low-key, new studio album Luck and Strange<\/em> was more in keeping with the prog icon\u2019s career among the gods.<\/p>\n

Gilmour reckons it is his best since Pink Floyd\u2019s 1973 magnum opus, The Dark Side of the Moon<\/em>, crediting producer Charlie Andrew for challenging him to push harder.<\/p>\n

History will ultimately judge Luck and Strange<\/em>\u2019s standing, but in the here and now it is a considerable work of reflective grandeur. Written by Gilmour\u2019s wife, the novelist Polly Sampson, the lyrics are a meditation on mortality. The guitars, meanwhile, betray all the characteristics of immortality, arranged according to Gilmour\u2019s golden ratio.<\/p>\n

Who needs Pompeii, anyway? You can\u2019t even get a decent pint of beer there.<\/p>\n

Mdou Moctar<\/h2>\n
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Mdou Moctar – “Takoba (Injustice Version)” (Official Audio) – YouTube\"Mdou<\/p>\n<\/div>\n

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Having constructed his first guitar from scrap wood, using bicycle cables for strings and sardine can keys for tuners, this MacGyver of the Sahel was never going to play it safe once he performed the miracle of going pro and taking his psychedelic Tuareg sound global. And so Mdou Moctar\u2019s Funeral for Justice<\/em> takes his AmPro Stratocaster deeper into uncharted territory, its Sustainiac at the neck expanding the Nigerien virtuoso\u2019s reach.<\/p>\n

But the key to all this isn\u2019t gear; it\u2019s a state of mind. Moctar\u2019s advice to guitar players is to forget about the tools of the trade (he himself can\u2019t remember which amps he used on the record) and concentrate on developing the ability to express yourself on the instrument.<\/p>\n

That\u2019s all Funeral for Justice<\/em> is \u2013 the sound of Moctar processing anti-colonialist anguish, hope, joy and the search for connection, all through his guitar. That\u2019s what makes a guitar hero.<\/p>\n

Emily Roberts<\/h2>\n
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The Last Dinner Party – Portrait of a Dead Girl (On The Road) – YouTube\"The<\/p>\n<\/div>\n

Watch On<\/p>\n<\/div>\n

Like all the best players, Emily Roberts is full of surprises. The Last Dinner Party lead guitarist holds a degree in jazz guitar \u2013 and yet it\u2019s not Charlie Christian but Queen\u2019s Brian May who is her creative lodestar. She even played a gig with a Queen tribute band.<\/p>\n

\u201cI really got inside Brian May\u2019s playing, and I would say he\u2019s my main influence for writing guitar parts and coming up with ideas,\u201d she said. \u201cI really like how melodic and catchy his playing can be. It\u2019s not necessarily trying to show off; it\u2019s more what can be good in a moment of the song and what can lift it.\u201d<\/p>\n

That\u2019s not to say that her studies were in vain. You can hear it on her lead work on Sinner<\/em>. Many of her note choices and phrasing \u2013 played on an Ernie Ball Music Man St. Vincent Goldie \u2013 betray her education and session work on the resum\u00e9.<\/p>\n

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The Last Dinner Party – Caesar on a TV Screen – YouTube\"The<\/p>\n<\/div>\n

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Roberts says her theoretical vocabulary places all kinds of musical ideas within easy reach, which is one of the reasons why the Last Dinner Party\u2019s debut, Prelude to Ecstasy<\/em>, is such an enchanting ride, with tracks such as Caesar on a TV Screen<\/em> and Beautiful Boy<\/em> modulating between the theatrical and the dreamy.<\/p>\n

\u201cHaving all of the jazz theory knowledge gives me a lot of ideas when it comes to writing a rock or pop song,\u201d she said. \u201cIt\u2019s definitely helped having that theory behind it when it comes to improvising ideas and understanding harmony.\u201d<\/p>\n

Matteo Mancuso<\/h2>\n
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Matteo Mancuso – Paul Position (Original) – YouTube\"Matteo<\/p>\n<\/div>\n

Watch On<\/p>\n<\/div>\n

This Sicilian wunderkind sure was given the big build up with Joe Bonamassa and Steve Vai \u2013 and anybody who had watched him play on YouTube \u2013 all saying the same thing, that he\u2019s the future of guitar\u2026 You\u2019ve never heard anything like it, yadda yadda yadda.<\/p>\n

They had a point. When Matteo Mancuso dropped his full-length debut, The Journey<\/em>, last year, it felt like a hinge moment in the history of fusion-rock guitar. Rumor has it there was an EGM held at Dunlop for fear the bottom would fall out of the market for Tortex guitar picks as players googled \u201ctocco appoggiato\u201d and tried to get a handle on Mancuso\u2019s sui-generis fingerstyle approach.<\/p>\n

For this year\u2019s trick, he wrote a breathtaking instrumental tribute to Paul Gilbert. Titled Paul Position<\/em>, it found Mancuso transposing his virtuosity to a lower register as he swapped his underrated Yamaha Revstar for a beefy Bacci baritone guitar.<\/p>\n

Marcin<\/h2>\n
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Marcin, Tim Henson – Classical Dragon (Official Video) – YouTube\"Marcin,<\/p>\n<\/div>\n

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Classical guitar has an image problem and a structural problem, and the two are related. Just how do you teach the next generation to take the art form forward when mastering it requires such deep study of the past? Marcin Patrzalek might just have the answer.<\/p>\n

The Polish guitarist\u2019s technique owes as much to mixed martial arts as it does to Andr\u00e9s Segovia \u2013 a full-court press of nuevo flamenco, contemporary shred and percussive acoustic. Bludgeoning the soundboard, it\u2019s like his guitar\u2019s possessed by the spirit of Buddy Rich.<\/p>\n

\u201cClassical guitar is often about emulating other people, especially older generations of classical musicians,\u201d he said. \u201cSo I just wanted to do the wildest thing possible, and that culminated in this style, which just happened to be very visually stimulating.\u201d<\/p>\n

His debut album, Dragon in Harmony<\/em>, features collaborations with Polyphia\u2019s Tim Henson and Ichika Nito, and will do for nylon-string what Perpetual Burn<\/em> did for electric.<\/p>\n

Taylor Swift<\/h2>\n
\"Taylor<\/figure>\n

(Image credit: Kevin Winter\/TAS24\/Getty Images for TAS Rights Management)<\/p>\n

On of these days, Taylor Swift is going to take us up on the offer of a monthly column teaching pop songwriting. Until then, we\u2019ll just have to admire her craft from afar and learn what we can. For a generation of pop fans, this is the year of the Eras Tour, football stadiums sold out night after night to witness and participate in Swift\u2019s marathon sets.<\/p>\n

From a guitar POV, Swift is using Gibson acoustics, with the brand building her a pair of custom pink and lavender acoustics. Gibson brand\u2019s VP of product, Mat Koehler, says Swift is exacting about what she wants.<\/p>\n

\u201cTaylor favors a fairly unique Gibson model \u2013 a J-180 with a long-scale length,\u201d he said. \u201cThe long-scale length of the J-180 adds power and presence to be able to cut through a mix, which is especially useful when playing live on stage.<\/p>\n

John 5<\/h2>\n
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Exploring the Limited Edition John 5 Ghost Telecaster | Fender Artist Signature | Fender – YouTube\"Exploring<\/p>\n<\/div>\n

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This makes two years running where we\u2019ve got M\u00f6tley Cr\u00fce guitarist John 5 up here on the \u201cguitarist of the year\u201d podium, and there\u2019s no great mystery as to why.<\/p>\n

As box-office guitar players go, he is the Mission: Impossible<\/em> franchise with a hot-rodded Telecaster, defying physical laws on a nightly basis on tour with the Cr\u00fce. And he\u2019s having a similarly transformative effect in the studio with Dogs of War<\/em>, the first new material recorded since the departure of Mick Mars, and there\u2019s the promise of more to follow.<\/p>\n

That cover of the Beastie Boys\u2019 Fight for Your Right<\/em> they\u2019ve been playing live has been tracked, and there\u2019s a single coming that John 5 describes as having an
\nAerosmith flavor. Confirmation of a full-length album is most surely be on the horizon. What is definitely coming via Fender is The Phantom, an all-black sequel to his 5\u2019s switch-equipped (and now sold-out) Ghost Telecaster.<\/p>\n

Nancy Wilson<\/h2>\n
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Heart Covers Led Zeppelin’s \u201cGoing to California\u201d Live on the Stern Show – YouTube\"Heart<\/p>\n<\/div>\n

Watch On<\/p>\n<\/div>\n

Heart might have had to take a medical time out from their Royal Flush Tour, as lead vocalist Ann Wilson underwent treatment for cancer, but they\u2019ll be back at it in 2025, when it will be one of the most anticipated shows of the calendar. The tour is their first in five years.<\/p>\n

Those dates in April and May testified to them losing none of their magic in that time, with Nancy Wilson\u2019s tone sometimes sweet as honey, often super-heavy, and when she hits those opening chords to closer Barracuda,<\/em> it takes the wind out of your chest.<\/p>\n

Here\u2019s hoping they keep The Ocean<\/em> in the set. Only Led Zeppelin do Zeppelin better, and they\u2019re not doing it anymore. While we wait for February to come around, check out their performance on The Tonight Show<\/em>. Even in a three-guitar lineup, Nancy\u2019s SG steamrollers through the mix. Vegas had better be ready!<\/p>\n

Susan Tedeschi<\/h2>\n
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Susan Tedeschi – Angel From Montgomery (Just Won\u2019t Burn 25th Anniversary Sessions) – YouTube\"Susan<\/p>\n<\/div>\n

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Besides taking regular exercise, a solid eight hours a night and enjoying a balanced diet, there are few better things for mind and body than attending a Tedeschi Trucks Band show. There you will find an abundance of humanity, talent and music onstage \u2013 a transformative experience, at the center of which is Susan Tedeschi.<\/p>\n

Her peerless voice, allied to the fact that she\u2019s a consummate team player among a team of them, is perhaps one of the only good reasons why people don\u2019t talk about Tedeschi enough as a G.O.A.T. guitarist. They should.<\/p>\n

If her husband, Derek Trucks, provides TTB\u2019s ancillary vocal glissando guitar, it\u2019s often left to the Berklee grad, blues-room trained Tedeschi to pin the audience to their chairs \u2013 especially when she has her Les Paul and the wah pedal engaged.<\/p>\n

She is hard on her instrument, preferring .11s, showing no mercy. This year, Fender honored her with a signature model based on her \u201993 Tele. On the back of the headstock you\u2019ll find her signature. On the original, you\u2019ll find Buddy Guy\u2019s, with B.B. King, John Lee Hooker, Herbie Hancock, Kris Kristofferson signing the front \u2014 testimony to the company she has kept, to the player she is.<\/p>\n

Kiki Wong<\/h2>\n
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The Smashing Pumpkins \u2013 Sighommi – YouTube\"The<\/p>\n<\/div>\n

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More than 10,000 people applied to fill the vacancy left by Jeff Schroeder exiting the Smashing Pumpkins, and after a herculean effort from Billy Corgan and his HR team, Kiki Wong got the gig.<\/p>\n

She told Guitar World<\/em> that only giving birth had brought her more joy \u2013 and that in Corgan she had found a fellow Pantera obsessive. \u201cIt\u2019s super-rad that Billy has a heavy metal side to him,\u201d she said. \u201cIt inspired him to fuse the lines between alt-rock and metal.\u201d<\/p>\n

But what does Wong bring to the Pumpkins? Well, no shortage of chops. Those following her on social media pre-Pumpkins will know exactly what she can do. Wong admits says this is a chance to broaden her skill set on a set containing multitudes.<\/p>\n

\u201cIt\u2019s definitely been a challenge learning the Pumpkins style of rock,\u201d she said. \u201cThere\u2019s so much feel and rhythmic eloquence that goes into their style of playing.\u201d<\/p>\n

St. Vincent<\/h2>\n
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St. Vincent – Flea (Later… with Jools Holland) – YouTube\"St.<\/p>\n<\/div>\n<\/div>\n

How St. Vincent, aka Annie Clark, dispenses guitar in her world-building alternative indie rock\/pop sound is worthy of its own credit-bearing module at Berklee, but should be required study for any player of any genre.<\/p>\n

Sometimes it\u2019s as an acoustic, dry as a graham cracker, that she will pan left and right, other times it is a \u201cpaint-the-fence guitar\u201d or a tone dissolved in the solvent of guitar effects.<\/p>\n<\/div>\n<\/section>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

(Image credit: Jo Hale\/Redferns; Astrida Valigorsky\/Getty Images; Rebecca Sapp\/Getty Images for The Recording Academy; Mickey Bernal\/Getty Images; Sergione Infuso\/Corbis via Getty Images) Okay, it\u2019s time to run the ticker tape: we\u2019re paying tribute to the guitar players who made 2024 their own. Whether on the acoustic guitar or pushing the envelope on a high-performance electric […]<\/p>\n","protected":false},"author":1,"featured_media":23173,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-23172","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artists"],"_links":{"self":[{"href":"https:\/\/guitarmadrid.com\/es\/wp-json\/wp\/v2\/posts\/23172","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/guitarmadrid.com\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/guitarmadrid.com\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/guitarmadrid.com\/es\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/guitarmadrid.com\/es\/wp-json\/wp\/v2\/comments?post=23172"}],"version-history":[{"count":2,"href":"https:\/\/guitarmadrid.com\/es\/wp-json\/wp\/v2\/posts\/23172\/revisions"}],"predecessor-version":[{"id":23561,"href":"https:\/\/guitarmadrid.com\/es\/wp-json\/wp\/v2\/posts\/23172\/revisions\/23561"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/guitarmadrid.com\/es\/wp-json\/wp\/v2\/media\/23173"}],"wp:attachment":[{"href":"https:\/\/guitarmadrid.com\/es\/wp-json\/wp\/v2\/media?parent=23172"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/guitarmadrid.com\/es\/wp-json\/wp\/v2\/categories?post=23172"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/guitarmadrid.com\/es\/wp-json\/wp\/v2\/tags?post=23172"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}