Guitar

Calabasas High senior Elie Samouhi, who considers himself a music producer, performer and writer of songs, got to do his own two-minute concert in front of fans on Friday night before the Los Alamitos-Calabasas football game.

He played the national anthem on his electric guitar. And it was good.

Like a coach trying to give his student confidence, Samouhi’s teacher kept telling him before he began, “You got this.”

You could see how much he enjoyed the spotlight during the rendition.

Samouhi said he’s been playing guitar since he was 5. He’s 18 and hopes to attend USC or NYU.

It was another positive experience during high school sports competition.

This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].

Noel Gallagher scanned the audience at the Rose Bowl on Saturday night and pointed down at a fan in the front row. “Young lady, what’s your name?” he asked, tilting his head to try to catch the answer. “I can’t really hear you, but this next song is for you.” As he spoke, a camera found a woman wearing an Oasis T-shirt openly weeping — openly sobbing — and sent her image to the giant video screens flanking the stage. “She’s been in tears all night, this girl,” Gallagher added, “which I hope is not a review of the f— gig.”

Not far from it, in fact: Since launching its reunion tour in early July, Oasis — the swaggering British rock band formed in the early 1990s by Gallagher on guitar and his younger brother Liam on lead vocals — has been traveling the world inspiring great outpourings of emotion wherever it goes. On social media, memes have proliferated equating the catharsis to be had at an Oasis concert to a form of therapy; more than one observer has suggested that gathering with tens of thousands of people to sing along with the Gallaghers’ songs might turn out to be the cure for the male loneliness epidemic.

Along with the blockbuster ticket sales and the pop-up merch stores, this nightly purification ritual has positioned Oasis Live ’25 — the band’s first run of shows in more than a decade and a half — as this year’s version of Taylor Swift’s Eras tour. Which of course some tour was destined to be: At a moment of encroaching technological alienation, humans are naturally searching out opportunities for real-world connection (which is one reason why thousands paid money last month to sit in a movie theater and watch Netflix’s “KPop Demon Hunters” for the second — or fifth, or 12th — time with other humans).

Oasis performs Saturday night at the Rose Bowl.

(Kevin Winter / Getty Images)

Yet I’m not sure I’d have called that it would be an old rock group with three guitarists that would get it done, never mind this old rock group in particular: The first of two dates at the Rose Bowl, Saturday’s sold-out show came 31 years after Oasis almost broke up for the first time following a chaotic 1994 gig at the Whisky a Go Go where the famously combative Gallaghers — having mistaken crystal meth for cocaine, as the story goes — nearly came to blows; Oasis’ long-promised breakup finally took in 2009, after which the brothers spent years trading savage insults in the press (and anywhere else they could do it).

How exactly Noel, now 58, and Liam, 52, managed to come back together hasn’t yet been told; one suspects that sufficiently humongous bags of cash had something to do with it. On the road, the Gallaghers are accompanied by Oasis’ original guitarist, Paul Arthurs (known delightfully as Bonehead), along with Gem Archer on guitar, Andy Bell on bass, Joey Waronker on drums and Christian Madden on keyboards. At the Rose Bowl, celebrities in attendance included Paul McCartney, Leonardo DiCaprio, Billie Eilish, Metallica’s James Hetfield, Laufey and MGK — a varied list of names that tells you something about the broad appeal of classic Oasis songs like “Wonderwall,” “Roll With It,” “Some Might Say,” “Champagne Supernova” and “Don’t Look Back in Anger,” the last of which was the tune Noel dedicated to the woman shedding tears of joy in the front row.

Liam Gallagher, left, and Noel Gallagher at the Rose Bowl.

(Kevin Winter / Getty Images)

The songs indeed were the thing on Saturday. Oasis sounded great, with those three guitars snarling and shimmering over sturdy grooves that mapped a middle ground among punk, glam and late-Beatles balladry; Liam’s voice was somehow both brawny and sweet as he reached for the high notes with a kind of taunting effortlessness. And the brothers engaged in a bit of lovable stage business, as when Liam — looking superb as always in his signature shades and anorak — balanced a tambourine on his head and offered gnomic shout-outs to Woody Woodpecker and to the sword swallowers in the audience.

But this was the least showy pop show I’ve seen in years; Oasis’ comeback is as much about the crowd as it is about the band — as much about the people singing along with the music as it is about the people making it. Song after song took the imperative mood: “Acquiesce,” “Bring It On Down,” “Fade Away,” “Stand By Me,” “Cast No Shadow,” “Slide Away” — each a command happily obeyed until the next one was issued forth, each abstract enough in its emotional specifics to satisfy whatever need it might meet. (“Someday you will find me / Caught beneath the landslide / In a Champagne supernova in the sky” still makes gloriously little sense.)

Because they’d done so much to bring the audience together, you couldn’t help by the end of the concert to long for a glimpse of a little brotherly love between the Gallaghers. They obliged during the finale, Liam circling Noel then clapping him on the back as the last chords of “Champagne Supernova” rang out and fireworks filled the sky with smoky light. It wasn’t much, and it was more than enough.

Before MLB’s newest trophy was offered up as the prize in a competition between the Seattle Mariners and San Diego Padres, it had to pass through the hands of Pearl Jam frontman Eddie Vedder.

The custom Fender Telecaster guitar, named the Vedder Cup, is said to have been played by its namesake for “about an hour” before it was shipped off to T-Mobile Park in Seattle.

“He gave it a good run through,” George Webb, Pearl Jam’s equipment manager, told the Seattle Times on Monday. “He always likes to feel like he puts a little energy, you know, spiritual energy, into an instrument. Not just hand off something that’s brand-new, never-touched kind of thing. So yeah, jammed on it for about an hour. Had a good time.”

The trophy features many nods from the 60-year-old musician, including a hand-drawn “cresting wave” illustration and an arrow and mod symbol — an allusion to Vedder’s tribute to the Who on his personal guitar. On the back, the Padres and Mariners logos appear alongside text hand-written by the singer and guitarist: “The Vedder Cup Established 2025 by Major League Baseball.”

The Vedder Cup, a guitar shown off Monday by Cal Raleigh of the Seattle Mariners, will go each year to the winner of the full-season series between the Mariners and the San Diego Padres.

(Lindsey Wasson / Associated Press)

It also contains a logo from EB Research Partnership, a nonprofit co-founded by Vedder and his wife, Jill, after a childhood friend’s son was born with the painful skin condition epidermolysis bullosa. The nonprofit funds research on the disease.

The cup is intended to bring “meaningful awareness” to the rare disorder, Mariners Executive Vice President and Chief Operating Officer Trevor Gooby said in a statement in March, when the longtime rivalry became official.

“We can’t wait to see this rivalry series grow and look forward to battling the Mariners for the Vedder Cup,” Padres Chief Executive Erik Greupner added.

The rivalry, such as it is, arose from forces both real and manufactured, apparently. Vedder has strong ties to both cities, having grown up in San Diego, then moved to Seattle to start Pearl Jam with Stone Gossard and Jeff Ament — hence, the “Vedder” Cup.

Also, upon the introduction of interleague play in the late ’90s, MLB looked for “natural” rivalries between teams like the Padres and Mariners. This year, the league canonized the rivalry, which is said to have begun as geographic, given both teams’ West Coast homes, Reuters reports.

The two teams have met almost annually since 1997. In the informal all-time series, Seattle currently leads 68-63. Additionally, they share a training complex in Peoria, Ariz.

Some fans are still left with questions as to why the competition has turned official, with one claiming on Reddit that “padres and mariners fans literally give no s— about each other.”

Still, they conceded it is “likely the most meaningless and yet kinda fun thing in MLB.”

The trophy was in the spotlight Monday when the teams met for the fourth time this season. The Mariners notched a 9-6 victory over the Padres, taking the season series after three previous wins in San Diego. The Padres beat the Mariners Tuesday, 7-6, and the final game is Wednesday, but the contest has already been decided. Cal Raleigh, the Mariners’ switch-hitting, homer-hammering catcher, known as “Big Dumper,” hoisted and played the trophy in celebration Monday night.

The name and logo for the cup were first shown off in March, but its final design wasn’t finished until the weeks leading up to the fixture.

“Typically on a custom build like this it will take us six months or so to source the wood, get everything mapped out ready to go and take our time to vet the process, apply the graphics, do some test runs,” Chase Paul, director of product development for Fender, told the Seattle Times. “On this we just kind of headed into it in parallel with testing and the production version at the same time, and kind of getting it ready to go.”

In all, it took Fender eight or nine weeks to get the work done, which Paul called a “really incredible effort by the team in the shop.”

Naturally, Vedder doesn’t want the trophy guitar to sit on a shelf for the next year while it’s in the Mariners’ possession. According to Webb, “He wants it to be played.”

“That’s his attitude with everything. It’s a living, breathing instrument. It sounds great,” he added.

As an added bonus to fans, the league announced it would give away limited-edition Vedder Cup hats during the last 2025 game between the two on Wednesday.

To no surprise, the exclusive ticket package that included the hats has sold out.

Born and raised in Houston, singer-songwriter Kane Rodriguez grew up surrounded by music. His grandfather, father and brother are musicians, and the sounds of cumbia, banda and norteño were ever present in his house.

The 22-year-old Texican launched his music career by playing with his brothers in a cumbia group in his teens but says he always felt more of a calling toward corridos. He leaned into his musical tastes at the onset of the COVID-19 pandemic, uploading videos on TikTok of himself singing and playing his guitar.

His first big hit was his 2022 melancholic cover of Aldo Trujillo and Legion RG’s “El Chaman,” which tells the story of an enigmatic character whose emotional availability contradicts his tough-guy appearance. The clip was just him and his guitar in front of a plain background while being filmed at an upward angle — nothing fancy, but his voice and musicality shined.

“I started seeing myself grow and grow, and then a couple videos would go viral, and people asked for more,” Rodriguez said in a recent interview. “I guess people really like how I sound just with the guitar, so I just try to keep recording. … I think TikTok, for me, is a big part [of my success].”

The singer and multi-instrumentalist released his debut studio album, “La Batuta,” in April under Warner Music México.

The LP’s intricate instrumentation works deftly to complement Rodriguez’s gravelly vocals and his swashbuckling lyrics, telling tales of romantic conquests, occasional sadboi reflections and living it up with his compas over the course of 13 tracks.

The “Se Volvieron Locos” artist has been touring the U.S. since his album’s release and was scheduled to perform at Downtown L.A.’s Peacock Theater — in a billing with Chino Pacas, Estevan Plazola, Los Caimanes De Sinaloa, T3R Elemento, El de La Guitarra and Omar Ruiz — but the show was canceled because of the temporary L.A. curfew and the ongoing ICE raids in the city.

Rodriguez fans can rejoice, however, as the singer has a show scheduled for June 20 at El Farallon Event Center in Lynwood. Ahead of his performance, Rodriguez spoke about his rise to fame, collaborating with other artists and his hopes for the future.

This interview has been edited and shortened for clarity.

This is your first studio album. What was the process of recording it like?

It took a while, a cool seven months to get it done. But we picked the right songs and we got the right songwriters. We added different genres, so it took us a while, but I think it was worth it. It’s a big jump from [playing] live to the studio.

How do you think being from Houston informs your work as an artist, and what kind of obligation do you feel to represent the city?

Right now in Houston there’s really not that many corrido artists, so I think being one of the few ones from Houston really helped because I get a lot of support from my hometown.

I grew up in the southeast part of Houston [in an area] called Pasadena, on a little trailer park. It wasn’t nothing too crazy or nothing too bad. I think growing up in a neighborhood like that made me hungrier to make it out of the hood. That just helped me build up.

I think right now Houston needs somebody that could rep them and take them to the next level on the corrido side, and I think I have that responsibility. I want to take that responsibility, and hopefully we can make it bigger.

You’re now on tour and collaborating with big artists. How does it feel to continue to grow in popularity, and how are you managing that emotionally and professionally?

It’s a dream come true. I’m coming from playing in backyards like almost every day, playing 10 hours a day. To play in front of people with big artists — it’s just crazy. It’s really hard to to believe, but I try not to get too excited or get too comfortable. We try to keep our feet on the ground. It’s sort of incredible how everything is building up real fast.

Who are some of the acts you’ve had the chance to work within a professional space that you kind of can’t believe actually happened?

For sure Legado 7 — they’re OGs. I think everybody would listen to them back in 2018, 2019 when I was in high school. So getting the chance to be in the studio and make a hit song with them is even crazier.

And Adrian L Santos also. That fool’s from my family’s hometown over there in Mexico. He’s real poppin’ and a real humble guy. Working with him was one of the best experiences.

Being a musician can feel sometimes, from the outside looking in, like it’s not a “real job,” but getting that cosign from a label changes things. What was your family’s reaction to that moment?

At first they were real iffy, because a lot of people don’t make it out in music. It’s real hard. So they were there, mentally. But the good thing about my parents is they let me do it. They stood back. They’d seen the hunger that I had for it and knew I wouldn’t listen — I’d just keep doing it. Right now they’re real proud, and I’m happy to see them like that.

You’ve got your album out, you’re going on tour — where do you see it going from here? Where are you trying to go?

My vision in the next two years is: I’m trying to sell out stadiums. That’s one of my goals. My biggest dream is to have thousands of people sing my songs.

Throughout HBO’s post-apocalyptic series “The Last of Us,” music plays a role in setting the mood for moments big and small, heartfelt and heart-wrenching. It’s not unlike the video game, which was hailed for its original soundtrack by Gustavo Santaolalla (who is also a composer on the show), and for the pop music covers that helped to elevate the narrative.

In the most recent episode of Season 2 of “The Last of Us,” titled “The Price,” there’s a callback to a scene from the game that fans have been waiting for: Joel (Pedro Pascal) performs a stripped down version of Pearl Jam’s “Future Days” for Ellie (Bella Ramsey). The song captures the themes of loss and losing yourself, but also of moving forward together. And it’s not the only instance of a pop song showcasing characters’ emotions — in “Day One,” the fourth episode of Season 2, Ellie performs an acoustic cover of A-ha’s “Take on Me” as Dina (Isabela Merced) walks in and gently persuades her to continue playing the tender rendition. It’s another adaptation from the video game that signals the kindling of the relationship between Ellie and Dina.

“Bella is playing the guitar in the scene where Ellie plays the guitar and sings ‘Take on Me’ to Dina. That’s Bella. No tricks,” said Craig Mazin, co-creator of “The Last of Us,” in an interview earlier this year.

For Neil Druckmann, co-creator of the series and the video game franchise, he knew that when Ramsey was cast, the actor’s musical abilities would be an asset for future installments. “I remember seeing a video of them playing and singing and talking to Craig and being like, ‘Oh, they’re ready to go for if we get to Season 2,’” he said.

Ramsey, however, isn’t alone in their musical abilities. Over the course of the season in interviews with the cast and creators of the series, it became clear that music was a shared passion that bonded them on and off screen. Here, we collect some of their thoughts on music and performing together.

About 80 years ago, guitarist and inventor Les Paul built a home recording studio in his Hollywood garage on North Curson Avenue and began developing his “new sound,” which incorporated cutting-edge recording techniques such as overdubbing, close miking, echo and delay.

Dissatisfied with the quality of the day’s commercial recordings, Paul, who’d worked with pop stars including Bing Crosby and the Andrews Sisters, and was a guitar virtuoso and bandleader, endeavored to push the practice forward — to make recording a kind of erudite art form. His instrumental single “Lover” became the first commercial pop record to incorporate multiple layers of music, all of which were performed by Paul’s dexterous fingers. “Sextuplet guitar-ing,” Billboard magazine declared in its Feb. 21, 1948, review, “… technique so good it’s ridiculous.”

Today, a new studio in Hollywood celebrates the former Angeleno’s legacy as a recording pioneer. Over the last three years, the Les Paul Foundation and a team of engineers have gone to extraordinary lengths to build the Les Paul Recording Studio, housed in United Recording on Sunset Boulevard. The facility includes Paul’s original equipment, such as the first-ever multitrack Ampex tape machine and multitrack recording console, as well as a selection of Paul’s customized guitars, including his namesake model for Gibson.

Paul’s recording equipment is monumental for its historical value but also because it still works. “We have the Wright Brothers’ plane in there and it actually flies,” said Michael Braunstein, executive director of the Les Paul Foundation, by way of comparison. The new studio is essentially a rare hands-on museum where students and commercial artists may study and perform the same techniques Paul employed, using his tools.

Los Angeles-based musician Dweezil Zappa interviewed Paul on MTV in 1987, which created a fondness between the pair. During a phone call from the road — Zappa was on a tour celebrating his father’s album “Apostrophe” — he explained the importance of Paul’s innovations. “He was so far ahead of the game in so many ways, not only as a great guitar player, but also how he figured out ways to record music live,” he said. “The foundation of the sound capture is still better than anything else that you would find today. The products that were put into use and the way that it was machined … it’s unmatched.”

Zappa says he’s visited the new studio and intends to use it to record some of his own music after his tour concludes. The studio also has an educational mission.

“This is also a real opportunity for students to learn about analog recording from the master,” said Steve Rosenthal, a Grammy-winning producer who serves as the head archivist and music producer for the Les Paul Foundation. Rosenthal’s also known for his Manhattan recording studio the Magic Shop, which closed in 2016, where he worked with David Bowie, Lou Reed, Sonic Youth, Ramones and many others.

Tom Camuso, director of audio engineering at the Les Paul Recording Studio, is photographed in Hollywood on May 15.

(Christina House / Los Angeles Times)

Groups from Carnegie Mellon University and Syracuse University have already participated in seminars at the studio led by Rosenthal and Tom Camuso, a Grammy-winning engineer who’s also the Les Paul Foundation’s director of audio engineering. “The console looks like it’s from a battleship, and we let students record on it and see how hard it is compared to today’s digital audio workstations,” Camuso explained. “The connection they make is that this is where it started, this is the first of all of it.”

The idea for the studio began in 2022 amid Rosenthal’s quest to source, organize, curate and restore Paul’s vast catalog of music from the Library of Congress archives. “It became clear to me that the best solution would be to mix the music on Les’ original gear,” he said. He brought in Camuso, a longtime associate who’d worked at the Magic Shop, and the pair endeavored to repair the eight-track recording console nicknamed “The Monster” that Paul built with engineer Rein Narma, which featured leading-edge in-line equalization and vibrato effects.

They also retrieved Paul’s Ampex 5258 Sel-Sync multitrack tape machine, familiarly known as the Octopus, which sits alongside the console, and was the first-ever eight-track. The studio also has a three-track machine that was in Paul’s home in Mahwah, N.J., which he used to play tapes recorded at other studios. At the time, Paul was the only person with eight-track capabilities. “That was his way of communicating with the outside world, so to speak,” Camuso said.

The first-ever multitrack tape machine, called “The Octopus,” resides at the Les Paul Recording Studio in Hollywood.

(Christina House / Los Angeles Times)

The equipment was in varying stages of disrepair, and there was no documentation accompanying it. Many of the recording console’s wires had been cut, and some of its modules were missing. Camuso and a group from Thump Recording Studios in Brooklyn spent 10 months replacing and repairing pieces that were missing or had failed, without changing anything about the way the machine was originally made. “We had to source old stock parts from the ’50s,” Camuso said, “and there were little plastic pieces that had disintegrated. The team would drum scan those and then 3D print them in their original form.” An Ampex expert from Canada broke down the tape machines and then rebuilt them from the ground up, exactly as they were when Paul used them.

Before he used the multitrack tape machine and recording console, Paul’s early experiments with overdubbing, or what he called “sound on sound,” involved two recording-cutting lathes, a record player, a mixer and hundreds of blank wax discs, all of which he used to layer tracks manually. In 1948, Bing Crosby gave Paul his first mono Ampex recorder, to which Paul added a second playback head, which enabled him to record multiple tracks on the same reel of tape. He and his second wife, Mary Ford, took this machine on the road, recording their songs in hotel rooms and in apartments.

Ford was a skilled singer with perfect pitch who could execute lead vocals and harmonize with herself in very few takes using Paul’s early version of multitracking, which was revolutionary but primitive and didn’t allow for mistakes. Given the analog nature of Paul’s setup, she had to sing everything live and unmanipulated. The pair recorded a string of 28 hit singles between 1950 to 1957, beginning with a cover of the jazz standard “How High the Moon.” They were so popular that Listerine sponsored a widely syndicated television show, “Les Paul & Mary Ford at Home,” during which they performed their intricate songs live.

A photograph of Les Paul inside his recording studio in New Jersey is displayed at the Les Paul Recording Studio in Hollywood.

(Christina House / Los Angeles Times)

“Their discs sell like dimes going for a nickel,” Florabel Muir reported in the Los Angeles Mirror in January 1952. The pair’s “Vaya Con Dios” spent 11 weeks at No. 1 on the Billboard Best Sellers in Stores chart (which was discontinued in favor of the Billboard Hot 100 in 1958). Paul and Ford’s sultry version of “Smoke Rings,” released in 1952, features in Todd Haynes’ 2015 film “Carol.”

“The only singer I’ve encountered in my life who can compare to Mary is Aretha Franklin,” said Gene Paul, Les’ son from his first marriage, who became a recording engineer for Atlantic Records. “Neither one of them ever hit a bad note. You couldn’t pay them to.” The younger Paul learned about recording in his father’s home studio in Mahwah and played drums in his touring band from 1959 to 1969. “It took me years after my dad died to realize he was a genius,” he added. “Yes, he had a studio in his house, and built his own guitar and his own eight-track, but I thought every dad did this.”

Rosenthal and Camuso are in the process of restoring Paul’s original recordings, including his hits with Ford. The pair is using demixing and speed correction software to create new stereo mixes of the songs, which don’t have any of the crunchiness or distortion that were a byproduct of Paul’s original experiments in multitracking. It’ll be the first time any of Paul’s music has been released in stereo. The project has created a library of multitrack stems, which is another singular feature of the new studio. “Lana Del Rey could come in and sing with Mary Ford, or she could sing ‘A Fool to Care’ with the original Les Paul guitar parts,” Rosenthal said.

Guitars on display inside the Les Paul Recording Studio in Hollywood.

(Christina House / Los Angeles Times)

Camuso says a number of famous musicians have already expressed interest in using the new studio. “There’s lots of people who would be in your record collection for sure,” he said. Its historical significance and superior sound quality is a major draw, but the Les Paul Recording Studio also provides a chance for musicians to work more intentionally. Though its equipment was once cutting-edge, by today’s digital standards — in which there are unlimited tracks and effects and every mistake is erasable — Paul’s console and tape machines are limited. To work with them, musicians must think about what they want to record ahead of time. “The average person may not know what they’re hearing, but they will feel it because the performances will be better,” Zappa pointed out.

He views the new studio as a welcome counterpart to the too-perfect sonic monotony that can occur from every commercial recording artist using the same software. “There’s just so much music that’s disposable today,” Zappa added. “We’ve never had as many amazing tools to make stuff, and then have it be used in the lamest way possible.”