Kirk Hammett is one of the most celebrated guitarists of all time, the architect of iconic riffs and guitar solos on Metallica classics like “Master of Puppets,” “One” and “The Unforgiven.”
Now Hammett has made the book of every guitar lover’s dreams, partnering with Gibson on The Collection series, a gorgeous, 400-page coffee table book detailing the guitarist’s enviable collection of six-strings he’s amassed over his decades-long career. Hammett worked with famed rock photographer and longtime metallica Ross Halfin for two and a half years on the project, showcasing everything from “Greeny,” his 1959 Les Paul Standard once owned by Fleetwood Mac’s Peter Green, to his 1985 Jackson Randy Rhoads Flying V.
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“There’s a lot more to making a book than just slapping pictures on a page. I learned that the hard way,” Hammett says, referencing his 2012 horror memorabilia book Too Much Horror Business.
The images set his guitars against vivid, organic backdrops in Honolulu (where Hammett resides), a striking contrast to the heavy metal mythology surrounding them. Gibson’s editor-in-chief Chris Vinnicombe conducted several interviews that accompany the visuals.
Between dates on Metallica’s M72 North American tour, Hammett will appear in conversation with Gibson’s Mark Agnesi in select cities.
On a break from rehearsals, Hammett spoke with The Hollywood Reporter about the making of the book, Metallica’s enduring bond with their fans, and why the band has embraced high tech concert concepts in video games and in augmented reality.
Were there locations shoots for The Collection that were particularly memorable?
Being in DTLA was definitely a paradigm shift. The only studio Ross knew of that was available, was in DTLA. That’s how we ended up there. It wasn’t like some huge plan or anything. Going from nice, sunny Honolulu where the weather is great and the sky looks super dynamic and never the same, you can get great outdoorsy-type shots: the ocean, the beach, the rainforest. Then the pendulum sweeps to DTLA, on the sidewalk, holding the Flying V for my life, that was quite a shift. “What happened to Honolulu? How did we end up here?” We both had a laugh.
You do a lot of guitar trading with other musicians. Any of those stand out for you?
I sent Jack White a Greeny (a replica of the Gibson Les Paul once played by Fleetwood Mac’s Peter Green that Hammett now owns). I also sent Gary Clark Jr. a Greeny replica, and he sent me one of his Gibson ES-335 silver metallic hollow bodies. Man, what a guitar. I couldn’t believe it when that thing showed up in the mail. Adam Jones [Tool] also sent me one of his Les Pauls and it’s beautiful too. I sent him a Greeny.
I’m easy to please when it comes to guitars. I don’t complain about any sort of guitars. There will be a sequel to this book. I’m literally sitting around five guitars that I love, that aren’t in the book, that should be in the book, including one over there with a broken string.
Metallica is always tech-forward, most recently with your Fortnite experience and your immersive concert with Apple Vision Pro. What does the future of concerts look like for you?
The formats and venues just keep on coming. Ten years ago, I didn’t know we would be characters in a Fortnite game or that Apple would create VR headsets that can bring you literally right in front of the performer or the athlete. We didn’t see any of this coming. We came up in a very traditional fashion where the platforms were albums, cassettes, CDs. You had nightclubs and theaters and arenas and stadiums. And you had radio. Then MTV showed up, and that became a different format.
But for decades and decades, that’s all you had. Now every decade that comes by, there are four new platforms and new venues. Even the venues themselves are changing. It’s important to pay attention to all this stuff, because if you don’t apply yourself in a responsible fashion, someone else is going to do it for you, and you’re going to be on the exploited end. If you’re not paying attention, then stuff like Napster happens. It’s not for me to say, but that’s something to ponder.
You think we might see Metallica at the Sphere? Is that something you would entertain?
Oh, heck, yeah! That’s a great example of how venues are changing. That’s using modern technology to the fullest, to really up the levels of production and entertainment, connected to AI and making it a crazy experience.
One of the concert experiences I have only seen with Metallica is how you walk right into the crowd. How did you get to the point where you were able to do that?
It’s a different permutation of stuff we’ve been doing since the ‘90s. We used to go out on stage with the lights still on so we can see everyone. We’d play or jam on some unrecorded song, and then, boom! The lights go off, and the show would begin. It’s a way for us to connect without playing our instruments or having a wall of sound out there.
I’ve noticed you recognize people in the crowd and pick up conversations from the previous time you saw them.
It’s our time to do exactly that, recognize and acknowledge all the faces, the regulars who are at every single freaking show, or have been to the last six shows, or whatever it is. We use that time to acknowledge them, and they acknowledge us. “Great to see you. You’re here at the show, right on, let’s rock out. Let’s all have fun again.”
You have been vocal in the past about politics. Do you have any thoughts about how the arts are under attack by the current administration?
It’s weird right now because things are so much more complicated than they need to be. People need to stick to their ideals and be open and polite. That’s what’s really needed. No matter who you are, where you are, we need that more than ever. Going out there and traveling, I’m trying to be as open and polite to as many people as possible. Maybe they’ll follow suit and reciprocate. That’s what I’m hoping. That’s the Metallica way.
