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A rare summer interview from one of rock’s most influential guitar men is a gentle nudge to get out of the house, buy the ticket, and remember what it feels like when a song hits you in the chest.
Image via Goldmine
Ritchie Blackmore Still Wants the Stage, Not the Studio
Goldmine was out with a fresh report tied to their Summer 2026 issue, featuring a rare interview with guitar virtuoso Ritchie Blackmore — and it reads like a postcard from the era when rock bands weren’t built by committee. Blackmore, forever linked to Deep Purple and the early fire of Rainbow, talks plainly about where his heart really is: in front of a crowd. As he puts it, "I love to play to the fans. I’m not too happy being in a studio." It’s the kind of simple sentence that explains a whole career if you’ve been paying attention.
The piece looks back at those early Rainbow days and what made that band feel so alive — not just the records, but the electricity of performance. Goldmine highlights Blackmore’s reflections on the highs of playing live, the push-and-pull of putting music on tape versus letting it breathe onstage, and the way a great night with an audience can make all the work worth it. It’s not a long list of sensational revelations; it’s more like hearing a seasoned craftsman talk about his tools, his trade, and what still gives him a spark after all these decades.
There’s also an undercurrent of something many music fans understand without needing it spelled out: that the studio can be a kind of laboratory, while the stage is a living room full of strangers who somehow feel like neighbors by the end of the night. In the days when Rainbow and so many other bands were building their reputations, you earned your stripes by showing up and playing — night after night, city after city — and the article frames Blackmore’s comments in that tradition, where performance wasn’t a marketing strategy. It was the job, and it was the joy.
📺 Jack's Thoughts: What Blackmore is really reminding us of here isn’t just a preference between two work environments. He’s pointing to a value that used to sit right at the center of American life: you show up, you do the thing for real, and you respect the people who came out to see you. There’s something almost old-fashioned about saying you’d rather face the crowd than hide behind the polishing and perfecting of a studio. In a world that’s gotten comfortable with filters — in music, in photos, in opinions — it’s refreshing to hear a legend admit he’d rather risk a rough edge if it means the moment is honest. I think about how it felt in the ’60s, ’70s, and into the ’80s when a concert was an event you planned around. You drove a ways, you found your seat, you bought a program or a shirt that never quite fit right, and you watched actual human beings make something happen in real time. No do-overs. No “fix it in post.” Just sweat, talent, and that brief, shared feeling that you were part of something bigger than your own week. Maybe that’s why so many of us still measure our years by the shows we saw and the songs we heard live — because live music marks time the way holidays used to, by gathering people together. As for what happens next, I’d wager we’ll keep seeing more artists — especially the ones who came up the hard way — talk about the stage like it’s home. And I hope younger listeners take the hint. Stream all you want; I do, too. But if you get a chance to see real musicians play real instruments for a room full of folks who paid their money and showed up, go. That’s not just entertainment. That’s community. And if there’s one thing America could always use a little more of, it’s community — the kind built by shared experiences and a little mutual respect. Read the full story at Goldmine.
Read the full story at Goldmine →
Until tomorrow, keep a good song close by and a little hope closer — the best days may be behind us, but the good values that made them don’t have to be.
— Jack Reynolds