Gauntlet Gallery
What is Shepard Fairey’s piece called “Live At The Roundhouse (Red)”?
Artist Statement
I've been a Blondie fan since I was nine-years-old and I've always admired their courage to play music in styles ranging from punk to reggae, to hip-hop, to pop. I've collaborated with Debbie Harry and Chris Stein on a couple of projects, but I was incredibly honored to be asked to design the newest Blondie album package for their album Pollinator, which by the way, is excellent. As an additional art component to the actual album package, I also did the tour posters for a few legs of their tour in support of the album. I have 150 of each print signed and numbered for sale on my website ObeyGiant.com, and these are the only signed and numbered prints that will be available. Be sure to listen to Pollinator if you haven't already! – Shepard Live at the Roadhouse (Red). 18 x 24 inches. Screen print on cream Speckle Tone Paper. Signed by Shepard Fairey. Numbered edition of 150. $45.
Summary
Live At The Roundhouse is a 2017 screenprint on cream Speckle Tone paper, 18 x 24 inches, signed by Shepard Fairey and numbered in an edition of 150, published by Obey Giant. Released in Black and Red color variations, it is one of Fairey's Blondie tour posters created alongside his design for the band's album Pollinator. A Blondie fan since age nine, Fairey notes his collaborations with Debbie Harry and Chris Stein and states these are the only signed and numbered prints of the image that will be available, with 150 made for sale through ObeyGiant.com.
Why It Matters
Live At The Roundhouse belongs to Fairey's Blondie Pollinator collaboration, a documented partnership with Debbie Harry and Chris Stein that grew out of his work designing the band's 2017 album package. As a tour poster issued in signed editions, it bridges music memorabilia and fine-art collecting, carrying both the cultural weight of Blondie's legacy and the authority of Fairey's authorship. The edition of 150 is small relative to many of his 2017 releases, and his explicit note that these are the only signed and numbered prints of the image limits the supply of authenticated examples. The availability of Black and Red color variations gives collectors a reason to pursue both, while the print's place within a tight Pollinator group, alongside Bitches Are Back! and Rage And Rapture, supports set collecting. For Blondie fans and Fairey music collectors, Live At The Roundhouse is a desirable, limited tour print that documents a specific moment in the band's touring history and a meaningful artist-band collaboration, combining graphic appeal with restricted availability.
Collector Perspective
This print appeals to Fairey's music collectors and to Blondie fans, with the documented collaboration adding crossover desirability. The Black and Red color variants attract collectors who pursue complete color sets, and the small edition of 150 increases interest among those who favor lower edition counts. At 18 x 24 inches it is an approachable tour-poster format that displays well in music spaces and pairs naturally with the companion Pollinator prints. Signed and numbered, it offers authenticity reassurance. For collectors building a Blondie or band-collaboration grouping, it slots in alongside Bitches Are Back! and Rage And Rapture, and Fairey's statement about limited availability reinforces its appeal to completists.
Historical Context
Live At The Roundhouse stems from Fairey's 2017 Blondie collaboration around the album Pollinator, for which he designed the album package and produced tour posters for several tour legs. The Roundhouse poster references a specific venue in the band's touring schedule. Within Fairey's career it reflects his established practice of creating band art for musicians he admires, here deepened by his prior work with Debbie Harry and Chris Stein. The small edition of 150 and the Black and Red variations are typical of his limited, tour-tied releases. Together with Bitches Are Back! and Rage And Rapture, it forms a discrete Pollinator-era cluster within his larger music catalog, illustrating how his concert design feeds his fine-art print output.
FAQ
What color variations were released?
Live At The Roundhouse was issued in two color variations, Black and Red. Both share the 18 x 24 inch format and the same Blondie tour-poster imagery, giving collectors the option to pursue either or both versions.
What is this print connected to?
It is one of Fairey's Blondie tour posters tied to the album Pollinator. He designed the album package and created posters for several legs of the supporting tour, including this Roundhouse venue poster, released as a signed edition.
How large is the edition?
The edition is 150 signed and numbered prints per the source. Fairey states these are the only signed and numbered prints of the image that will be available, sold through ObeyGiant.com, making it a limited 2017 release.
What are the size and medium?
It is a screenprint on cream Speckle Tone paper measuring 18 x 24 inches, signed by Shepard Fairey. Published by Obey Giant in 2017, its listed original price was $45.
Related Works
About the Artist
Shepard Fairey (b. 1970, Charleston, South Carolina) is an American street artist, graphic designer, and activist, and a graduate of the Rhode Island School of Design. His 1989 “André the Giant Has a Posse” sticker grew into the global OBEY GIANT campaign — an ongoing experiment in propaganda, obedience, and visual culture. He reached worldwide recognition with the 2008 “Hope” portrait of Barack Obama, now held by the Smithsonian National Portrait Gallery. Across screen prints, stencils, murals, and collage, Fairey channels propaganda aesthetics toward themes of peace, justice, environmentalism, and civil rights. His work is in the collections of the Museum of Modern Art, the Victoria & Albert Museum, and LACMA.