Take a look inside a private Pearl Jam museum

The first thing you notice upon driving up to Shon Abrahamson’s six-acre home are the gates.

A gated entry for a property of that size isn’t all too noteworthy, but these gates feature a pair of distinct figures in bright red on the left and right doors. Those figures are the Pearl Jam “Stickman” logo and after driving through the gates and onto Abrahamson’s driveway you know you’re about to see something special.

That something special is Abrahamson’s personal collection of Pearl Jam memorabilia and autographs. It’s a collection so large, likely with thousands of items, he had to build a structure on his property to house everything. It’s such a large carefully curated personal collection that it feels like you’re in a museum. Inside the structure are treasures that would be coveted by any Pearl Jam fan or collector. Signed guitars, a stage-used drum kit, hundreds of posters, personalized notes from band members, iconic photos and more.

Abrahamson, who is known as SeattleBatman in collecting circles, has been following Pearl Jam for more than three decades and has seen the band live more than 200 times. One of his favorite items in his collection is a signed setlist and poster from his 200th show. The poster and setlist are personalized and were given to him by Eddie Vedder after the show.

Other interesting unique pieces in his collection include Mike McCready’s copy of Backspacer on vinyl, which has Tom Tomorrow’s head-in-a-jar artwork featuring McCready’s head, a drumkit formerly owned by Dave Abbruzzese that was used onstage and for recording with Pearl Jam, and a motorcycle that was owned by Layne Staley.

Here’s a look at some of Abrahamson’s impressive collection.

About Travis Hay

Travis Hay is a music journalist who has spent the past 20 years documenting and enjoying Seattle's music scene. He's written for various outlets including MSN Music, the Seattle-Post Intelligencer, Seattle Weekly, Pearl Jam's Ten Club, Crosscut.com and others.

View all posts by Travis Hay →

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