Acoustic Nation en Fireships Perform “Come Back to Me” Live — Exclusive Video <!--paging_filter--><p>We recently met up with Brooklyn band Fireships while on tour in Nashville, TN. </p> <p>The new project from Honey Brothers founder and indie veteran Andrew Vladeck, Fireships released their self-titled debut on April 21.</p> <p>Here, they play a stripped-down version of album standout “Come Back to Me,” featuring Vladeck on guitar/lead vocals and Zosha Warpeha on fiddle/backing vocal. </p> <p>The band takes their name from the Hudson River sloops that repelled the British warships before the Battle of Brooklyn, using fire and water to fight darkness with light. </p> <p>“I realized that songs are fireships; cast against darkness to brighten the way,” says Vladeck.</p> <p>“Come Back to Me” exemplifies the band’s own brand of bright, well-crafted alt-folk, and we love this spontaneous performance! </p> <p>Watch below, and find out more at <a href=""></a>.</p> <p><iframe width="620" height="465" src="" frameborder="0" allowfullscreen></iframe></p> Acoustic Nation Fireships Blogs Videos Fri, 29 May 2015 13:10:07 +0000 Acoustic Nation 24575 at Stream the Indigo Girls' New Album, ‘One Lost Day’ <!--paging_filter--><p>The Indigo Girls are streaming their upcoming release, <em>One Lost Day</em>, the Grammy-winning duo's first studio album in four years. </p> <p>The album will be available on June 2 on IG Recordings/Vanguard Records. </p> <p>With the help of visionary new producer Jordan Brooke Hamlin (Lucy Wainwright Roche) and mixer Brian Joseph (Bon Iver, PHOX, Kathleen Edwards), Amy Ray and Emily Sailers have created a landscape of truly original sounds and stories ranging from stark intimacy to bombastic pop and grind.</p> <p>The Indigo Girls will be hitting the road this summer following the release of <em>One Lost Day</em>. </p> <p>Initial dates are listed below with more dates to be announced soon. Visit <a href=""></a> for updates.</p> <p>Stream <em>One Lost Day</em> <a href="">here</a>.</p> <p><strong>2015 Spring/Summer Tour Dates</strong></p> <p>6-17 Grand Rapids, MI Meijer Gardens<br /> 6-19 Ann Arbor, MI Power Center for the Performing Arts (Ann Arbor Summer Festival)<br /> 6-20 Dayton, OH Schuster Center w/Dayton Philharmonic Orchestra<br /> 6-21 Charlottesville, VA nTelos Wireless Pavilion w/Mary Chapin Carpenter<br /> 6-23 Asheville, NC Orange Peel<br /> 6-24 Chattanooga, TN Track 29<br /> 6-25 Mobile, AL Saenger Theatre<br /> 6-26 Atlanta, GA Chastain Park Amphitheater<br /> 7-05 San Diego, CA Humphrey's Concerts By the Bay<br /> 7-07 Los Angeles, CA El Rey Theatre<br /> 7-08-9 Saratoga, CA Montalvo Arts Center<br /> 7-11 Portland, OR Oregon Zoo Amphitheatre<br /> 7-12 Seattle, WA Woodland Park Zoo<br /> 7-14 Layton, UT Edward A. Kenley Centennial Amphitheater<br /> 7-15 Boulder, CO Chautauqua Auditorium<br /> 7-17 Apple Valley, MN Weesner Amphitheater<br /> 7-18 Eau Claire, WI Eaux Claires Music Festival<br /> 7-19 Madison, WI Capitol Theater<br /> 7-21 Chicago, IL Vic Theatre<br /> 7-23 New York, NY City Winery<br /> 7-24 Englewood, NJ Bergen Performing Arts Center<br /> 7-25 Westhampton Beach, NY Westhampton Beach PAC<br /> 7-26 Camden, NJ XPoNential Music Festival @ River Stage in Wiggins Park<br /> 7-28 Vienna, VA The Filene Center @ Wolf Trap<br /> 7-29 Selbyville, DE Freeman Stage at Bayside<br /> 8-07 Indianapolis, IN Indiana State Fair</p> Acoustic Nation News The Indigo Girls Thu, 28 May 2015 21:59:09 +0000 Acoustic Nation 24574 at 10 Cool Father’s Day Gift Ideas for Rockin' Dads <!--paging_filter--><p>Father’s Day is right around the corner, and that means it’s time to show the old man how much you appreciate him. </p> <p>And if your dad is into guitar, we’ve got a few suggestions.</p> <p>We’re going to make your father’s day shopping effortless with this list, which includes fun gift ideas for all budgets for dads who rock! </p> <p><a href="">1) Guitar Fretboard Cellphone Case by Headcase Designs</a></p> <p>This guitar fretboard cellphone case by Headcase Designs looks so real, we think it serves two purposes. One, to protect the phone, obviously; the other to keep dad amused and entertained as he practices chords on the back of his cellphone. </p> <p>Never again will he have withdrawals, as the case will create the illusion of having a real fretboard in his hands! It’s better than nothing, right? It’s made for several different makes and models, including Apple products, Motorola, HTC, Samsung, and more. Get it for $8.45.</p> <p><img src="/files/imce-images/CellphoneCase.png" width="450" height="498" alt="CellphoneCase.png" /></p> <p><a href="">2) Lodge Cast Iron Mini Guitar skillet</a></p> <p>For dads who love guitar as much as they love cooking, there’s no better gift than the Lodge cast iron guitar-shaped skillet. </p> <p>Heat treated, seasoned and ready to use, the mini skillet makes for a good spoon rest, snack server or unique decoration. It’ll inspire some of the most playful dishes for only $18.50. </p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-28%20at%209.07.14%20AM.png" width="450" height="257" alt="Screen Shot 2015-05-28 at 9.07.14 AM.png" /></p> <p><a href="">3) Kyser Lifeguard Humidifier </a></p> <p>What is a good guitar without proper protection? Ensure dad’s precious axes are properly treated by gifting him with a Kyser Lifeguard Humidifier (or several). </p> <p>Developed by the experts at Kyser, the humidifier will help preserve the wood on dad’s instrument by keeping conditions at the proper humidity. It’s a worthwhile investment for only $19.95, and you can get it for steel-string guitars, classical guitars or concert ukuleles. </p> <p><img src="/files/imce-images/kyser_0.jpg" width="450" height="346" alt="kyser_0.jpg" /></p> <p><a href="">4) Whipping Post Picker’s Wallet</a></p> <p>Dad may never lose guitar picks again with this handy Whipping Post Picker’s wallet! Made from 100% full grain leather, you can choose between a lighter color with the Mojave model, or a darker tone with the Georgia Brown model. </p> <p>It comes with a guitar pick pocket, three credit card slots, a cash compartment, and room for your driver’s license. Stop picks from falling in between couch cushions, lost in oblivion never to be seen again by gifting dad with this wallet. Get it for $35.</p> <p><img src="/files/imce-images/Picker%27sWallet.png" width="450" height="366" alt="Picker'sWallet.png" /></p> <p><a href="">5) Martin Guitar 23oz ale glass set with D35 Anniversary logo</a></p> <p>Is your dad a beer drinker? Now he can pour one in style using these custom Martin D-35 Anniversary Ale Glasses. Sold in a set, because, hey, he doesn’t want to drink alone, the Martin D-35 Anniversary ale glass set will become a great conversation starter at any party! Comes gift boxed at $49.99 for the pair.</p> <p><img src="/files/imce-images/34b9e4b0a3a30c01509d0ee96d7a63c1_L.jpg" width="450" height="394" alt="34b9e4b0a3a30c01509d0ee96d7a63c1_L.jpg" /></p> <p><a href="">6) G7th Celtic Special Edition Capo</a></p> <p>If you want a capo as special as dad’s prized acoustic or electric guitar, hook him up with a G7th Celtic special edition capo. Designed to celebrate the music and the work of those who have worked so hard to deliver Celtic music, G7th asked acclaimed Celtic artist, Patrick Gallagher, to design a motif for its Celtic performance capo. Gallagher's design is woven around the theme of the bass and treble clefs, which are rooted in the ancient European Celtic design traditions. Get it for $69.95. </p> <p><img src="/files/imce-images/CelticGold.png" width="450" height="394" alt="CelticGold.png" /></p> <p><a href="">7) Tanner Goods Troubadour Guitar Strap</a></p> <p>Leather goods emit a sense of masculinity like nothing else. This handsomely crafted leather strap from Tanner Goods will add a boost of elegance to dad’s arsenal. Constructed from 5.5 oz. Horween Rich Chromexcel, the Troubador Guitar Strap ages beautifully over time. Make it his for $155.00, or add an extra $20 if you want to personalize it with a monogram. </p> <p><img src="/files/imce-images/TroubadorGuitarStrap%20450.jpg" width="450" height="300" alt="TroubadorGuitarStrap 450.jpg" /></p> <p><a href="">8) Taylor Guitars Money Clip</a></p> <p>Let dad show his good taste with this sleek Taylor Guitars money clip. Developed with the William Henry Studio, this stunning limited-edition offering features two distinctive motifs: one with a built-in pick holder, the other with a teardrop-shaped tonewood embellishment. Get it while you can. </p> <p>And if you want to make it extra special, throw some money in there. Cost: $250.00 (additional charge for optional embellishments). </p> <p><img src="/files/imce-images/TaylorMoneyClip.png" width="450" height="372" alt="TaylorMoneyClip.png" /></p> <p><a href="">9) Lâg Guitars Tramontane T66 Series Guitars</a></p> <p>If dad doesn’t yet play guitar, and you want to surprise him with a nice, superior starter’s model, check out Lâg Guitars’ Tramontane 66 series. Available in dreadnought, 12-string, left-handed, nylon-string models, and more, the Tramontane 66 series guitars are equipped with DirectLâg electronics, superior construction, deep gloss finish, bold black and ivory rosette work, and a whole lot more (features vary by model). Chances are he’ll stick with this guitar even past his beginner’s stage! Price starts at $280.</p> <p><img src="/files/imce-images/Lag.png" width="450" height="305" alt="Lag.png" /></p> <p><a href="">10) Wolfram Tungsten Carbide Guitar Slide </a></p> <p>For the manly strummer in your life, this tungsten carbide guitar slide is a must. Machined by Wolfram Slides in the U.K. from industrial grade tungsten carbide, the combination of ultra-thin walls with dense tungsten carbide gives these slides a unique, blooming, bell-like tone. </p> <p>There are different options to choose from, including custom-designed models (such as a clever two-in-one wedding ring guitar slide), modifications to existing models, or the Michael Messer signature slide. Add this to dad’s toolkit for approximately $385 (at time of pound-to-U.S. dollar rate conversion).</p> <p><img src="/files/imce-images/WolframCustomSlide.jpg" width="456" height="422" alt="WolframCustomSlide.jpg" /></p> <p><a href="">11) Bonus! Deering Banjosaurus Long Neck Banjo</a></p> <p>For the dad who has everything! There is no other banjo like the striking Deering Banjosaurus Long Neck banjo roaming the earth today. With a neck almost as long as a Diplodocus’ neck (well, not really, but you get the idea), dad is sure to make a roaring statement with this distinctive banjo. </p> <p>Designed for George Grove of the Kingston Trio, the Deering Banjosaurus Long Neck Banjo is ideal for dinosaur lovers, Kingston Trio fans, and people with a significant amount of disposable income. It boasts a dinosaur age mural inlay made of mother of pearl in white, gold and black, coral, turquoise, cactus, abalone, malachite, several kinds of soap-stones, koa, taugua nut, and a whole lot more. Per Deering Banjo’s website, when you order a banjo of this caliber the one request they have is no strict time limits, so dad may have to wait a bit but it’ll be worth it! Score one for $63,719.00.</p> <p><img src="/files/imce-images/Banjo.png" width="450" height="632" alt="Banjo.png" /></p> Acoustic Nation Deering G7th Head Case Kyser Lag Lodge Martin Guitar Tanner Taylor Guitars Whipping Post Wolfram Gear Blogs Blogs Thu, 28 May 2015 12:57:39 +0000 Pauline France 24564 at Milk Carton Kids Guitarist Kenneth Pattengale Talks Tone, Playing in a Duo and New Album, 'Monterey' <!--paging_filter--><p>The Milk Carton Kids' Kenneth Pattengale and Joey Ryan are studied craftsmen of the folk tradition. </p> <p>Over the course of their five years together as a band, they have mastered the delicate vocal harmonies, sophisticated songwriting and subtle musical interplay set forth by seminal folk duos such as Simon &amp; Garfunkel or Gillian Welch and David Rawlings. </p> <p>Words like "enchanting" and "haunting" get tossed around when describing this intimate format, but the Milk Carton Kids have more than earned such distinctions.</p> <p>The two singer-songwriters formed the group in 2011 and promptly hit the road, touring the country. </p> <p>Since then, they have earned numerous accolades, including a Grammy nomination for <em>Ash &amp; Clay,</em> the 2014 Group of the Year Award from the Americana Music Association and a spot in the T Bone Burnett and Coen Brothers-produced concert film documentary, <em>Another Day/Another Time: Celebrating the Music of ‘Inside Llewyn Davis’</em>—in which their performance literally moved Marcus Mumford to tears. </p> <p>When first hearing the Milk Carton Kids, Pattengale’s guitar jumps out immediately. His counterpoint accompaniment is tasteful and undeniably impressive, utilizing a mix of cross-kicking, double-stops and single-note lines to create an elegant style that has made him one of the most exciting contemporary voices on the acoustic guitar. </p> <p>I spoke with Kenneth about achieving tone, his sense of harmony, playing in a duo and recording the Milk Carton Kids’ new album, <em>Monterey.</em></p> <p><strong>GUITAR WORLD: You play a very small-bodied acoustic guitar. What model is it?</strong></p> <p>It’s a Martin 0-15 from 1954. Outside of the little turn-of-the-century parlor guitars and the guitars that predate the OM model, it’s the smallest short-scale guitar Martin has made in the modern era. It's funny; yesterday we were doing a thing with Béla Fleck in Nashville and he walked by the guitar and said, “What, did your guitar shrink in the dryer?” </p> <p>So it’s from ’54 and it’s kind of beat to shit. I bought it off a lady on the Internet, sight unseen. I’ve bought a number of guitars that way, but this one just seems to have its own thing. And after touring it for five years with this band, it’s developed a kind of tone that’s hard to replace when I’m swapping guitars in and out. Every time that one’s in the mix, it seems to be saying the right thing.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>You incorporate a ton of single-note lines into your playing while always retaining a very even, full tone. I know the bluegrass guys have a very specific approach to achieving their tone on an acoustic instrument, but you seem to be going after something different.</strong></p> <p>I feel like tone is the most important thing. My impression of the bluegrass thing is really funny. I think those players are really precious about tone, but often times I feel like those guys are relying on their instrument more than their technique in a strange way. That big, clear, open, bell dreadnought sound you hear out of all those guys is such a particular thing. For me, maybe I had access to too many guitars, or maybe I didn’t have an ear for it … to feel comfortable in what I was playing, the only thing I could manipulate or change was just my technique. </p> <p>We’ll see if it hurts me in the end, but I think if there’s anything that sets me apart from other people is that when I know that I like what’s coming out of my instrument, it’s because literally I press down on the fingerboard harder than most players. I’ve always found that to get a really warm, sustained and clear tone that’s still sort of real and gritty, in order to get that out of the instruments I play, I always have to really take that string across the frets. </p> <p>I guess you could compare it to the way you need to make sure joints in woodworking are sound. When you glue two pieces of wood together, the closer you can get them to existing as a fundamental structure, and the more you create that bond, the more structural integrity it has. In a metaphorical way, that holds true in my mind for the guitar. The more you can establish a totally firm intentionally with which you play, and in how that’s represented physically, the truer it sounds. </p> <p>But then again I don’t know … I might be shooting myself in the foot. I might not be able to play the guitar when I’m 60 [laughs].</p> <p><strong>Is that something you’re aware of while playing? I’ve talked before with Julian Lage, whom I know you produced a record with, and he spoke of having a similar intentionality to his playing.</strong></p> <p>I think I’m more aware of it when I’m not playing. If I don’t play the guitar for a few weeks, and then I start to play again, the first four or five days I’m in excruciating pain. My calluses go away and my hand cramps up and feels overused. The opposite is like Joey, who doesn’t have light strings on his guitar, but to get the sound he gets out of his instrument he doesn’t have to press the guitar as hard. He can go months without playing and then do some strumming and it won’t really matter. </p> <p>When I’m actually playing and in the zone and not distracted by anything, I think I’m far enough in where I don’t have to think about technique anymore. When you’re performing, technique probably isn’t a good thing to focus on because you might miss some artistic information. </p> <p>You mentioned Julian; I’ve never had more conversations about technique with anyone than Julian. Not necessarily about playing the guitar but everything that surrounds playing the guitar. He’s given a lot of thought and made a lot of personal choices and corrections based on body posture and breathing and all of these theoretical ideas about what it means physically to play the guitar. Obviously, when you hear that guy play the guitar, anything that’s going into it is valuable information because what’s coming out of it is pretty astounding. </p> <p><strong>You have such an interesting and sophisticated sense of harmony in your playing. I hear half-step moves, close intervals, 9ths and 13ths. How did you develop this sound?</strong></p> <p>I think it comes from having global influences. I spent long stretches listening to Tom Waits recordings, long stretches listening to Duke Ellington recordings—composers that seem not to be afraid to work in the margins. Duke’s a perfect example of where there’s so much intentionally, and clearly composition, but he’s also not afraid to challenge the ear. </p> <p>Secondarily, not to be bashful about it, but I’m not the most consistent guitar player around. I feel like I kind of backed into this job. Joey and I started a band where there are only two guitars and two voices. There are a few ways to arrange those four elements, and to our ear the best way is to really be interesting with those four things. When we’re striving to sing as one with our voices, and Joey’s fundamentally providing rhythm, there’s all this wide-open space for me to play the guitar as counterpoint in and around that. There’s a lot of room to fill there and I guess I was the guy for the job. </p> <p>And I’m not the greatest guitar player, so a lot of that comes from trying to be ambitious on the guitar and then landing in the wrong place and having to find my way out of it while trying to make it musical. In that a lot of discovery happens. Sometimes I’d land in the wrong place but I’d really like how it sounded and what it did for the music. </p> <p>In some ways this feels like a running experiment for me trying to seek out the guitar in the public forum. I’ve also got a band mate and collaborator who can tell me if I sound shitty or if I’ve gone too far. I’m not necessarily stuck in my own world thinking this stuff sounds great or not. There’s always somebody else to tell if it’s working. </p> <p><strong>Even though you play a lot of very defined single note lines, it never sounds like you’re playing “lead guitar." It seems like you always make an effort to accompany the song even while you’re doing all this cool guitar stuff.</strong></p> <p>Yeah and that’s intentional. When we perform we do maybe 20 songs, and of the those 20, there are only ever two or three songs where we get to a point and it feels like, “Oh and now for a guitar solo.”</p> <p>There’s a song of ours, “Girls Gather Round” that has a guitar solo in the middle. But it’s really only there because the structure of the song is so traditional that when you get to that point in the song, everybody knows that it’s time for the guitar solo. </p> <p>We’re conscious of writing parts in our songs, sections that while they’re instrumental, usually have different chord patterns than in the verses and chorus. Sometimes these songs, over the course of a year or two will change from the recorded version to something we feel more comfortable in or something that can be lightly improvised around. Throughout that process we try not to reach points in songs where it’s just time for me to show off on the guitar. </p> <p>First I’m not capable of that, but more importantly, we found to have a clear idea of what the direction of my guitar part is really strengthens the songwriting. Or at least it gives an identity to the song that without it our band doesn’t actually work. It’s never supposed to feel like a guitar solo. It’s exactly like you said, it’s supposed to feel like accompaniment; it’s supposed to feel like it’s contextual and that it’s purposeful and serves the song. </p> <p>If somebody was going to pick guitar solos over our tunes there are plenty of other guys that would do that better. Julian Lage or Elbridge or Rawlins can all play a way better guitar solo than I can. </p> <p><strong>For the new album, I read you recorded it in empty rooms and halls to utilize their natural reverb. Was that the concept for making this record?</strong></p> <p>You know, that’s actually how I thought about the Critter [Chris Eldridge] and Julian album. That duo-guitar thing is a format that’s happened a few times, and my frustration with those recordings is that it seems like those type of players, who are so good and so detailed, the production aesthetics are always … you get this really close-mic’d, precise, pristine sound. It sounds so close and detailed; it’s hard for me to hear the context when I listen to those. </p> <p>I wanted to get them into a room where I could back all the mics off so that the context would be more firmly established before the listener hears it. In fact, we recorded that album in the middle of the tour that Joey and I recorded our album on. It was the same recording rig, and I found a hall in Easton, Maryland, to take them into. What ended up happening, standing on stage in this empty room with all of this reverb, is that all of a sudden everything was different. Just playing guitar sounded different than playing in the studio or sitting on the edge of your bed. You’d strike the guitar and hear the sounds in just an entirely different way. And it seemed to not only make you play differently, but that different context alone painted the whole picture differently.</p> <p>For Joey and me, it was important because we’ve done close to 500 shows, and we’ve only been in the studio eight days over those five years. At this point, he and I are much happier thinking about our accomplishments onstage rather than our accomplishments in the studio. And we’ve spent so much damn time out there; it occurred to us, “Why don’t we just record it here?” We thought it would feel a lot more natural and take away the preciousness of what going into the studio means. Every time you go into the studio, everyone gets emotionally psyched up, and you can’t expect that it’s not going to change what you do. </p> <p>I know that if I sit down at the studio and try to cut a song for three hours, knowing that at end of it I’m going to have to move on and that’s going to be the one, it means that I’m less ambitious playing the guitar and that sometimes I’m thinking about the wrong things—worrying about how the guitar sounds rather than thinking about how to make the guitar sound good.</p> <p>On that tour, I think we played 55 shows. We’d set up the recording studio every day on stage in these halls and play for a few hours and then take it down. We didn’t even listen to anything for about six months. So during that whole time we never thought, “Oh, this has got to be the one,” or “We gotta play this right.” Instead, we’d set up for the day and either we’d play or we wouldn’t. </p> <p>When we went back and listened, we found that the songs sounded totally different than if we were in the studio and precious about it. As a result, I think it’s much more reflective of what we do every day. It captures a side of our music that definitely hasn’t been captured on any of the previous records. But more importantly, it represents what we think we’re good at and how we think we found it. </p> <p><em>For more about the Milk Carton Kids, visit <a href=""></a></em></p> <p><em>Ethan Varian is a freelance writer and guitarist based in San Francisco. He has performed with a number of rock, blues, jazz and bluegrass groups in the Bay Area and in Colorado. <a href="">Follow him on Twitter.</a></em></p> Acoustic Nation Kenneth Pattengale The Milk Carton Kids Interviews Blogs Interviews News Features Wed, 27 May 2015 20:51:31 +0000 Ethan Varian 24561 at LA Bluegrass Situation Announces 2015 Festival <!--paging_filter--><p>The 2015 LA Bluegrass Situation has been announced, with the festival taking place on October 3 at Los Angeles' famous Greek Theatre. </p> <p>This year's event features a full day of music, food, culture, and activities, with more details to be announced. </p> <p>Presented by The Bluegrass Situation, Goldenvoice, and Nederlander Concerts, the 2015 LA Bluegrass Situation marks the fifth year of the annual event co-founded by Ed Helms.</p> <p>The festival's all-star lineup includes performances by Dawes, Punch Brothers, The Lone Bellow, Gregory Alan Isakov, Della Mae, Jonny Fritz, Sam Outlaw, Spirit Family Reunion, The Dustbowl Revival, and The Wild Reeds. </p> <p>The combined collective represents the breadth of talent The Bluegrass Situation has come to represent, bridging the musical gap between traditional and progressive, and presenting everyone from well established favorites to buzzed about new acts.</p> <p><iframe width="620" height="349" src="" frameborder="0" allowfullscreen></iframe></p> <p>Past acts have included Steve Martin and the Steep Canyon Rangers, Gillian Welch and Dave Rawlings, Sara and Sean Watkins, John C Reilly and Friends, the Infamous Stringdusters, Shakey Graves, Langhorne Slim, Carolina Chocolate Drops, Lord Huron, Blind Pilot, Willie Watson, Josh Ritter, and the Lonesome Trio.</p> <p>Tickets are on sale this Friday, May 29, at 10 am. Tickets and more information are available at <a href=""></a>, <a href=""></a>, and <a href=""></a>.</p> Acoustic Nation News Tue, 26 May 2015 17:43:07 +0000 Acoustic Nation 24551 at Old Crow Medicine Show Announces Summer Tour, New EP <!--paging_filter--><p>Grammy award-winning Old Crow Medicine Show has just announced summer tour dates and the upcoming release of the <em>Brushy Mountain Conjugal Trailer</em> EP. </p> <p>Previously released digitally, the new physical EP will be available at all major retailers on June 2 and includes three tracks that were previously unavailable to fans - “Mother Church”, written as an homage to Nashville’s historic Ryman Auditorium, “I Done Wrong Blues” and a live version of “The Warden”. </p> <p>Old Crow Medicine Show’s summer tour includes a variety of exciting openers and co-bills. The band has chosen in demand roots artists Sturgill Simpson and The Devil Makes Three as openers, and the band will be co-headlining dates with Brandi Carlile and Willie Nelson &amp; Friends. </p> <p>They will also support The Avett Brothers on a handful of dates, a proven and raucous combination that’s hard to beat. Highlights of the tour include a return to the gorgeous Red Rocks Amphitheater, appearances at the eclectic Bunbury and inaugural Hinterland festivals and a headlining appearance at Nashville’s brand new 6,800 person capacity Ascend Amphitheatre.</p> <p>Below, watch their latest video for the song “Brushy Mountain Conjugal Trailer”, shot at the Tennessee State Penitentiary.</p> <p><iframe width="620" height="349" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>Old Crow Medicine Show Tour Dates</strong></p> <p>May 22 – Cumberland, MD – Delfest<br /> May 23 – Charlottesville, VA – nTelos Wireless Pavilion<br /> with The Devil Makes Three<br /> May 24 – Portsmouth, VA – nTelos Wireless Pavilion<br /> with The Devil Makes Three<br /> May 25 – Black Mountain, NC – Pigsah Brewing Outdoor Stage<br /> with The Devil Makes Three<br /> May 28 – Mankato, MN – Vetter Stone Amphitheater<br /> with The Devil Makes Three<br /> May 29 – Sioux Falls, SD – The District<br /> with The Devil Makes Three<br /> May 30 – Papillion, NE – Sumtur Amphitheater<br /> with The Devil Makes Three<br /> June 1 – Wichita, KS – The Cotillion<br /> June 3 – Morrison, CO – Red Rocks Amphitheatre<br /> with The Devil Makes Three<br /> June 4 – Kansas City, MO – Starlight Theatre<br /> supporting The Avett Brothers<br /> June 5 – Peoria, IL – Peoria Civic Center<br /> supporting The Avett Brothers<br /> June 6 – Cincinnati, OH – Bunbury Music Festival<br /> June 24 – Jackson, MS – Thalia Mara Hall<br /> June 25 – Grand Prairie, TX – Verizon Theatre at Grand Prairie<br /> supporting The Avett Brothers<br /> June 26 – New Braunfels, TX – Whitewater Amphitheatre<br /> supporting The Avett Brothers<br /> June 27 – New Braunfels, TX – Whitewater Amphitheatre<br /> supporting The Avett Brothers<br /> June 28 – Shreveport, LA – Strand Theatre<br /> July 17 – Houston, TX – Cynthia Woods Mitchell Pavilion<br /> supporting The Avett Brothers<br /> July 18 – New Orleans, LA – Bold Sphere Music at Champion Square<br /> supporting The Avett Brothers<br /> July 24 – Cooperstown, NY – Brewery Ommengang<br /> with Sturgill Simpson<br /> July 25 – Shelburne, VT – The Green at Shelburne Museum<br /> July 29 – Pittsburgh, PA – Stage AE<br /> with Sturgill Simpson<br /> July 30 – Columbus, OH – LC Pavilion<br /> with Sturgill Simpson<br /> July 31 – Highland Park, IL – Ravinia<br /> Co-bill w/ Brandi Carlile<br /> August 1 – Des Moines, IA – Hinterland Music Festival<br /> August 2 – Indianapolis, IN – White River State Park<br /> with Sturgill Simpson<br /> August 12 – Brooklyn, NY – Prospect Park Bandshell<br /> with Willie Nelson &amp; Family<br /> August 14 – Garrettsville, OH – Nelson Ledges Quarry Park<br /> with Willie Nelson &amp; Family<br /> August 15 – Scranton, PA – The Peach Music Festival<br /> August 16 – Atlantic City, NJ – Borgata Festival Park<br /> with Willie Nelson &amp; Family<br /> August 18 – Kettering, OH – Fraze Pavilion<br /> with Willie Nelson &amp; Family<br /> August 19 – Columbia, MD – Merriweather Post Pavilion<br /> with Willie Nelson &amp; Family<br /> August 21 – Boston, MA – Blue Hills Bank Pavilion<br /> with Willie Nelson &amp; Family<br /> August 22 – Simsbury, CT – Performing Arts Center at Simsbury Meadows<br /> with Willie Nelson &amp; Family<br /> August 23 – Gilford, NH – Meadowbrook<br /> with Willie Nelson &amp; Family<br /> August 28 – Nashville, TN – Ascend Amphitheater<br /> October 3 – Greenville, MS – Mighty Mississippi Music Festival</p> <p>Find out more at <a href=""></a>.</p> Acoustic Nation News Old Crow Medicine Show Tue, 26 May 2015 17:36:18 +0000 Acoustic Nation 24550 at Watch an Acoustic Guitar/Drum Machine Hybrid in Action! — Viral Video <!--paging_filter--><p>What do you get when you attach drum machine pads to your acoustic guitar?</p> <p>German guitarist Pensen Paletti answers this question in the video below! </p> <p>Uploaded to YouTube May 19, the short clip has been viewed almost half a million times and counting. </p> <p>In it, Paletti demonstrates his wacky device that enables him to play drum beats as he strums/picks the guitar. He apparently calls it the “Bumm-Guitar.” </p> <p>Some YouTube folks have commented that the tune sounds a lot like John Butler Trio’s “Funky Tonight.” </p> <p>What do you make of this? Tell us your thoughts in the comments section or on Facebook!</p> <p><iframe width="620" height="349" src="" frameborder="0" allowfullscreen></iframe></p> <p>Check out Pensen Paletti's Facebook page <a href="">here</a>.</p> Acoustic Nation Blogs Videos Tue, 26 May 2015 16:30:44 +0000 Acoustic Nation 24549 at SongTown: How I Bumped Psy Out of the #1 Song — The Rewards of Risk <!--paging_filter--><p>Several year ago, my publisher asked me to attend a song camp in Sweden. I love to travel, but Sweden is a long way from the comfortable confines of Nashville.</p> <p>The trip cost a good bit of money. My publisher paid for it up front, but they recouped it from me later. I wondered at the time if I would ever make back my travel costs.</p> <p>But, I decided to give it a shot. At the camp, I got to write with Germans, Swedes, Icelanders, and Danes. It really opened my eyes to the broader world of music beyond my comfort zone. And it introduced me to Malmo, Sweden — a beautiful place.</p> <p>When we arrived, they took us to “The Roasting House”. It was an old coffee roasting complex that was now a publishing company. Roasting House had writer/producers in every possible corner of the facility. All of them played every instrument and sang, so they were a song factory.</p> <p>Each day, we would write from 10 AM until noon. Then the producers would start working on the tracks. At 6 PM each evening, we had a “Wine and Listening” party to hear the completely mixed tracks that had been written THAT MORNING! It was crazy to hear the finished product the same day you wrote it.</p> <p>The song camp turned into such an amazing growth opportunity. I still write with some of the Swedes that I met there. One of the songs I wrote at the camp with Alexander Holmgren and Carl Utbult was recorded by a Korean artist named Cho Yong Pil. It became a single and bumped Psy out of #1 in Korea. Then it became the song of the year in Korea AND all of Asia.</p> <p>The lesson I learned was — You Just Never Know. The probability of having the song of the year in Asia written by two Swedish guys and a redneck from Nashville would be extremely low. No one would have bet on that before the camp started.</p> <p>The same goes for any opportunity in life. You just never know. You have to weed through the ones you think give you the best shot, but you have to take chances.</p> <p>Betting on the sure thing doesn’t give you much return, even if you win.</p> <p>Take chances. Dive in. You just never know.</p> <p>Marty Dodson</p> <p><em>Editor’s note: Not only did “Bounce” pull Marty out of his comfort zone, it also revived the career of 63-year-old Korean artist Cho Yong Pil. Now that’s one powerful song!</em></p> <p><iframe width="620" height="349" src="" frameborder="0" allowfullscreen></iframe></p> <p><em>Marty Dodson blogs daily on Facebook at <a href="">www.facebook/songtownusa</a> and on <a href=""></a>. You can check out his music at <a href=""></a>. Marty plays <a href="">Taylor Guitars</a> and <a href="">Batson Guitars</a></em>.</p> Acoustic Nation marty dodson Songtown songwriting Blogs Tue, 26 May 2015 13:32:01 +0000 Marty Dodson 24548 at 10 Tips for Choosing the Right Acoustic Strings for You <!--paging_filter--><p>When was the last time you changed your strings? Well, before you do this time, check out these tips for picking out the perfect strings for you.</p> <p><strong>Guitar type</strong></p> <p>This might seem obvious, but first and foremost, take a look at guitar and determine which type of strings you need. Acoustic steel, electric, classical nylon? Most of the time these strings are not interchangeable. You can’t use steel strings on a nylon string guitar for example. It could damage your instrument. </p> <p>Check your bridge and see if your guitar uses ball-end strings or needs strings that tie at the end. Typically all steel string guitars are fitted to use ball-end strings, but nylon string guitars can go either way.</p> <p><strong>Gauge preference</strong></p> <p>Here’s where things get tricky. Strings come in a wide variety of different gauge ranges. The gauge is the diameter of the string…or how fat it is.</p> <p>The gauge of your strings can really change how the guitar feels when you play, and the sound, too. Typically lighter gauge strings are easier to play, but can break more easily. Beefier strings can have a fuller tone, can be louder and are harder to break, so if you like to dig in, consider a heavier set. Here’s a general run down of acoustic string sets:</p> <p>• Extra light: .010 .014 .023 .030 .039 .047<br /> • Custom light: .011 .015 .023 .032 .042 .052<br /> • Light: .012 .016 .025 .032 .042 .054<br /> • Medium: .013 .017 .026 .035 .045 .056<br /> • Heavy: .014 .018 .027 .039 .049 .059</p> <p><strong>Picking a gauge</strong></p> <p>So how to you know which gauge set will fit you just right? Here are some general things to think about.</p> <p><em>Body size: </em> Are you playing a small bodied guitar or a jumbo? Typically a smaller bodied parlor guitar will sound and feel better with lighter gauge strings. While you might want to try a medium or heavy gauge on a larger body or jumbo to take full advantage of their larger sound chamber.</p> <p><em>Tone: </em> Heavier gauge strings tend to emphasize the lower end of the guitar’s tonal spectrum while lighter strings are more treble-y and sweet.</p> <p><em>Playing style: </em> Are you a fingerpicker, a strummer? Typically lighter gauge strings are easier on the fingertips for pickers and if you’re a heavy strummer, you’ll want heavier strings. If you do both, try a medium set, that have heavier guage on the bottom and lighter on the top.</p> <p><em>Instrument age: </em> If you have a vintage instrument, be careful about putting heavier gauge strings on it, as they put more tension on the neck. </p> <p><strong>Material</strong></p> <p>I know you probably think a string is a string. But you are wrong! There are several different types of materials that strings are made of, and they can affect the string tone, and longevity.</p> <p>• Bronze: These are typically constructed of 80% copper and 20% zinc and are used for all styles of playing. With a clear, bright ringing tone, these strings can age quickly due to bronze’s tendency to oxidize.<br /> • Phosphor Bronze: These are bronze strings with phosphor added. Still bright, but warmer and darker than bronze strings. Phosphor extends the life of these strings versus standard bronze strings<br /> • Brass: A bright, jangly, metallic sounding string.<br /> • Silk and steel strings: These produce a soft, mellow sound. They offer less tension and come in lighter gauges so they are good for vintage guitars that require special strings. They are quieter and less durable but easier to play.</p> <p><strong>What about nylon string guitars? </strong></p> <p><em>Tension: </em> Classic guitar strings are made in different tensions. These typically consist of low tension also referred to as moderate or light, normal or medium tension, and hard or high tension. Low or light tension are easier to play, but you may get some buzz. Normal or medium tension strings are typlically consistent in tone. Try a few and see what you like.</p> <p><em>Materials: </em> Treble nylon guitar strings can be made with clear or rectified nylon. Clear nylon strings are extruded and then calibrated for accuracy. Rectified nylon strings are extruded and then ground to produce a string that will play in tune. They have a very fine roughness of texture. Treble strings are also made of carbon fiber and composite materials. Bass strings are primarily made of bronze wire or silver plated copper wire wound around a core of fine threads.</p> <p><strong>Coatings and treatments</strong></p> <p>These days string technology has progressed to offer several additional life-extending options. These can include coated strings, which can sometimes be a bit less bright or have a bit less sustain. But they can last three or four times longer. You can also find strings that have been cryogenically frozen, which seems to lengthen their lifespan without diminishing the tone or sustain. </p> <p><strong>Changes</strong></p> <p>So how often should you change your strings? Probably more than you do. I’m always amazed at how gorgeous my guitar sounds with new strings. It always makes me want to change them more often. </p> <p>If you’re playing pretty regularly you might want to change the every week. If you’re an occasional strummer, try once every two months. If you wipe down your guitar and wash your hands before you play, your string tone may last a bit longer.</p> <p><strong>Price</strong></p> <p>Like pretty much anything, strings come in all different price ranges. Typically bronze strings are the least expensive and coated strings the most. Average strings typically cost between $5 - $15, but you can also get better deals if you purchase in bulk. There are cheaper ones, and more expensive too. Typically if you just opt for a decent set of strings, you’ll be in good shape.</p> <p><strong>Packaging</strong></p> <p>This might seem inconsequential, but there have been some new developments in string packaging meant to both make them more eco-friendly and to keep them fresh and rust-free while they are waiting for you to put them on your guitar. If you do buy in bulk, think about how the strings are packaged, especially if you are not going to put them onto your guitar for a long time.</p> <p><strong>Try, try again </strong></p> <p>I know it’s comfortable to stick with the same strings, but give some alternates a try, especially if you haven’t tried anything new for a while. There are some really great new string options that you should check out. </p> Acoustic Nation Gear Blogs Tue, 26 May 2015 01:14:47 +0000 Laura B. Whitmore 24547 at Sunday Strum, Episode 21: 4 Measure Mix Up — Lesson <!--paging_filter--><p>In today’s episode, I go through a basic phrase I’m calling “4 Measure Mix Up.” </p> <p>I’ve constructed this pattern to make something simple seem a little more complex without it actually being too difficult. </p> <p>By giving the Em and Cmaj7 chords in the second measure one beat each, it throws off the balance a little, but makes for a cool deviation. </p> <p>Also note that when I repeat the entire progression, I use a G chord at the end instead of Cmaj7. </p> <p>This, again, adds just a little bit of variation to this somewhat straightforward phrase.</p> <p>Check out the lesson below and enjoy!</p> <p><iframe width="620" height="349" src="" frameborder="0" allowfullscreen></iframe></p> <p><em>Justin Horenstein is a guitar instructor and musician in the Washington, DC metro area who graduated (cum laude) from the Berklee College of Music in 2006. He also plays in Black Clouds, a 3-piece atmospheric/experimental band. Their new album, Dreamcation, was released on November 4, 2014 via <a href="">Collect Records</a></em>.</p> <p><em>More about Justin at <a href=""></a> and <a href=""></a></em>.</p> Acoustic Nation Sunday Strum Lessons Blogs Videos Sat, 23 May 2015 16:03:27 +0000 Justin Horenstein 24546 at The Dustbowl Revival Shares "Never Had To Go" Featuring Dick Van Dyke — Video <!--paging_filter--><p>Here’s a treat! It’s The Dustbowl Revival’s video for their new single “Never Had To Go,” featuring the man himself, Dick Van Dyke and his wife Arlene dancing up a storm.</p> <p>The song is from their new album, <em>With A Lampshade On</em>, set to release on July 21 on Signature Sounds Recordings.</p> <p>A downhome, handclapping good time, The Dustbowl Revival clearly shares their joy through their music. What a great band! Large and varied with spot-on musicianship, the band delivers this tongue-in-cheek charmer with enthusiasm.</p> <p>The Dustbowl Revival is a Venice, California-based collective that merges old school bluegrass, gospel, pre-war blues and the hot swing of New Orleans to form a spicy roots cocktail. </p> <p>Known for their roaring live sets, Dustbowl bravely brings together many styles of traditional American music. Some call it a string band-brass band mash up. Maybe it’s swing-grass or good old Americana, however you spin it, Dustbowl creates and curates infectious, joyous music - a youthful take on time-worn American traditions.</p> <p><iframe width="620" height="349" src="" frameborder="0" allowfullscreen></iframe></p> <p>After winning Americana song of the year from the Independent Music Awards (Tom Waits judging), getting tapped to play top festivals like High Sierra, Floydfest, AmericanaFest and The Hudson River Revival and opening for bands like Lake Street Dive, Rebirth Brass Band, Preservation Hall Jazz Band and Trombone Shorty, the band has become a barnstorming touring machine. </p> <p>They will go international for the first time in 2015, joining The Winnipeg Folk Festival, Naked Song Fest (Netherlands) and Bergenfest (Norway) where they will team up with Tori Amos, First Aid Kit and Jackson Browne. </p> <p>Founder Z. Lupetin came west from Chicago in 2007 and placed a humble Craigslist ad to get the circus started. The group has grown steadily from a humble string band playing up and down the west coast, into a traveling mini orchestra featuring instrumentation that often includes fiddle, mandolin, trombone, clarinet, trumpet, ukulele, drums, bass, harmonica and plenty of washboard and kazoo for good luck. They have settled into an eight piece touring group - rattling ceilings and sometimes bringing their grinning sound into the street. </p> <p>They have recorded their first mostly LIVE album <em>With A Lampshade On</em> at San Francisco's Great American Music Hall and LA's famed Troubadour and will be releasing it in July through Signature Sounds Recordings.</p> <p>Preorder and find out more at: <a href=""></a></p> Acoustic Nation News The Dustbowl Revival Blogs Videos Fri, 22 May 2015 12:58:47 +0000 Acoustic Nation 24545 at Bryan McPherson’s “Days of Rage” — Exclusive Song Premiere <!--paging_filter--><p>Today we’re happy to bring you the exclusive premiere of LA-based folk-punk troubadour Bryan McPherson’s “Days of Rage.”</p> <p>The song is partially inspired by his involvement in the Occupy Oakland protests of 2011. </p> <p>Melding Americana, folk, alternative, and punk into one incendiary, incisive sound, “Days of Rage” is a perfect example of his songwriting style. </p> <p>With his driving acoustic guitar holding steady in the background, McPherson’s words almost spill out of his mouth as he sings about his view of the world — it’s at once captivating, thought-provoking and powerful. </p> <p>"This tune came from everything I was absorbing in pop culture: revolutionary figures, propaganda, fascism, conspiracies, government, dissent, socialism, anarchism, some of my memories from Oakland and San Francisco during Occupy, Highway 1, Skid Row and the San Fernando Valley,” McPherson shares.</p> <p>“I was influenced by the shopping mall and Cadillac SUV culture of where I was living at the time and the abstraction and contrast of who I am as an artist versus my environment.”</p> <p>Take a listen below. McPherson’s third album, <em>Wedgewood</em>, releases June 10, and you can view his tour dates below. </p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src=";auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe></p> <p>Find out more at <a href=""></a>.</p> <p><strong>Bryan McPherson U.S. Tour</strong></p> <p>6/11 Portland, ME at Matthew’s Pub</p> <p>6/12 Boston, MA at The Midway Cafe</p> <p>6/13 New York, NY at The Map Room at Bowery Electric</p> <p>6/14 Asbury Park, NJ at Russo Music</p> <p>6/16 Philadelphia, PA at Kung Fu Necktie</p> <p>6/17 New Brunswick, NJ at The Court Tavern</p> <p>6/18 Trenton, NJ at Mill Hill Basement</p> <p>6/19 Syracuse, NY at Gorham Brothers Music</p> <p>6/20 Oswego, NY at The Barn</p> <p>6/24 Newport, KY at The Thompson House (Heaven Room)</p> <p>6/25 Indianapolis, IN at Sabbatical</p> <p>6/26 St. Ann, MO at The Waiting Room</p> <p>6/27 Chicago, IL at Reggies</p> <p>6/29 Laramie, WY at Gusty Gully</p> <p>6/30 Fort Collins, CO at The Forge Pub</p> <p>7/1 Salt Lake City, UT at The Garage</p> <p>7/2 Colfax, CA at The Colfax Theater</p> <p>7/3 Santa Cruz, CA at The Crepe Place</p> Acoustic Nation Blogs Thu, 21 May 2015 22:58:50 +0000 Acoustic Nation 24544 at Third Man Records to Release and Reissue Exclusive Leon Redbone Recordings <!--paging_filter--><p>Third Man Records is proud to announce the forthcoming releases of jazz and roots legend Leon Redbone's debut album <em>Out on the Track</em> and <em>Long Way From Home</em>, the never-before-released earliest known recordings of the mysterious performer. </p> <p>The news of the Third Man releases follows the recent announcement of Leon Redbone's retirement from both public appearances and recording.</p> <p><em>Out on the Track</em> – Leon Redbone's debut LP – was originally issued on Warner Brothers Records in 1975 and will be reissued exclusively on vinyl by Third Man Records. </p> <p><em>Long Way From Home</em> was recorded in 1972 by Dave Benders for WBFO Radio at the University of Buffalo and features some of the earliest known Leon Redbone recordings. </p> <p>The recording was never released commercially and will finally be available in CD, LP and digital formats for all to enjoy. Specific release dates for the two offerings are forthcoming, but in the meantime, peruse the track listings below.</p> <p>Watch an old clip of Redbone performing:<br /> <iframe width="620" height="465" src="" frameborder="0" allowfullscreen></iframe></p> <p>About Leon Redbone:</p> <p>Redbone’s career has spanned over four decades and began with his earliest performances on the folk festival and club circuit. His numerous appearances on The Tonight Show with Johnny Carson and Saturday Night Live and other outlets catalyzed his rise to international recognition. Over the ensuing years he has appeared throughout North America, Europe, Australia and Japan and released thirteen albums of his unique music, a panoply of early music styles that he delivered with his singular laconic idiosyncratic style.</p> <p>A true champion of early American ragtime, blues and jazz, Leon Redbone has spent a lifetime preserving that musical tradition while exposing successive generations to a rich musical heritage of which they might not otherwise have become aware.</p> <p><strong><em>Out on the Track</em> Tracklisting:</strong></p> <p>1. Sweet Mama Hurry Home or I'll Be Gone<br /> 2. Ain't Misbehavin'<br /> 3. My Walking Stick<br /> 4. Lazybones<br /> 5. Marie<br /> 6. Desert Blues (Big Chief Buffalo Nickel)<br /> 7. Lulu's Back in Town<br /> 8. Some of These Days<br /> 9. Big Time Woman<br /> 10. Haunted House<br /> 11. Polly Wolly Doodle</p> <p><strong><em>Long Way From Home</em> Tracklisting:</strong></p> <p>1. Looked Down the Road<br /> 2. Mother Queen of My Heart<br /> 3. T B Blues<br /> 4. Don't Let It Bother You<br /> 5. Marie<br /> 6. Me and the Devil<br /> 7. If I Had a Possession Over Judgement Day<br /> 8. Mississippi Blues<br /> 9. Kind Hearted Woman<br /> 10. Love Letters<br /> 11. Hurry Home<br /> 12. Jailhouse Blues<br /> 13. Walking Stick<br /> 14. Catman<br /> 15. Gamblin' Barroom Blues<br /> 16. My Good Gal's Gone<br /> 17. Yodelling Cowboy<br /> 18. Bootleg Rum Dum Blues</p> <p>Stay tuned to <a href=""></a> for updates.</p> Acoustic Nation Leon Redbone News Third Man Records Thu, 21 May 2015 18:27:56 +0000 Acoustic Nation 24543 at Watch The Tallest Man on Earth’s ‘Conan’ Appearance <!--paging_filter--><p>Sweden’s The Tallest Man On Earth has been on his first ever-full band tour for a week now in support of <em>Dark Bird Is Home</em>, released last week on Dead Oceans. </p> <p>Following a performance at Noncomm and a sold out show at The Wiltern in Los Angeles, The Tallest Man (aka Kristian Matsson) made his late night television debut last night on <em>Conan</em>. </p> <p>Watch the performance below to see what makes Matsson a favorite of so many, and catch he and his band live across the country throughout the spring and summer. </p> <p>All upcoming tour dates are below.</p> <p><iframe width="640" height="360" src=";eyJ0eXBlIjoicmVsYXRlZCIsImlkIjo4OTMwNX0" frameborder="0" allowfullscreen></iframe></p> <p><strong>The Tallest Man On Earth Tour Dates:</strong></p> <p>Thu. May 21 - Oakland, CA @ Fox Theater #<br /> Fri. May 22 - Santa Cruz, CA @ The Catalyst #<br /> Tue. May 26 - Atlanta, GA @ Buckhead Theatre *<br /> Wed. May 27 - Nashville, TN @ Ryman Auditorium *<br /> Thu. May 28 - Asheville, NC @ Orange Peel *<br /> Fri. May 29 - Durham, NC @ Durham Performing Arts Center *<br /> Sun. May 31 - Washington, DC @ Lincoln Theatre * – SOLD OUT<br /> Mon. June 1 - Washington, DC @ Lincoln Theatre * – SOLD OUT<br /> Tue. June 2 – Brooklyn, NY @ Music Hall of Williamsburg # -- SOLD OUT<br /> Wed. June 3 - New York, NY @ Beacon Theatre #<br /> Fri. June 19-Sun. June 21 - Hilvarenbeek, NL @ Best Kept Secret Festival<br /> Fri. June 19-Sun. June 21 - Scheessel, De @ Hurricane Festival<br /> Fri. June 19-Sun. June 21 - Munich, DE @ Southside Festival<br /> Tue. June 23 - London, UK @ Koko – SOLD OUT<br /> Wed. June 24 - Antwerp, BE @ Openlucht Theater<br /> Thu. June 25 - Paris, FR @ Divan Du Monde – SOLD OUT<br /> Sun. June 28 - Stockholm, SE @ Göta Lejon – SOLD OUT<br /> Mon. June 29 - Stockholm, SE @ Göta Lejon – SOLD OUT<br /> Tue. June 30 - Oslo, NO @ Rockefeller – SOLD OUT<br /> Thu. July 2 - Goteborg, SE @ Pustervik – SOLD OUT<br /> Sat. June 27–Sat. July 4 - Roskilde, DK @ Roskilde Festival<br /> Fri. July 17-Sun. July19 - Louisville, KY @ Forecastle<br /> Fri. July 17 – Sat. July 18 - Eau Claire, WI @ Eaux Claires Festival<br /> Mon. July 20 – Detroit, MI @ Royal Oak Music Theatre<br /> Wed. July 22 – Buffalo, NY @ Asbury Hall @ Babeville #<br /> Fri. July 24 – Newport, RI @ Newport Folk Festival<br /> Sat. July 25 – Richmond, VA @ The National<br /> Sun. July 26 – Pittsburgh, PA @ Carnegie Music Hall<br /> Wed. July 29 – St. Louis, MO @ The Pageant<br /> Thu. July 30 – Kansas City, MO @ Midland Theater<br /> Fri. July 31 – Milwaukee, WI @ The Pabst Theater<br /> Fri. July 31 – Sun. Aug. 2 - Chicago, IL @ Lollapalooza<br /> Fri. Aug. 21 – Sun. Aug. 23 – Portland, OR @ MusicfestNW<br /> Sat. Sep. 5 – Holland, MI @ Hope College – Knickerbocker Theatre<br /> Sat. Oct. 3 - Oslo, NO @ Opera House ^<br /> Sun. Oct. 4 - Göteborg, SE @ Konserthuset ^<br /> Mon. Oct. 5 - Stockholm, SE @ Cirkus ^<br /> Tue. Oct. 6 - Umea, SE @ Idun ^<br /> Thu. Oct. 8 - Linköping, SE @ Crusell ^<br /> Fri. Oct. 9 - Falun, SE @ Magasinet ^<br /> Sat. Oct. 10 - Arhus, DK @ Voxhall ^<br /> Mon. Oct. 12 - Cologne, DK @ E-Werk ^<br /> Tue. Oct 13 - Berlin, DE @ Huxley’s ^<br /> Wed. Oct. 14 - Vienna, AT @ Arena ^<br /> Thu. Oct. 15 - Milan, IT @ Alcatraz ^<br /> Fri. Oct. 16 - Zürich, CH @ Volkshaus ^<br /> Sat. Oct. 17 - Paris, FR @ La Cigal ^<br /> Mon. Oct. 19 - London, UK @ Roundhouse ^<br /> Tue. Oct. 20 – Glasgow, UK @ O2 ABC ^<br /> Wed. Oct. 21 – Dublin, IE @ Vicar Street ^<br /> Fri. Oct. 23 – Manchester, UK @ Albert Hall ^<br /> Sat. Oct. 24 – Bexhill, UK @ De La Warr ^<br /> Sun. Oct. 25 - Brussels, BE @ AB ^<br /> Tue. Oct. 27 - Copenhagen, DK @ Vega ^</p> <p>Find out more at <a href=""></a>.</p> Acoustic Nation News The Tallest Man On Earth Thu, 21 May 2015 18:04:38 +0000 Acoustic Nation 24542 at Tony Lucca Talks New Album and More in Exclusive Interview — Video <!--paging_filter--><p>On the heels of releasing his new self-titled LP, Tony Lucca dropped by the Acoustic Nation studio to chat with editor Laura B. Whitmore. </p> <p>You may know him as a contestant on <em>The Voice</em>, but Lucca’s been honing his craft long before he appeared on the show. In fact, this is his eighth full-length album. </p> <p><em>Tony Lucca</em> is his first self-titled release, and his first entirely self-produced effort. </p> <p>“We went in with the intention of making a record that was as live-sounding as possible,” Lucca shares. </p> <p>“I wanted to close my eyes and be able to visualize the players in the room or up on the stage, actually playing the songs together. One guitar over here, the other guy over there, bass, drums, some keys? I mean, that’s the rock-n-roll I fell in love with when I was a kid.” </p> <p>Lucca also performed a couple songs for us live in studio, and you can watch “Delilah” <a href="">right here</a>. </p> <p><iframe width="620" height="349" src="" frameborder="0" allowfullscreen></iframe></p> <p>For more on Tony Lucca, visit <a href=""></a>.</p> Acoustic Nation Tony Lucca Interviews Blogs Videos Thu, 21 May 2015 17:08:40 +0000 Acoustic Nation 24541 at