Most of Christie Lenée’s guitar parts for Coming Alive were recorded in a secluded cabin where she was staying on Lake Lure in North Carolina.
During the Covid pandemic, musicians often responded to the crisis by turning inward and scaling down. For example, Matthew Stevens, guitarist for Esperanza Spalding, made the album Pittsburgh on a 1950s Martin 00-17 with no overdubs. Renowned pianist Brad Mehldau, holed up in Amsterdam, offered Suite: April 2020, a collection of short, intimate solo pieces. And Christie Lenée, award-winning fingerstyle acoustic guitarist and singer-songwriter, took stock of her artistic journey in a cabin on Lake Lure, near her home in Asheville, North Carolina. But the results were not what you might expect.
Gradually, the material for Lenée’s latest release, Coming Alive, came into focus. It is the antithesis of a solo guitar album. As some of the most rock-oriented, electric, anthemic music of her career to date, it features esteemed Nashville bassist Adam Nitti and Steely Dan drummer Keith Carlock in the rhythm section, and Charlie Lowell from the Christian alt-rock band Jars of Clay on organ and keyboards. Lenée made a point of posing with her recently acquired Fender Strat for the album cover.
“Around the cabin,” she says, “there was a kind of silence I’d never heard in my entire life—no planes or cars, nothing. At first, I thought I might go a little crazy. I was reflecting on being in this tiny little place in this massive world, and I almost started to speak louder in a way. I’d turn my guitar up, start belting when I sang, play my electronic drum set at all hours. In the woods there’s a frequency I discovered, and my writing and singing changed. My inner voice was able to get a little bit louder. I felt amplified.”
It’s worth noting that Lenée didn’t get louder overnight, nor was this direction purely and simply the result of quarantine. She had ventured into a bigger, poppier, more electric and vocal sound on her 2016 album Stay and farther back on her Give and Take In EP, in contrast to her wholly acoustic 2014 instrumental gem Chasing Infinity. One might call Stay a transitional album, with Lenée rocking out unapologetically on “Journey of My Own,” but reserving space for shimmering acoustic pieces like “Sunset Rebirth” and “Soaring over Glacier Bay.” Give and Take In, similarly, is unafraid to rock but closes with a solo acoustic showstopper, “Evolution”—a fine example of the hybrid-tapping technique Lenée became famously associated with after winning the International Fingerstyle Guitar Championship in 2017. (A tonally brighter take of “Evolution” appears on Chasing Infinity.)
On Coming Alive, Lenée wanted to slightly buck her reputation as an acoustic guitarist by bringing more electric guitar into the mix.
Lenée is, of course, not the first to be recognized for her tapping talents. Michael Hedges and Stanley Jordan, in very different ways, did much to popularize the style in the ’80s. And then, there’s Eddie Van Halen. You can see Lenée’s method in action on “Song for Michael Pukac,” her winning competition entry, where she moves seamlessly between standard fingerstyle and a percussive two-hands approach on the neck, keeping righthand bass notes and patterns going while hammering-on and pulling-off lefthand melodic lines and counterpoint. For good measure, she uses live looping to sustain parts while keeping time with stomp box and foot tambourine.
“I was reflecting on being in this tiny little place in this massive world, and I almost started to speak louder in a way.”
This is still a norm in live solo performance, and Lenée has not abandoned it. It’s a language that lends itself not only to originals like the dreamy waltz “Sterling Highway,” but also interpretive feats like her Beatles medley, which features “While My Guitar Gently Weeps,” “Eleanor Rigby,” and “Yesterday,” all woven together in a rhythmically compelling, story-like whole.
“I was getting to be known as a guitar tapper,” says Lenée, “and I didn’t want to be known completely for that. I want it to be a part of what I do. This album is about taking what I’ve been trying to do on just one guitar and allowing other instruments to play their part, to fully realize the vision that’s in my head. Every song has acoustic guitar except ‘Beautiful Ride’ and ‘Fly Away,’ which are completely electric. I tracked all the guitars like a mad scientist, overdubbing mostly here at home.” Matthew Odmark from Jars of Clay was her main co-producer, although lead vocals were done primarily in Lenée’s hometown of Tampa, Florida, with Spencer Bradham at the board.
In line with the emphasis on electric guitar on Coming Alive, Lenée chose to pose with her Fender Strat on the album cover.
On Coming Alive, however, there is no tapping at all. The arena-rock energy hits right away on the title and opening track, co-produced by session ace (and former Wings guitarist) Laurence Juber. And while acoustic guitar still drives the bus, the album is a meticulously crafted blend, with Lenée playing everything from open-tuned 12-string to her Gretsch White Falcon and that trusty Strat. The sound is poppy and accessible, yet the harmonic and rhythmic involvement of her writing is still present in the 7/4 intro of “Beautiful Ride,” and the frequent meter changes and ethereal chamber-like instrumental bridge of “Another Day Goes By” (featuring Jeff Coffin on soprano sax).
What we get is a full picture of Lenée in all her versatility, playing tasty Strat fills and leads, or keyboard-like chordal pads using the Bigsby arm on her Gretsch. Her acoustics are open-tuned, usually to DADGAD or variants, such as C–G–D–G–B–D (capo on the 4th fret) for “Wildfire” or C–G–D–G–A–D (capo on the 5th fret) for “Beautiful Ride,” or drop D. The key choices are more than incidental: DADGAD, with a capo on the 3rd fret, puts “The Victory We’ve Won” in F, which is “related to the heart chakra,” Lenée says. “It’s a love song and that’s the key of love. I do use my evolving knowledge of sound healing, which looks at what keys are relevant to different moods, and sometimes it’s a part of my process.”
When writing, Lenée considers sound healing and how certain keys are associated with different moods and chakras.
“The Victory We’ve Won” is one of the gentler songs on Coming Alive, incorporating cello and viola (played by Jonathan Yudkin) as well as the mandolin-like soprano Veillette Gryphon 12-string guitar (which Lenée used more prominently on songs from earlier releases “Sweet Little Piece,” “Raining a Miracle,” and “Eastward Horizon”). The song works on two levels: as a paean to the love in Lenée’s life, and as a statement affirming LGBTQ+ equality and dignity. “I am very proud of who I am, and proud of who I love,” Lenée recently told Country Queer. “Being queer informs my emotional experience, which informs my music, and it is all a part of who I am.”
“This album is about taking what I’ve been trying to do on just one guitar and allowing other instruments to play their part, to fully realize the vision that’s in my head.”
Along with her undeniable chops and many talents, what makes Lenée special is her collaborative spirit. If you look back on her catalog, you can treat yourself to her other remarkable compositions, including the hypnotic “Electric Train,” her feature on 2020’s Phil Keaggy & Friends: Instrumental Duets, or the sonorous Keaggy-Lenée single “Peaceful Heart,” not to mention her fun-filled onstage encounters with the great Tommy Emmanuel (“Cleopatra’s Eyes”), or her duos with Laurence Juber (“Calling on the Love”) and Tim Reynolds (“Latin Improv” from Chasing Infinity). On Live at Hideaway Café (2014), we get a feel for Lenée’s full-band show, a real community event, where her acoustic sensibility is in the spotlight (“Daylight Comes”) but her distinguished lead guitar work (“Before I Go”) also has a chance to emerge.
Christie Lenée's Gear
Lenée’s virtuosic tapping skills on acoustic guitar have garnered her major accolades, including the title of International Fingerstyle Guitar champion in 2017.
Guitars
Live
- Maton EM100 808, for “The Messiah”
- Maton Solid Road Series SRS70C-12
- All her Matons are equipped with the AP5 Pro pickup system.
Studio
- Martin D12-35 50th Anniversary 12-string
- Martin J-40
- Martin D-18GE Golden Era
- Gretsch White Falcon
- Fender 2006 American Series Stratocaster
- Soprano Veillette Gryphon 12-string
Amps
- 2000 Fender Deluxe Reverb
Effects
- TC Electronic Polytune Mini
- Seymour Duncan Pickup Booster
- Eventide H9 Max
- Boss DD-20 Giga Delay
- Ibanez Tube Screamer
- Boss RC-30 Dual Track Looper
- TC Helicon Harmony Singer (vocals)
- EBow (on “That Voice”)
Strings, Picks, and Accessories
- Savarez Christie Lenée Signatures (.013–.060)
- D’Addario (electric, .011-.049)
- D’Addario medium (12-string acoustic, .012–.056)
- Dunlop Tortex Standard (.50 mm)
- Acrylic nails: done in salon, filed round on top and underneath, smoothed out with Micro-Mesh 1500 to 12000 grade
- Kyser capos
- Fox 17 Nashville Custom capos
- Maton capos
At this writing, plans were afoot to release a few tracks from Coming Alive without vocals. Clearly Lenée remains committed to exploring that instrumental space wherever she can. But singing is no less central to her authentic self—so much so that her video for “Fly Away” finds her joyously alone, on a beach, with no guitar in sight.
“Recalling that my first instrument is actually voice—just that mental shift completely changed the way I sing.”
“I was so used to the guitar leading everything,” she says, “but I had to learn how to let my voice stand on its own. I was really self-conscious at first, but I pushed past it. My parents divorced when I was 11, and from then until about 17, I didn’t sing much. I put all my feelings into the guitar. But later I realized I was a singer first: I was the youngest member of a group called Entertainment Review in Tampa. I was singing ‘All My Exes Live in Texas’ [by George Strait] at state fairs at the age of 4. Recalling that my first instrument is actually voice—just that mental shift completely changed the way I sing.”
It can take years for an artist to reconcile the many facets of their talent, and when they do, the audience connection grows that much stronger. Acoustic and electric, folk and rock, fingers and pick, playing and singing … rather than dwell on these categories and the boundaries placed between them, Lenée sees the whole continuum and ponders her place in it all, drawing on what feels right and true. “It’s an infinite journey,” she says, “and it’s never perfect. The songs are always changing.”
Christie Lenée and Tommy Emmanuel - "Cleopatra's Eyes" - Dynamic Guitar Duo
Christie Lenée’s collaborative spirit—and playfulness and pure fire–are on display in this duet with fellow acoustic virtuoso Tommy Emmanuel.
- Rig Rundown: Tommy Emmanuel, CGP ›
- Listening Deeply to Acoustic Guitar Sound ›
- Acoustic Guitars and Fender Amps ›
EMG SL20 Steve Lukather Signature Pre-wired Pickguard with 3 Pickups - Black Pearl
While creating her new solo record, Kim Deal was drawn to exploring the idea of failure.
Deal isn’t smiling on the cover of Nobody Loves You More, her new album, but the art bears some similarities: Deal is floating on a platform in an expanse of gentle, dark blue waves, accompanied only by a few pastel-colored amps, her guitar, a stool, and a flamingo. It’s an unmistakably lonely image, but for Deal, failure doesn’t mean loneliness. It’s not even necessarily a bad thing.
“I mean, at least something magnificent was tried, you know?” says Deal. “At least there was something to fail. That’s an endearing thing. I think there’s a sweetness to seeing somebody get their ass kicked, because they were in it. It warms my heart to see that, just people getting out there. Maybe it gives me the courage and confidence to try something. It’s okay if I get my butt kicked. At least you’re trying something.”
“I think there’s a sweetness to seeing somebody get their fucking ass kicked, because they were fucking in it.”
Nobody Loves You More feels at least a little like Van Ader’s journey: an artistic project so long in the making and so precious to its creator that they’re willing to break from all conventions and face the abject terror of being judged by the world. That might seem like nothing new for Deal, who’s played music professionally for over 35 years, first with Pixies, then with the Breeders. But this LP marks her first proper solo album under her own name—a thought that mortified her for a long time. (“I like rock bands,” she says.) Even when she recorded and released what could be called “solo” music, she released it under a pseudonym. Initially, it was to be Tammy and the Amps. “I still was so uncomfortable, so I created Tammy and the Amps,” explains Deal. “I’m Tammy, who are my band? It’s the amplifiers downstairs in my basement. But the Tammy thing sort of got on my nerves so I just dropped it, so it was called the Amps.” She also assembled a band around that concept and released Pacer under the Amps’ name in 1995.
The cover art for Nobody Loves You More echoes the doomed last voyage of Dutch artist Bas Jan Ader.
This new record hums with the soft-loud energetic alchemy that defines much of Deal’s previous works. The opening title track is a slow, romantic strummer with string arrangements, while “Coast” is faintly ska-indebted with horns and a ragged Blondie chord progression. “Crystal Breath” gets weirder, with distorted drums, synthy bass, and a detuned, spidery guitar lead. “Disobedience” and “Big Ben Beat” continue the darker and heavier trajectories with fuzzy stompers interspersed with ambient, affective interlude tracks like “Bats in the Afternoon Sky.” It’s a patient, sensitive, and unmistakably scrappy record.
Some of the songs on Nobody Loves You More are as up-close and personal as solo records get. One in particular that’s drawn attention is “Are You Mine?,” a sleepy-eyed, lullaby ballad. At first listen, it could be taken for a love song. (In fact, Deal encourages this interpretation.) But it’s a song about her mother, for whom Deal cared in her home while she died from Alzheimer’s. The song title comes from a gut-wrenching moment.
“I was in the house, she doesn’t know my name,” explains Deal. “She’s still walking, she can form words, but she doesn’t know what a daughter is or anything. She passes me in the hallway, stops, grabs my arm and says, ‘Are you mine?’ She doesn’t know my name, she doesn’t know who I am, but there was a connection. I knew she was asking if I was her baby. I said, ‘Yeah, mama, I’m yours.’ I’m sure five seconds later, she forgot that conversation even happened. It was just a flicker, but it was so sweet. To have her not see me in so long, and then for one brief second, be recognized in some capacity…. She was such a sweet lady.”
Deal’s mother wasn’t the only loss that went into this collection of songs. Her father passed, too, after a prolonged illness. “My dad was this big bravado sort of personality and watching them get extinguished a little bit every day… I don’t know,” she says. “They both died at home. I’m very proud of that.” But writing “Are You Mine?” wasn’t painful for Deal; she says it was a comforting experience writing the gentle arpeggio on her Candelas nylon-string acoustic.
Deal assembled the bulk of Nobody Loves You More in her Dayton, Ohio, basement, recording with Pro Tools and a particularly pleasing Electrodyne microphone preamp. (Some of the songs date back more than a decade—versions of “Are You Mine?” and “Wish I Was” were initially recorded in 2011 and released as part of a series of 7" singles.) Deal recorded a good part of the record’s drums, bass, and guitar from home, but other contributions came in fits and spurts over the years, from old faces and new. Her Breeders bandmates, including Mando Lopez, Jim MacPherson, Britt Walford, and sister Kelley Deal, all pitched in, as did Fay Milton and Ayse Hassan from British post-punk band Savages, and the Raconteurs’ Jack Lawrence.
Kim Deal cared for her parents in their Dayton, Ohio, home until their passing, an experience that colors the music on her new solo record.
Photo by Steve Gullick
Kim Deal's Gear
Guitars
- '90s Fender Stratocaster
- '70s goldtop Gibson Les Paul
- Candelas nylon-string acoustic
Amps
- Marshall JCM900
- 4x12 cabinet
- Kalamazoo combo
Strings & Picks
- .011-gauge strings
- Dunlop Tortex Standard .60 mm
One day, ex-Red Hot Chili Peppers guitarist Josh Klinghoffer stopped by the studio to see what Deal was working on. He listened to “Wish I Was,” and scrambled together a lead idea. Deal kept the part and expanded it over time, leading to Klinghoffer’s writing credit on the record.
Deal used her trademark red ’90s Fender Stratocaster HSS along with a ’70s goldtop Gibson Les Paul for most of the electric work, pumped through either her long-time Marshall JCM900 or a tiny vintage Kalamazoo combo. Deal has never been a gearhead—at one point on our video call, she uses a tooth flosser as a pick to demonstrate some parts on her Candelas. “Kelley is a pedal person,” she says. “I’m not doing leads. I’m just doing a rhythm that needs to sound good.”
“I don’t think I’m taking it very well still, actually, or I’m a sociopath because I don’t even talk about [Steve Albini] in the past tense.”Over the years, Deal’s sonic thumbprint has been tied up in the work of her good friend and frequent collaborator Steve Albini, the producer, engineer, and musician who died unexpectedly in May 2024. (Deal quips, “Steve’s the lead character in my own life.”) Albini and Deal began working together in 1988, on Pixies’ debut LP Surfer Rosa. Their friendship continued over decades—Deal even performed at Albini’s wedding in Hawaii, for which he gifted her a ukulele—and the final sessions for Nobody Loves You More were under Albini’s watch. His parting hasn’t been easy.
“I got a text: ‘Call me,’” remembers Deal. It was a mutual friend, telling Deal that Albini had passed. “He told me and I just said, ‘You’re absolutely wrong. That didn’t happen.’ I don’t think I’m taking it very well still, actually. I don’t even talk about him in the past tense. I say, ‘What he likes to do is this.’ I never think, ‘What Steve used to like to do.’ My head never goes there. I wanted to record a song that wasn’t working and I said, ‘I need to do it from top to bottom at Albini’s.’ That’s not going to happen.”
YouTube
Along with Rob Bochnik and Spencer Tweedy, Kim Deal plays two tracks from Nobody Loves You More for a holiday fundraiser in November 2024 in Chicago.
![Whores Rig Rundown [2024]](https://www.premierguitar.com/media-library/youtube.jpg?id=55366029&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
Since forming in 2010, Atlanta noise rockers Whores had only released one LP, 2016’s Gold.—until this year. Eight long years later, their new full-length, WAR., dropped in April, and Whores celebrated by tearing across the country and blasting audiences with their maelstrom of massive, sledge-hammering rock ’n’ roll.
The day after their gig at Cobra Nashville, Whores frontman Christian Lembach, dressed in his Nashville best, met up with PG’s Chris Kies at Eastside Music Supply to run through his brutal road rig.
Brought to you by D’Addario.Earthy Esquire
When vocalist and guitarist Christian Lembach got sober over 20 years ago, he bought a Fender Telecaster off of a friend, then picked up an Esquire shortly after. That original Esquire stays home, but he brings this pine-body Earth Guitars Esquire out on the road. (It’s the lightest he’s ever played.) It’s loaded with a German-made reproduction of Schecter’s F520T pickup—aka the “Walk of Life” pickup intended to reproduce Mark Knopfler’s sound. (Lembach buys them in batches of five at a time to make sure he’s got plenty of backups.)
It’s equipped with a 3-way selector switch. At right, it bypasses the tone circuit; in the middle position, it’s a regular bridge-pickup configuration, with volume and tone activated; and at left, the tone is bypassed again, but an extra capacitor adds a bass boost.
Lembach installed six brass saddles in lieu of the traditional 3-saddle bridge. He often plays barre chords higher up the neck, and the six saddles allow for more accurate intonation.
All of Lembach’s guitars are tuned to drop C, and he plays with D’Addario Duralin .70 mm picks. They’re strung with heavy D’Addario NYXL sets, .013–.056 with a wound G. The 30-foot Bullet Cable coil cable attenuates some of the guitar’s top end.
Tuned-Up Tele
Lembach had this black Fender Telecaster—the one he bought from his friend—modified to his preferred Esquire specs, with a single bridge pickup and the same 3-way selector configuration as his other weapon. He prefers the 6-saddle bridge to this rusty 3-saddle version, but this one holds a special place in his heart all the same.
Favor From Furlan
When John Furlan of Furlan Guitars reached out to Lembach about building him a custom guitar, it was an easy sell. The two worked together on this beauty, based on a non-reverse Gibson Firebird body with a Fender-style scale length, roasted maple neck, and rosewood fretboard.
It’s got a bridge and locking tuners from Hipshot, and it’s loaded with Greenville Beauty Parlor P-90s. A typical Gibson-style toggle switches between neck, bridge, and both configurations, while another Esquire-style 3-way switch on the lower bout handles Lembach’s preferred bridge-pickup wirings: no tone, tone and volume, or bass boost.
No Logo
Lembach stays loyal to his twin Marshall Super Leads, with taped-over logos—an aesthetic Lembach picked up from Nirvana. A tech in Atlanta figured out that the one on the left is a 1973, which runs at eight ohms, or half power (Lembach removed two of the power tubes), into a 16-ohm cabinet. The power drop allows Lembach to coax feedback at lower volumes. The original preamp tubes from Yugoslavia—no longer a country, mind you—are still working in the amp.
The one on the right is a reissue 1959SLP from 2002 or 2003, which Lembach finds brighter than his vintage model. He goes into the lower-input second channel to dampen the edge.
Both amps run through Marshall JCM800 cabinets with Celestion G12T-75s.
Christian Lembach's Board
A Loop-Master Pedals Clean/Dirty Effects Switcher manages Lembach’s signal. Its A loop is used for verses, bridges, intros, and outros, and has the majority of the pedals in it. The first thing in the A loop is the ZVEX Fuzz Factory made specially for the band, followed by a Devi Ever Soda Meiser, Beetronics Swarm, Keeley Nova Wah, Spiral Electric FX Yellow Spiral, Boss NF-1, and Alexander Pedals Radical II Delay.
The B loop has a clone of the Electro-Harmonix Green Russian Big Muff, an EHX POG, and a ZVEX Super Hard On. The A loop is already pretty loud; B somehow gets even louder. An EHX Superego+ is a new addition that Lembach’s planning to integrate.
A CIOKS DC10 powers the board, and a Lehle device under the board cleans up unwanted hum and noise.
Bluegrass music is bigger than a genre. It’s become an entire world of ideas and feelings in the popular American imagination. And musician Jerry Douglas has been a key part of its celebration and revival over the past 30 years. “It's an old form of music that came from people in the south playing on the porch and became this juggernaut of a genre,” says Douglas. “It’s a character. It's a physical music.”
Douglas has racked up an impressive cabinet of accolades, including Grammys, American Music Association Awards, and International Bluegrass Music Association Awards. He’s been dubbed the CMA Awards’ Musician of the Year three times, and played with everyone from Allison Krauss and Elvis Costello to Bela Fleck and John Fogerty. He’s an encyclopedic guide to contemporary American roots music, and on this episode of Wong Notes, he walks Cory Wong through the most important moments in his 50-year career.
Tune in to hear Douglas’ assessment of bluegrass’ demanding nature (“Honestly, there's not so many genres nowadays that require as much technical facility as something like bluegrass”), what’s required of roots players (“Get it right, get it fast, make it hook”), and why the O Brother, Where Are Thou? soundtrack connected with so many listeners. Wondering how to get involved with session work? Douglas says there’s no one-size-fits-all answer, and what worked for him might not work today. The key is to be dynamic—and know when to keep your mouth shut.
There are plenty of gems in this interview, like Douglas’ thoughts on what makes a good solo, but the most significant might be Douglas’ big takeaway from decades of sitting in on communal roots-music sessions. “We can play in all genres,” says Douglas. “We just have to listen.”
