
While creating the music for Shabang, Scott McMicken started tuning his guitars down a step and a half. The sonic territory brought new inspiration, but so did the feel of the slack strings.
The Dr. Dog co-founder’s first solo outing, Shabang, is a jangly, improvisatory adventure that deepens his relationship to his main instrument—even if it means sometimes stepping back from it.
Experimentation comes in many forms. For Scott McMicken—co-founder, guitarist, singer, and songwriter for the jammy indie septet Dr. Dog—recording his solo debut was an opportunity to try something new. Something outrageous. The experiment? To not play guitar.
“The guitar has been a revolving relationship in my life that, as of very recently, has taken really interesting turns, and on this record, I didn’t play any guitar,” McMicken says in his endearing, stream-of-consciousness way of speaking, which demonstrates a propensity for run-on sentences. “There’s always been this connection between playing guitar and singing for me where I started to notice that if I am playing guitar and singing while I am recording a song, then that sort of limits what I am able to do on guitar. Over the years, I noticed that I always enjoyed playing guitar on [bass player and co-founder] Toby [Leaman]’s songs in Dr. Dog more because I didn’t have to think about singing. But then, when I do have to think about singing, I tend to lean into basic rhythm guitar, which isn’t necessarily compelling to me—I don’t necessarily want to hear a guitar strumming some chords from the guy who’s singing—so I decided to not play guitar and just stand there singing, and it made the process so cool.”
To be clear, McMicken hasn’t abandoned the instrument. Despite his earlier declaration, he admits he may have snuck a few licks onto Shabang as well. “I’ve had this long and weird relationship with guitar,” he says. “It’s my guy. It’s my best friend. It’s by my side. But it’s had a multifaceted position in my life as a musician within the grand scheme of things, and more recently it's revealed itself, and I see something that I hadn’t been able to see for many years and it's exciting.”
As co-founder and co-frontman of Dr. Dog, Scott McMicken’s guitar hasn’t seemed to leave his hands. But with his new solo project, he’s taken a step back from his trusty 6-strings.
Photo by Wyndham Garnett
Part of that revelation came in the way he composes songs, some of which were written on an acoustic he got from Reuben Cox at Old Style Guitar Shop in Los Angeles. Cox’s creations are usually beat, low-budget Kays, Harmonys, and other similar models of yesteryear that, according to McMicken, are subjected to a thorough retrofit. The old machines receive better pickups, modern electronics, and a rubber bridge, then they’re given a professional setup and made playable with flatwound strings. You can see them everywhere—the first one was made for Blake Mills, and now Taylor Swift, Phoebe Bridgers, and many others use them as well—and they provide just enough of a wrinkle to help you reimagine the instrument and encourage some creativity.
Scott McMicken and THE EVER-EXPANDING - "Diamonds In The Snow" [Official Video]
“It’s a game changer,” McMicken says of the old-made-new instruments. “Another person who is big on these guitars is Jeff Tweedy. When I found that out I texted him, and he said something like, ‘Songs just fall right out of those things,’ and he’s so right. There’s something so unique about the way they sound that when you do something basic, like strum a C chord, there’s something about it that engages your mind in a different way. They are really inspiring tools for writing because they give you just that little twist on that familiar terrain that right away, it feels more exotic and engages your imagination more.”
“I’ve had this long and weird relationship with guitar. It’s my guy. It’s my best friend. It’s by my side. But it’s had a multifaceted position in my life as a musician within the grand scheme of things.”
That warped, lo-fi, rubber-bridge-inspired feel is all over Shabang. The album opener, “What About Now,” could be a campy, slowed-down outtake from Bob Dylan’s Bringing It Back Home, complete with the scratches that came from playing your vinyl copy a million times. The eerie and psychedelic “Mountain Lion” has all sorts of dime-store bells and whistles that seem to emanate from someone’s fretboard, although it’s unclear, despite McMicken’s assertions to the contrary, if those came from him or the album’s primary guitarist, Paul Castelluzzo. Many of the album’s grooves have a reggae-style chink on the two and four, plus an effortless yet danceable looseness that gives the impression of a party happening somewhere nearby. The rubber bridge itself—or something like it—is particularly noticeable on the bouncy title track, as well as the record’s trippy jam “Ever Expanding.”
But that rubber bridge is just the tip of McMicken’s revelatory iceberg. For years, he was a champion of underdog gear (check out his 2020 Rig Rundown where he sings the praises of his ancient, handwired solid-state Peavey Vulcan), but when he plugged into a vintage Fender Princeton, “it just revealed to me the sound of guitar in a way that I had never experienced before. It was so pure and so nice in that vintage way that seems perfect, but also kind of flawed. Plugging into a 1965 Princeton, you’re not thinking, ‘What ketchup am I going to put on this?’ You're thinking, ‘Listen to this.’ You’re more directly engaged in a pure way.”
McMicken at far left, with the Ever Expanding’s core ensemble.
That Princeton led to the acquisition of a 1967 Fender Champ, which, at least for now, is McMicken’s desert-island amp. “I have a feeling that it will never leave my side,” he says. “It has reintroduced me to the way it feels to play a guitar and has left me more inspired than ever before. There’s something about a solidbody Fender guitar into an old, little Fender amp where I feel like you’re hearing the platonic form of electric guitar. You’re hearing story number one, and whatever that super-sweet vintage thing is, it’s not perfect. The reason why it rules for me—and the reason why it’s beautiful—is not because it’s embodying some form of perfection. It actually just sounds busted in some kind of cool way. It took me a long time to realize and to open up to that. But slowly, one piece after another, I’ve been able to appreciate that more.”
McMicken’s approach to pedals is also ever-evolving, and he’s recently stopped using delay. “I realized what a disservice I was doing having all these delays,” he says about his experience mixing recordings of live Dr. Dog shows. “There’s so much other stuff going on, and I was smearing it all with all this echo. I need to be much more conservative.”
But McMicken is an experimenter at heart. Thinking about his vocal range and the keys he’s most comfortable singing in prompted him to tune his guitars down a step and a half to C# standard. Detuning gives the strings extra slack, which makes the instrument feel different. That affects the way McMicken plays and stimulates his creative muse.
Scott McMicken's Gear
McMicken’s producer hand-picked all of the musicians who played on Shabang. McMicken met them for the first time in the studio, and instantly felt an “organic, laidback vibe.”
Photo by Jordi Vidal
Guitars
- Reuben Cox-modded Sears acoustic with rubber bridge (baritone)
- Oahu acoustic
- Partscaster Tele assembled from a Squier body, anonymous neck, and higher-end electronics
- 1980s Fender Stratocaster
- B&D 1920s tenor banjo
Amps
- 1965 Fender Princeton
- 1967 Fender Champ
Pedals
- ZVEX Super Duper 2-In-1
- Strymon Deco
- Electro-Harmonix Micro Synth
Strings & Picks
- Heavy picks, any brand
- .013 gauge strings, any brandFlatwound strings on the baritone that came with the instrument
“That slack vibe has been blowing my mind on guitar,” he says. “It’s like a whole new effect that I just never got into.” Initially, tuning down was a way for McMicken to sing in lower keys without changing chord shapes. But then he discovered “that the tones of the guitar are so nice with that slack. You have to be more delicate—you can’t wail away on it—but if you exist in a certain parameter of articulation and velocity with your right hand, you can be very dynamic. Of course, it can also fart out and die if you hit it too hard. But even that feels like an asset to me, because as a guitarist, I am evolving my style and working towards playing more mindfully.”
“I texted Jeff Tweedy, and he said something like, ‘Songs just fall right out of those things,’ and he’s so right. There's something so unique about the way they sound when you do something basic, like strum a C chord.”
That feel contributes much to his newfound guitar aesthetic, which is a sloppier, noisier take on the instrument—whether he’s actually playing it on Shabang, or is simply drawn to those sounds as a bandleader. But the style isn’t irreverent. “I never identified with the heroic nature of the electric guitar, and I was always drawn to the people who were much more sloppy about it,” he says. “That’s the ethos I’ve been living in for so many years now. But in the last few years it’s shifted, and I’ve woken up to the fact that the electric guitar is beautifully dynamic and expressive, and I can see that when I try to connect to it on a personal level—not just view it as this utilitarian device to execute rock in, but actually feel it and put myself into it.”
There’s a freewheeling sensibility all over Shabang that seems to stem from the songwriter’s approach. The band was assembled by the album’s producer, Nick Kinsey, and McMicken only met everyone when it was time to record. (In addition to the songwriter and producer, there are another 13 musicians on Shabang.) “There were no rehearsals,” says McMicken. “It was, ‘Hello, what’s your name? My name is Scott,’ moments before turning the mics on.” This laidback, organic vibe, with an emphasis on spontaneous group improvisation—and a dedication to keeping the recordings as live as possible—brought out an expressive dynamism McMicken has been searching for in his music.
Even though, for the most part, he isn’t playing the guitar parts, the vibe is obvious. “I am in hot pursuit of developing more of an immediate relationship with the process of recording music,” he says. “Being more in the moment, and getting as close as you can to recording a ‘live’ finished product with minimal overdubbing. Nick chose the musicians based on different experiences he’s had with them, and I trust him deeply so it was easy for me to say, ‘You pick the players, and I am sure it is going to rule.’ And it did. I met so many wonderful people.”
YouTube It
Scott McMicken leads his Ever-Expanding collective with his Reuben Cox-modded acoustic. The band's live take on "Reconcile" could fit neatly alongside any track from The Basement Tapes.
Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!