
Dan Auerbach poses with the gem he used to record much of Delta Kream: a Kawai Kingston S4T once owned by raw blues slide master Hound Dog Taylor. Note Taylor's name on the headstock, courtesy of the Dog himself, via a plastic-label punch.
On Delta Kream, the Black Keys and veteran slide master Kenny Brown dig deep to honor R.L. Burnside and Junior Kimbrough—"two of the most important American musicians that ever were."
There's no more biblical—New Testament, of course—introduction to the raucous, bouncing, mesmeric sound of North Mississippi hill country blues than the new Black Keys album, Delta Kream. It's essentially the agrestic subgenre's greatest hits: a collection of ripe corpuscles from the catalogs of R.L. Burnside, Junior Kimbrough, Ranie Burnette, Big Joe Williams, and Fred McDowell, plucked straight from the music's thumping heart—as chiseled into its core DNA as the faces of Washington, Jefferson, Roosevelt, and Lincoln are into the granite of Mt. Rushmore.
Burnside and Kimbrough, in particular, are the album's marrow, and that's a matter of faith. "People might not have heard of them, but they are two of the most important American musicians that ever were," preaches Dan Auerbach, the guitarist and singer who, along with Patrick Carney, breathes life into the Black Keys. "Pat and I are doing this entire thing in honor of them."
The Black Keys' "Crawling Kingsnake"
Watch the Delta Kream crew—Dan Auerbach and Pat Carney of the Black Keys amended by guitarist Kenny Brown, bassist Eric Deaton, and percussionist Sam Bacco—play Junior Kimbrough's version of John Lee Hooker's "Crawling Kingsnake." Auerbach plays his 1960 Tele Deluxe and Brown is on his 1958 Silvertone. The primary location is the Blue Front Café in Bentonia, Mississippi—the longest continuously operating juke joint in the United States. Its proprietor, Jimmy "Duck" Holmes, for whom Auerbach produced a Grammy-nominated album, makes a cameo at 2:10.
And so a band that worked its way up from dive bars to headlining arenas, outdoor sheds, and festivals over 20 years—along the path distilling and evolving their original garage/blues sound into a brilliantly crafted, writerly, and eclectically influenced approach that's magnetized multiple Grammy nominations and hordes of fans, plus yielded 10 studio albums—does a musical 180. The smooth-but-sassy hooks inside albums like Brothers, El Camino, and Turn Blue—their platinum-selling trilogy from 2010 to 2014—are replaced by the rough-hewn, barbed ones of "Coal Black Mattie," "Poor Boy a Long Way From Home," and "Stay All Night." And nods to funk, psychedelia, pop, rockabilly, surf, and other normative forms are replaced by a devotion to a sound that echoes up from the African diaspora.
"In R.L. [Burnside], I could hear the ghosts of the whole lineage of the music that comes up the Mississippi River combined with all the cool bar sounds I loved about Chicago blues, all rolled into one person." —Dan Auerbach
That the call and response of Senegambian village drummers, the drone of the 1-stringed njarka, and the keening trill of handcarved reed fifes would still resonate so distinctly in a strain of rural electric blues might be called a near-miracle, if not for the dark cloud of their origins. As musicologist Edward M. Komara explained to me one night over copious beer and whiskey in a bar in Oxford, Mississippi, his extensive research shows that North Mississippi's slave owners were more tolerant of the indigenous music of their human property than those of the Delta and most other parts of the deep South, where drums and traditional rhythms, especially, were feared to be signals of rebellion. As a result, even today the Rising Star Fife and Drum Band plies grooves forged in the Niger Delta, and the one-chord stomp perfected by the late Kimbrough and Burnside stands as a nexus between the sounds of world music, psychedelia, rock, folk, and anything else that came into its octopus-like grasp over the past 400 years—amplified loud.
"The first time I heard the North Mississippi sound was in Alan Lomax's field recordings and Fred McDowell's Arhoolie label recordings," Auerbach recalls. "I fell in love with that stuff, and Fred's 'Write Me a Few of Your Lines' became a favorite song. With this stuff, some people get it, some people don't. When I first heard Junior Kimbrough"—whose melismatic singing and greased-spider guitar lines are a form of sonic hypnotherapy—"I didn't get it. It was way easier for me to get into R.L. Burnside. I had both of their albums, on Fat Possum, and in R.L. I could hear the ghosts of the whole lineage of the music that comes up the Mississippi River combined with all the cool bar sounds I loved about Chicago blues, all rolled into one person. And at the Euclid Tavern in Cleveland, I got to witness R.L. destroying a crowd. It was a combination of those records and seeing those guys play live, which was so intense it was mind blowing."
TIDBIT: The cover of the Black Keys' new album is a photo by William Eggleston, who in the 1950s began capturing Southern life. It was taken at a snack bar in North Mississippi.
By the time Auerbach and Carney, who've been playing together since they were 16 and 17, determined to make the Black Keys' 2002 debut, The Big Come Up, the sound of other raging Mississippi jukers like Paul "Wine" Jones and T-Model Ford was also in their gullets.
The Black Keys have paid homage before, with 2006's Chulahoma: The Songs of Junior Kimbrough. "I think we tried some of the songs we recorded for Delta Kream on those sessions, but it just didn't work out," Auerbach offers. "I'm not sure that, even 10 years ago, we would have been able to play these songs correctly, but Pat and I have both grown as musicians, and Pat's drumming blows me away on this album. It's so on the money and so him at the same time."
Junior Kimbrough holds court from the stage of his juke joint in Holly Springs, Mississippi, in 1995.
As Auerbach's solo albums and productions for artists as diverse as the Pretenders and 73-year-old bluesman Jimmy "Duck" Holmes have shown, he's also developed a knack for assembling the right cast of musicians. And for Delta Kream, he invited guitarist Kenny Brown, who played with Burnside for decades and earned the old wizard's praise as his "adopted son," and Eric Deaton, an MVP among hill country and Delta bandleaders, to help make the album bone-true. Percussionist Sam Bacco, another of Auerbach's frequent accomplices, completes the krewe.
"What some people miss about this music is that the right-hand technique is what really makes it." —Kenny Brown
Honestly, they were already at Auerbach's Easy Eye Sound Studio in Nashville, where they'd been pressed into service for Sharecropper's Son, an album Auerbach produced for Robert Finley. "When we finished the session for Robert's record, I texted Pat and told him he should come over the next day, just because it was so much fun to play with Kenny Brown. And that was pretty much it. It was a bunch of first takes. Two days later we had an album. We played all these songs we loved, from memory, and having Eric there to help me was great, because he knows all that stuff cold. And Kenny played on all of the original recordings! If you're a lover of hill country records, you love Kenny Brown even if you don't know it. I didn't fully realize it until he was sitting next to me, playing. It was that sound—the slide, those heavy notes. That great sound on 'Sad Days, Lovely Nights,' where he just hangs on the slide and makes this atmospheric sound.… He did that behind Junior Kimbrough on the original recording. That's my favorite musical moment from one of my favorite records—and there it was."
Kenny Brown, left, with his twice-stolen-and-returned 1958 Silvertone, added authentic blood to the Delta Kream sessions at Auerbach's Easy Eye Sound Studio. This master of Mississippi hill country guitar initially learned from the legendary Joe Callicott, Brown's neighbor as a child, and then apprenticed under the decades-long guidance of R.L. Burnside.
Photo by Alysse Gafkjen
Brown first met Auerbach over a decade ago at Norway's Notodden Blues Festival, on an artist shuttle heading back to the airport. "We had all had a late night and nobody was talking much," he says. But at the Delta Kream sessions, they instantly spoke the same musical language. "Dan is great to play with," Brown notes. "I loved the studio because it had great gear and Dan got really good sounds quick, and he's like me: He doesn't really play anything exactly the same way twice, so it always feels real fresh.
"Man, doing these songs bought back all kinds of memories. I was thinking about how we played 'Crawling Kingsnake' on Junior's first album, that we cut at his juke joint. And playing 'Poor Boy a Long Way From Home.' After 40 years, at least I can do 'em good now," Brown says, laughing.
"What some people miss about this music," says Brown, "is that the right-hand technique is what really makes it. A lot of the songs R.L. did, you can play with one finger on your left hand, but the right hand takes about three fingers working really fast. To really get the sound, sometimes you need to hit the strings, like a percussion thing. I think that comes from the fife and drum music. I do a lot of muting with my left hand and the heel of my right hand, and even the bass of my thumb. I don't even really think about it anymore, unless I try to teach somebody how to do it."
R.L. Burnside cradles an old Teisco in this 1996 publicity photo, but he was never fussy about what guitar he played.
For the sessions, Brown brought his beloved 1958 Silvertone. The guitar's been stolen from him twice, and returned, largely because it's recognizable by the twin popsicle sticks behind the headstock used to raise and anchor the tuning pegs. He also brought along the 1989 made-in-Mexico Stratocaster he frequently wielded with Burnside. And he used a third guitar: Fred McDowell's familiar Gibson Trini Lopez model, which Auerbach now owns along with Hound Dog Taylor's Kawai Kingston (a model often referred to generically as a Teisco, one of Kawai's popular spin-off brands), which also dishes out dirt on Delta Kream. Brown used only one pedal—Auerbach's Basic Audio Scarab Deluxe Fuzz, which he admired enough that the Black Key sent him one after the sessions.
Besides Hound Dog's Kawai, Auerbach played his beloved 1960 Telecaster Deluxe, which, he notes with a laugh, Nashville session legend Tom Bukovac has dubbed "the finest Tele on Earth." He enjoyed pairing it with an Analog Man Sun Face. "I used it a lot and kept it on with the volume down for my clean sound. The Tele pickups really work well with it. And the B-string on my Tele buzzes a little, because of the action, and I really like that. I told my guitar tech to leave it, because it always has a little sitar thing. You can hear it on the album."
"When I was 18, I label-maker-ed my name on the headstock of one of my Teiscos because of Hound Dog Taylor." —Dan Auerbach
DAN AUERBACH'S GEAR
Guitars
- 1960 Fender Telecaster Deluxe
- 1960s Kawai Kingston S4T formerly owned by Hound Dog Taylor
- 1960s Gibson Trini Lopez Standard (played on the sessions by Kenny Brown and formerly owned by Fred McDowell)
Amps
- 1950s Fender narrow-panel tweed Deluxe
Effects
- Ebo Customs E-Verb
- Analog Man Sun Face
Strings & Picks
- SIT .011 sets
- Jim Dunlop Custom picks
Auerbach acquired the Kawai through Bruce Iglauer of Alligator Records, the label Iglauer founded in 1971 to put out Hound Dog Taylor's debut album. "That was really gracious of him, and I've been using it non-stop ever since I got it," Auerbach attests. "We didn't do anything but clean up the pots, and it sounds and works great. It still has Hound Dog's name on a strip from a plastic label maker on the headstock. When I was 18, I label-maker-ed my name on the headstock of one of my Teiscos because of Hound Dog."
His amp of choice was a vintage, narrow-panel tweed Fender Deluxe paired with an Ebo Customs E-Verb. "I set the reverb right next to me when I played so I could turn it up and down in the middle of songs, for solos," he adds. Since the original versions of all the numbers on Delta Kream were recorded by players who eschewed picks for fingers, it seemed natural to ask Auerbach if he followed suit. "I did both. Junior and R.L. never used a pick, but once in a while I indulged myself," he said, chuckling.
"There's no set pattern to how we record or plan an album," he says. "Every one's been pretty different, and we never talk about it ahead of time—never. It's just fun and spontaneous, and sometimes those moments and ideas end up being the most pivotal."
Put Dirt in Your Ears
Fuel up on the North Mississippi hill country blues sounds that inspired the Black Keys' Delta Kream.
Too Bad Jim, R.L. Burnside: Burnside's debut album on Mississippi's Fat Possum label is a rough-hewn testimonial to the rugged, ragged power of this regional folk-art form. With Burnside and Kenny Brown on slide, rhythm, and lead guitars, this set was a major influence on Auerbach and Carney during the Black Keys' formative years.
All Night Long, Junior Kimbrough: From the first notes, Kimbrough's idiosyncratic approach to blues is obvious and mesmerizing. Listening carefully, you can hear the threads of African music, hardcore blues, psychedelia, improvisation, and primal rock pulling together in his rather eerie sound.
You Gotta Move, Mississippi Fred McDowell: The rural majesty of McDowell's rhythm 'n' slide style is instantly arresting. No wonder he became a popular opener for major rock bands from the late 1960s till his death in 1971. You know McDowell's "You Gotta Move" from the Rolling Stones' version, and here you can enjoy the original "Louise," which the Black Keys recorded for Delta Kream.
Everybody Hollerin' Goat, Otha Turner and the Rising Star Fife & Drum Band: Get down to the roots of the hill country sound with this album of the straight-from-Africa echoes of Mississippi fife-and-drum music. Turner, who carved his own reed fifes with heated metal rods, died at age 95 in 2007, but his granddaughter, Shardé Thomas, still leads the band today.
- Beyond Blues: The Black Keys' Dan Auerbach - Premier Guitar ›
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- Like Sands Through the Hourglass - Premier Guitar ›
- Grammy-Nominated Yola on Playing Sister Rosetta Tharpe - Premier Guitar ›
- Matt Sweeney Loves “Guitar Playing That You Don’t Understand” - Premier Guitar ›
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- Hermanos Gutiérrez Rig Rundown ›
Some musical moments—whether riffs, melodies, or solos—bypass our ears and tug at our heartstrings.
It had to be in the early part of 1990, and I don’t know how or why, but I purchased Steady On, the debut album from singer-songwriter Shawn Colvin. Upon my first listen I knew it was something very special. By the time the third track, “Shotgun Down the Avalanche,” came pouring from my ancient Dahlquist DQ10s, I was a fan. The song features an instrumental break—not a guitar solo per se, but more like a stringed-instrument vignette that cascaded seamlessly through a number of sounds created by guitarist-songwriter-producer John Leventhal. I’ve listened to it dozens of times since, and I still marvel at the emotion it stirs in me.
You see, I’m a sucker for a musical moment that seems to bypass my ears and tug at my heart. It could be a simple phrase with an extraordinary tonal personality or just a few well-chosen notes that say more than any flurry ever could. My subconscious (and probably yours) is chock full of these snippet moments—and they guide and soothe us in our musical journey. Somehow, they all swirl around in my pea brain like some David Lynch fever dream—morphing and coalescing fragments that are always informing my taste and guiding my fingers. I’ll share a few with you now.
Like so many of my generation of guitarists, the Ventures figured prominently. Their powerful interpretation of the Richard Rodgers song “Slaughter on Tenth Avenue” is brimming with pre-Neil Young-esque 1960s distortion. But I’m also drawn to the melancholy, ultra-clean, reverb-drenched tones of “Lonely Girl” from their 1965 album Knock Me Out. The nostalgic reprise in my imagination occurs in Young’s “No More” on his celebrated Freedom record—with its wash of reverb and mangled fuzz tickling my musical funny bone and warming me like the soft glow of a winter fireplace.
Now, imagine it’s the mid ’70s and Zeppelin’s “Kashmir” is battling with AC/DC’s “T.N.T.” for airplay when you drop the needle on the Tony Williams Lifetime track “Red Alert,” found on the Believe It album. Allan Holdsworth’s angular note choices and driving rhythm give way to a tour de force of legato fusion fury. When I first encountered Allan Holdsworth’s solo on the track “Wild Life,” I thought it was a saxophone. Holdsworth mimics the breathy attack of a reed instrument, complete with slow-wavering vibrato. Although it sounds a little dated now, it’s interesting to note that Van Halen was still a few years away.“I know I’ll get hate mail for downplaying his early solos, but Van Halen’s rhythmic drive and superb timing were really the heart of his craft and the soul of the band.”
Speaking of Van Halen, as spectacular as Ed’s soloing was, it’s his rhythm work that I find most inspiring. I know I’ll get hate mail for downplaying his early solos, but Van Halen’s rhythmic drive and superb timing were really the heart of his craft and the soul of the band. Interestingly, some of that feel has crept into my own playing, which does not make me unique. Who can deny the importance and influence he had?
While I’m on the subject of influence, it’s hard to overlook the swath that Jeff Beck cut through the guitar world. In my estimation, his pioneering sound and concepts were the godfather masterstrokes that propelled an entire genre of guitar-based rock. The first Jeff Beck Group recording, Truth, contains too many important guitar moments to list. One of my touchstones is the opening riff on “Let Me Love You” where Beck mangles the guitar, producing a head-scratching puzzle of sound before two seconds have passed. The next half-minute is a blueprint lesson in blues-rock style that many have studied, yet few have equaled. As a young guitarist in 1968, I was ready to throw my instrument down a flight of stairs after witnessing “I Ain’t Superstitious.” We’d heard the wah pedal before, but not like this. Beck impersonates a black cat—Clyde McCoy, eat your heart out. It’s worthwhile to note that Beck’s style and direction continued to evolve throughout the decades without destroying the validity of his earlier work.
I suppose I could go on, but I’m running out of space, and I’ve tortured you enough—until next month. The good news is that we have this seemingly unscalable mountain of amazing guitar sounds to discover, inspire, comfort, and rock us down the road. From Charlie Christian and Tiny Grimes right up to the host of great players today, as students of sound, we have a long, lovely path to hike.
An all-analog ’60s-inspired tremolo marries harmonic and optical circuits that can be used independently or blended to generate phasey, throbbing magic.
Spans practical, convincing vintage trem tones and the utterly weird. Hefty build quality.
Big footprint. Can’t switch order of effects.
$299
Jackson Audio Silvertone Twin Trem
jackson.audio
Almost any effect can be used subliminally or to extremes. But tremolo is a little extra special when employed at its weirder limits. Unlike reverb or delay, for instance, which approximate phenomena heard in the natural world, tremolo from anything other than an amp or pedal tends to occur in the realm of altered states—suggesting the sexy, subterranean, and dreamy. Such moods can be conjured with any single tremolo. Put two together, though, and the simply sensual can be surreal. Modify this equation by mating two distinctly different tremolo types, and the possible sound pictures increase manifold.
The all-analog, U.S.-built Jackson Audio Silvertone Twin Trem accomplishes this by combining a syrupy harmonic tremolo—the likes of which you’d hear from an early-1960s brown-panel Fender amp—and an optical tremolo like that in a Silvertone 1484 Twin Twelve amp or black-panel Fender. Both effects can be used independently, but it’s when the two are blended that the Twin Trem shines.
Doppelganger Effect
The Twin Trem’s optical and harmonic circuits are obviously not identical twins, but each is operated via its own 3-knob array consisting of speed, depth, and a smaller volume knob that will boost or cut the output of the individual circuit. Both tremolo types modulate at speeds slower than what you hear in amplifier equivalents. I don’t have a Silvertone Twin Twelve tremolo on hand for comparison. But the slowest speed from a mid-1960s Fender optical tremolo matched the rate of the Twin Trem’s optical circuit at about the midpoint of its range. At its slowest, the optical side will cycle through minimum and maximum volume in just a little under a full second, which feels molasses-slow, stretching and enhancing the ramping effect. Maximum speeds on the Twin Trem are closer to the maximum on the old Fender. But that’s still a pretty rapid modulation rate and the Twin Trem’s range-y depth controls make fast modulations sound extra alien.
If you’re sensitive to such things, the dedicated volume controls are great for overcoming the perceived volume drop that goes with any tremolo. There’s much more gain available than what you need for that purpose, and slathering on the volume gives the pulses a burly quality that’s tough but can obscure some nuance. The ability to create disparate volumes for each circuit means you can slightly foreground one tremolo type or the other, opening up an even wider tone palette and highlighting unique interrelationships between modulations.
Double Shots Make Dizzy Daze
The Twin Trem’s optical tremolo side (if you open up the back you can watch the pulsing diode that activates the opto-resistor) exhibits the throbbing tendencies one associates with black-panel Fender amplifiers. In fact, the Twin Trem sounds uncannily like the old Vibrolux I used for this test, but with more speed, range, and intensity. On its own, it’s a convincing stand-in for a 1960s Fender, Gibson, or Silvertone circuit.
One of the coolest things about the harmonic tremolo is how it often doesn’t sound like tremolo at all. In a harmonic tremolo circuit, high and low-frequency bands are split and volume-attenuated out of phase from each other, creating a bubblegum elasticity in the modulations. At slow speeds the harmonic tremolo’s phasey attributes take center stage (clip 1). And though the modulation texture is less swirling than what a simple phaser produces, the more vowel-like pulses lend a sleepy, mysterious aura to the modulation.
Though I did not use the pedal in stereo, I did utilize the effects loop, inserting a delay between the harmonic and optical tremolo, creating a little extra wash in the harmonic tremolo sweeps (clip 2). You can go crazy with possibilities here: How about inserting a multiple-tape-head-style delay for maximum syncopated mayhem? But the most traditional application for the effects loop is to simulate the reverb-into-tremolo order found in many mid-1960s amps. Again, it’s a great option when you need ’60s reverb/tremolo combo amp vibes and there’s no such animal around.Audio clip 2, which showcases the Twin Trem’s effects loop, also captures the two tremolos working together. And even at this fast-twitching speed you can hear the phaser-like wash softening the front end of the harder optical pulses that are situated downstream. Some dual-trem settings can produce chaos. But the best ones are thick, eerie, and propulsive in ways that can completely transform a song’s ambience.
The Verdict
The Twin Trem is just short of 300 bucks, and it’s easy to rationalize such a significant expense when you consider that you get two distinct tremolo sounds that you can mix, match, and switch between very readily. Maximizing the investment probably requires a little extra thirst for the unusual. Not all combined settings are money. Some rhythmic syncopations will drive you batty, and without the benefit of digital control you can disappear down little rabbit holes trying to find an elusive, perfect subdivision between modulation tempos or replicating a texture you found the previous week. It’s also too bad that you can't switch the order of the circuits. These are very minor traps, however. In general, the Twin Trem is forgiving and easy to use. And if you get in a meditative place with the pedal, and let it do the driving from time to time, the riffs will practically write themselves.
Bonnaroo announces its 2025 lineup featuring Luke Combs, Hozier, Queens of the Stone Age, Avril Lavigne, and more.
This year features headline performances from Luke Combs on Thursday, Tyler, The Creator on Friday, Olivia Rodrigo on Saturday, and Hozier on Sunday. Further highlights include John Summit, Dom Dolla, Avril Lavigne, Glass Animals, Vampire Weekend, Justice, Queens of the Stone Age, and the first-ever Roo Residency with King Gizzard & the Lizard Wizard performing three sets over three days. In addition, Remi Wolf will lead the “Insanely Fire 1970’s Pool Party” 2025 SuperJam, Bonnaroo’s legendary tradition. The complete Bonnaroo 2025 lineup is below.
Bonnaroo tickets go on sale tomorrow, Thursday, January 9 beginning at 10 am (CT) exclusively via bonnaroo.com. Guaranteed lowest-priced tickets are available during the first hour of sales, from 10 am - 11 am (CT). 2025 ticket options include 4-Day General Admission, 4-Day GA+, 4-Day VIP, and 4-Day Platinum, along with a variety of camping and parking options starting at just $25 down with a payment plan.
The 2025 festival will offer some exciting new features for Bonnaroovians, including the “Closer” RV and Primitive Camping accommodations that guarantee closer proximity to Centeroo, regardless of which day fans choose to enter The Farm. Among this year’s most exciting additions will be The Infinity Stage, a brand-new, one-of-a-kind venue – presented in partnership with Polygon Live – boasting spatial sound, synchronized lights, and an unprecedented three-dome, open-air design to create the world’s largest, most immersive, 360° live music experience.
Bonnaroo also offers upgraded ticket types for those who prefer an elevated experience. GA+ tickets include unlimited access to the Centeroo GA+ Lounge, with relaxed seating, dedicated food for purchase, air-conditioned restrooms, and hospitality staff to assist with all festival needs; a private bar with drinks for purchase plus complimentary soft drinks; complimentary water refill station; a dedicated premium entrance lane at both gates into Centeroo, and more. VIP and Platinum guests will enjoy the same perks plus additional exclusive upgrades, including dedicated close-in and on-field viewing areas; unlimited access to VIP and Platinum Lounges; express lanes at the Festival Store, commemorative festival gifts, and so much more. To learn more about VIP and Platinum, please seehttp://www.bonnaroo.com/tickets.
A wide range of Camping & Parking options will be available in Outeroo including Primitive Car Camping, Glamping, RVs, Backstage Camping, Accessible Camping, Groop Camping, Community Camping, and more. Premium Outeroo Camping Accommodations include pre-pitched Souvenir Tents, cool and comfortable Darkroom Tents, weatherproof Luxury Bell Tents, and spacious 2-person Wood Frame Safari Tents for the ultimate Bonnaroo camping experience. Cosmic Nomads On-Site Daily Parking passes will be available for ticketholders not camping. For details on all accommodation options, please visitwww.bonnaroo.com/accommodations.
Complete Lineup
THURSDAY, JUNE 12
Luke Combs
Dom Dolla
Sammy Virji
Marcus King
Green Velvet
2hollis
Insane Clown Posse
Joey Valence & Brae
Daniel Donato's Cosmic Country
Wilderado
Max Styler
Azzecca
The Lemon Twigs
Wisp
Sofia Isella
Kitchen Dwellers
Dogs In A Pile
Die Spitz
Hey, Nothing
The Droptines
FRIDAY, JUNE 13
Tyler, the Creator
John Summit
Glass Animals
Tipper
Goose
The Red Clay Strays
Rainbow Kitten Surprise
Megadeth
Wallows
Foster the People
Slightly Stoopid
Flipturn
Of the Trees
JPEGMAFIA
Marina
Tape B
MJ Lenderman
BossMan Dlow
INZO
Levity
Mannequin Pussy
Leon Thomas
Cults
Aly & AJ
Matt Champion
Detox Unit
Rachel Chinouriri
Eater
Ginger Root
Bebe Stockwell
Effin
SATURDAY, JUNE 14
Olivia Rodrigo
Avril Lavigne
Justice
Nelly
GloRilla
Mt. Joy
RL Grime
Beabadoobee
Tyla
Jessie Murph
Modest Mouse
Gorgon City
Flatland Cavalry
Hot Mulligan
Action Bronson
Crankdat
Dope Lemon
Gigi Perez
Wave to Earth
Claptone
Jade Cicada
What So Not
Daði Freyr
Ziggy Alberts
ROSSY
Destroy Boys
The Stews
Thee Sinseers & The Altons
AHEE
SUNDAY, JUNE 15
Hozier
Vampire Weekend
Queens of the Stone Age
LSZEE
Remi Wolf
Raye
Royel Otis
Dispatch
Role Model
Barry Can't Swim
Treaty Oak Revival
Big Gigantic
Jack's Mannequin
ATLiens
Bilmuri
Saint Motel
James Arthur
Alex Warren
Zingara
Natasha Bedingfield
Alexandra Kay
Goldie Boutilier
Grace Bowers & The Hodge Podge
GorillaT
YDG
SPECIAL PERFORMANCES
King Gizzard & the Lizard Wizard Roo Residency: 3 Sets, 3 Days (Friday, Saturday and Sunday)
Remi Wolf’s Insanely Fire 1970’s Pool Party Superjam (Saturday)
Enhance your Ratio Machine Heads with Graph Tech's new Barrel Knobs. Designed for comfort and style, these barrel-shaped tuning buttons offer a fresh look and feel to your instrument. Available in chrome and black finishes, these knobs are the perfect way to personalize your guitar.
Graph Tech Guitar Labs has introduced the latest addition to their Ratio Machine Head family: Barrel Knobs. These barrel-style tuning buttons bring a fresh look and feel to the Ratio system, offering players a new way to personalize their instruments – and an easy-to-grip alternative to more traditional tuner knobs.
Available in two different finishes – chrome and black – the new barrel knobs can be ordered as a standalone option. If you already own Ratio Machine Heads, simply order the Barrel Knobs and swap them out – the process is easy and only takes a few minutes. Best of all, there is no need to replace the entire Ratio tuner system.
The new Barrel Knobs were developed at the request of guitarist Thomas Nordegg, known for his work with rock legends like Frank Zappa and Steve Vai. A longtime fan of Graph Tech’s Ratio machine heads, Nordegg saw an opportunity to enhance the system’s ergonomic design and approached Graph Tech with the idea of creating barrel-style tuning buttons to provide an alternative option for players seeking a fresh look and feel. Designed to integrate seamlessly with the Ratio system, these knobs combine ergonomic comfort with understated style, giving players another way to personalize their instruments.
More and more players are option for Ratio Machine Heads on their instruments. Ratio Machine Headsare designed with gear ratios that are uniquely calibrated for each string, making tuning consistent andpredictable across the fretboard. This innovative system simplifies fine-tuning and alternate tunings, saving time and improving accuracy.
Here’s what the new Barrel Knobs offer:
- Refined Functionality: Barrel-shaped design for a natural grip and precise adjustments.
- Timeless Aesthetic: A sleek, modern look that complements any guitar style.
- Perfect Fit: Designed specifically for Ratio Machine Heads, ensuring flawless compatibility.
- Available in chrome and black to suit a variety of instruments and player preferences.
Graph Tech’s new Barrel Knobs are available for $3.00 each and are available in chrome and black finishes.
For more information, please visit graphtech.com.