Deep 6: A Brief History of the Tragically Underused Electric Baritone Guitar

Tucked in a register between standard guitar and bass guitar, the baritone has a sound and vibe all its own. Discover what makes this 6-string so appealing to songwriters, studio guitarists, and rockers.
Mention the words “electric baritone guitar” to aficionados of the downtuned 6-string, and it instantly conjures a wealth of images—Clint Eastwood’s steely gaze staring out from behind his cigarillo, the misty-mountain montage from Twin Peaks, Duane Eddy playing any number of his hit songs.
Though many players associate the baritone with twangy tones—it’s iconic in surf, rockabilly, and country—that’s certainly not all it can do. It’s a staple for many metal and alt-rock guitarists who play in nonstandard tunings, and it’s been featured in recordings by artists as diverse as Dave Matthews, Allan Holdsworth, the B-52’s, Kaki King, System of a Down, Ian MacKaye (Minor Threat, Fugazi), Metallica, and even Britney Spears.
There are countless examples of standard guitars being used to emulate the effect of a baritone, too—from the James Bond theme to the Pixies’ “Here Comes Your Man,” Aerosmith’s “Back in the Saddle,” and the Posies’ “Coming Right Along.” But there’s a lot more to a baritone than its tuning—a baritone is not just a standard guitar tuned way down. A baritone has taut low end that’s much more muscular and powerful than a standard-tuned guitar, but also far more articulate and cutting than a bass. That’s why it’s great for everything from fattening up rhythm tracks to playing bass lines, soloing in standard-guitar note ranges, or standing as the sole 6-string in a song. A baritone’s distinctive timbre is about a scale length that facilitates proper intonation and optimal string tension.
Mystery Train: Who Built the First Baritone?
There is some dispute as to who first mass-produced a guitar that could truly be considered an electric baritone. Some point to Jerry Jones as having led the way with his production models, but others say Danelectro’s 6-string bass design qualifies as the first.
“A hundred years ago, the Germans produced baritone guitars,” says guitar historian George Gruhn, owner of Gruhn Guitars in Nashville, “but I don’t know much about them. Those were acoustic instruments, of course. They were experimenting with all voices.”
In that group of early baritone-range instruments, I’d also add the mandocello (such as the K series instruments built by Gibson between 1905 and 1920), and maybe even go way back to the 1400s to the viola da gamba—a cello-like instrument with between five and seven strings for lower range, as well as frets (old strings tied around the neck) for better chord intonation. These instruments were the baritones of the mandolin and bowed-instrument families, respectively.
But as far as solidbodies go, Gruhn says, “The true electric baritone is a more recent thing. Until fairly recently, it had hardly been used at all. Gibson and Martin and Fender didn’t do them. Danelectro had the 6-string bass and some others they considered to be baritones.”
Nathan Daniel founded Danelectro in 1947, and his outfit made amplifiers for Sears, Roebuck and Company and Montgomery Ward throughout the late ’40s. In 1954, Danelectro started producing electric guitars and amps under its own name, though it was simultaneously making guitars and amplifiers under other brand names, most notably Silvertone and Airline. In 1956, Danelectro introduced the 6-string baritone guitar—a design that was soon noticed by other companies.
The Fender VI—later dubbed the Bass VI—debuted in 1961 and was originally available until 1975, though a few reissues and custom models have been available over the years. (Currently, Fender offers the Pawn Shop Bass VI, which features a bridge humbucker and two single-coils, while its Squier subsidiary offers the Vintage Modified Bass VI with the more traditional three-single-coil setup.)
About three years after Fender came out with the VI, Japanese instrument manufacturer Teisco started making baritone guitars such as the TB-64/ET-320. Teisco and various other Japanese instrument manufacturers also made longer-scale guitars under various brands, including Kingston, Demian, and Lindell throughout the ’60s.
During the ’60s, electric baritone guitars were widely used in the studio to create the “tic-tac” bass lines popularized in country music and other genres of the period. (Essentially, the tic-tac sound is created by doubling a bass line with a baritone guitar—or sometimes a guitar tuned down as low as possible. This adds extra depth and richness to low parts without ignoring the higher registers—something like putting beefier strings on a Tele tuned down to B or A.)
Jerry Jones Shorthorn Baritone.
For many years, Jerry Jones Guitars built guitars, basses, baritones, and other instruments based on ’50s and ’60s Danelectros—though they featured better bridges and tuners, an adjustable truss rod, better electronics, and improved fretwork. Although Jerry Jones Guitars ceased production in 2011, its instruments are still highly sought after on the used market.
“The 30"-scale Dano design always had a floppy low-E string,” says Jones. “The idea for the baritone was to simply eliminate that problematic low E, shorten the scale to 28", retune to a fourth or fifth above the 6-string bass, and replace the wound 1st and 2nd strings with plain strings—the way an acoustic guitar is configured. From a player’s perspective, the advantages would be a more chord-friendly instrument with bendable strings. Musically, a baritone lays in the mix a little easier than a 6-string bass, and even when it’s played in the upper register, it has a unique timbre, different from guitar. Many songwriters combine a capo with a baritone to build music around their own vocal ranges. Some guitarists get really crafty and play high parts with a capo on a baritone and use a regular guitar for the low parts.”
YouTube It
To see Tom “TV” Jones’ original C Melody baritone guitar in action, check out YouTube user Dark Angel’s hi-definition version of Brian Setzer playing “Mystery Train” in Tokyo with the Stray Cats.
Bit by the Bari Bug
As a luthier, I became interested in the baritone in the mid 1990s while working in the guitar repair department at World of Strings violin shop in Long Beach, California. I met Ron Escheté—a well-regarded 7-string chord-melody jazz guitarist—and wondered what it would be like for him to have access to lower, more defined, better-rounded notes. So, I built Ron a prototype 7-string baritone guitar.
Soon after that I built a prototype baritone that was tuned to C, and showed it to Brian Setzer’s former guitar tech, Rich Modica. He flipped—it sounded unique, with clear lows, like a piano—and asked to borrow it so he could show it to Brian. That instrument went on to be used with his swing band, the Brian Setzer Orchestra, so he could play in horn-friendly keys—but he also ended up using it for rockabilly tunes such as “Mystery Train” and “I Won’t Stand in Your Way.” This led to a production deal with Gretsch, which produced the Spectra Sonic C Melody baritone I designed, along with a bass and a standard-scale guitar. Although the Gretsch versions are no longer being made, we now produce our own TV Jones C Melody baritone.
Current-Production Baritones to Try
Although the number of baritone guitars currently on the market is miniscule compared to standard-scale guitars, there are still many options available in a variety of styles—and, in many cases, at surprisingly affordable prices.
Danelectro ’56 Baritone, $419 street, danelectro.com
ESP LTD SC-607B Stef Carpenter Baritone 7-string, $999 street, espguitars.com
Fender Blacktop Baritone Telecaster, $499 street, fender.com
Gibson SG Studio Baritone, $1,499 street, gibson.com
Hagstrom Viking Baritone, $729 street, hagstromguitars.com
Ibanez RGIB6 Iron Label Baritone, $699 street, ibanez.com
Peavey Devin Townsend Signature PXD Vicious Baritone 7-string, $1,399 street, peavey.com
TV Jones Spectra Sonic C Melody Baritone, $2,825 street, tvjones.com
Kaki King performing with her choice baritone.
Scale and Tuning: 6-String Bass vs. Baritone Guitar
One thing I noticed early on was that some guitars being termed “baritones” were simply 6-string basses—they were made to be tuned from E to E, an octave below a standard-scale guitar. The problem with that scenario is that open-position chords sound muddy and don’t have enough midrange bite to cut through. Further, in order to achieve optimal string tension and intonation, a bass should have a longer scale—typically 34" or 35".
Because of this, my definition of a baritone is a long-scale guitar tuned below standard E tuning but not as far down as a full octave. Most baritone scale lengths are between 26" and 30".
The longer the scale, the greater the string tension and, generally, the more accurate intonation is all the way up the fretboard. Conversely, tuning a regular guitar down a fourth (B-B) or fifth (A-A) from standard will cause the 6th string to flop all over the place and result in more pitch problems the further you travel up the neck.
Besides providing more string tension and better intonation, a baritone’s longer scale yields a quicker onset and longer decay when a note is picked. That’s why baritones seem to have such explosive attack and endless sustain in comparison to a downtuned guitar with a 25 1/2" or 24 3/4" scale.
“Most of the baritones I build are based on my Glide series, and I lean towards 27 3/4" or 28" scale lengths,” says Saul Koll of Koll Guitar Company in Portland, Oregon. “ It’s a functional decision because most guys are coming from a standard guitar and want something just a little bit longer and more familiar. Tuning is usually B to B. With a Bigsby and a good rig, being tuned down that low is magical—that middle area between bass and guitar is just so cool!”
Although a lot of baritone players prefer B-to-B tuning, there isn’t as much of a consensus on a standard baritone tuning as there is with regular-scale guitar. Most players prefer something that allows them to use the same fingerings they use in standard tuning, but some prefer turning the pegs in a way that lets them play open chords. The lower you go, the more rumble you’ll achieve. The most common baritone tunings are A-D-G-C-E-A and B-E-A-D-F#-B, though some aficionados use the horn-friendly C-F-Bb-Eb-G-C. The latter automatically converts chimey open-string chord grips, such as G, D, and C into concert Eb, Bb, and Ab—chords that require a barre in standard tuning.
Baritone Boss: Luthier Joe Veillette
The one builder who probably has more invested in the electric baritone than any other is luthier Joe Veillette of Veillette Guitars. His experience goes back 35 years and includes partnerships with other innovative builders.
Based in Woodstock, New York, Veillette contends that the first true electric baritone was a model called the Shark, which he conceived around 1980, during the years he was in a partnership with luthier Harvey Citron. The Veillette-Citron Shark was developed with input from the Lovin’ Spoonful’s John Sebastian, and was later sought out by such luminaries as Eddie Van Halen, Jeff “Skunk” Baxter (Steely Dan, the Doobie Brothers), and Jorma Kaukonen (Jefferson Airplane, Hot Tuna).
Like George Gruhn, Veillette contends that the first Danelectros were just 6-string basses. “Same with the Fender VI,” he says. “Sebastian came to us wanting a shorter scale—because 30" is a lot of neck!
“We had the first one that was conceived and sold as a baritone,” Veillette continues. “Then the Danelectro people came in trying to copyright the name ‘baritone,’ which was ridiculous. What stopped them was our magazine ad from 1980. We had to do something … It cost me real money to keep making baritones for a while as we fought that. Other people were making what they called baritones, but two-thirds of my line was baritones—we’ve been more dependent on it than any other manufacturer.”
From 1991 to 1994, Veillette partnered with famed bass builder Stuart Spector, and his instruments were sought out by even more top-tier players, including Billy Gibbons, bass legend Billy Sheehan, Earl Slick, Journey’s Neal Schon, James Taylor, and Aerosmith’s Joe Perry and Brad Whitford. “Dave Matthews bought his first baritone from us, and Eddie [Van Halen] eventually bought two 12-string baritones, too,” he adds. Veillette also partnered with another esteemed bass builder, Michael Tobias, to develop Avante baritone acoustics for Alvarez.
Given his history with baritones, it’s no surprise Veillette has seen the instrument evolve through a series of changes. His first Veillette-Citrons were solidbodies with piezo pickups but “for Eddie and Sheehan I added magnetics,” he says. For the past 10 years, he’s moved toward acoustic instruments with a piezo pickup under the saddle. These can be heard on Kaki King’s latest recordings, among others.
“Recently, I’m doing an equal number of 6- and 12-strings,” Veillette explains. “All this has put me in a place to experiment with different tunings and scale lengths—my specialty is in tuning ranges and string tension.”
Because of baritones’ previously mentioned tendency toward muddiness, I’d add that your choice of pickups is of critical importance. I recommend units that provide a clearer response and don’t mask harmonics. This will give you a more defined low end—which is, after all, what the baritone is all about.
Another Flavor, or the Main Attraction?
In addition to the previously mentioned perks of baritone guitar—girthy, articulate low end with sparkling mids and highs—there are additional benefits to a baritone. So many, in fact, that once you acquire one you may be tempted to make it your go-to instrument rather than an axe for switching things up once in a while. I like to tell people it’s similar to using a capo on a guitar—except in the opposite direction.
If you’re a singer, you’ll also discover very interesting new things about your voice as you apply it to keys you can’t reach with a standard guitar. If you stick with standard-tuning intervals, you don’t have to alter fingerings or relearn anything. Experiment with your library of songs in different keys and listen to how they take on a new life. (It reminds me a bit of how, nearly 300 years ago, Bach wrote The Well-Tempered Clavier with two pieces in each key—and each one had its own mood.) Or, get adventurous with different tunings. Either way, adventurous players are bound to discover new sonic realms that just aren’t possible with a shorter-scale instrument. The timbres and thick, piano-like responsiveness of a baritone will drag you into new musical territory, no matter how you apply it. In fact, that’s why I personally believe the electric baritone is one of the most versatile fretted stringed instruments around.
With authentic stage-class Katana amp sounds, wireless music streaming, and advanced spatial technology, the KATANA:GO is designed to offer a premium sound experience without the need for amps or pedals.
BOSS announces the return of KATANA:GO, an ultra-compact headphone amplifier for daily jams with a guitar or bass. KATANA:GO puts authentic sounds from the stage-class BOSS Katana amp series at the instrument’s output jack, paired with wireless music streaming, sound editing, and learning tools on the user’s smartphone. Advanced spatial technology provides a rich 3D audio experience, while BOSS Tone Exchange offers an infinite sound library to explore any musical style.
Offering all the features of the previous generation in a refreshed external design, KATANA:GO delivers premium sound for everyday playing without the hassle of amps, pedals, and computer interfaces. Users can simply plug it into their instrument, connect earbuds or headphones, call up a memory, and go. Onboard controls provide access to volume, memory selection, and other essential functions, while the built-in screen displays the tuner and current memory. The rechargeable battery offers up to five hours of continuous playing time, and the integrated 1/4-inch plug folds down to create a pocket-size package that’s ready to travel anywhere.
KATANA:GO drives sessions with genuine sounds from the best-selling Katana stage amp series. Guitar mode features 10 unique amp characters, including clean, crunch, the high-gain BOSS Brown type, two acoustic/electric guitar characters, and more. There’s also a dedicated bass mode with Vintage, Modern, and Flat types directly ported from the Katana Bass amplifiers. Each mode includes a massive library of BOSS effects to explore, with deep sound customization available in the companion BOSS Tone Studio app for iOS and Android.
The innovative Stage Feel feature in KATANA:GO provides an immersive audio experience with advanced BOSS spatial technology. Presets allow the user to position the amp sound and backing music in different places in the sound field, giving the impression of playing with a backline on stage or jamming in a room with friends.
The guitar and bass modes in KATANA:GO each feature 30 memories loaded with ready-to-play sounds. BOSS Tone Studio allows the player to tweak preset memories, create sounds from scratch, or import Tone Setting memories created with stage-class Katana guitar and bass amplifiers. The app also provides integrated access to BOSS Tone Exchange, where users can download professionally curated Livesets and share sounds with the global BOSS community.
Pairing KATANA:GO with a smartphone offers a complete mobile solution to supercharge daily practice. Players can jam along with songs from their music library and tap into BOSS Tone Studio’s Session feature to hone skills with YouTube learning content. It’s possible to build song lists, loop sections for focused study, and set timestamps to have KATANA:GO switch memories automatically while playing with YouTube backing tracks.
The versatile KATANA:GO functions as a USB audio interface for music production and online content creation on a computer or mobile device. External control of wah, volume, memory selection, and more are also supported via the optional EV-1-WL Wireless MIDI Expression Pedal and FS-1-WL Wireless Footswitch.
For more information, please visit boss.info.
We know Horsegirl as a band of musicians, but their friendships will always come before the music. From left to right: Nora Cheng, drummer Gigi Reece, and Penelope Lowenstein.
The Chicago-via-New York trio of best friends reinterpret the best bits of college-rock and ’90s indie on their new record, Phonetics On and On.
Horsegirl guitarists Nora Cheng and Penelope Lowenstein are back in their hometown of Chicago during winter break from New York University, where they share an apartment with drummer Gigi Reece. They’re both in the middle of writing papers. Cheng is working on one about Buckminster Fuller for a city planning class, and Lowenstein is untangling Austrian writer Ingeborg Bachmann’s short story, “Three Paths to the Lake.”
“It was kind of life-changing, honestly. It changed how I thought about womanhood,” Lowenstein says over the call, laughing a bit at the gravitas of the statement.
But the moment of levity illuminates the fact that big things are happening in their lives. When they released their debut album, 2022’s Versions of Modern Performance, the three members of Horsegirl were still teenagers in high school. Their new, sophomore record, Phonetics On and On, arrives right in the middle of numerous first experiences—their first time living away from home, first loves, first years of their 20s, in university. Horsegirl is going through changes. Lowenstein notes how, through moving to a new city, their friendship has grown, too, into something more familial. They rely on each other more.
“If the friendship was ever taking a toll because of the band, the friendship would come before the band, without any doubt.”–Penelope Lowenstein
“Everyone's cooking together, you take each other to the doctor,” Lowenstein says. “You rely on each other for weird things. I think transitioning from being teenage friends to suddenly working together, touring together, writing together in this really intimate creative relationship, going through sort of an unusual experience together at a young age, and then also starting school together—I just feel like it brings this insane intimacy that we work really hard to maintain. And if the friendship was ever taking a toll because of the band, the friendship would come before the band without any doubt.”
Horsegirl recorded their sophomore LP, Phonetics On and On, at Wilco’s The Loft studio in their hometown, Chicago.
These changes also include subtle and not-so-subtle shifts in their sophisticated and artful guitar-pop. Versions of Modern Performance created a notion of the band as ’90s college-rock torchbearers, with reverb-and-distortion-drenched numbers that recalled Yo La Tengo and the Breeders. Phonetics On and On doesn’t extinguish the flame, but it’s markedly more contemporary, sacrificing none of the catchiness but opting for more space, hypnotic guitar lines, and meditative, repeated phrases. Cheng and Lowenstein credit Welsh art-pop wiz Cate Le Bon’s presence as producer in the studio as essential to the sonic direction.
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little.”–Nora Cheng
“We had never really let a fourth person into our writing process,” Cheng says. “I feel like Cate really changed the way we think about how you can compose a song, and built off ideas we were already thinking about, and just created this very comfortable space for experimentation and pushed us. There are so many weird instruments and things that aren't even instruments at [Wilco’s Chicago studio] The Loft. I feel like, definitely on our first record, we were super hesitant to go into territory that wasn't just distorted guitar, bass, and drums.”
Nora Cheng's Gear
Nora Cheng says that letting a fourth person—Welsh artist Cate Le Bon—into the trio’s songwriting changed how they thought about composition.
Photo by Braden Long
Effects
- EarthQuaker Devices Plumes
- Ibanez Tube Screamer
- TC Electronic Polytune
Picks
- Dunlop Tortex .73 mm
Phonetics On and On introduces warm synths (“Julie”), raw-sounding violin (“In Twos”), and gamelan tiles—common in traditional Indonesian music—to Horsegirl’s repertoire, and expands on their already deep quiver of guitar sounds as Cheng and Lowenstein branch into frenetic squonks, warped jangles, and jagged, bare-bones riffs. The result is a collection of songs simultaneously densely textured and spacious.
“I listen to these songs and I feel like it captures the raw, creative energy of being in the studio and being like, ‘Fuck! We just exploded the song. What is about to happen?’” Lowenstein says. “That feeling is something we didn’t have on the first record because we knew exactly what we wanted to capture and it was the songs we had written in my parents’ basement.”
Cheng was first introduced to classical guitar as a kid by her dad, who tried to teach her, and then she was subsequently drawn back to rock by bands like Cage The Elephant and Arcade Fire. Lowenstein started playing at age 6, which covers most of her life memories and comprises a large part of her identity. “It made me feel really powerful as a young girl to know that I was a very proficient guitarist,” she says. The shreddy playing of Television, Pink Floyd’s spacey guitar solos, and Yo La Tengo’s Ira Kaplan were all integral to her as Horsegirl began.
Penelope Lowenstein's Gear
Penelope Lowenstein likes looking back at the versions of herself that made older records.
Photo by Braden Long
Effects
- EarthQuaker Westwood
- EarthQuaker Bellows
- TC Electronic PolyTune
Picks
- Dunlop Tortex 1.0 mm
Recently, the two of them have found themselves influenced by guitarists both related and unrelated to the type of tunes they’re trading in on their new album. Lowenstein got into Brazilian guitar during the pandemic and has recently been “in a Jim O’Rourke, John Fahey zone.”
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument,” Lowenstein says. “And hearing what the bass in those guitar parts is doing—as in, the E string—is kind of mind blowing.”
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little,” Cheng adds. “And also Lizzy Mercier [Descloux], mostly on the Rosa Yemen records. That guitar playing I feel was very inspiring for the anti-solo,[a technique] which appears on [Phonetics On and On].”This flurry of focused discovery gives the impression that Cheng and Lowenstein’s sensibilities are shifting day-to-day, buoyed by the incredible expansion of creative possibilities that setting one’s life to revolve around music can afford. And, of course, the energy and exponential growth of youth. Horsegirl has already clocked major stylistic shifts in their brief lifespan, and it’s exciting to have such a clear glimpse of evolution in artists who are, likely and hopefully, just beginning a long journey together.
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument.”–Penelope Lowenstein
“In your 20s, life moves so fast,” Lowenstein says. “So much changes from the time of recording something to releasing something that even that process is so strange. You recognize yourself, and you also kind of sympathize with yourself. It's a really rewarding way of life, I think, for musicians, and it's cool that we have our teenage years captured like that, too—on and on until we're old women.”
YouTube It
Last summer, Horsegirl gathered at a Chicago studio space to record a sun-soaked set of new and old tunes.
The rising guitar star talks gear, labels, genre troubles, and how to network.
Grace Bowers just released her debut record, 2024’s Wine on Venus, with her band the Hodge Podge, but she’s already one the most well-known young guitarists in America. On this episode of Wong Notes, Bowers talks through the ups, downs, and detours of her whirlwind career.
Bowers started out livestreaming performances on Reddit at age 13, and came into the public eye as a performer on social media, so she’s well acquainted with the limits and benefits of being an “Instagram guitarist.” She and Cory talk about session work in Nashville (Bowers loathes it), her live performance rig, and Eddie Hazel’s influence.
Bowers plugs the importance of networking as a young musician: If you want gigs, you gotta go to gigs, and make acquaintances. But none of that elbow-rubbing will matter unless you’re solid on you’re instrument. “No one’s gonna hire you if you’re ass,” says Bowers. “Practice is important.
”Tune in to learn why Bowers is ready to move on from Wine on Venus, her takes on Nashville versus California, and why she hates “the blues-rock label.”
Jack White's 2025 No Name Tour features live tracks from his album No Name, with shows across North America, Europe, the UK, and Japan.
The EP is a 5-song collection of live tracks taken from White’s 2024 edition of the tour, which was characterized by surprise shows in historic clubs around the world to support the 2024 album No Name.
No Name is available now via Third Man Records. The acclaimed collection was recently honored with a 2025 GRAMMY® Award nomination for “Best Rock Album” – White’s 34th solo career nomination and 46th overall along with 16 total GRAMMY® Award wins. The No Name Tour began, February 6, with a sold-out show at Toronto, ON’s HISTORY and then travels North America, Europe, the United Kingdom, and Japan through late May. For complete details and remaining ticket availability, please visit jackwhiteiii.com/tour-dates.
White’s sixth studio album, No Name officially arrived on Friday, August 2 following its clandestine white-label appearance at Third Man Records locations that saw customers slipped, guerilla-style, free unmarked vinyl copies in their shopping bags. True to his DIY roots, the record was recorded at White’s Third Man Studio throughout 2023 and 2024, pressed to vinyl at Third Man Pressing, and released by Third Man Records.
For more information, please visit jackwhiteiii.com.
JACK WHITE - NO NAME TOUR 2025
FEBRUARY
11 – Brooklyn, NY – Kings Theatre
12 – Brooklyn, NY – Brooklyn Paramount
17 – Boston, MA – Roadrunner
18 – Boston, MA – Roadrunner
21 – Paris, France – La Cigale
22 – Paris, France – La Trianon
23 – Paris, France – La Trianon
25 – Utrecht, Netherlands – TivoliVredenburg (Ronda)
26 – Utrecht, Netherlands – TivoliVredenburg (Ronda)
28 – London, UK – Troxy
MARCH
1 – London, UK – Troxy
2 – Birmingham, UK – O2 Academy Birmingham
3 – Glasgow, UK – Barrowland Ballroom
10 – Hiroshima, Japan – Blue Live Hiroshima
12 – Osaka, Japan – Gorilla Hall
13 – Nagoya, Japan – Diamond Hall
15 – Tokyo, Japan – Toyosu PIT
17 – Tokyo, Japan – Toyosu PIT
APRIL
3 – St. Louis, MO – The Factory
4 – Kansas City, MO – Uptown Theater
5 – Omaha, NE – Steelhouse Omaha
7 – Saint Paul, MN – Palace Theatre
8 – Saint Paul, MN – Palace Theatre
10 – Chicago, IL – The Salt Shed (Indoors)
11 – Chicago, IL – The Salt Shed (Indoors)
12 – Detroit, MI – Masonic Temple Theatre
13 – Detroit, MI – Masonic Temple Theatre
15 – Grand Rapids, MI – GLC Live at 20 Monroe
16 – Cleveland, OH – Agora Theatre
18 – Nashville, TN – The Pinnacle
19 – Nashville, TN – The Pinnacle
MAY
4 – Austin, TX – ACL Live at the Moody Theater
5 – Austin, TX – ACL Live at the Moody Theater
6 – Dallas, TX – South Side Ballroom
8 – Denver, CO – Mission Ballroom
9 – Denver, CO – Mission Ballroom
10 – Salt Lake City, UT – The Union Event Center
12 – Los Angeles, CA – Hollywood Palladium
13 – Los Angeles, CA – Hollywood Palladium
15 – Santa Barbara, CA – Santa Barbara Bowl
16 – Oakland, CA – Fox Theater
17 – San Francisco, CA – The Masonic
19 – Seattle, WA – The Paramount Theatre
20 – Seattle, WA – The Paramount Theatre
22 – Vancouver, BC – Commodore Ballroom
23 – Vancouver, BC – Commodore Ballroom
24 – Troutdale, OR – Edgefield Concerts on the Lawn