
Leo Fender could be called the father of the modern electric guitar for many reasons. Chief among them, he made the instrument popular and set up a system for mass production to build great instruments in large numbers.
In honor of Fender's diamond jubilee, let's glimpse back into history to celebrate the man behind the company that started it all.
Hello and welcome back to Mod Garage. This year, Fender is celebrating its 75th anniversary. In honor of that, let's take a deeper look at some Fender history—exploring some myths and urban legends, all while celebrating the man behind the company that started it all: Mr. Clarence Leonidas Fender (or, as the world called him in short, "Leo").
Leo Fender, the father of the modern electric guitar, was born on August 10, 1909, and died on March 21, 1991, at age 81. Much has been written and published about this man, but still today there are some myths related to him that often cause misunderstandings.
Don't get me wrong: It's absolutely not my goal to downplay the reputation, the importance, or the work of Leo Fender. If I had a time capsule (or a Mr. Fusion that outputs 1.21 gigawatts for my DeLorean) and the chance to meet three people in history, Leo Fender would be one of them. I have a picture of him in my workshop with the imprint, "What would Leo do?" It often really helps me to try to think like Leo Fender to solve a guitar or amp problem.
Let's examine some common statements you might read in a lot of guitar books, mags, and, of course, on the internet. Below each statement is some historical context and my thoughts on the big-picture reality.
1. Leo Fender invented the electric guitar.
This is a common statement that's in wide circulation, but from today's knowledge we know it's not true or at least not the entire story. The attempts of putting homemade pickups and microphones on guitars (mostly acoustic guitars) dates back as far as the 1920s. Leo Fender started putting pickups on solidbody guitars in the mid 1940s, but it's very likely the initial idea for doing so came from Paul Bigsby, who built solidbody guitars only a few miles away from Leo Fender. It's known that Paul and Leo were friends and it's also documented that Leo Fender borrowed such a guitar from Bigsby over the weekend to examine it. But neither Leo Fender nor Paul Bigsby invented the electric guitar. This credit goes to Paul H. Tutmarc, who did so in the 1930s. For sure Leo Fender could be called the father of the modern electric guitar because he made it popular and set up a system for mass production to build great instruments in large numbers.
2. Leo Fender invented the electric bass.
Another statement that can be found on countless pages, but again, it was Paul H. Tutmarc with his "bass fiddle" in the mid 1930s, long before the Fender Precision bass appeared on the scene. Tutmarc's 42" Model 736 Bass Fiddle looked like modern electric basses still look today, and he also sold amplifiers for his instruments. But Leo Fender came up with a real bass lineup, including several bass amps that were specifically designed to not only amplify everything, but focused on electric basses.
3. Leo Fender put out-of-phase sounds into the Stratocaster.
This is a common misunderstanding and perhaps a product of the creative use of technical terms that Leo Fender had. Leo called the Stratocaster's vibrato effect "tremolo," and his amp's tremolo effect "vibrato." So maybe he called the "in-between" pickup positions (bridge + middle and middle + neck in parallel) "out of phase." Naturally, they were still in phase and not out of phase. Leo Fender didn't like these sounds, so the 3-way switch stayed standard on all Stratocasters until the early 1980s when 5-way switches became the standard. It wasn't that they didn't exist earlier, it was because Leo Fender didn't like the "in-between" sounds. But those sounds, with their decent phase cancellation and slightly reduced output, are so popular today that even a new word was created to describe them: "quack."
4. Leo Fender invented the six-in-line arrangement of the tuners on the headstock.
This is simply wrong. It's likely this is another idea he borrowed from the electric guitars Paul Bigsby was building and that Leo closely examined while having access to such an instrument over the weekend. Paul Bigsby used the six-in-line arrangement of the tuners on his guitars exclusively, but he wasn't the inventor of it. This dates back to Vienna in the early 1800s and one of the finest names in international lutherie: Johann Georg Stauffer, who lived from 1778 until 1853. This was the man a certain Christian Frederick Martin (or C.F. Martin, for short), who lived from 1796 until 1873, learned his art from ... maybe you've heard of him.
If I had a time capsule (or a Mr. Fusion that outputs 1.21 gigawatts for my DeLorean) and the chance to meet three people in history, Leo Fender would be one of them.
C.F. Martin worked with Stauffer from 1811 to 1825 and became the foreman at Stauffer's workshop. In the same year Martin left Stauffer, his former boss came up with the invention that went down in history as the "Stauffer headstock," or, as it's originally called in German, "Stauffer Schnecke." Specifically, that is: a metal plate with an asymmetrical "scroll" headstock, machine heads with worm gears mounted on the plate, arranged in a single line on the upper side of the headstock (six-in-line). It's likely that Stauffer worked on this design for a longer time and that C.F. Martin was involved in this process. The rest is history, as they say. Martin emigrated to the United States in 1833, where he introduced the mechanism developed by Stauffer and founded Martin Guitars.
5. Fender used magnets with beveled edges for the Stratocaster pickups for some time, like those found on Rory Gallagher’s famous Strat. These pickups sound much better than the modern flat pickup magnets and Leo Fender did this because of the better tone they provide.
This is my favorite rant 'n' rave topic when it comes to Fender. Yes, these pickups sound different because the beveled edges influence the magnetic field a lot. The physics behind it are very complex, but in layman's terms, these pickups sound fatter with more overtones and a not-so-shrill high end. This had to do with the different "magnetic window" the pickup has (the so-called "aperture"). The early magnets had hand-beveled edges and it was generally assumed this was done to disguise the rough and uneven surface left by the sand casting. However, this can't be the reason, because doing such handwork takes a lot of time and care to do it right and Leo Fender wouldn't spend any time for such unnecessary things in his building process.
Later Fender stopped beveling and the sound of the pickups changed because of this. Seymour Duncan once wrote a very good explanation about this: "The bevel causes the magnetic field to shoot out a little around the bevel area, but it results in a tapering of the field above that point. So, if you could, imagine the magnetic field shaped like the flame of a candle or a teardrop." An excellent metaphor that hits the nail. But why did Fender start with hand beveling and why did they cease with this process later? Was it because of the better tone of the pickups? I don't think so. Leo Fender was driven to make his guitars sound outstanding and he would never stop such a process if it would influence the good tone of his instruments.
I think the answer must be seen in the historical context of the time. Fender started hand beveling the magnets and, sound-wise, this was a stroke of genius by accident. The alnico 5 material used for the magnets was brand new and very expensive at that time ... and it was very porous as well! A lot of the magnets crumbled while using a hammer to drive them into the pickup, which was the usual procedure in the Fender factory. This can be seen on several pics and videos from that time. So, they simply beveled the magnets on one side to minimize the risk of destroying the magnet during the hammering process. Depending on the employee standing on the sanding machine, the edges are more or less beveled from pickup to pickup, which is one of the reasons why the old vintage Strats sound so different from guitar to guitar. Rant over ... for now.
6. Leo Fender carefully calculated the values for the treble-bleed networks that Fender started using in the late 1960s.
We've discussed the treble-bleed subject several times in the past and the physics behind this little detail are very complex in a passive system. It's possible to calculate a good working treble-bleed network, but you need a lot of parameters for this (length and capacitance of the guitar cable, input impedance of the amp, resistance of the volume pot, etc.) and some complicated mathematic formulas like the Fletcher Munson Curve theory. Fender used a single 0.001 uF cap (1000 pF) together with 1 Meg audio pots in their Telecasters. Calculating this with the parameters mentioned above will result in a very different value and, of course, the presence of a resistor in parallel to the cap. So, we can deduce that it wasn't calculated but narrowed down in a trial-and-error process by ear. If you've played such a Telecaster, you know the sound when rolling back the volume is very shrill and even a reggae or surf player will say, "Wow, this is a lot of treble!"
So why would Fender use such strange values for such a brutal portion of high end? I think the answer is that Leo Fender did this by ear in a trial-and-error process and that it sounded good for him. Taking into consideration that Leo Fender sadly lost most of his hearing because of an accident in the factory, wearing hearing aids for the rest of his life, it makes sense. The first frequency you lose is the high end and 1960s hearing-aid technology was far away from what it is today. It seems Leo Fender did his best under the given circumstances and I'm pretty sure it sounded good with the correct portion of high end for him. And Leo was the boss whose word was law.
7. Leo Fender chose nitro lacquer for his instruments because of tonal reasons.
Definitely not. Fender used nitro lacquer right from the start because in the mid 1940s, inexpensive industrial-made acrylic lacquer simply didn't exist. Nitro lacquer was used since the 1920s throughout the automotive industry and, therefore, was readily available everywhere, inexpensive, well proven, and relatively easy to work with. Fender's main goal was inexpensive mass production, so Leo simply used what was locally available for a decent price. It's well known and documented that Fender bought nitro lacquer from a local automotive supplier. Over the years, acrylic lacquer became the standard in the automotive industry, superseding nitro lacquer completely, so Fender switched to acrylic lacquer in the late '50s as well. If Fender had chosen nitro lacquer because of tonal reasons, they wouldn't have switched over to acrylic lacquer for sure. A funny sidenote: Some of the most-famous '50s Fender custom colors like "Olympic White" or "Lake Placid Blue" never existed in a pure nitro finish. They were painted with acrylic lacquer and only sealed with a thin layer of clear nitro lacquer topcoat.
That's it for this round of myths and urban legends. Happy Birthday Fender and all the best for another 75 years. Next month, we'll take a closer look into splitting and tapping pickups and what the difference really is, so stay tuned.
Until then ... keep on modding!
- Three Must-Try Guitar Wiring Mods - Premier Guitar ›
- 1969 G&L Leo Fender Tri-Sonic Prototype - Premier Guitar ›
- Close-Up on a “Perfect” Stratocaster - Premier Guitar ›
- Fender Noventa Stratocaster Review - Premier Guitar ›
- Mod Garage: The Fender Greasebucket Tone Circuit - Premier Guitar ›
- Fender Releases the Kurt Cobain Jag-Stang - Premier Guitar ›
- Fender Releases the Kurt Cobain Jag-Stang - Premier Guitar ›
- Fender Dual Marine Layer Review - Premier Guitar ›
- Fender Unveils the JV Modified Series - Premier Guitar ›
- Fender Launches the JV Modified Series ›
The two-in-one “sonic refractor” takes tremolo and wavefolding to radical new depths.
Pros: Huge range of usable sounds. Delicious distortion tones. Broadens your conception of what guitar can be.
Build quirks will turn some users off.
$279
Cosmodio Gravity Well
cosmod.io
Know what a wavefolder does to your guitar signal? If you don’t, that’s okay. I didn’t either until I started messing around with the all-analog Cosmodio Instruments Gravity Well. It’s a dual-effect pedal with a tremolo and wavefolder, the latter more widely used in synthesis that , at a certain threshold, shifts or inverts the direction the wave is traveling—in essence, folding it upon itself. Used together here, they make up what Cosmodio calls a sonic refractor.
Two Plus One
Gravity Well’s design and control set make it a charm to use. Two footswitches engage tremolo and wavefolder independently, and one of three toggle switches swaps the order of the effects. The two 3-way switches toggle different tone and voice options, from darker and thicker to brighter and more aggressive. (Mixing and matching with these two toggles yields great results.)
The wavefolder, which has an all-analog signal path bit a digitally controlled LFO, is controlled by knobs for both gain and volume, which provide enormous dynamic range. The LFO tremolo gets three knobs: speed, depth, and waveform. The first two are self-explanatory, but the latter offers switching between eight different tremolo waveforms. You’ll find standard sawtooth, triangle, square, and sine waves, but Cosmodio also included some wacko shapes: asymmetric swoop, ramp, sample and hold, and random. These weirder forms force truly weird relationships with the pedal, forcing your playing into increasingly unpredictable and bizarre territories.
This is all housed in a trippy, beautifully decorated Hammond 1590BB-sized enclosure, with in/out, expression pedal, and power jacks. I had concerns about the durability of the expression jack because it’s not sealed to its opening with an outer nut and washer, making it feel more susceptible to damage if a cable gets stepped on or jostled near the connection, as well as from moisture. After a look at the interior, though, the build seems sturdy as any I’ve seen.
Splatterhouse Audio
Cosmodio’s claim that the refractor is a “first-of-its-kind” modulation effect is pretty grand, but they have a point in that the wavefolder is rare-ish in the guitar domain and pairing it with tremolo creates some pretty foreign sounds. Barton McGuire, the Massachusetts-based builder behind Cosmodio, released a few videos that demonstrate, visually, how a wavefolder impacts your guitar’s signal—I highly suggest checking them out to understand some of the principles behind the effect (and to see an ’80s Muppet Babies-branded keyboard in action.)
By folding a waveform back on itself, rather than clipping it as a conventional distortion would, the wavefolder section produces colliding, reflecting overtones and harmonics. The resulting distortion is unique: It can sound lo-fi and broken in the low- to mid-gain range, or synthy and extraterrestrial when the gain is dimed. Add in the tremolo, and you’ve got a lot of sonic variables to play with.
Used independently, the tremolo effect is great, but the wavefolder is where the real fun is. With the gain at 12 o’clock, it mimics a vintage 1x10 tube amp cranked to the breaking point by a splatty germanium OD. A soft touch cleans up the signal really nicely, while maintaining the weirdness the wavefolder imparts to its signal. With forceful pick strokes at high gain, it functions like a unique fuzz-distortion hybrid with bizarre alien artifacts punching through the synthy goop.
One forum commenter suggested that the Gravity Well effect is often in charge as much the guitar itself, and that’s spot on at the pedal's extremes. Whatever you expect from your usual playing techniques tends to go out the window —generating instead crumbling, sputtering bursts of blubbering sound. Learning to respond to the pedal in these environments can redefine the guitar as an instrument, and that’s a big part of Gravity Well’s magic.
The Verdict
Gravity Well is the most fun I’ve had with a modulation pedal in a while. It strikes a brilliant balance between adventurous and useful, with a broad range of LFO modulations and a totally excellent oddball distortion. The combination of the two effects yields some of the coolest sounds I’ve heard from an electric guitar, and at $279, it’s a very reasonably priced journey to deeply inspiring corners you probably never expected your 6-string (or bass, or drums, or Muppet Babies Casio EP-10) to lead you to.
The author in the spray booth.
Does the type of finish on an electric guitar—whether nitro, poly, or oil and wax—really affect its tone?
There’s an allure to the sound and feel of a great electric guitar. Many of us believe those instruments have something special that speaks not just to the ear but to the soul, where every note, every nuance feels personal. As much as we obsess over the pickups, wood, and hardware, there’s a subtler, more controversial character at play: the role of the finish. It’s the shimmering outer skin of the guitar, which some think exists solely for protection and aesthetics, and others insist has a role influencing the voice of the instrument. Builders pontificate about how their choice of finishing material may enhance tone by allowing the guitar to “breathe,” or resonate unfettered. They throw around terms like plasticizers, solids percentages, and “thin skin” to lend support to their claims. Are these people tripping? Say what you will, but I believe there is another truth behind the smoke.
It’s the shimmering outer skin of the guitar, which some think exists solely for protection and aesthetics, and others insist has a role influencing the voice of the instrument. Builders pontificate about how their choice of finishing material may enhance tone by allowing the guitar to “breathe,” or resonate unfettered. They throw around terms like plasticizers, solids percentages, and “thin skin” to lend support to their claims. Are these people tripping? Say what you will, but I believe there is another truth behind the smoke.
Nitrocellulose lacquer, or “nitro,” has long been the finish of choice for vintage guitar buffs, and it’s easy to see why. Used by Fender, Gibson, and other legendary manufacturers from the 1950s through the 1970s, nitro has a history as storied as the instruments it’s adorned. Its appeal lies not just in its beauty but in its delicate nature. Nitro, unlike some modern finishes, can be fragile. It wears and cracks over time, creating a visual patina that tells the story of every song, every stage, every late-night jam session. The sonic argument goes like this: Nitro is thin, almost imperceptible. It wraps the wood like silk. The sound is unhindered, alive, warm, and dynamic. It’s as if the guitar has a more intimate connection between its wood and the player's touch. Of course, some call bullscheiße.
In my estimation, nitro is not just about tonal gratification. Just like any finish, it can be laid on thick or thin. Some have added flexibility agents (those plasticizers) that help resist damage. But as it ages, old-school nitro can begin to wear and “check,” as subtle lines weave across the body of the guitar. And with those changes comes a mellowing, as if the guitar itself is growing wiser with age. Whether a tonal shift is real or imagined is part of the mystique, but it’s undeniable that a nitro-finished guitar has a feel that harkens back to a romantic time in music, and for some that’s enough.
Enter the modern era, and we find a shift toward practicality—polyurethane and polyester finishes, commonly known as “poly.” These finishes, while not as romantic as nitro, serve a different kind of beauty. They are durable, resilient, and protective. If nitro is like a delicate silk scarf, poly is armor—sometimes thicker, shinier, and built to last. The fact that they reduce production times is a bonus that rarely gets mentioned. For the player who prizes consistency and durability, poly is a guardian. But in that protection, some say, comes a price. Some argue that the sound becomes more controlled, more focused—but less alive. Still, poly finishes have their own kind of charm. They certainly maintain that showroom-fresh look, and to someone who likes to polish and detail their prized possessions, that can be a big plus.
“With those changes comes a mellowing, as if the guitar itself is growing wiser with age.”
For those seeking an even more natural experience, oil and wax finishes offer something primal. These finishes, often applied by hand, mostly penetrate the wood as much as coating it, leaving the guitar’s surface nearly bare. Proponents of oil and/or wax finishes say these materials allow the wood to vibrate freely, unencumbered by “heavy” coatings. The theory is there’s nothing getting in the way—sort of like a nudist colony mantra. Without the protection of nitro or poly, these guitars may wear more quickly, bearing the scars of its life more openly. This can be seen as a plus or minus, I imagine.
My take is that finishes matter because they are part of the bond we have with our instruments. I can’t say that I can hear a difference, and I think a myth has sprouted from the acoustic guitar world where maybe you can. Those who remove their instrument’s finish and claim to notice a difference are going on memory for the comparison. Who is to say every component (including strings) went back together exactly the same? So when we think about finishes, we’re not just talking about tone—we’re thinking about the total connection between musician and instrument. It’s that perception that makes a guitar more than just wood and wire. The vibe makes it a living, breathing part of the music—and you.
Featuring a preamp and Dynamic Expansion circuit for punch and attack, plus switchable amp simulations.
"Like a missile seeking its target, Heatseeker will give you the explosive sound of rock! Inspired directly from the gear setup used by Angus Young,it features the most important sonic elements to match the tone of the short-pants-rock-God.
It’s no secret that a major role to his sound, along with the Marshall-brick walls, played one of the first wireless systems for guitar that quickly became a classic among guitar greats, the Schaffer Vega Diversity System."
The preamp along with the Dynamic Expansion circuit found in the wireless transmitter/receiver gave it its distinct sound. Besides boosting the signal, the preamp tightens up lower frequencies and slightly accentuates mid frequencies while the Dynamic Expansion circuit enhances the dynamic response and harmonics of the signal giving punch and attack to ensure that it will cut through the mix. Instead of opting for a prefix setting for the Dynamic Expansion circuit as found in the original unit, we have re-imagined our version with the enhanced knob on the Heatseeker to have more control over the guitar tone’s dynamic response. Setting it around 10 o‘clock is a good starting point to add some extra sparkle. Max it out to bring back to life even the most dull and colorless sounds.
Utilizing an all-analog JFET circuit, running on 27 volts via an internal voltage boost (DO NOT plug higher than 9V DC power supply), we have captured the tone and feel of three British tube amplifiers, synonymous with the sound of rock and roll, with an excellent clean-to-mean dynamic response. With the flip of a toggle switch, you can capture the sound and feel of a JTM45, 1959 Super Lead, or JMP 2203. A smart switching circuit follows the signal path and respective gain stages tuned for each amp and combines them with an actual Marshall style EQ and power amp simula-tion circuit for thundering rock tones. Angus Young usually plugs into Channel 1 or High Treble input of his JTM45s and Super Leads so we opted for that sound when we started visualizing Heatseeker on the drawing board. We have also extended the range of the presence control beyond the original so that the user will be able to match the pedal to any amp or gear setup. The master volume offers plenty of output so that you can also use the pedal as a preamp and plug it into a clean power amp or straight to your DAW. Note that the pedal doesn’t feature any speaker simulation circuit so we recommend using a separate hardware or software guitar speaker simulation when going direct to DAW or a full-range speaker.
A new feature to our booster/drive + amp-in-a-box line of pedals, recreating legendary sounds, is the switchable WoS (Wall of Sound) circuit. We have carefully tuned this circuit at the output of the AMP section of the Heatseeker to open up the soundstage by increasing the output, adding thundering lows, and thickening high mid frequencies. Imagine standing in front of a wall loaded with Marshall amp heads and 4x12 speaker cabinets, grabbing your SG, and hitting a chord. You will be blown away by the sound projection! In combination with the tube power amp simulation and the enhanced circuit of the right section, we’ve made sure that the pick attack will be as dynamic as it gets, so¥er picking will produce clean and slightly crunchy sounds, and hard picking will give explosive distorted sounds! While primarily designed for Angus Young sounds, Heatseeker will definitely open the door to countless other guitar-great tones that use these Marshall amps and/or the Schaffer Vega Diversity System. Think of KISS, Peter Frampton, and Van Halen to name a few.
Like our other dual overdrive/amp-in-a-box designs, Heatseeker features a passive effects loop to give you the option to connect your beloved pedals between the preamp/enhancer and amp-in-a-box circuit or use the two sections as separate and independent effects when using an external bypass switcher/looper. SND is the output of the BOOST/ENHANCE section, RTN is the input of the AMP section. SND is connected to RTN when no instrument jacks are inserted in the effects loop. Note that all pedals inserted in the passive effects loop are still in the signal chain when any or both sections of the Heatseeker are in bypass mode.
Heatseeker features a power-up bypass/engage pre-set function for the footswitches. You can change the default function by holding down the footswitch(es) during power-up. That way you can select which state your pedal will go to when you plug the power supply. This function comes in especially handy to people who use remote pedal switchers/loopers as they only set the state of the pedal once and then operate from the controller.
Street/MAP Price: $279
For more information, please visit crazytubecircuits.com.
Creed extend their sold-out Summer of ’99 Tour with 23 additional dates.
Produced by Live Nation, the dates begin July 9 at Rupp Arena in Lexington, KY and wrap August 20 at the Scotiabank Saddledome in Calgary, AB with support from 3 Doors Down, Daughtry, Mammoth WVH and Big Wreck. *Check individual dates for lineup in each market.
When it kicked off in 2024, The Summer of ’99 Tour quickly became “one of the most anticipated tours of the summer” (USA Today) and “one of the hottest rock tickets of the year” (Billboard) for a return that “may be something this industry has never seen” (Pollstar). To date, CREED’s Scott Stapp, Mark Tremonti, Brian Marshall, and Scott Phillips have performed over 60 sold-out concerts throughout North America, selling over 800,000 tickets and breaking venue records in multiple markets.
“Thirty years in, it’s been a blessing to pick up right where we left off with longtime fans and to meet the next generation for the first time. It’s been an incredible ride, and we aren’t done, so here’s to a ‘Summer’ that never ends. We’ll see you on the road,” states Scott Stapp.
Creed will close out 2024 with shows in Las Vegas, NV (Dec. 30 & Dec. 31) and their newly announced dates in 2025 will follow their already sold-out Summer of ’99 and Beyond cruise sailing April 9– April 13 from Miami to Nassau with Sevendust, Hoobastank, Lit, Hinder, Fuel and more. Also in April, the band - whose audience has included fans of mainstream, rock, and country for over 25 years - will perform at Stagecoach.
For more information on all Creed tour dates as well as the opportunity to purchase entry into Mark Tremonti’s guitar clinic can be found at https://creed.com.
Tour Dates
CREED: SUMMER OF ‘99 TOUR 2025 DATES:
3DD – 3 Doors Down / D – Daughtry / BW – Big Wreck / MWVH – Mammoth WVH
Wed Jul 09 | Lexington, KY | Rupp Arena – 3DD/MWVH
Fri Jul 11 | Syracuse, NY | Empower Federal Credit Union Amphitheater at Lakeview – 3DD/MWVH
Sat Jul 12 | Camden, NJ | Freedom Mortgage Pavilion – 3DD
Tue Jul 15 | Wantagh, NY | Northwell at Jones Beach Theater – D/MWVH
Wed Jul 16 | Scranton, PA | The Pavilion at Montage Mountain – D/MWVH
Sun Jul 20 | Columbus, OH | Schottenstein Center – 3DD/MWVH
Tue Jul 22 | Hartford, CT | Xfinity Theatre – 3DD/MWVH
Thu Jul 24 | Charleston, SC | Credit One Stadium – 3DD/MWVH
Sat Jul 26 | New Orleans, LA | Smoothie King Center – 3DD/MWVH
Sun Jul 27 | Memphis, TN | FedExForum – 3DD/MWVH
Tue Jul 29 | Wichita, KS | INTRUST Bank Arena – D/MWVH
Fri Aug 01 | Lincoln, NE | Pinnacle Bank Arena – D/MWVH
Sat Aug 02 | Ridgedale, MO | Thunder Ridge Nature Arena – D/MWVH
Mon Aug 04 | Albuquerque, NM | Isleta Amphitheater – D/MWVH
Wed Aug 06 | Chula Vista, CA | North Island Credit Union Amphitheatre – D/MWVH
Thu Aug 07 | Palm Desert, CA | Acrisure Arena at Greater Palm Springs – 3DD/MWVH
Sat Aug 09 | Mountain View, CA | Shoreline Amphitheatre – 3DD/MWVH
Sun Aug 10 | Stateline, NV | Lake Tahoe Outdoor Arena at Harveys – 3DD/MWVH (Not a Live Nation date)
Wed Aug 13 | Ridgefield, WA | RV Inn Style Resorts Amphitheater – 3DD/MWVH
Thu Aug 14 | Auburn, WA | White River Amphitheatre – 3DD/MWVH
Sat Aug 16 | Vancouver, BC | Rogers Arena – BW/MWVH
Tue Aug 19 | Edmonton, AB | Rogers Place – BW/MWVH
Wed Aug 20 | Calgary, AB | Scotiabank Saddledome – BW/MWVH
Previously Announced CREED Dates:
Sat Dec 28 | Durant, OK | Choctaw Casino & Resort (Sold Out)
Mon Dec 30 | Las Vegas, NV | The Colosseum
Tue Dec 31 | Las Vegas, NV | The Colosseum
Apr 9 – Apr 13 | Miami – Nassau | Summer of ’99 and Beyond Cruise (Sold Out)
Sat Apr 26 | Indio, CA | Stagecoach