
Fender’s Tone Master series of amplifiers includes the Super Reverb, a 200-watt Twin Reverb in black and blonde Tolex, a 100-watt Deluxe in black and blonde, and a 12-watt Princeton Reverb (not pictured).
Chasing classic tones with new tech has kept major tube-first amp companies and designers in the game. Here’s how they’ve done it.
Darren Monroe had been working with musical instrument retail giant Sweetwater for 18 years when he was promoted to senior amps and effects buyer in 2019. The company’s senior category manager for those products had seen a lot of change in gear up to that point, but a major shift from that year has stuck with him: It’s when Fender’s Tone Master series launched. Legacy tube amp manufacturers had produced digital amps before, but Monroe says the Tone Master was different.
What set the series apart from previous digital attempts by household tube amp brands? For Monroe, it’s simple: They were really good, better than previous digital releases from Fender. “They were pro-level amps,” says Monroe. “They sounded good, and they sound good still, plus they’re super light. It feels like that was somewhat of a sea change at that point.”
For Monroe and many others, the Tone Master marked a new frontier in digital amplification. While digital-only manufacturers like Kemper, Fractal, Neural, and Line 6 had produced excellent, endlessly versatile amp tools over the years, tube-first makers seemed to struggle to put out digital amplifiers that could go toe-to-toe with their valve offerings in most settings. The Tone Master declared that Fender wasn’t just a heritage nameplate. They would be part of the next generation of guitar amplification.
“There’s a legacy in our tube amps, but tubes were the tech of the time going back to 1946.”—Fender’s Justin Norvell
To keep pace with the explosion of popularity in lightweight, utilitarian digital modeling and profiling technology, many tube amp builders—including Fender, Blackstar, Marshall, Vox, Mesa/Boogie, Peavey, and others—have pivoted toward next-gen offerings that bloggers, critics, and players consider on par with their all-valve ancestors, with varying degrees of adaptability for the modern guitarist. The changes across the industry evince a different approach not just to amplification, but perhaps to the entire practice of playing guitar.
Fender’s Justin Norvell explains the shift in the company’s design strategy that led to the Tone Master line: “Instead of giving in to that desire to take a quad-core processing amplifier and make it do 100 things, it’s like, ‘Let’s take all that processing power and make it do all of the subtleties and nuances of the one thing perfectly.’”
Processing Power’s New Hour
Fender’s Tone Master marked the company’s biggest non-tube splash, but the California-based brand has been involved with modeling since the early 2000s. The Fender Cyber-Twin, released in January 2001, was their first swing at integrating digital modeling technology with tube circuits. The 135-watt 2x12 combo came with 250 digital signal processing (DSP) amp presets and 42 effects presets, all driven by two 12AX7 preamp tubes.
To analog purists, mixing the two technologies within the Cyber-Twin might have been heresy, but Justin Norvell, executive vice president of Fender products, says it’s not so radical. “There’s a legacy in our tube amps, but tubes were the tech of the time going back to 1946,” he says. “At the end of the day, these are tools, and getting the most utilitarian or usable tools for players is what we’re all about.”
Norvell says the most significant game-changer in digital production has been the increase in processing power. That leap has taken modeling from a “convenience play” that packed many sounds into one package to an audio technology that can rival tube amplifiers. “We’ve really gotten to a point where there isn’t that much difference,” says Norvell. In the early days, modeling was full of “compromises” and approximations of certain sounds. Now, software and processing firepower advances mean those sounds can be dialed in to be identical to those of tube amps.
“Whatever digital technology is coming out is always chasing the analog technology. For that reason, I feel like that’s insurance that the old thing is never gonna go away.”—Sweetwater’s Darren Monroe
On that note, the Tone Master represents a new-school approach to modeling: Rather than trying to pack tons of different sounds into one amp, Norvell says they opted to simplify. “Instead of giving in to that desire to take a quad-core processing amplifier and make it do 100 things, it’s like, ‘Let’s take all that processing power and make it do all of the subtleties and nuances of the one thing perfectly,’” he says. “That would not have been possible several years ago.”
Given Fender’s history of dynamic, responsive, and sensitive amplification, that goal required a lot of tweaking. Sometimes, says Norvell, they could see a visual on a screen indicating that a tone has been replicated. Other times, the deciding factors were listening tests, and the ears of the testers. “It’s a real mix of art and science,” says Norvell.
Fender’s Cyber Twin, released in 2001, was the company’s first swing at integrating digital modeling technology with tube circuits. The 135-watt 2x12 combo came with 250 digital signal processing (DSP) amp presets and 42 effects presets, all driven by two 12AX7 preamp tubes.
Photo provided by Bill’s Music/Courtesy of Reverb.com
He says Fender’s and other long-time amp producers’ situations are unique in that when designing their digital offerings, engineers can go next door and consult the person who designed the Princeton or Deluxe Reverb reissues. Norvell says this makes for a more contextualized and less abstract approach to sound engineering. “It’s more than just taking some oscilloscope measurements of an amp and making a model of it,” he says. “It’s really intrinsically understanding that electronic ecosystem.”
The interplay between past and present has been key to Fender’s digital development. “The makeup of a digital amp is completely different as to the way that it comes together,” says Norvell. He says it’s “markedly” more work to produce a digital amp than an all-tube, requiring more people, collaboration, and software-to-hardware matching.
Norvell says that the makeup of Fender’s staff has changed to fit the development of digital technologies. Now, it’s not only analog engineers working on their circuits, cabinets, and speakers. “There are software engineers, DSP engineers—all of these different things that have completely recast the way our product and research and development departments look, and what they do,” says Norvell.
“It’s not about authentically copying this or that. We’re trying to produce the best possible and most flexible sounds, and digital technology is a tool we deploy to give guitarists the tools that they want.”—Blackstar’s Ian Robinson
Fender’s emphasis at the moment is on modeling rather than profiling, which Norvell says is “more akin to taking a snapshot of something,” while modeling has discrete pieces interacting and behaving more similarly to an analog circuit. Before the Tone Master line, Fender’s Mustang amp series, starting at $159 street, offered their modeling at an entry-level price point. The Tone Master line starts at $899 street for the Princeton Reverb and peaks at $1,249 street for the Tone Master Super Reverb.
From Marshall to Blackstar
Ian Robinson admits that when the first digital amps started hitting the market in the mid-1990s, he was cynical. Robinson, an electrical engineer, was then working at Marshall as their research and development manager/chief design engineer. But Robinson’s Marshall colleague and future Blackstar cofounder Bruce Keir, a brilliant engineer who would become Blackstar’s technical director until his death in 2021, wasn’t as skeptical. Keir was an engineer “in the purest sense,” says Robinson, which meant he was agnostic in terms of what technology he used, as long as it produced a good sound. “He was quite heretic that way,” says Robinson.
In the early ’90s, Keir had helped develop Marshall’s MIDI-controllable JFX multi-effects processor. Later, his open-minded philosophy was evidenced in a presentation to Marshall customers about the effects-laden, solid-state MG amp series. Keir held up an EL34 vacuum tube in front of the room. “He said, ‘Do you know what this is? It’s a valve. It’s also an electronic component, and just like any other electronic component, it can be understood. There’s nothing magical about it just because it’s glowing and made out of glass,’” remembers Robinson.
Robinson considers Blackstar’s Series One design to be one of Keir’s masterpieces. The two of them worked on the analog preamp and power amp designs together, but what Robinson didn’t know was that Keir was also transferring their designs into the digital domain. One day, he took Robinson out to a rehearsal studio where he’d set up a Series One alongside a laptop with a primitive, 16-bit DSP evaluation module. The sounds were nearly identical to analog. “He basically cracked the code from the get-go,” says Robinson.
Blackstar’s ID Core 100—one of the latest evolutions in its ID series—is a 100-watt amp with two 50-watt speakers in stereo, boasting six voices and 12 vintage-style effects.
“The code” was how to reproduce analog sounds with digital components without loss of fidelity or sensitivity. According to Robinson, Keir built algorithms the “old-school way,” from mathematical first principles, using formulas like the Laplace transform to convert analog signals from the time domain to the complex frequency domain. Then, he was programming the results. At the same time, Keir and Robinson were cracking old 1950s textbooks on valves, deepening their understanding of the technology. They isolated and modeled every single component in an amp to the point that they were indistinguishable from the real thing, then developed a digital index system of each component, so that rather than swapping physical parts, they could do it digitally to modify the sound. In time, their analog designs have sometimes come to be reverse engineered: designed and perfected in digital format, then constructed with analog parts.
Keir made good on his proclamation about the essential simplicity of tubes when he developed Blackstar’s patented True Valve Power. “If you ever want to know why valve amps sound louder than solid-state, read the patent,” says Robinson. Primarily written by Keir with help from Robinson, the patent outlines the way that valves, the output transformer, and the speaker react to produce different amounts of voltage at different frequencies, and therefore different power delivery. “That’s part of the reason you get that feel of the resonant frequencies and the presence being fuller and more open on a valve amp,” says Robinson. “It’s to do with the impedance curves and speakers, and the ability of the valve amp to deliver the voltage constantly.”
One of the things that Keir established was that to attain tube qualities with a solid-state power amp, a circuit required two-and-a-half times the headroom. The concept came together in Blackstar’s original ID series, which combined their modeled preamp with the True Valve tech. Robinson admits the line landed in market limbo. The extra power and tech fetched a higher price tag than beginners could afford, and pros weren’t yet as popularly interested in digital. But Blackstar’s digital line now is broad, with entry-level ID combos, street-priced at $149 to $229, through to 100-watt pedalboard amps.
Keir’s experiments also got at something deeper: Amp modeling can be reduced to mathematical terms, but there’s something else at play, too. Robinson describes it as the “physical embodiment” of an amplification system. No matter the technology involved, you can’t get an 8" guitar speaker to sound like a 100-watt stack, says Robinson. “You can have a plug-in-and-play through a pair of monitor speakers, which is a great thing,” he says. “It’s not the same experience as playing with the amp in a room. The feel and the sound has a lot to do with the amplification system.”
Blackstar co-founder Ian Robinson says, “You can have a plug-in-and-play through a pair of monitor speakers, which is a great thing. It’s not the same experience as playing with the amp in a room. The feel and the sound has a lot to do with the amplification system.”
Brave New and Old Worlds
In his role as amps and effects buyer for the world’s largest online instrument retailer, Monroe stays on top of not just what’s happening in the here-and-now, but what’s coming down the line. He says that while modeling, profiling, and other digital amp offerings are continuing to increase in popularity, he hasn’t seen a corresponding drop in tube amp sales. “It seems like [they] are not gonna go anywhere,” says Monroe. “That business is still strong.”
Monroe notes that Fender got lucky with their Tone Master series dropping right before the pandemic, and that other manufacturers have had to pause potential new digital products in development. “People were sort of in survival mode,” he says, but in the coming years Monroe expects a wave of new digital amp products.
He says that the latest swell of digital amplification is just the most recent in a cycle that has seen bursts of interest in digital technology. He notes that Line 6’s futuristic POD series, which launched in 1998, enjoyed significant uptake even with its distinctly non-analog sound. That means that younger players might be less precious about how they achieve their sound than their tube-purist counterparts, having come up listening to digital tech alongside valve amplifiers. “New players start at lower price points, and digital is more affordable almost universally,” says Monroe.
Sweetwater’s Monroe predicts that as digital amps continue to improve, they will make a dent in tube amp sales periodically, but he doubts that valves will ever fully disappear. “Whatever digital technology is coming out is always chasing the analog technology,” he says. “For that reason, I feel like that’s insurance that the old thing is never gonna go away. When the real is the goal, the artificial will never take over.”
Like Fender, Robinson says Blackstar has no intentions of attempting the sort of profiling that has launched Kemper, Fractal, and Line 6 into the digital amp profiling spotlight. “Our thing is just amp design,” he says. To a certain degree, that means uncoupling from the past. “It’s not about authentically copying this or that,” says Robinson. “We’re trying to produce the best possible and most flexible sounds, and digital technology is a tool we deploy to give guitarists the tools that they want.”
Tube amps carry with them the weight of nostalgia and Romanticism, and Norvell says there’s a good reason for that. “The dynamics of a tube amp cannot be understated,” he says. “But I think a lot of what tube amps did was not the initial intent. There were limitations to the preamp and power section, the distortion was not something everybody was going for, so it’s kind of a happy accident.”
But tube amps aren’t a great fit for every player. Recording with a tube amp at home usually includes cranking it to at least noon and putting an SM57 microphone on it. That’s not feasible at all hours of the day and night, and guitarists who live in apartments or other dense housing configurations need good tone at low volumes. For years, digital amps, which don’t require cranking for different tonal characteristics and often include a line-out option to plug right to your digital audio workstation, have inarguably provided better flexibility. “A digital amp allows you that,” says Norvell, “but the new digital amps allow you that without the [tonal] compromise.”
Norvell thinks the same pattern might be true of digital. “Innovations in gear drive innovations in music,” he says. “New genres and styles are created. I think we’re on the precipice of a digital revolution.”
- Fender Tone Master Deluxe Reverb Review ›
- Joe Bonamassa’s 5 Most Underrated Amps ›
- Are Digital Modelers For You? ›
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