New bracing and pickups make this mid-priced take on a Gretsch classic a lively and engaging inspiration machine.
Smooth playability on par with much more expensive instruments. Airy, open pickup sounds with lots of clean-to-mean latitude.
Blue finish is pretty but thick in spots. Vintage sticklers might miss some old-school Filter’Tron bite.
$799
Gretsch G5420T
gretschguitars.com
Though big hollowbodies like the Gretsch G6120 are beautiful and an essential ingredient in countless classic records, they can be a tricky playing experience for the uninitiated. Navigable fretboard space is limited by solidbody standards. Big bodies can feel bulky. They’re sometimes feedback prone in high-volume situations, too. Consequently, I’ve watched many solidbody-oriented chums who rarely play hollowbodies handle a big Gretsch with the baffled look of a spacefarer deciphering an alien tongue.
This latest affordable, mid-line evolution of Gretsch’s classic 6120, the re-designed Electromatic G5420T, smooths navigation of those intrinsic challenges. A new approach to trestle block bracing and FT-5E Filter’Tron pickups give the guitar a zingy, lively, and surprisingly feedback-resistant resonance. And the ultra-smooth playability makes it relatable for the average solidbody player. Together, the improvements make the G5420 a welcoming and intuitive-feeling vehicle for the less-orthodox modes of guitar expression that big Gretsch’s enable.
New Shoes in Blue
Trestle bracing, as a name and design concept, graced Gretschs beginning in the ’50s. That system utilized a bridge-like pair of laterally oriented braces. Trestle block bracing is different. It situates a slim, light center bock that is shaped like a bridge arch at a 90-degree angle between two straight, lateral braces. In one sense, the construction is akin to a center-block semihollow body. But the Gretsch trestle block has much less mass and a smaller footprint than the center block in, say, a Gibson 335, making the design a great compromise between rigidity, stability, and resonance. The effects, at least to my ears, are audible. And one thing every staffer that touched this guitar agreed upon was that this was the liveliest affordable Gretsch that any of us remembered playing.
The G5420T also feels like a dream underneath the fingers. The 12" radius makes string bends extra easy. Hammer-ons, pull-offs, and, yes, fleet-fingered Chet Atkins picking feel effortless. And in general the playability is so nice you often forget that notes much past the 17th or 18th fret are a pretty uncomfortable reach. The control layout is a familiar take on Gretsch convention. The master volume control on the treble-side horn is always a blast to use for volume swells. And while the bridge volume is situated pretty far aft on the body, it’s easy enough to reach for fine tuning adjustments and corrections to the neck/bridge blend. The Bigsby, meanwhile, is both fluid, smooth, and, in relative terms, pretty tuning-stable if you’re not too aggressive.
You don’t achieve playability and intonation like that on our review model without sweating the details, and the 5420’s neck, nut, fretboard, and frets all feel very much of a piece.
Construction quality is typically very good in Gretsch’s more affordable Streamliner and Electromatic series, and the G5420T does its part to hold up the family reputation. You don’t achieve playability and intonation like that on our review model without sweating the details, and the 5420’s neck, nut, fretboard, and frets all feel very much of a piece. Little details like the binding around the f-holes are also flawlessly executed. One of the only overt signs of the G5420T’s mid-priced status is the polyester-azure-blue finish, which, while dazzling, looks a bit ripply and thick in spots. Even so, in sunlight, it reveals traces of pearlescent turquoise and lake placid blue, depending on the angle from which you view it.
Balance and Brawn
As Gretsch tells it, the new Filter’Trons are designed for stronger bass output and more articulate high end. I don’t know if I would call the low-end exceptionally robust. But 6th-string notes exhibit a concise, classy punchiness that resonates with just-right complexity and gracefully adds balance and ballast to chords. Some players expect low notes on a Gretsch hollowbody to explode with the heft of a grand piano. But the chiming low notes of a Fender Rhodes electric piano are a more apt analogy for the 5420’s present, overtone-rich-but-understated bottom-string output. This same knack for balance translates to awesome, articulate overdrive and fuzz tones (though, needless to say, it is important to mind the feedback when messing with the latter).
High-end output, meanwhile, is beautiful. First- and 2nd-string notes ring presently and in graceful balance with the rest of the strings, lending a kinetic but not-too-hot edge to leads and chords. And anyone with an affinity for vintage rockabilly or late-’60s West Coast psychedelia will love the way these high notes hop, quaver, and sing with a waggle of the Bigsby. For this author, anyway, it’s a visceral, addictive thrill—particularly with a big Fender amp and a heap of spring reverb and slapback echo.
The Verdict
Any player well versed and at ease with the idiosyncrasies of a Gretsch hollowbody will love the way the 5420 sounds and feels. And on the latter count, certainly, the 5420T is the equal of many much more pricey guitars. It’s very easy to imagine an upmarket or vintage Gretsch owner who sweats gigging with an expensive axe taking this guitar out instead and feeling right at home. The pickups are very well balanced, present, and detailed. And the Bigsby is smooth and invites all manner of twitchy or surfy vibrato moves. Most important is how these factors conspire to offer an uncommon playing experience with an upmarket feel. “Riff machine” may be a term that you could apply to many guitars, but the combination of the 5420T’s playabililty and open, detailed, and balanced pickups add up to a deep well of habit-smashing inspiration—all at a very nice price, to boot.
Gretsch G5420T Electromatic Hollowbody Demo | First Look
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Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!