
Here are the albums that teased PG editors’ ears and made our heads explode with delight! Plus, some of the most-anticipated recordings—real or wish-listed—of 2023.
And the winners are…
Jason Shadrick — Associate Editor
Molly Tuttle & Golden Highway
Crooked Tree
It seemed like this year the “young lions” of bluegrass guitar finally broke through. While Billy Strings was on his way to arena-level stardom via the jam band crowd, Molly Tuttle took a less experimental route with a dynamite new album (produced by bluegrass legend Jerry Douglas) and new band. At times her voice echoes Alison Krauss, but her playing is firmly influenced by Tony Rice, Bryan Sutton, and Doc Watson. Songs like “Flatland Girl” and “Over the Line” are bouncing bluegrass jams that move with such a level of relaxed comfort it’s not until Tuttle’s break that you realize she’s straight up shredding. There’s also a fierce and undeniable force in Tuttle’s rhythm playing. At times she can play like a high-speed freight train on cruise control, but she can also dial it back without losing any intensity—just check out her incredible duet with Dan Tyminski on “San Francisco Bay Blues.” It’s easy to see why ripping acoustic guitar is popular again with albums like this.
Must hear tracks: “Flatland Girl,” “Dooley’s Farm,” “Goodbye Girl”
Molly Tuttle & Golden Highway - Crooked Tree (Live at the Station Inn)
Madison Cunningham
Revealer
After Madison’s last full-length album, Who Are You Now, I was very intrigued as to how she could put a bigger spotlight on her devastatingly great playing. Thankfully, Revealer has done the job—and then some. Cunningham combines low-tuned oddball guitars with an always-on swirly dual vibrato in the background to amazing effect. It’s a sound in which she not only feels comfortable but thrives in a way few singer/songwriters can. Her riffs and parts are surprising in a way that forces you to listen deeper each time around. The lead single, “Hospital,” has a gritty, nasty tone that is such a welcome juxtaposition against the rather pretty melody that it makes me think of the best of Elliot Smith at times. It’s obvious that her playing style isn’t an accident, but rather a well-focused and deliberate path that will inspire many young songwriters to go beyond simple strumming.
Must hear tracks: “Hospital,” “Life According to Raechel,” “Our Rebellion”
Madison Cunningham - Life According To Raechel (Live At Sonic Ranch Big Blue)
Cardinal Black
January Came Close
About a year ago Chris Buck dropped a video debuting his new band, Cardinal Black. The tune “Tell Me How It Feels” was incredibly crafted and featured Buck’s signature emotive style. Now, a year later, the band’s full-length album is out, and it delivers. The rich tones that Buck coaxes out of his Revstar are rooted in classic rock and blues, but in the context of Cardinal Black they have more textural elements than the typical pentatonic bashing found in so many blues players. “Half Way” sports a massive chorus that brings to mind the best power-pop tunes of the 1970s. You could see this band rocking an old-school blues club and Royal Albert Hall (which they just recently did with Peter Frampton.) Great tunes, great playing, and great tones. What else can you ask for?
Must-hear tracks: “Tell Me How It Feels,” “Half Way,” “Warm Love”
Cardinal Black - Ain't My Time (Abbey Road Live Session)
Most-anticipated 2023 releases: Metallica’s (probable) return to old-school thrash, Nickel Creek, a live Julian Lage album, and at least 12 Cory Wong albums.
Tessa Jeffers — Managing Editor
Wu-Lu
LOGGERHEAD
In the middle of his song “South,” Miles Romans-Hopcraft, aka Wu-Lu, lets out a scream so guttural and jarring, you might wonder if he’s okay. But it’s so deliciously cathartic to the core that I understand why primal scream therapy is trending in this year of our lord 2022-almost-2023. Wu-Lu’s shrieky bellow will get your attention but stick around for his mad-scientist kitchen of sounds. This debut album is an arresting amalgamation of truly original inception. He filets disparate instrumentation and influences into modern hip-hop infused songs wrapped in an entrée of punk. The best part is, he’s sampling himself. After recording late-night, guitar-improv jams, Wu-Lu dissects and distills them into usable musical spices to sprinkle into his songs. I’m amused, entertained, made happy by artists who construct in a way I’ve not quite experienced before, and Romans-Hopcraft’s process floors me. Guess what else? Wu-Lu is even better live, in the flesh, 3D, outside the Matrix. Watch the performance video below while I go scream primally into a pillow as an ode to Wu-Lu for the drum-n-bass wonder he’s done.
Must-hear tracks: “South,” “Blame”
Wu-Lu - Echoes with Jehnny Beth - @ARTE Concert
Angel Olsen
Big Time
I recently read a book about poets who lived during the first half of the 20th century. It explored how word troubadours were the first rock stars, the champions of counterculture and leaders in expression arts before rock music gave way to a new generation of minstrel messengers. Angel Olsen writes songs how poets be poet’ing. It’s all storytelling, but magic comes in making choices of movement, placement, adding, taking away, and, oh, the vulnerability. Making a twangy “Nashville Sound” heartbreak album suits Olsen’s truth-tellin’ ways. A few months ago, I attended a solo acoustic performance by Olsen, where she plucked out each emotion dynamically on her strings, light touch, and with tortured spacing, hard land. She bared some soul, made it accessible, and by doing so, commanded all attention in the room, stared down hard moments, made jokes in between, and shared personal vignettes of painful and beautiful shuffling around this orb of topsoil, water, wind, and fire. This is her take on a country-fied album, but Angel is a rock star.
Must-hear tracks: “All the Good Times,” “Ghost On”
Angel Olsen - All The Good Times (Official Video)
Nick Millevoi — Associate Editor
Bill Orcutt
Music for Four Guitars
The coolest, most intriguing album of guitar music I’ve heard this year is, without a doubt, Bill Orcutt’s quartet for overdubbed 4-string electric guitars. Over the course of 14 tracks—each of which comes in around a short-and-sweet two minutes—Orcutt writes in the familiar vocab of his improvised work. But here, his riffage is focused into contrapuntal cellular structures that evoke minimalism by way of composers Glenn Branca (in the overtone puree of “Or from behind”) and Louis Andriessen (in the angular dissonance of “Only at dusk”). There’s also major-key melodic eloquence (on “At a distance”) that borders on Reichian, but with a raw-er, more treble-soaked tone than anyone who’s tackled the composer’s “Electric Counterpoint” has dared to attempt (to my knowledge, at least). Throughout the album, repeated listening reveals new shapes and structures, and I keep coming back, ready to discover more. Bonus: The digital release comes with an 84-page PDF score, hand-tabbed by forward-thinking guitar adventurer Shane Parish, so anyone can play along once they cut a couple strings off their guitar and detune.
Must-hear tracks: “Or from behind,” “Only at dusk,” “At a distance”
Hermanos Gutiérrez
El Bueno Y El Malo
I knew I’d love this album as soon as I saw the video for the first single, “El Bueno Y El Malo.” I was right, and I’ve since become a huge fan of all the Hermanos’ records. These guys just have their aesthetic completely dialed in, and their songs draw from classic sources like Santo & Johnny, Neil Young, and Ennio Morricone. It helps that they recorded this one at Easy Eye Sound, but the Gutiérrez brothers would sound good if they recorded on an iPhone. When I saw them live this fall in Philadelphia, I was truly blown away by the nuances in each brother’s playing, but even more by the focused energy they conjure with their playing. This is serious vibe music, fit to accompany a modern Western or a long drive on an open road.
Must-hear tracks: “El Bueno Y El Malo,” “Thunderbird,” “Tres Hermanos (feat. Dan Auerbach)”
Hermanos Gutiérrez - "El Bueno Y El Malo" [Official Music Video]
Various Artists
Imaginational Anthem vol. XI: Chrome Universal - A Survey of Modern Pedal Steel
The latest in an ongoing series of well-curated comps from Tompkins Square, this one has easily become my favorite. Compiled by Nashville’s Luke Schneider, volume XI focuses on the wide world of contemporary pedal-steel players. Each of the nine featured artists reach beyond the stratosphere to create mostly ambient explorations that challenge the common notions of what their instrument is capable of. I was drawn to this set because it includes three players whose work I greatly admire: Susan Alcorn, Rocco DeLuca, and BJ Cole. I’ve since spent time deep diving through the works of every player on the album, getting to know and love each of their distinct voices. Much more than a great playlist that serves as a strong introduction to each steeler (which, of course, it is), I keep thinking of this record as a single work, which is probably as big an endorsement of Schneider’s curation as I can imagine.
Must-hear tracks: “An Ode to Dungeness” by Spencer Cullum, “Lysglimt” by Maggie Bjorklund, “Gilmor Blue” by Susan Alcorn
Lysglimt - Maggie Bjorklund
Charles Saufley — Gear Editor
Necronomicon
Tips zum Selbstmord
I burn out on guitar rock pretty easily these days. That doesn’t, however, mean I need the adrenaline rush it provides any less. In these moments, I tend to look to primal sources. Thankfully, my buddy Ben tipped me to this 50th anniversary reissue of the stupidly rare Tips zum Selbstmord, a lost masterwork of brilliant-to-demented German prog/psych-punk hybridization. Tips… is pretty intense at times. Well, most of the time. There are traces of Deep Purple, Pink Floyd, Iron Butterfly, maybe even some Stooges and fellow heavy Krautrock freak vanguards like Guru Guru and Amon Duul II. (Necronomicon also share AD II’s affinity for unexpected, inexplicable bursts of distinctly untrained, quasi-operatic vocals.) But while Necronomicon clearly worked hard in the practice room, and gave these sprawling arrangements much thought, there is an atavistic edge and immediacy here that suggests a band creeping forth from primordial muck. Best of all, it feels utterly, amazingly lacking in self-awareness—a thrilling thing to hear in an era of relentless, calculated self-presentation.
Necronomicon = Tips Zum Selbstmord - 1972 - (Full Album)
Misha Panfilov
The Sea Will Outlive Us All
The cover of The Sea Will Outlive Us All, pays homage to private press LPs of the late ’60s and early ’70s. In some ways, Estonian multi-instrumentalist Misha Panfilov wears musical influences from that period on his sleeve too. But while it’s easy to hear trace elements of Franco/Italian soundtrack gems and circa-’69 Pink Floyd, these instrumental meditations exist quite outside of time. And like a lot of music I cherish, they suggest utopian possibilities, future/past fusions uncolored by cynicism, and endlessly unfolding days when summer looms ever closer.
Misha Panfilov - The Sea Will Outlive Us All (Full Album 2022)
Ted Drozdowski — Editorial Director
The Linda Lindas
Growing Up
Even I’m shocked that my favorite album of the year is by four teenaged girls from Los Angeles. But I love this record! Bela Salazar and Lucia de la Garza slam down a wall of guitars that resonates between the Ramones and epic ’90s alt-rock. All four Lindas sing killer harmony, and they’ve got great hooks and melodies in their pockets. And listening to their lyrics about the trials and trips of young life makes me wish I was as smart and self-aware as they are when I was their age. Oh, and they’re tough onstage, too. Check out the performance video of their song “Racist, Sexist Boy” … at the L.A. Public Library, of all places. The icing for me was interviewing Salazar and de la Garza for our “10 Young Guitar Players to Watch” feature in the November PG. They were funny, poised, and candid about just how much they didn’t know about playing guitar—and that takes way more confidence than I had as a teenager. In today’s music, the Linda Lindas are the cool kids.
Must hear tracks: “Growing Up,” “Talking to Myself,” Racist, Sexist Boy,” and “Nino.”
The Linda Lindas - "Growing Up"
Valerie June
Under Cover
Sure, it’s a covers album, but I could listen to Valerie June sing a menu and be entirely satisfied—especially if she was able to layer her vocals and use reverb the way she does here as co-producer with Jack Splash, whose own credits run deep in the contemporary R&B world. The spare-to-perfection instrumentation adds the right emotional underpinning, too. She turns great songs by Nick Drake (“Pink Moon”), Nick Cave (“Into My Arms”), John Lennon (“Imagine”), Mazzy Star (“Fade Into You”), Joe South (“Don’t It Make You Want To Go Home”), and others into magic carpet rides. I find that irresistible.
Must-hear tracks: “Fade Into You,” “Pink Moon,” “Imagine”
Valerie June - Fade Into You
Charlie Musselwhite
Mississippi Son
When I profiled this old lion of the blues in PG over the summer, in a piece titled “Charlie Musselwhite Goes Back to the Delta,” I described this album as “beautiful as a fresh magnolia blossom with hints of dust on its petals.” But it also contains the mysticism of the greatest of Mississippi’s traditional music—partly gothic, reflective of the history and the soil it took place upon, echoing with the voices of the past that still resonate—particularly in Musselwhite’s head and heart—like Big Joe Williams and John Lee Hooker. Fans of the harmonica virtuoso have known of his estimable skill at Delta-style country blues guitar for ages, but in more than a half-century of recording he’s not revealed it until this album. Ricocheting between original songs and durable classics, Musselwhite sounds like an oracle—especially on the talking blues “The Dark,” a Guy Clark number. His message—to paraphrase Sam Phillips: This is music that comes from a place where the soul of a man or woman never dies.
Must-hear tracks: “The Dark,” “Pea Vine Blues,” “Crawling Kingsnake”
The Dark
Most-anticipated 2023 releases: Hummmm, maybe that Sonny Sharrock tribute album Carlos Santana has been putting together? And the new Messthetics project, plus more work by Mike Baggetta, Bill Frisell, and PJ Harvey. And—I know, I ask every year—new music by Tom Waits? More gems from Dan Auerbach’s trove of unreleased historic live blues recordings would also be welcome. And Dan, isn’t it time to produce an album for Kenny Brown? And finally, that new Metallica album is on the way! Thank you, Santa.
- Rig Rundown: Foo Fighters' Chris Shiflett ›
- Rig Rundown: Greta Van Fleet [2021] ›
- Best Albums of 2021 ›
- Hermanos Gutiérrez’ Dan Auerbach-Produced El Bueno Y El Malo - Premier Guitar ›
- Discover the Best Albums of 2023 According to the Rig Rundown Crew ›
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