The tour is set to launch on July 6, 2023, at Atlanta’s Ameris Bank Amphitheatre, the area’s largest outdoor venue. For the first leg of the US Live Nation tour, Foreigner will be joined by Loverboy, one of the 80’s biggest hit-makers. The show plans to thrill audiences with performances of more than 20 combined chart-topping songs.
Foreigner will continue its long-term initiative with the Grammy Museum Foundation to invite choirs to open the show with a live a cappella ‘Pitch Perfect’ performance of Classic Rock songs. Foreigner will join radio partners across the country to create a contest for local choirs to win donations to their music programs. One winning choir will be selected at each show, and that choir will receive a grand prize of new musical equipment. For more details please go to foreignerchoirs.com.
Leader and founder of Foreigner, Mick Jones said, “Many years ago, I wrote a song called ‘Feels Like The First Time’ and today we are launching one last worldwide tour. We will be presenting a show that I know will have the same enthusiasm as our very first appearances. The tour will start this summer in America and we hope to get to every place that we have played over the last several years. While I’m sure our fans will have mixed feelings about the end of the road for the band, I know our shows are going to delight audiences everywhere.”
Tour Dates
Thu July 6th Alpharetta, GA – Ameris Bank Amphitheatre
Sat July 8th West Palm Beach, FL – iTHINK Financial Amphitheatre
Sun July 9th Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
Tue July 11th Nashville, TN – Ascend Amphitheatre
Fri July 14th Rogers, AR – Walmart AMP
Tue July 18th Kansas City, MO – Starlight Theatre
Wed July 19th St. Louis, MO – Hollywood Casino Amphitheatre
Fri July 21st Indianapolis, IN – Ruoff Music Center
Sat July 22nd Tinley Park, IL – Hollywood Casino Amphitheatre
Mon July 24th Cleveland, OH – Blossom Music Center
Tue July 25th Toronto, ON – Budweiser Stage
Fri July 28th Darien Center, NY – Darien Lake Amphitheater
Sat July 29th Burgettstown, PA – The Pavilion at Star Lake
Tue August 1st Saratoga Springs, NY – Saratoga Performing Arts Center
Wed August 2nd Wantagh, NY – Northwell Health at Jones Beach
Fri August 4th Gilford, NH – Bank of New Hampshire Pavilion
Sat August 5th Mansfield, MA – Xfinity Center
Tue August 8th Raleigh, NC – Coastal Credit Union Music Park at Walnut Creek
Wed August 9th Charlotte, NC – PNC Music Pavilion
Fri August 11th Dallas, TX – Dos Equis Pavilion
Sat August 12th Houston, TX – Cynthia Woods Mitchell Pavilion
Mon August 14th Austin, TX – Moody Center
Wed August 16th Denver, CO – Ball Arena
Fri August 18th Salt Lake City, UT – USANA Amphitheater
Sun August 20th Phoenix, AZ – Ak-Chin Pavilion
Mon August 21st Irvine, CA – FivePoint Amphitheater
Wed August 23rd Wheatland, CA – Toyota Amphitheater
Thu August 24th Mountain View, CA – Shoreline Amphitheatre
Weds August 30th Detroit, MI – Pine Knob Music Theater
Fri September 1st Uncasville, CT – Mohegan Sun Arena
Sat September 2nd Syracuse, NY – St. Joseph’s Health Amphitheater at Lakeview
Sun September 3rd Holmdel, NJ – PNC Bank Arts Center
For more information on Foreigner, please visit www.foreigneronline.com.
For more information on Loverboy, please visit www.loverboyband.com.
There are plenty of mighty American rock bands, but relatively few have had as profound an impact on the international musical landscape as X. Along with other select members of punk’s original Class of 1977, including Patti Smith, Richard Hell, and Talking Heads, the Los Angeles-based outfit proved that rock ’n’ roll could be stripped to its bones and still be as literate and allusive as the best work of the songwriters who emerged during the previous decade and were swept up in the corporate-rock tidal wave that punk rebelled against. X’s first three albums–Los Angles, Wild Gift, and Under the Big Black Sun-were a beautiful and provocative foundation, and rocked like Mt. Rushmore.
Last year, X released a new album, Smoke & Fiction, and, after declaring it would be their last, embarked on what was billed as a goodbye tour, seemingly putting a bow on 47 years of their creative journey. But when PG caught up with X at Memphis’s Minglewood Hall in late fall, vocalist and bassist John Doe let us in on a secret: They are going to continue playing select dates and the occasional mini-tour, and will be part of the Sick New World festival in Las Vegas in April 12.
Not-so-secret is that they still rock like Mt. Rushmore, and that the work of all four of the founders–bassist, singer, and songwriter Doe, vocalist and songwriter Exene Cervenka, guitarist Billy Zoom, and drummer D.J. Bonebreak–remains inspired.
Onstage at Minglewood Hall, Doe talked a bit about his lead role in the film-festival-award-winning 2022 remake of the film noir classic D.O.A. But most important, he and Zoom let us in on their minimalist sonic secrets.Brought to you by D’Addario.
Gretsch A Sketch
Since X’s earliest days, Billy Zoom has played Gretsches. In the beginning, it was a Silver Jet, but in recent years he’s preferred the hollowbody G6122T-59 Vintage Select Chet Atkins Country Gentleman. This example roars a little more thanks to the Kent Armstrong P-90 in the neck and a Seymour Duncan DeArmond-style pickup in the bridge. Zoom, who is an electronics wiz, also did some custom wiring and has locking tuners on the guitar.
More DeArmond
Zoom’s sole effect is this vintage DeArmond 602 volume pedal. It helps him reign in the feedback that occasionally comes soaring in, since he stations himself right in front of his amp during shows.
It's a Zoom!
Zoom’s experience with electronics began as a kid, when he began building items from the famed Heath Kit series and made his own CB radio. And since he’s a guitarist, building amps seemed inevitable. This 1x12 was crafted at the request of G&L Guitars, but never came to market. It is switchable between 10 and 30 watts and sports a single Celestion Vintage 30.
Tube Time!
The tube array includes two EL84, 12AX7s in the preamp stage, and a single 12AT7. The rightmost input is for a reverb/tremolo footswitch.
Set the Controls for the Heart of the Big Black Sun
Besides 3-band EQ, reverb, and tremolo, Zoom’s custom wiring allows for a mid-boost that pumps up to 14 dB. Not content with 11, it starts there and goes to 20.
Baby Blue
This amp is also a Zoom creation, with just a tone and volume control (the latter with a low boost). It also relies on 12AX7s and EL84s.
Big Bottom
Here is John Doe’s rig in full: Ampeg and Fender basses, with his simple stack between them. The red head atop his cabs is a rare bird: an Amber Light Walter Woods from the 1970s. These amps are legendary among bass players for their full tone, and especially good for upright bass and eccentric instruments like Doe’s scroll-head Ampeg. “I think they were the first small, solid-state bass amps ever,” Doe offers. They have channels designated for electric and upright basses (Doe says he uses the upright channel, for a mid-dier tone), plus volume, treble, bass, and master volume controls. One of the switches puts the signal out of phase, but he’s not sure what the others do. Then, there’s a Genzler cab with two 12" speakers and four horns, and an Ampeg 4x10.
Scared Scroll
Here’s the headstock of that Ampeg scroll bass, an artifact of the ’60s with a microphone pickup. Doe seems to have a bit of a love/hate relationship with this instrument, which has open tuners and through-body f-style holes on its right and left sides. “The interesting thing,” he says, “is that you cannot have any treble on the pickup. If you do, it sounds like shit. With a pick, you can sort of get away with it.” So he mostly rolls off all the treble to shake the earth.
Jazz Bass II
This is the second Fender Jazz Bass that Doe has owned. He bought his first from a friend in Baltimore for $150, and used it to write and record most of X’s early albums. That one no longer leaves home. But this touring instrument came from the Guitar Castle in Salem, Oregon, and was painted to recreate the vintage vibe of Doe’s historic bass.
Reader: T. Moody
Hometown: Myrtle Beach, South Carolina
Guitar: The Green Snake
Reader T. Moody turned this Yamaha Pacifica body into a reptilian rocker.
I have always loved the reverse headstock, simply because nothing says 1987 (the best year in the history of the world) like a reverse headstock. The pickups are both Seymour Duncan—an SH-1N in the neck position and TB-4 in the bridge, both in a very cool lime green color. Right when these pickups got listed, the Buy It Now button once again lit up like the Fourth of July. I am a loyal disciple of Sperzel locking tuners and think Bob Sperzel was a pure genius, so I knew those were going on this project even before I started on it. I also knew that I wanted a Vega-Trem; those units are absolutely amazing.
When the body arrived, I thought it would be cool to do some kind of burst around the yellow so I went with a neon green. It turned out better than I imagined. Next up was the shaping and cutting of the pickguard. I had this crocodile-type, faux-leather material that I glued on the pickguard and then shaped to my liking. I wanted just a single volume control and no tone knob, because, like King Edward (Van Halen) once said, “Your volume is your tone.”
T. Moody
I then shaped and glued the faux-leather material in the cavity. The tuning knobs, volume knob, pickguard, screws, and selector switch were also painted in the lemon-lime paint scheme. I put everything together, installed the pickups, strung it up, set it up, plugged it in, and I was blown away. I think this is the best-playing and -sounding guitar I have ever tried.
The only thing missing was the center piece and strap. The latter was easy because DiMarzio makes their ClipLock in neon green. The center piece was more difficult because originally, I was thinking that some kind of gator-style decoration would be cool. In the end, I went with a green snake, because crocodiles ain’t too flexible—and they’re way too big to fit in a pickup cavity!
The Green Snake’s back is just as striking as the front.
