
Support your local independent venues. They are citadels of community and creativity. And they need your help.
An important part of my music education started when I began sneaking into clubs when I was 16. I was a tall kid, and usually had no trouble walking in. It’s not surprising these venues were lax about checking IDs, since back then more than a few tolerated weed-smoking and other shenanigans. But I was there for the music, where it was raw and unproven and just a few feet away, and I quickly learned you didn’t have to be on TV or play arenas to be great. Connecticut-area outfits from the Scratch Band (featuring a pre-fame G.E. Smith) to the Simms Brothers Band to Saucers became my new heroes.
In college, New York City was a short train ride away, and the first time I stumbled into the dark, beer-stinking cavern of CBGB, I felt that I had gone to both another planet and home. I also discovered it was more than a club. It was a community where originality was uncaged and embraced, where bands and bonds were formed, and where, clearly, some pretty wild stuff went down.
As I got older and started to play there and other indie venues, my appreciation for all of them grew. Sure, if you turned the corner behind the stage, to the stairs leading down to CB’s restrooms, you might see somebody sitting on the doorless men’s room’s toilet, or you might have to step over a dude on the way to the urinal. One night, onstage there, one of my newish $100 custom earplugs plopped out and fell into a grayish puddle. I immediately chose not to retrieve it. But every moment I was there, I knew I was somewhere important and that just being present, where so much great music ignited and was allowed to flourish, was a privilege.
“The first time I stumbled into the dark, beer-stinking cavern of CBGB, I felt that I had gone to both another planet and home.”
We are losing that privilege at an alarming rate. Urban upscaling, insurance costs, fallout from Covid, and scores of other reasons are costing us independent venues across the country. I recently read about the closing of Dobbs, formerly J.C. Dobbs, on Philly’s South Street, where Nirvana, Pearl Jam, Smashing Pumpkins, and more played while they were getting their wings. One night, when my band Vision Thing gigged there in the ’90s, we shared the dressing room with a “family” of self-proclaimed vampires—an experience both priceless and uncomfortable.
But my point is, independent music venues are the bloodstream of live rock, jazz, pop, improv, and many other styles. And if we do not support them, these unruly citadels of incubation and joy are going to go away. I have nothing against chain venues and larger corporate enterprises. Honestly, that’s not true. I dislike that big companies block rising-star artists from playing the indie venues that nourished them and control the concert business in ways that result in $1,000-and-up ticket prices. They don’t give a damn about the soul of music.
Photo courtesy of Adicarlo/English Wikipedia
But many indie venue owners do. They have to. They understand that emerging artists are their viscera, and that by nurturing these artists and their fans, they are also sustaining themselves. And many of the indie-room owners I’ve known were also willing to take the risks inherent in providing a proving ground for unproven talent because they actually believe in supporting the art and evolution of music-making. But unlike corporate-owned venues, they do so at more risk, handling all the costs and complexities of running their rooms on their own.
Here in Nashville, we’ve lost great indie venues in recent years, including Douglas Corner, after 33 years of shows, and, in 2022, the 20-year-old Mercy Lounge/High Watt/Cannery Ballroom complex, but we are lucky to still have wonderful examples. Among the prominent are the 5 Spot, the Bluebird Cafe, the Station Inn, Dee’s Country Cocktail Lounge, Eastside Bowl, the Basement and Basement East, DRKMTTR, the Underdog, Rudy’s Jazz Room, 3rd & Lindsley, and Springwater. And each is the nucleus of a creative community.
We need to begin looking at indie venues as the sacred places they are—where magic can be made, and, on the flip side, even a terrible band can get the occasional gig, because they’re part of the community, too. And we need to sustain them. Because if these places disappear, we lose all of the good things they provide.
So, even if you’re not the biggest fan of what’s on the musical menu, I’m asking you as a friend and fellow music lover to support your local indie venue. It’s worth stopping by for the occasional beer to help keep these businesses alive. Netflix and your couch will be there—at least for a while. Indie venues might not, and every time a place like CBGB, J.C. Dobbs, or the Mercy Lounge closes, another door shuts on both musical opportunities and history. And we need to keep those doors open.
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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.
PRS Guitars today launched five new three-pickup, 22-fret models across the S2 and SE series. The S2 Series release includes the S2 Special Semi-Hollow and S2 Studio, while the SE Series welcomes the SE Special Semi-Hollow, SE Studio, and SE Studio Standard.
“The distinctive pickup configurations of these five guitars deliver a versatile tonal platform, whether you’re exploring subtle textures or pushing the envelope. The deep dive into our Narrowfield technology is obvious with this launch. With both the S2 models made in our Maryland factory and the SE models made in Indonesia, our goal has been to create guitars that will inspire you and spark creativity, all at an exceptional value,” said PRS Guitars COO, Jack Higginbotham.
S2 Special Semi-Hollow
The PRS S2 Special Semi-Hollow features a pair of 58/15 LT humbuckers in the bass and treble positions and a PRS Narrowfield in the middle. A 5-way blade switch and two mini-toggles allow players to tap the humbuckers, creating twelve distinct pickup combinations for sonic exploration. The carved maple top and mahogany back encompass a semi-hollow body that adds a natural airiness and depth to the guitar’s tone while enhancing sustain.
S2 Studio
The PRS S2 Studio delivers a wide range of sonic possibilities through its distinctive single-single-hum configuration. Featuring two proprietary PRS Narrowfield pickups in the bass and middle positions and a 58/15 LT humbucker in the treble position, the S2 Studio offers a palette of sounds from single-coil clarity to vocal humbucker tones. This model also has a 5-way blade switch and push/pull tone control.
SE Special Semi-Hollow
The PRS SE Special Semi-Hollow is designed with the versatility of a hum/“single”/hum setup, bringing PRS’s Narrowfield DD pickup design to the SE Series in a classic maple-top guitar. The semi-hollow construction also enhances sustain and resonance, while the f-hole adds a classic aesthetic. The coil-tap switching system unlocks a wide range of tones through a pair of 58/15 LT “S” pickups in the bass and treble positions and a PRS Narrowfield DD “S” in the middle.
SE Studio
The PRS SE Studio’s “single”/”single”/hum pickup configuration provides a wide range of tonal options. This combination of PRS Narrowfield DD “S” bass and middle pickups with a PRS 58/15 LT “S” treble humbucker offers humbucking warmth, single-coil sparkle, and everything in between. The 5-way blade switch and push/pull tone control further enhance its versatility.
SE Studio Standard
The only bolt-on neck in this release group, the PRS SE Studio Standard brings the tone, playability, and versatility of the Studio model to the SE Series and into an all-mahogany design with a vintage-style pickguard aesthetic. At the heart of the SE Studio Standard is its versatile trio of pickups: an 58/15 LT “S” humbucker in the treble position with two Narrowfield DD “S” pickups in the middle and bass positions. The 5-way blade switch and push/pull tone control allow for an array of pickup configurations.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year.
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 |