Grammy-winning alt-roots trio Nickel Creek reunites for A Dotted Line—an infectiously exuberant album that showcases guitarist Sean Watkins’ command of his favorite Gibson J-45.
Usually bands that have logged 25 years in the trenches look considerably older than Sara Watkins, Sean Watkins, and Chris Thile—the Grammy-winning members of acoustic trio Nickel Creek. At 37, Sean is the elder statesman, yet he still looks boyish for such an experienced and revered player. But that’s because he played his first professional gig—yes, with Nickel Creek—when he was 12. It was at a pizza place near his family’s home in Vista, California, and his fiddle-playing sister Sara was just 9—the same age as Thile, who was the band’s guitarist back then.
However, Thile quickly became a game-changing force on mandolin, so Watkins—who’d studied piano before switching to mandolin—switched back to guitar and the die was cast. The three child prodigies are now widely credited with helping to revitalize American bluegrass music, giving the old-time sound a jolt of youthful energy by bringing in elements of folk, jazz, classical, and indie rock. They have numerous recordings under their belt—both as a group and individually—and together they won a Grammy in the Best Contemporary Folk Album category for their 2002 release This Side, which was produced by Alison Krauss. In 2007, they decided to take time off from touring and recording together to pursue their own musical directions. Until last spring, when it occurred to them that they were coming up on Nickel Creek’s 25th anniversary.
“We’ve stayed very close since going on hiatus,” Sean explains. “We’ll always be that way because we’re family, so it was easy to talk about. I can’t remember how it started, but basically last spring we had the idea to do 25 shows to celebrate our 25th year as a band, and then to do a little EP—maybe just four or five songs. When we got together to write at Chris’ apartment in New York, right off the bat it was clear that everything was easier.
Within a week, we had good starts on about seven or eight songs. I remember at one point we looked at each other, and there was a collective, ‘Well shit, we should just make a record!’ It became clear that this was not going to be a nostalgic thing—we actually had something to say as a band.”
A Dotted Line was tracked in less than two weeks with producer Eric Valentine (Queens of the Stone Age, Slash, Taking Back Sunday), and it bristles with the natural exuberance that emerges when longtime friends and collaborators come together in a long-overdue reunion. From the driving, up-tempo “Destination,” which features wistfully lovely vocals from Sara, to Sean’s own “21st of May,” with its jaunty bluegrass visions of the coming Rapture, the album displays all the influences that Nickel Creek has absorbed over the years—introspective California folk (“Rest of My Life”), catchy acoustic pop (“You Don’t Know What’s Going On”), even electro-prog (their cover of Mother Mother’s oddball anthem “Hayloft”)—and distills them into a forward-thinking, fresh, infectious whole.
Throughout, Sean sounds thoroughly at ease in his own skin, stepping to the fore on his trusty ’54 Gibson J-45 with a confidence that has made him a musician’s musician, acclaimed among his peers as one of the most inventive guitarists in modern bluegrass. An affable guy with a laid-back sense of humor, he seems unfazed by all the attention, and much more focused on having fun.
You had a pretty small window of time to record A Dotted Line. How did you start things off with Eric Valentine?
Initially when we got together with him, we did a practice swing. We did this with [2005’s] Why Should the Fire Die? too, where we basically went in and recorded all the songs, messed around with some mics, and didn’t get too precious with it—just making demos and experimenting. We did that in two or three days, and then went our separate ways and finished up lyrics and little parts.
“Other dreadnoughts can be sparkly up top and boomy in the bass, so they seem to compete with my voice, but somehow the J-45 is a really nice companion for singing.” —Sean Watkins Photo by Brantley Gutierrez.
Eric used that time to think about what he wanted to do with each song. Then we started recording with a basic setup, and he would deviate from there, using a different mic every now and then for guitar or mandolin or fiddle. During the mixing, we definitely made comments, but he has such a great ear that, right off the bat, the sound was incredible. A lot of times, even with the best engineers, mandolin and fiddle seem to be pretty tough to get really great sounds with. A lot of people aren’t used to them, or they don’t work with them very much, and they end up sounding really tinny—fiddle, especially, is really hard. But we had amazing tones that we all loved.
You tracked all your parts with your J-45. What do you like about that guitar in particular?
I got this one about six or seven years ago. I’d been looking for a J-45 for a long time, because when we made Why Should the Fire Die? I ended up borrowing a couple of them—one from Jackson Browne, and one from Jon Brion. Eric wanted a big, dry, midrange-y sound for a few songs, especially on “Somebody More Like You,” and that guitar had it.
I picture it as like a warm, fuzzy ball of mids. Mine has great highs and lows, but the mids in it are really warm, and it’s fun to sing around. With the timbre of my voice and how I hear things, it’s clear. Other dreadnoughts can be sparkly up top and boomy in the bass, so they seem to compete with my voice, but somehow the J-45 is a really nice companion for singing. And I just like dry, woody-sounding guitars. For a long time I was playing smaller body LG and OM shapes and models, like Woody Guthrie, and I liked those because they weren’t as big on the low end and they were fun to sing with. I still enjoy playing them, but I like the fact that this is a good bluegrass guitar, as well as a fingerpicking type of guitar. I can do pretty much everything I want to do with it.
Do you remember what your first acoustic guitar was?
Around the time I was 12, I started messing with it—I think it was an older Martin D-35 that my dad had … it was a Martin dreadnought for sure. And I just started practicing. For the first few years in Nickel Creek, I played mandolin and Chris played guitar, but I remember the day when it clicked: All of a sudden I could play rhythm, and it worked. So I started learning songs on guitar, and Chris is already amazing at mandolin, so it just made sense to switch. I had a few Martins at first, and then I added a Collings D2H for a while, and a Bourgeois—I still play those frequently.
Going Barefoot
Producer Eric Valentine’s goal in the studio was to get string trio Nickel Creek to sound as powerful as the Who by spreading the players out in order to take advantage of acoustic space. Photo by Brantley Gutierrez.
Based in the gritty heart of downtown Hollywood, Eric Valentine’s Barefoot Recording studio has a history: It used to be Crystal Industries, the scene of classic sessions by Jimi Hendrix, Eric Clapton, Jackson Browne, Stevie Wonder, and many more. Valentine bought and renovated the building in 2000, mainly because he needed a large tracking room. As it turned out, this figured prominently in the making of Nickel Creek’s A Dotted Line.
“I had an interesting revelation after doing the first record [2005’s Why Should the Fire Die?] with them,” Valentine says. “I’d never done a record that was entirely comprised of those instruments, so I experimented a lot because I really just didn’t know what the hell I was doing [laughs]. I was trying to keep them physically close together in the room, and the bleed that you get when you do that becomes problematic. It causes phasing issues, and it can smear the imaging of things. It ended up working out okay, but I remember feeling like there has to be a better way to do this.
“The really simple answer was that the close mic for one instrument could become a room mic for the other instruments if it’s just simply far enough away. So I spread them out in the room more, and I feel like it worked wonderfully—the bleed of the guitar and the fiddle in the mandolin mic gives you beautiful room sound—a much better sense of the acoustic space that they’re actually playing in.”
To mic Watkins’ guitar, two vintage Schoeps M 221Bs—actually the capsules mounted in counterfeit bodies—were positioned above and below the neck. “We had one about a foot away and maybe six inches above the neck, pointing down at it, and then we had another one in the same position below, pointing up, with both somewhere around the 15th fret,” Valentine notes. “So the stereo image I can get has the strings sort of panned across, with the low strings on the left and the high strings on the right. It’s a very big sound when you need it. In the mix, Sean’s guitar is panned to one side for most of the songs, so we ended up preferring the sound of the mic that was oriented below the fretboard. I typically don’t put a microphone directly in front of the soundhole, because it’s too boomy and unmanageable.”
As it turned out, Watkins’ J-45 was naturally well balanced, so very little EQ was used, except to pull out some low midrange to make room for the acoustic bass (especially on cuts like “Destination” and the instrumental “Elephant in the Corn”). “We also used these UnderToneAudio mic preamps that we built ourselves, and we settled on a vintage Universal Audio 175B, which is an old tube compressor,” Valentine says. “Nickel Creek has these massive dynamic transitions—they’ll go from playing incredibly delicate fingerpicked parts to just slamming their instruments—so for both the guitar and the mandolin, when they slam really hard, there’s a little give in the compression and it still sounds full and musical.”
To add to the vintage analog sound, Valentine tracked the sessions through an Ampex MM1200 tape machine on the way into Pro Tools. During mixing, the band encouraged Valentine to experiment, especially on an unusual song like “Hayloft,” where the instruments needed to sound bigger. Session drummer Matt Chamberlain was enlisted to build up a groove, and then Valentine took over.
“The challenge sometimes is trying to get one acoustic guitar and one mandolin to sound like the Who,” he quips—and Valentine knows the territory, having produced albums for Queens of the Stone Age, Slash, Third Eye Blind, and many others. “You do some very intentional distortion on the acoustic instruments, with lots of compression, to make them sound really aggressive to match the intensity of the song. And I think that comes up a lot for them. A song like ‘Destination’ has these big chord hits, and you want those to sound like you’re in an arena. Those extreme dynamics were the biggest challenges in making the album.”
Photo by Brantley Gutierrez.
Did your dad have an influence on your guitar playing?
Initially it was more my teacher John Moore, who was also teaching Chris. My dad didn’t really play. He had a guitar and he knew some folk songs that he’d strum along to, but he didn’t get into bluegrass until we did—and he actually took lessons from John, too, so he could play with us. When we got to be old enough and learned some songs, he would play rhythm behind Sara and me in contests and stuff. He still plays a little bit, too.
Early on, Tony Rice was a huge influence, and within bluegrass it was Russ Barenberg, Scott Nygaard, Dave Grier, Norman Blake, and Doc Watson. I’d say probably Tony Rice, Scott Nygaard, and Russ Barenberg were my three favorites when I was young.
Sean Watkins’ Gear
Guitars1954 Gibson J-45
Strings and Picks
Elixir Nanoweb strings (.013 sets)
D’Addario EJ17 sets
Wegen TF 120 picks
BlueChip picks
How would you describe the essence of bluegrass rhythm guitar?
If you want to play bluegrass guitar, it’s definitely a specific thing. It’s a specific sound that takes a lot of the rhythmic role in the band. You’re kind of playing the kick drum and snare, with the bass notes in the strumming, so the rhythm guitar takes on a lot of responsibilities within a bluegrass band. Everybody does it a little bit different, and everybody holds the pick a little bit different, but it’s basically about keeping a really loose wrist, with your wrist pointed out so that your hand swivels, instead of just moving up and down.
It’s kind of a whip-like motion, and when I give lessons I always get people to do that first without playing. It’s like shaking your hand out like it hurts [laughs]. Once you get it, it all makes sense, so it’s always fun to show someone how to do. All of a sudden you see the light goes on, and they’re doing it, and it sounds different. It sounds like bluegrass rhythm guitar.
You mentioned the tone of the J-45, and of course the strings play into that. What’s your preferred brand—and does it matter whether they’re new or have some mileage on them?
I generally use Elixir Nanoweb .013s, but sometimes I like the regular orange pack of D’Addarios [EJ17 sets]. I don’t like strings that sound new. When I’m recording, I like to have them broken in, and when I change strings it’s just because I break one. There are exceptions, though: We were doing promos the other day and I had the same set of strings on all week, and they were nice and worn in, but I had to change them for live radio. But the Elixirs don’t tend to be as bright as other strings.
What about picks?
I really like the triangular Wegen TF 120. They never wear down and they’re not scratchy—very dependable picks. BlueChips are great, too.
You also use a capo sometimes, right?
Yeah, that’s mostly just for where I want the open notes and chord voicings to be. In “21st of May,” that’s just where the melody happens to lie, with the capo on the second fret. I wanted the third to be on top, so by playing it in the C position, the open E rings out. I definitely mess around with capo positions, especially when I’m playing with other guitar players. I like to do something opposite of what they’re doing, so if someone is playing in open G, I’ll capo on the fifth fret and play it out of the D position, and try to get some different voices that are complementary. It’s a great tool.
Do you ever use open tunings?
Sometimes I’ll use dropped-D, but I haven’t messed around with it that much. DADGAD is always fun, too. I do that on a few of the older songs with Nickel Creek.
We hear you have your own solo record coming out in June.
Yeah. It seemed like I should wait until the first wave of Nickel Creek stuff happened. I recorded it in different places—some of it on the road with Jackson Browne. He likes to take days off just to help his voice, so there was a studio in Ann Arbor, Michigan, and another one in Iowa—Cedar Rapids, I think—where we went in with Jackson, a drummer, and a bass player. I did some more of it at a beach house in San Diego that I took over for a week or so, and then some at my house here in L.A. One song I did mostly in a hotel room. I haven’t really wanted to make a solo record for a while, but I had these songs that I thought could stand on their own if I was just playing solo. So I started there, and then I added instruments and extra voices. It’s much more of an acoustic bass record, with drums on maybe less than half of it, but it’s also more acoustic guitar oriented than my records have been in the past. There are more solos, and I really took time to get the tones that I wanted.
I guess we met maybe 10 years ago. I think we were on the same bill at a place called the Lobero Theatre in Santa Barbara, and we got to know him over the next year or so. Sara and I have a residency at Largo in L.A., and I remember he came down to one of our shows and we started hanging out and playing. He’s been playing with us since then for years, and he’s taken Sara and me out on the road with him a couple of times. He’s a hero, so whenever we get to play with him, it’s just a great experience.
YouTube It
Bluegrass trio Nickel Creek—Chris Thile on mandolin, Sara Watkins on fiddle, and Sean Watkins on acoustic guitar—performs “Destination” from their new album.
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