Jedd tells us how his dream came true and how he first started playing with Vince. We dig deep into how everybody’s favorite country guitarist raises the bar every time he picks up the guitar, how he gets his amazing clean tone, and we take time to appreciate all aspects of his solos—including how he builds them and how he plays such clean bends. As for why his concerts are so long? “He loves to play.”
In our current listening segment, we’re covering the Black Crowes and Jimmy Page’s Live at the Greek box set and a live recording from Burlington, Vermont’s Breathwork.
This episode is sponsored by EMG Pickups.
Michael Trent and Cary Ann Hearst have been making music as Shovels & Rope since 2008. The husband-and-wife duo from South Carolina specialize in rootsy, bluesy rock, Americana, and alt-country, but they don’t confine themselves to traditional two-piece arrangements. They switch off on vocal, guitar, percussion, and synth duty throughout their shows, orchestrating a full-band ruckus with all available limbs.
Their seventh full-length, Something Is Working Up Above My Head, released in September last year, and while touring in support of it, they stopped at Nashville’s Brooklyn Bowl in late February. PG’s John Bohlinger caught up with Trent before the gig to see what tools he and Hearst use to maintain their musical juggling act.
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Trent’s not a guitar snob: Generally speaking, he plays whatever he can get his hands on. While playing Eddie Vedder’s Ohana Fest, someone loaned him this Gretsch Black Falcon, and he fell in love with it. He likes its size compared to the broader White Falcon. It’s also the band’s only electric, so if it goes down, it’s back to acoustic. Hearst takes turns on it, too.
Trent loads the heaviest strings he can onto it, which is a set of .013s. It lives in standard tuning.
Ol' Faithful
As Trent explains, he and Hearst have done some DIY decorating on this beautiful Gibson J-45—it’s adorned with sweat droplets, stains, and fingernail dust. It runs direct to the venue’s front-of-house system with an LR Baggs pickup. This one is strung with Martin heavy or medium gauge strings; lighter ones are too prone to snapping under Trent’s heavy picking hand (which holds a Dunlop Max-Grip .88 mm pick). And it rolls around in an Enki tour case.
On Call
These second-stringers—a Loar archtop and an LR Baggs-equipped Recording King—are on hand in case of broken strings or other malfunctions.
Need for Tweed
Trent doesn’t trust amps with too many knobs, so this tweed Fender Blues Junior does the trick. It can get fairly loud, so there’s a Universal Audio OX Amp Top Box on hand to tame it for some stages.
Shovels & Rope's Pedalboard
Because Trent and Hearst trade off bass, guitar, keys, and percussion duties, all four of their limbs are active through the set. Whoever is on guitars works this board, with an MXR Blue Box, Electro-Harmonix Nano Big Muff, EarthQuaker Devices Hummingbird, and Boss OC-5, plus a pair of Walrus Canvas Tuners for the electric and acoustic. Utility boxes on the board include a Walrus Canvas Passive Re-Amp, Radial J48, Livewire ABY1, and a Mesa Stowaway input buffer.
A Roland PK-5 MIDI controller, operated by foot, sits on the lower edge of the board. It controls the board for “Thing 2,” one of two MicroKORG synths onstage.
Thing 1 and Thing 2
There’s no one backstage helping Hearst and Trent cook up all their racket; they handle every sound themselves, manually. During the first few sets of a tour, you’re liable to see some headaches, like forgetting to switch synth patches during a song, but eventually they hit a rhythm.
Affectionately given Seuss-ian nicknames, this pair of microKORGs handles bass notes through the set, among other things, via the foot-controlled PK5. “Thing 1” is set up at the drum station, and runs through a board with an EHX Nano Big Muff, EHX Bass9, EHX Nano Holy Grail, and a Radial Pro DI. A Walrus Aetos keeps them all powered up.
The board for “Thing 2,” beside the guitar amps, includes an EHX Mel9 and Bass9 powered by a Truetone 1 SPOT Pro, plus a Radial ProD2.
