Bandleader Adam Granduciel on how single-coils, the Dead’s Wall of Sound, and cascades of chorus build his live tones. Plus, bassist David Hartley gets weird, wild, and wonky.
For nearly two decades and across five albums, The War on Drugs’ founder and frontman Adam Granduciel has narrated our complex modern lives while his band has scored our dreams.
The captivating moods of their music, much like us, morph from dense melancholy to saturated, swirling madness and everywhere in between. Granduciel often layers his Springsteen-meets-Young proletariat prose atop a post-rock soundscape, but the heartbeat of their impressive, expansive live shows is their gear and how it is implemented.
“I could play the whole tour with two or maybe three guitars—a White Falcon, Strat, and maybe a Jazzmaster—but I bring all these out just for fun,” he says with a laugh as he considers his trove of axes.
So, let’s have some fun already! Before a full evening of The War on Drugs’ jams in support of 2021’s I Don’t Live Here Anymore, PG was invited to Nashville’s historic Ryman Auditorium. We covered Granduciel’s growing guitar collection, got the skinny on how Jerry Garcia’s monstrous setup played into the bandleader’s theatre rig, and we took in a cockpit view of his stompbox squadron full of tone ticklers, sizzlers, and wigglers. In addition, bassist David Hartley showed off a trio of Ps, an armada of Ampegs, and demo’d a fuzz that has ended his quest for razing tones.
Brought to you by D’Addario XPND Pedalboard.
Keeping It in the Family
If you’re a fan of Rig Rundowns or Kurt Vile & the Violators, you’ve already seen this Strat. The above Fender American Vintage ’57 reissue was once owned by Jesse Trbovich, who’s flanked Vile for years. Trbovich landed a true-blue ’70s Olympic white Strat and needed to unload this to make room. Granduciel quickly raised his hand as a landing spot because he really enjoyed how comfortably the neck played. And since bonding with it, he likes its low-output single-coils because he can “juice it with pedals.” (It’s worth noting that Trbovich put in a Seymour Duncan Antiquity II Strat Surfer Series in the middle position, allowing him to have hum-canceling operation in the second and fourth position.) All of Granduciel’s electrics take Ernie Ball 2220 Power Slinkys (.011–.048).
It’s the One
“When this thing is in my hands, I can react with it, and it becomes this whole other animal. It can be unwieldy, but this guitar plugged into a cranked Princeton or small tweed sounds incredible,” allows Granduciel. So, as you can imagine, this 1969 Gibson SG is Adam’s right-hand when it comes to recording, but, as he explains later in the video, it doesn’t coexist pleasantly with his live setup. He scooped this gem at Rivington Guitars in New York City.
Story Time
This SG’s headstock has a library of tales it is sitting on.
Flip a Coin
Granduciel had lusted after this vintage offset for weeks when seeing it listed on Reverb by Chelsea Guitars. The listing was removed and he thought that it was gone forever. A few months later, he was in NYC and decided to stop into the shop and, low and behold, the sunburst Jazzmaster was on their bench in pieces. Apparently, the original buyer from the Reverb listing was after a birth-year model (1964, as listed on the Reverb page), but when he removed the neck its pocket revealed a 1963 date. He traded in the guitar for a proper ’64 and, fatefully, Granduciel didn’t let a second pass before offering to buy it. Alongside the SG, this is another heavy hitter for recording.
Down Under with Terry
During a 2018 tour of Australia, Granduciel scored this 1966 Fender Jazzmaster that looks swanky with a matching black headstock. He claims the rhythm circuit in this one “sounds killer,” while the lead circuit is “super bright and used on ‘Occasional Rain.’” In addition to being a remarkable instrument, he loves that it reminds him of a short span of time that included a wonderful tour of Down Under, earning a Grammy for Best Rock Album, and the Philadelphia Eagles winning the Super Bowl.
Checked Past
Cracks aren’t meant to be beautiful, especially on guitars, but looking at the ’66’s backside reveals a twisted thumbprint.
Fly, Firebird Fly
This 1965 non-reverse Firebird was upgraded by its previous owner with a set of Lollar P-90s. If you recall the last Rundown with TWOD, Granduciel added a Bigsby, but that has since been removed.
Ol’ Reliable
This Fender American Vintage ’65 Jazzmaster has been a dependable dynamo for Adam. He prefers it because he knows what he’s going to get sonically and he can throw it around without worry. The newer pickups offer a snarlier tone, so it gets used for songs like “Pain,” and the top-end sear helps him cut through the seven-piece live band.
Hummingbird Season
This new-ish Gibson Hummingbird gets busted out for C# tunes and features a LR Baggs M1 soundhole pickup.
Bastion of Tone
Not quite the famed Wall of Sound procured by the Dead and audio engineer Owsley “Bear” Stanley, but Granduciel’s evolving setup is heading in that direction.
Alembic Ace
Since our last Rundown, Adam has ditched the Hiwatts (although he admits to enjoying that era of TWOD) for the Alembic F-2B Stereo Preamp that was used by Jerry Garcia and David Gilmour. He describes its circuity as mimicking the front end of a Fender Dual Showman. “There’s just so much clean headroom and they’re so creamy. And I don’t know what it is, but single-coils and P-90s just come to life here in a way that other amps don’t, so maybe that’s why Jerry and David used them so much.” The Mesa/Boogie Stereo Simul-Class 295 powers the Alembic. He does run a direct line signal from the F-2B to FOH for a clean DI option.
Take a Guess
In the video, Granduciel challenged me to guess how many speakers are in the oversized cab, and I said four. Seemed logical but, as he quickly pointed out, the Marshall 2041 Lead Organ has only a pair of Celestion (pre-rola) 12" speakers. The Alembic runs through this pillar of power.
Fender Firepower
The other side of Adam’s grand equation is a 1960s Fender Bandmaster head that hits a Marshall 1960BV 4x12.
The Swart Solution
As we alluded earlier, his beloved 1969 SG doesn’t jive with his Alembic-Fender setup, so he incorporates its humbuckers into his live rig by plugging into the 5W Swart STR-Tremolo. The SG and Swart typically dance for “Thinking of a Place,” but Granduciel admits to kicking it on with the Fenders during the heat of battle and treating it like a tremolo pedal for parts of “Pressure” and other jams. To the right of the Swart you’ll notice a pair of Rockman Tom Scholz (yeah, the Boston legend) Power Soak attenuators throttling the Alembic and Fender.
Keeping Time in the Loop
The band uses this AKAI Professional MPC Live II for additional drum machines for the show.
User Input
They are harnessed by four Boss FV-500L Foot Volume Pedals controlled by Adam that allow him to bring the samples into the room mix. Additionally, the band syncs their modulation to it, so everyone is locked in. (The MPC clocks or syncs the pulsing of the tremolo for the band. Adam uses a Lightfoot Labs Goatkeeper 2, while bassist David Hartley uses a Malekko Goatkeeper.)
Horseshoe of Madness
Here’s a crow’s-nest view of Adam Granduciel’s massive pedal playground.
Bradshaw’s Boardroom
Most of what Adam does with his feet is simplified by this Custom Audio Electronics R-ST 24 + 2x PSS MIDI controller.
The Fun Begins
Here’s one of the sections of Granduciel’s expanding pedalboard that includes a Wren and Cuff Tri Pie 70, a MXR/Custom Audio Electronics Boost/Line Driver, an Ernie Ball Expression Tremolo, anElectro-Harmonix 1440 Stereo Looper, a Lightfoot Labs Goatkeeper 2, a Strymon TimeLine, a Boss DC-3 Digital Dimension, and a Morley ABC Pro (for switching amps). A Boss TU-3s Chromatic Tuner keeps his guitars in check.
To the Moon, Adam, to the Moon!
Here’s the meat and potatoes of Granduciel’s spreading stomp setup: (top left) a Boss FT-2 Dynamic Filter, another MXR/Custom Audio Electronics Boost/Line Driver, DigiTech Hardwire RV-7 Stereo Reverb, ADA Flanger, JHS Bun Runner, J. Rockett Audio Designs Archer, MXR Flanger, Moutainking Electronics Loud Box, Crowther Audio Prunes & Custard, a Fulltone OCD, and a trifecta of Eventides that rest on the right side—a Space, TimeFactor, and H9. Everything gets current by either a MXR Custom Audio Electronics MC403 Power System or the Eventide PowerMax.
Clovis the Rough Rider
At first glance, you’d probably mistake this for a ’60s or ’70s Fender P, but as bassist David Hartley attests, this is a 2002 Fender Precision named Clovis that he acquired brand new almost two decades ago. Part of Clovis’ charm for Hartley is that it’s the lightest P he’s ever held, making their “Evening With” shows a little easier on the back. It’s stock aside from him swapping out the standard anodized gold pickguard for the tortoiseshell. He uses La Bella 760FS Deep Talkin’ Bass Flats (.045–.105).
Jam Like Jamerson
Another 4-string that does a lot of heavy lifting for Hartley is this 1983 Fender Fullerton ’62 Reissue Precision Bass. While this one isn’t as light as the previous P, he does love how much it sustains.
Find the Note
And occasionally you’ll see Hartley put down all the guardrails and dance with this Fender Tony Franklin Fretless Precision Bass. The connection with this one came through when he heard how much vocal tonality it has. It’s a highly expressive instrument.
Ampeg Assault
The Ps come to life thanks to this boulder of bass tone: a pair of Ampeg Heritage 50th Anniversary SVT amps that hit an Ampeg Heritage SVT-810AV. The SVT on the left is a backup and Hartley plugs into the normal channels.
Simple but Not
Prior to this run, Hartley toyed with the idea of just plugging his Ps into a DI and his Ampeg. Clearly, that plan changed and he’s probably having more fun because of it. His stomp station contains a pair of Boss GE-7 Equalizers (one to help Clovis pop a bit more and the other helps brighten up the ambient drone of the Gamechanger), an Eventide H9, a Gamechanger Audio Plus Sustain Pedal, a Mountainking Electronics Megalith, a Malekko Goatkeeper, a Keeley Super Mod Workstation, and a MXR Phase 90. A Boss TU-3 Chromatic Tuner keeps his Ps sounding right.
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The new Mark IIC+ 1x12 Combo and Head are authentic recreations of Mesa Boogie's original models.
The new MESA/Boogie Mark IIC+ in head and 1x12 combo formats isavailable worldwide at authorized MESA/Boogie dealers, and on www.mesaboogie.com.
The Mark IIC+ is pure “Vintage Boogie” and based on the original Mark II (now called the MarkII-A) design, the world’s first “Dual Mode” amplifier containing independent performance modes dedicated to clean and overdrive sounds. The IIC+ model represents the 3rd generation of that game-changing single channel/dual mode layout and includes all the refinements made to that
original format over its nearly five influential years. It was also the last model in its family, as the subsequent model would contain three performance modes and be dubbed the MARK III.
The IIC+’s single row of controls is shared by its two modes (preamps), one for Rhythm(clean) and one for Lead (overdrive). Independent, though still interactive, sets of gain and volume controls help optimize each gain structure while shared Tone controls handle the broad stroke voicing. Fine-tuning of the sounds is accomplished by the PULL SHIFT voicing features – some Mode specific – fitted to the simple controls and further shaping via the on-board 5-Band Graphic EQ.Though the “Q” of the individual Bands (Slider Pot frequencies) is fairly wide around their CenterPoints, they provide a surprising degree of surgical-level sculpting quickly and musically.
The Rear Panel of the C+ provides the important features that keep this amp as relevant as ever 40 years after its initial run. Global PRESENCE and REVERB controls are centered foreasy navigation from the Front in stage environments. A series, tube buffered Effects Loop provides a seamless interface for your time-based processing. The Power Select switch at the far right (left from the Front) allows for your choice of the full 75 watts of “SIMUL-CLASS” power for richness, authority, and max headroom or “CLASS A” for 25 watts of reduced power and low end along with easier, smoother power clip at lower volumes. One 8Ohm and two 4 OhmSpeaker Outputs provide for a wide array of cabinet impedance matching. And though not a compensated Direct Output for Consoles or Interfaces, a SLAVE tap off the speaker outputs captures the entire sound of the amp – preamp and power section – to produce a non-compensated feed for IRReaders or external processors that might even serve an era-appropriate “dry/wet/wet” rig.
Out of production for four decades, we welcome back this icon and celebrate its impact on the incredible guitar heroes and timeless recordings they made during one of rock guitar’s biggest decades. The Mark IIC+ legacy is one we don’t take lightly or for granted and recreating it in today’s world with today’s available components and rigorous worldwide Compliance Regulations was no easy feat. However, we are just as proud and excited about this iteration as we were about the first one that was produced for less than two years, four decades ago.
Gibson Band Featuring Slash, Duff McKagan, and Cesar Gueikian Announce Benefit Single
100% of "I Can Breathe" song proceeds to benefit the National Alliance on Mental Illness, NAMI.
On Giving Tuesday, Gibson announces a new release from the Gibson Band--a revolving collective of musicians who join together to make music and raise funds and awareness for worthy causes.. A hard-hitting rock song, the new benefit single “I Can Breathe” features rhythm guitars and piano from Cesar Gueikian, CEO of Gibson, with special guests Duff McKagan on lead vocals and lyrics, and Slash on lead guitar and solos. 100% of the proceeds from the sale of the song “I Can Breathe” will benefit the National Alliance on Mental Illness (NAMI), through Gibson Gives. NAMI is the nation’s largest grassroots mental health resource organization that is dedicated to building better lives for the millions of Americans affected by mental illness.
On “I Can Breathe” Duff McKagan crafted the lyrics and is featured on lead vocals, Cesar Gueikian wrote the music and played rhythm guitar and piano, and Slash wrote and played thelead guitar and solos, while Jota Morelli (drums), and Seta Von Gravessen (bass) rounded outthe group in the studio. The music was recorded by Cesar at La Roca Power Studio in BuenosAires, Argentina, vocals were recorded by Duff at the Sound Factory in Los Angeles and leadguitars and solos by Slash in Los Angeles. The track was produced by Cesar Gueikian and JorgeRodriguez with collaboration from Pablo Toubes and Francisco Trillini, and mixed and masteredby Greg Gordon. A special thanks goes to Gonzalo Riviera Villatte, Gina Furia, and guitar techLisardo Alvarez for all his work at La Roca Power Studio.
Gibson Records, Duff McKagan, Slash, and Cesar Gueikian, will donate 100% proceeds from thesale of “I Can Breathe,” in addition to all auction funds raised to the National Alliance on MentalIllness (NAMI), through Gibson Gives. NAMI is the nation’s largest grassroots mental healthresource organization that is dedicated to building better lives for the millions of Americans affectedby mental illness. NAMI’s mission is to create a world where all people affected by mentalillness live healthy, fulfilling lives supported by a community that cares.
“It was such a pleasure to work with Cesar and his whole crew on this tune,” says Duff McKagan.“The musical slant and progressive rock-ness of this huge epic pushed me in a whole new direction. Ilove a challenge and Cesar killed it! Most importantly, to be of service for mental health issues andawareness is super important to me at this time. Let’s rock!”
“Cesar and Duff came to me with a really cool piece of music,” adds Slash. “I loved the riff idea, andDuff's vocal, so I felt right at home on the track.”
“Guns N’ Roses had a profound influence on me and my guitar playing, so having the opportunity towrite and record this song with Slash and Duff is a dream come true, and it’s an honor to call themfriends and partners,” says Cesar Gueikian, CEO of Gibson. “’I Can Breathe’ started as aninstrumental track I recorded at La Roca Power Studio in Buenos Aires. Upon listening to the mix thatGreg Gordon put together, Jenny Marsh (Global Director of Cultural Influence at Gibson) suggestedDuff as lyricist and vocalist. Guns N’ Roses had just come off touring when I shared the song withDuff, he loved it and quickly wrote the lyrics and cut the vocals at the Sound Factory in Los Angeles.Having Duff on vocals made the next step obvious, which was asking Slash if he would collaboratewith lead guitars and solos. Both Duff and Slash transformed the track from a collection of riffs to agreat song! While Greg Gordon’s mixing and creativity tied it all together. I am grateful for thecollaboration from Slash, Duff and Greg, and from my friend Serj Tankian’s participation with coverartwork. I’m thrilled we are donating all proceeds from the song to a great and relevant cause.”
Here’s the doubleneck dream realized, even if it weighs 9 pounds, 5 ounces.
Taking a Squier Affinity Stratocaster and Mini Precision Bass, one reader created a super-versatile instrument for looping that he can pick, pluck, tap, and slap.
I've been using a multitrack looper with a guitar and an octave pedal, which was okay for simple bass parts, but didn’t give me thick strings and I couldn’t slap with it. So I decided to build a double-neck prototype specifically for looping, with a 6-string guitar and a 4-string bass.
Since building the necks would be the hardest part, I looked around for instruments with bolt-on necks I could reuse. Squier makes an Affinity Stratocaster and a Mini Precision Bass which were affordable and had matching fretboards, so I bought those. It was also cheaper to reuse the electronics and hardware that came with them, rather than buying everything separately.
Using two precut instrument bodies saved the burden of having to route cavities for the electronics.
My plan was to design my own body from scratch. As I debated which neck should go on top, how far apart they should be, and whether to line up the nuts or the saddles, I realized there was actually enough wood there to make a double neck body, which saved me the work of recreating the neck pockets, etc. Putting the guitar on top made barre chords much more comfortable, and the 28.6" bass scale meant I could still reach the first fret easily.
After stripping the paint with a heat gun, I ran both bodies through a table saw, glued them together, and thinned them to 1 3/8". Then I created an offset body shape, a new arm bevel, and reshaped the three cutaways. The pickguards are both original, with the guitar side cut down to make a yin and yang shape. The controls are volume and tone for each neck, using the original knobs. I moved the jack to the back and upgraded it to stereo so the guitar and bass signals can run through separate effects chains.
Note the location of the jack on the back of the extended-shape body. It’s unconventional but practical.
My top concerns were weight and ergonomics. Many doublenecks are around 12 to 13 pounds and 18" wide. I knew I would never play something that big, no matter how good it sounded. To that end, I saved weight everywhere and tracked everything to the gram in a spreadsheet. (That’s also the reason I chose a fixed bridge instead of a vibrato.) I ultimately used a wipe-on gel stain to keep the weight down further. Stripping the paint from the factory saved 5 ounces! The final playable weight is 9 pounds, 5 ounces, and 15 1/4" wide at the lower bout. This has been pretty manageable, however, there is some neck dive because of the tuners. I’m taking everything I’ve learned from this prototype and designing a new doubleneck, which will be headless. I believe I can shed another pound and eliminate the neck dive that way. You can watch my entire build on YouTube.
Twenty-seven-time Grammy winner Alison Krauss reveals new tour featuring Jerry Douglas. Their first tour together in a decade next year.
The Arcadia 2025 Tour will see the acclaimed group playing 73 dates across the United States and Canada in 2025. They are also set to release new music next year.
Krauss has also announced that legendary vocalist and guitarist Russell Moore has joined the ranks of Union Station. Best known as the frontman for chart-topping group IIIrd Tyme Out, Moore is the most awarded male vocalist in the history of the International Bluegrass Music Association (IBMA), with six total wins, and has guided his group to more than 50 industry honors including seven IBMA Vocal Group of the Year titles. He joins longtime Union Station members - Ron Block (banjo, guitar, vocals), Barry Bales (bass, vocals) and newly inducted Bluegrass Hall of Fame member Jerry Douglas (Dobro, lap steel, vocals).
“I’m so grateful to get to make music again with my comrades of 40 years,” says Alison Krauss. “They’ve always accomplished incredible work individually and have been constantly traveling because of it. We’re very inspired to experience this new exciting chapter in the band’s history.”
"To say I'm excited about recording and touring with Alison Krauss & Union Station would be a huge understatement,” adds Russell Moore. “After 40 years of playing music full-time and leading my own group for 34 years, this opportunity is among the few things at the top of the list that my music career has offered me. My hopes and desires are to fill this spot in AKUS with the same professionalism, precision, and thoughtfulness as other members who have held this position before me, and I'm looking forward to the 'ride’!”
The 73-date tour, which features special guest Willie Watson, kicks off on Thursday, April 17th in Louisville, KY and includes iconic venues like Red Rocks Amphitheatre (Morris, CO), the Greek Theatre (Los Angeles, CA), the Beacon Theatre (New York, NY), and more. Tickets will go on sale to the general public on Friday, December 6th, with presales available from Wednesday, December 4th at 10AM local through Thursday, December 5th at 10PM local.
Next year, fans can expect to hear new music from AKUS for the first time since the band’s 2011 masterpiece Paper Airplane, an album hailed as “shining, dramatic, and beautiful” by NPR Music, which debuted at #1 on the Billboard Country, Bluegrass, and Folk Album charts.
Website: alisonkrauss.com.
Upcoming Tour Dates:
Thursday, April 17, 2025 | The Louisville Palace | Louisville, KY*
Friday, April 18, 2025 | The Louisville Palace | Louisville, KY*
Saturday, April 19, 2025 | Mershon Auditorium | Columbus, OH*
Friday, April 25, 2025 | Cadence Bank Amphitheatre at Chastain Park | Atlanta, GA
Saturday, April 26, 2025 | Live Oak Bank Pavilion | Wilmington, NC
Sunday, April 27, 2025 | Koka Booth Amphitheatre | Cary, NC
Tuesday, April 29, 2025 | Bell Auditorium | Augusta, GA
Wednesday, April 30, 2025 | The Adderley Amphitheater | Tallahassee, FL
Friday, May 2, 2025 | The Wharf Amphitheater | Orange Beach, AL
Saturday, May 3, 2025 | Brandon Amphitheater | Brandon, MS
Sunday, May 4, 2025 | BJCC Concert Hall | Birmingham, AL
Tuesday, May 6, 2025 | Orpheum Theatre | Memphis, TN
Monday, May 12, 2025 | First Security Amphitheater | Little Rock, AR
Tuesday, May 13, 2025 | The Criterion | Oklahoma City, OK
Thursday, May 15, 2025 | Saint Louis Music Park | Maryland Heights, MO
Friday, May 16, 2025 | Walmart AMP | Rogers, AR
Saturday, May 17, 2025 | Starlight Theatre | Kansas City, MO
Thursday, May 29, 2025 | Smart Financial Centre | Sugar Land, TX
Friday, May 30, 2025 | Whitewater Amphitheater | New Braunfels, TX
Saturday, May 31, 2025 | The Pavilion at Toyota Music Factory | Irving, TX
Tuesday, June 3, 2025 | PNC Pavilion | Cincinnati, OH
Wednesday, June 4, 2025 | Devon Lakeshore Amphitheater | Decatur, IL
Friday, June 6, 2025 | BMO Pavilion | Milwaukee, WI
Saturday, June 7, 2025 | The Chicago Theatre | Chicago, IL
Sunday, June 8, 2025 | The Ledge | Waite Park, MN
Tuesday, June 10, 2025 | Vetter Stone Amphitheater | Mankato, MN
Wednesday, June 11, 2025 | Bayfront Festival Park | Duluth, MN
Friday, June 13, 2025 | McGrath Amphitheatre | Cedar Rapids, IA
Saturday, June 14, 2025 | Denny Sanford Premier Center | Sioux Falls, SD
Sunday, June 15, 2025 | The Astro Amphitheater | Omaha, NE
Monday, June 16, 2025 | Hartman Arena | Park City, KS
Wednesday, June 18, 2025 | Red Rocks Amphitheatre | Morrison, CO
Friday, June 20, 2025 | Dillon Amphitheater | Dillon, CO
Saturday, June 21, 2025 | Kit Carson Park | Taos, NM
Friday, July 11, 2025 | Arizona Financial Theatre | Phoenix, AZ
Saturday, July 12, 2025 | The Rady Shell at Jacobs Park | San Diego, CA
Sunday, July 13, 2025 | Greek Theatre | Los Angeles, CA
Tuesday, July 15, 2025 | Santa Barbara Bowl | Santa Barbara, CA
Wednesday, July 16, 2025 | The Mountain Winery | Saratoga, CA
Friday, July 18, 2025 | Grand Theatre | Reno, NV
Saturday, July 19, 2025 | Redding Civic Auditorium | Redding, CA
Sunday, July 20, 2025 | Edgefield Amphitheater | Troutdale, OR
Tuesday, July 22, 2025 | Wine Country Amphitheater | Walla Walla, WA
Wednesday, July 23, 2025 | Outlaw Field at the Idaho Botanical Garden | Boise, ID
Saturday, July 26, 2025 | Theatre at the Brick | Bozeman, MT
Sunday, July 27, 2025 | BECU Live at Northern Quest | Airway Heights, WA
Tuesday, July 29, 2025 | Grey Eagle Resort & Casino | Calgary, AB
Thursday, July 31, 2025 | TCU Place | Saskatoon, SK
Friday, August 1, 2025 | Centennial Concert Hall | Winnipeg, MB
Tuesday, August 19, 2025 | Massey Hall | Toronto, ON
Thursday, August 21, 2025 | Everwise Amphitheater at White River State Park | Indianapolis, IN
Friday, August 22, 2025 | Ascend Amphitheater | Nashville, TN
Saturday, August 23, 2025 | The Tennessee Theatre | Knoxville, TN
Sunday, August 24, 2025 | The Tennessee Theatre | Knoxville, TN
Tuesday, August 26, 2025 | Soldiers and Sailors Memorial Auditorium | Chattanooga, TN
Thursday, August 28, 2025 | The Dome | Virginia Beach, VA
Friday, August 29, 2025 | Allianz Amphitheater at Riverfront | Richmond, VA
Saturday, August 30, 2025 | Earl Scruggs Music Festival | Mill Spring, NC +
Saturday, September 6, 2025 | Michigan Lottery Amphitheatre | Sterling Heights, MI
Sunday, September 7, 2025 | Jacobs Pavilion | Cleveland, OH
Tuesday, September 9, 2025 | Wolf Trap | Vienna, VA++
Wednesday, September 10, 2025 | The Met Philadelphia presented by Highmark | Philadelphia, PA
Friday, September 12, 2025 | Beacon Theatre | New York, NY
Tuesday, September 16, 2025 | Veterans Memorial Auditorium | Providence, RI
Wednesday, September 17, 2025 | Leader Bank Pavilion | Boston, MA
Friday, September 19, 2025 | BankNH Pavilion | Gilford, NH
Saturday, September 20, 2025 | The Green at Shelburne Museum | Shelburne, VT
Sunday, September 21, 2025 | Artpark Mainstage Theater | Lewiston, NY
Tuesday, September 23, 2025 | Salem Civic Center | Salem, VA
Wednesday, September 24, 2025 | Credit One Stadium | Charleston, SC
Friday, September 26, 2025 | The Saint Augustine Amphitheatre | St. Augustine, FL
Saturday, September 27, 2025 | The BayCare Sound | Clearwater, FL
Sunday, September 28, 2025 | Hard Rock Live | Hollywood, FL
*denotes Special Guest TBD, all other dates featuring Special Guest Willie Watson
+denotes tickets already on sale on the festival website
++denotes artist pre-sale happening February 11, 2025 followed by public on-sale