Guitar Girl Magazine Issue 16 - June 2021 - Acoustic Amplified!

Guitar Girl MAGAZINE guitargirlmag.com Summer 2021 Issue 16 | $14.50

acoustic amplified!

featuring nikki stringfield center spread

i h t n a i r O

Luna Guild Taylor Martin Fender Córdoba

Tenille Arts | Valerie June | Ann Mincieli | Carly Pearce | Natalia Lugo | Laura Oltman Kathy Wingert | Maggie Noelle | Jessica Manalo | Tenille Townes | Naomi Wachira Yasmin Williams | Muriel Anderson | Sherry Rayn Barnett | The Highway Women

Guitar Girl MAGAZINE guitargirlmag.com Summer 2021 Issue 16 | $14.50

ACOUSTIC AMPLIFIED! featuring nikki stringfield center spread Orianthi Tenille Arts Ann Mincieli natalia lugo Carly Pearce Laura Oltman Maggie Noelle naomi wachira kathy wingert Jessica Manalo Tenille Townes Yasmin Williams Muriel Anderson The Highway Women Sherry Rayn Barnett Martin | Luna | Fender | Taylor | Córdoba | Guild

Guitar Girl MAGAZINE guitargirlmag.com Issue 16 | $14.50

acoustic amplified!

Carly

Encourage. Inspire. Empower.

L I F E S PA N® 2 .0 S T R I N G S

Doesn’t your guitar deserve to sound its best? Martin Authentic Acoustic strings make any acoustic guitar sound better. Each string is made with our impeccable standards for acoustic guitar tone. That’s why we make our own. Find the strings that will bring out the best in your guitar at martinguitar.com/aa.

© 2021 PRS Guitars / Photo by Marc Quigley

HIGH-GAIN HERO The PRS Archon is an assertive two-channel amplifier with versatile lead and remarkable clean channels. Powered by two 6CA7 power tubes, this amp is smooth up top with tight low end. F eaturing excellent tone sculpting front panel controls, the Archon has everything you need to dial in your signature sound. Command your tone with the PRS Archon 50.

GOOD TO GO WHEN EVER WHERE VER •

A passion for playing means that inspiration can strike anytime, anywhere.

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GORE, Together, improving life, ELIXIR, NANOWEB, POLYWEB, OPTIWEB, GREAT TONE • LONG LIFE, “e” icon, and designs are trademarks of W. L. Gore & Associates. ©2009-2021 W. L. Gore & Associates, Inc.

TARA Talk Here at Guitar Girl Magazine , we have always been intrigued by the beauty and tone of the acoustic guitar and the Women who play them. So, for this issue, we’re highlighting the iconic guitar manufacturer C.F. Martin & Co., delving into Paul Reed Smith’s acoustic guitar line, and checking out Luna Guitars and some of their unique designs.

Encourage. Inspire. Empower.

GUITARGIRLMAG.COM ISSUE 16 | Summer 2021 Founder/Editor:

Tara Low

Contributors:

Alexx Calise Gabbi Calvert Kathryn Cloward Bri Foxx Leigh Fuge Cece Gair Guitar Gabby Kate Koenig Vanessa Izabella Lynna Della Lucé Nikki O’Neill Caroline Paone Victoria Shaffer Alex Windsor

Kirk Stauffer Jack Lue

Cover Photos:

Valerie June - Photo by Renata Raksha Orianthi - Photo by Gibson Brands Carly Pearce - Photo by A. Campbell

Magazine Design:

Jayden Designs

When it comes to learning more about the women that play acoustic instruments, we chatted with musicians across various genres about their instruments and how they make them sing!

First up are our cover artists Orianthi, Valerie June, and Carly Pearce.

Orianthi has a gorgeous new signature guitar with Gibson Guitars, and she fills us in on the details. Valerie June recently released a new album and talked about her vision and inspiration for her music, and country artist Carly Pearce talks about her music and her favorite guitars.

It’s always a pleasure to meet and learn about new artists. We were introduced to Yasmin Williams and her unique guitar playing style and Breedlove artist Jessica Manalo on her Magic Monday music series. We also caught up with Luna artist Natalia Lugo from Puerto Rico, where we learned about what inspired her to learn guitar, and Naomi Wachira fills us in on living her musical truth.

One of our favorite guitarists (who we have featured previously) is guitar virtuoso Muriel Anderson checking in on what she’s been up to during the pandemic. Classical guitarist Laura Oltman talks about what inspired her to begin playing guitar and her duo, the Newman & Oltman Guitar Duo. Next, we chatted with country artist Tenille Townes and the Nashville-based band, The Highway Women. For our Tone Talk column, Tenille Arts and Maggie Noelle filled us in on their definition of tone, gear, and more.

We also like to introduce our readers to women in the music industry. In this issue, luthier Kathy Wingert enlightened us on her background and talked about some of her signature guitars. The talented engineer Ann Mincieli has worked with Alicia Keys and other great musicians, and she also plays guitar.

Oh, and of course, we have gear reviews! We checked out the Fender Acoustasonic Jazzmaster along with the Fender Acoustic Junior GO Amplifier. Fender’s new Mustang Micro Guitar Headphone Amp is a fun little gadget to add to your arsenal. Other guitars we got our hands on to review are the Taylor GT 811e, Córdoba Fusion 5, Guild BT240E, Martin DJR-10E, and Luna’s new Gypsy Exotic Black/White Ebony plugged into their Acoustic Ambiance amp.

So much to cover in this limited space, so you will want to rush out to get your copy of our Summer issue. It’s power-packed and full of interesting interviews, lessons, tips, and lots of fun stuff too!

Editorial Requests may be submitted to info@guitargirlmag.com Advertising Requests may be submitted to media@guitargirlmag.com Subscription Requests may be submitted to info@guitargirlmag.com Fan Requests/Comments may be submitted to info@guitargirlmag.com

Mailing address: The Low Group, Inc. d/b/a Guitar Girl Magazine ® 12195 Highway 92, #114-210 Woodstock, GA 30188

Guitar Girl Magazine ® ©2021 Printed in the USA All rights reserved.

Reproduction in whole or in part without the written permission of Guitar Girl Magazine is prohibited.

Read on and enjoy!

Tara Low

GuitarGirlMagazine @guitargirlmag

@GuitarGirlMag guitargirlmag

Contents

R

E OV

ie er l Va une J

ON

14

Artist Spotlight: Dolly Parton Joni Mitchell Albums Celebrating Major Milestone Anniversaries This Year Sherry Rayn Barnett’s Eye of the Music: The Photography of Sherry Rayn Barnett, New York to LA 1969-1989

T

57

New

58 59 61

Paul Reed Smith SE Acoustic Guitars Martin Guitar - Guitars to Know Luna Guitars - Guitars to Know

Features

Reviews 63

Interviews 16 Ann Mincieli: The Ann with the Plan 18 Tinker, Tailor, Solder, Buy! A Closer Look at Luthier, Kathy Wingert 20 Valerie June on Spirituality Through Her Music: The Moon and Stars: Prescriptions for Dreamers 25 Natalia Lugo on survival through music, writing for a range of musical styles, her go-to Luna guitars, and dialing up a variety of tones 28 Tenille Townes: Canada’s Down-to-Earth Sweetheart Turned America’s Next Country Superstar 30 A Fiery Guitar for a Fiery Artist: in Conversation with Orianthi 34 Yasmin Williams: Pieces of Driftwood 36 Carly Pearce: Country Music’s “Next Girl” 40 The Highway Women Divulge Details Behind Their Recent Empowering Release, “Dead Man Walking” 45 “African Girl” Naomi Wachira Tells All About Living Her Musical Truth 48 Guitar Icon Muriel Anderson on her Vast and Varied Career 51 Tone Talk with Tenille Arts 52 Tone Talk with Maggie Noelle 53 Take Five with Jessica Manalo 54 Take Five with Laura Oltman 56 She SAID!

ISSUE 16 Summer 2021

GEAR

Features 12 13

C HE

64 65 66 66 67 68 68

Martin Guitar DJR 10E Streetmaster AcousticElectric Guitar Luna Guitars Gypsy Exotic Black/White Ebony Acoustic-Electric Guitar with Luna Acoustic Ambiance 25-Watt Amp Taylor Guitars GT811e Grand Theater AcousticElectric Guitar Guild Guitars BT240E Baritone Córdoba Guitars Fusion 5 Jet Nylon String Guitar Fender American Acoustasonic Jazzmaster Fender Mustang Micro Fender Acoustic Junior GO Amplifier

LESSONS / TIPS 69 Acoustic Fingerpicking Basics 70 Demystifying the Fretboard For Fills, Solos & Playing Your Chords in New Places 72 Let Them Lead 73 Ask Alexx 73 Vanessa’s Vibe

20

25

FUN STUFF 74 75 76 77 78 80 80 81

Gig Gallery Music Makers #GuitarGirls Mind Games Adult Coloring Mind Game Answers What We’re Reading Now! Fan Favorites

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42

NEW ON PAGE

POSTER CENTER SPREAD

FEATURING

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36

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Kathy Harris Retires

CRAFTED IN CORONA, CALIFORNIA

An otherworldly guitar that combines iconic acoustic voicings and big electric tones with one powerful Blend Knob to unlock an impossible range of sounds.

The AMERICAN ACOUSTASONIC JAZZMASTER shown in Arctic White.

®

®

AMERICAN ACOUSTASONIC JAZZMASTER

© 2021 Fender Musical Instruments Corporation. All rights reserved. FENDER®, ACOUSTASONIC®, JAZZMASTER®, and the distinctive headstock shapes commonly found on Fender guitars are trademarks of the FMIC and/or its affiliates, registered in the United States and other countries.

THE SONIC SHAPESHIFTER

Features

ARTIST SPOTLIGHT

Dolly Parton,

Country Music Icon Singer, Songwriter, Multi-instrumentalist, Entrepreneur, Actress, Author, Multi-Award Winner, and Philanthropist

Born in 1946

, album Debut Dolly, m I’ Hello, ed in releas 7 196

Recorded numerous studio and live albums, EPs, soundtracks, and t compilations throughou her career

The subject of multiple documentaries

ight

d in e Starre s movie

to ted in Induc try Music n u the Co Fame in f Hall o 9 199

od ollywo The D ion at Found d in 1988 a e cr te

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0, USA In 202 d Dolly t s li Y e of TODA ir Women of e d h e t il p m n in Parto ry, a list co “made u e t v n a e the C men who h ct on our a o 100 w tantial imp lives a subs ntry or our t 100 s cou he pa over t rs.” a ye

The Dolly Parton Imagination Library was launched in 1995

Dollywood theme park opened in 1986

line in Launched her fragrance Beauty partnership with Edge in Spring 2021

ill s: “I W single “Nine to le b a t ” , No You s Love Doors Alway lene.” “Two ow o Yell “J Five,” ” “Seeker,” “ t of , n oa w C o “ D ,” and Roses y Colors.” n Ma

Received BM I’s “MillionAir” certificate in 2020 celebrating se ven songs with over 22 millio n cumulative performances

Dolly Parton albums celebrating milestone anniversaries this year: 50 years • Two of a Kind (with Porter Wagoner) (1971) • The Golden Streets of Glory (1971) • Joshua (1971) • Coat of Many Colors (1971)

12 Guitar Girl Magazine

45 years • All I Can Do (1976)

25 years • Treasures (1996)

30 years • Eagle When She Flies (1991)

10 years • Little Sparrow (2001)

guitargirlmag.com

Photo in Public Domain

by Dennis Carney

Features

Joni Mitchell

Albums Celebrating Major Milestone Anniversaries This Year and New Announcements from the Archives

C

anadian singer-songwriter Joni Mitchell is a trailblazer in the music industry who rose to stardom in the 1970s with her captivating vocals and unique instrumental skills, being named by Guitar Player Magazine as one of the 50 best acoustic guitarists of all time in an article released four years. Mitchell, a Rock and Roll Hall of Fame inductee and nine-time GRAMMY winner, is known for songs such as “Both Sides Now” and “A Case of You,” a remastered version of which was released in April 2021. Mitchell’s songs often reflect on social and philosophical ideals and her feelings about romance, womanhood, disillusionment, and joy.

Her influence paved the way for female artists today as she rose to fame when the male voice dominated the industry. This year, three of Mitchell’s studio albums will celebrate milestones, having reached decades since their first release. The albums—Blue, Hejira, and Night Ride Home—are among the impressive collection of hits released by the singer-songwriter.

50 Years of Blue Blue, Mitchell’s first million-selling album and the fourth studio album, was released on June 22, 1971, by Reprise Records. The album will be celebrating 50 years in June 2021. It was written and produced entirely

by Mitchell and was recorded in 1971 at A&M Studios in Hollywood, California.

The album, which is consistently dubbed one the most influential albums to be curated, was ranked number three by Rolling Stone in 2020 as part of the “500 Greatest Albums of All Time.”

According to Rolling Stone: “From its smoky, introspective cover to its wholly unguarded approach to songwriting, Blue is the first time any major rock or pop artist had opened up so fully, producing what might be the ultimate breakup album and setting a stillunmatched standard for confessional poetry in pop music.”

Mitchell announced earlier this year that a new box set titled The Reprise Albums (1968-1971) would be released on June 25, 2021, via Rhino Records, in celebration of the 50th anniversary of Blue. The box set collates four of Mitchell’s studio albums from the late ‘60s and early ‘70s. The set will include Song to a Seagull (1968), Clouds (1969), Ladies of the Canyon (1970), and Blue (1971), all of which were released via Reprise Records. The release is the second of a series of archived work. Joni Mitchell Archives Vol.1: The Early Years (1963-1967) released in September 2020. Fans can look forward to Vol. 2 coming later this year.

The press release announcing the news states, “Mitchell continues to be intimately involved in producing these collections, lending her vision and personal touch to every element of the projects. Future releases in the archive series will arrive in a similar manner, with a boxed set focused on studio albums from a specific era, followed by an official ‘Archives’ release looking at unreleased audio from the same period.”

Joni Mitchell at the 2020 NAMM Show 35th Annual NAMM TEC Awards Photo by Jesse Grant/Getty Images

Hejira After 45 Years The second album to be celebrated this year is Hejira. This is the eighth studio album for Mitchell and was released 45 years ago in November 1976.

The songs were written during road trips in 1975 and 1976 and reflected on events during those trips, including several romantic relationships she had at the time.

Night Ride Home Celebrates 30 Years Hejira extended the musician’s journey beyond her pop tracks and toward the more free-form, jazz-influenced music she would use on later releases. Mitchell wrote some of the songs while on tour with Bob Dylan’s Rolling Thunder Revue, and she performed the album’s opening track with the band during their final show.

Night Ride Home, released on February 19, 1991, via Geffen Records, celebrated 30 years this year. A beautiful night in Hawaii inspired the title song “Night Ride Home,” which was initially called “Fourth of July” and first played during the promotion for her previous album in 1988. The album was produced by Joni Mitchell and Larry Klein and included melodies that genuinely stirred the imaginations of her fans.

The harmonies released by Joni Mitchell over the years are satisfying and profoundly moving. Her style is true art, which ironically characterizes her personality as a musician and as a painter. Albums like Blue, Hejira, and Night Ride Home are only a few of the greats from her extensive collection of albums, whether live or studio. They will continue to resonate with old and new fans alike because of the relatable lyrics and enchanting melodies.

guitargirlmag.com Guitar Girl Magazine 13

Features

Sherry Rayn Barnett’s

Eye of the Music: The Photography of Sherry Rayn Barnett, New York to LA 1969-1989 An Iconic Photography Collection for the Ages

Rosemary Butler of Birtha in 1972

Bonnie Raitt at Gaslight Café on February 6, 1971

spots throughout Los Angeles like the Troubadour, Ash Grove, McCabe’s, Hollywood Palace, Los Angeles Memorial Coliseum, Hollywood Bowl, and Forum.

L

egendary photographer Sherry Rayn Barnett released a photography book titled Eye of the Music in December 2020. The coffee-table book, which contains over 250 images, takes readers on a journey through the music scenes of New York City and Los Angeles from 1969 through 1989. Many of her most iconic and significant images are included in the book, as well as rare and personal portraits of the singers and bands who molded American culture and history during those two decades.

The subjects of the rare images in this intriguing book range from the Schaefer Music Festival in Central Park, Felt Forum, Fillmore East, Town Hall, and other iconic New York area venues to well-known

14 Guitar Girl Magazine

guitargirlmag.com

When it comes to photographing some of the most iconic female guitarists, Barnett said, “I’ve always had a passion for seeing female musicians recognized, so photographing female guitarists comes as second nature to me. In putting together my book, Eye of the Music, I chose to include women who influenced my own guitar playing and those who laid the groundwork for female instrumentalists to be taken seriously. By photographing Bonnie Raitt during her early days at a Greenwich Village café in NYC playing her resonator guitar to rockin’ her Strat a decade later in LA, I wanted to establish an image of what a stellar female guitarist looked like.

When I first started photographing musicians, female rock bands were scarce, but two of them escaped the ‘all-girl band’ novelty and stood entirely on their own musicianship. Bands Fanny and Birtha rocked hard with female lead (and bass) players and were the first to get major label deals, touring the U.S. and Europe. By the ‘80s, the Go-Go’s had achieved global success and defied the status quo. I was fortunate to photograph them at the peak of their success as well.”

The Yesteryears Barnett began her photography career while attending The High School of Performing Arts (the “Fame” school) for music in New York City in 1969.

She photographed musicians and acts such as Ike and Tina Turner; Joni Mitchell; Emmylou Harris; Bonnie Raitt; Linda Ronstadt; Peter, Paul and Mary; Judy Collins; Miles Davis; James Taylor and many others for local music journals and the underground press. By 1972, she had relocated to Los Angeles, where her work was flourishing, and the list of bands and musicians she had photographed was rapidly growing.

Barnett, who has spent nearly five decades working as a photographer, has done notable work, including album cover photography for Nina Simone’s Let It Be Me and Toni Basil’s ‘80s smash hit Mickey. She has also been featured in books—The Bob Dylan Encyclopedia; Rage to Survive: The Etta James Story; Little Girl Blue: The Life of Karen Carpenter; and James Taylor’s audiobook memoir, Break Shot: My First 21 Years—as well as documentaries— Joni Mitchell: Woman of Heart and Mind; Laurel Canyon: A Place in Time; The Go-Go’s (2020), and Linda Ronstadt: The Sound of My Voice.

Features

Joni Mitchell backstage at McCabe’s in 1982

The Go-Go’s at the Greek Theatre on October 10, 1981

Emmylou Harris at Irvine Meadows in March 1976

June Millington of Fanny at the Whisky a Go Go in 1973

Doubling up as a photographer and a musician, she has figured out how to capture the most iconic moments of musical legends in their elements.

She photographed intimate moments in bars, concert halls, and huge venues, always with an eye on the music.

Barnett shared that she was able to shoot these moments because, as a young photographer, she was in a space where not many people were engaged. While many photographers were busy covering shows for acts like Led Zeppelin and the Rolling Stones, she would be at the early performances of James Taylor and Carly Simon. This also allowed her to shoot early footage of Prince before he found fame and stardom.

The book is a collection of these early, captivating moments. It’s an enthralling journey through her archives, chronicling her professional evolution as a photographer and the intoxicating musical milieu of the times.

Jean Millington of Fanny at the Whisky a Go Go in 1973

An Opportunity in a Pandemic — Eye of the Music Brought to Life While much of the music scene was halted by the pandemic, Barnett used this time to complete this book that was long in the making.

In an interview with noted music journalist Holly Gleason, who also wrote the foreword to the book, Gleason shared that when she received the call from Barnett in 2019 about the project, she thought, “What took you so long?” A testament to the work that Barnett is known for.

Today, Barnett is the lead guitar player for the allfemale band Mustangs of the West, a group that originally performed in Southern California in the late- ‘80s through the mid- ‘90s under the name the Mustangs.

Original band members Suzanna Spring (lead vocals/guitar) and Holly Montgomery (vocals/bass) reunited in 2019, adding Aubrey Richmond (vocals/fiddle) and

Suzanne Morissette (vocals/drums/ percussion). They released an album titled TIME in March 2020 via Blue Élan Records.

The book is a must-have for music lovers and anyone appreciating moments like those captured and chronicled by Barnett.

Widely remembered for her everlasting tune “Freight Train,” Elizabeth “Libba” Cotten was an American blues and folk musician whose impact can be heard within the soulful strumming of The Grateful Dead and Americana essence of Bob Dylan. Cotton was born in 1895 and passed away at the age of 92 in 1987. Recognized as a “living treasure” by the Smithsonian Institution, Cotten was a self-taught, left-handed guitarist whose unique strumming was later trademarked as “Cotten picking.” After being discouraged by her church during her teenage years to discontinue playing what they considered to be the work of the devil, Cotten respected their wishes and put down the instrument. She went on to marry and have a child and would later on only occasionally play at church. It wasn’t until 25 years later that she would revive her love of the instrument.

Cotten’s first album wasn’t released until she was 62 years old. Despite the late professional start, and due to the folk revival of the 1960s, Cotten toured throughout the U.S. playing shows the likes of the Newport Folk Festival (“The Kingston Trio Lineup, Biography”). Before her passing in 1987, Cotten received a GRAMMY for Best Ethnic or Traditional Folk Recording; she was 90 years old at the time.

Elizabeth Cotten taken during the early/mid-‘80s in NYC taken by Sherry Rayn Barnett

guitargirlmag.com Guitar Girl Magazine 15

INTERVIEWS

INSIDE THE INDUSTRY

Ann Mincieli:

The Ann With a Plan

By Alexx Calise

M

eet Ann Mincieli, the talented engineer for—and longtime oppo of—GRAMMY-winner Alicia Keys. Mincieli’s work ranks in the top two percent of female producers (out of 3,000 women credited as pop songwriters in 2019), and she is an active advocate for female advancement in the music industry. In 2018, Mincieli and Keys co-founded the nonprofit initiative “She Is The Music” (sheisthemusic. org), which works to foster more opportunities for women in the arts. Mincieli is also the owner and operator of Jungle City Studios, a plush, prestigious facility based in Chelsea, NYC, as part of an effort to revive the “New New York” recording community. Jungle City has been home to a plethora of A-list artists such as Beyoncé, Jay-Z, Justin Timberlake, Rihanna, Ed Sheeran, Pharrell Williams, Taylor Swift, Mariah Carey, and more. We caught up with this entrepreneur and creative paragon about her 20-plus-year friendship with Alicia Keys, her experience working with some of the biggest names in pop music, and how her studio has managed to keep its doors open even in the wake of the pandemic.

You fell in love with the idea of engineering around 1990. What had you been doing in the music industry before then? Do you have a musical background or play any instruments?

Yes! I started playing and learning bass guitar at the age of 13 and then also picked up guitar.

I had a collection of guitars at a very young age.

I studied very hard and played in a band for a short time. I followed my friend to a studio at the age of 16, which was the beginning and entry point, and the rest is history. I always loved music and studied all the album credits back in the day. I learned all the different behind-thescenes roles.

Where would you say you really cut your teeth as an engineer and learned all the fundamentals?

Four main studios in NYC and Skyline Studios (which was closing). I also started simultaneously at Right Track Recording. Then Axis Studios. But my six-year stint as head assistant engineer at Quad Studios (1995-2002) (which renovated all their studios) allowed me to grow into who I am today, thanks to Lou Gonzalez, who was the owner at the time. The managers were looking for experienced assistants, so we were able to

16 Guitar Girl Magazine

really complement each other. I also brought clients to them, which was an added bonus. I was always working every day. I had a lot of passion, and each one of these studios had different gear and technology that I could learn from.

Does production come into play while you’re engineering, or (more specifically) are you finding that you’re having to combine the two more these days, especially with shrinking budgets?

I think production always comes into play while engineering. I think great engineers are also producers. They see the artist’s vision of each song and the sonic palette. I also think with technology today, you see a lot of writers who produce, engineers who write, and producers who engineer. Technology allows us to hop on board all the different creative aspects of making a record. Also, as an engineer, I always wanted to grow into production and writing. I play guitar as well and write.

You met your creative partner Alicia Keys in 1998, in an elevator of all places. How did that chance encounter with her turn into the longtime musical relationship that you have today?

I think that one encounter led to us building

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year by year. From her drum machine setup in her Harlem apartment where she would bring her tracks to the studio to dump them to twoinch, to working in her studio in Queens, to building with her each year has led us to a great partnership that continues to grow. I always say we went from basements to baseball fields together. Her Long Island Oven Studio really helped me learn how to renovate and build a studio, which came in handy when I built my own Jungle City Studios. She took over two commercial condos in the same building as Jungle and moved her studio from Long Island and created her own private room, which allows her to be a part of the music community there at Jungle. I also had the opportunity to learn by working in various studios around the world, as she gave me the opportunity to travel.

Every year, we challenge each other in the different aspects of the industry. We carve out time to learn new technology and gear. The type of producer she was, where she really liked to experiment with sonics and sounds, was the type of engineer that I wanted to be. I met her at Quad Studios back in the day, and she was writing every day in their little writing room. I started to assist her sessions, and one of the first was with Russell Elevado. He was engineering on a bunch of her first singles, including a

INTERVIEWS version of “Fallin’” from the Ali soundtrack (which we were just revisiting because Songs in A Minor is turning 20 years old this June).

Now, I am part of her AK Worldwide team and head up the music department. I do everything from album project management to helping work on strategies and album rollouts.

You also tour with Alicia a lot. Are you recording/ documenting her live performances each night, or are you there just in case she gets inspired and wants to record?

Yes! I have always toured, edited all the arrangements, and provided all the album files needed to complement the band. I record every show and have an 80-input rig on the side of the stage for all tours. I also work on the sonics, so the transition from the album and tour sound is seamless.

Now with the pandemic, my audio and video team became a full-fledged production hub. We always owned all our own audio and video gear, which really came in handy during the pandemic.

I bought a lot of wireless stuff to make the setups look great on camera. A lot of stuff just shot in our bedrooms came out really high quality. That really allowed us to promote and pivot our strategies as we released a book and an album, which had great success.

You’re the co-founder of the massively successful Jungle City Studios in New York.

What do you feel you’re doing differently than all the other studios in town?

I focus on my studio being like a seven-star hotel.

Latest and greatest gear, a lot of retro gear, and a lot of futuristic toys and plugins. The little things count too, like service, great coffee machines, etc.

My studio, the location, and how each room is designed really help me get a lot of different types of gigs. From Apple Music streaming four years straight to 110 countries, to shooting Master Classes and CSI. All the little things to really cater to the artists. I have underground parking; each room has its own floor and private lounge. I have a collection of gear that complements the studio: vintage guitars, amps, keyboards, drums, guitar pedals. Everyone from Depeche Mode to Beyoncé

to Madonna come in and camp out. I am 10 years in now and very excited that I can provide the full experience for these artists. The neighborhood being right through the heart of Chelsea and the beginning of Hudson Yards also lends itself to the vibe and experience. I love the fact that I get full album projects in and artists camp out.

Have you found that you’ve gotten more or less session work with the pandemic?

Since a lot of artists haven’t been able to perform live, it seems like it could be an ideal time for them to record new or backlogged material.

This has been my busiest year ever. Alicia has been working on a lot of music. She works on making music every day and puts the songs in buckets for future releases. Also, the whole production aspect of recording and pre-recording all the production has me mixing and recording everything on the live end of things. My studio really pulled through, and we are busier than ever.

I also am working on a special project with Rob Stringer and Sony that I’ll unveil soon. I’m really excited about it . . .stay tuned for that.

You’ve mentioned in past interviews that you’ve toyed around with the idea of opening an open mic cafe or even starting a record label. Are those things still on the table?

Yes! Especially now in NYC as it builds back up.

Open mic meets coffeehouse meets vinyl bar— stay tuned. I feel like there is so much culture back in NYC, and it’s a lot less corporate!

You’ve collaborated with a laundry list of iconic performers, but is there an artist or band you’ve yet to work with that you’re absolutely dying to engineer?

Yes! Fleetwood Mac! Carole King. Obviously, PRINCE, if he were still around.

You’re also a founding member of the nonprofit organization She Is The Music. Can you tell us a little about the organization, its mission, and a couple of examples of some good work the organization has accomplished?

She Is The Music is an organization founded by me, Alicia Keys, Jody Gerson, and Sam Kirby.

We created pillars, chapters, and committees to involve everyone in the music industry. In three short years, we accomplished so much. We have three pillars, which are database, songwriting camps, and mentorship. We have had so many supporters and so many industry folks supporting our initiatives to push the next generation of females forward. We have built our database with the support of Billboard Magazine. I encourage everyone to join as it really helps connect the dots for so many different areas of the industry— everything from photographers, engineers, writers, producers, tour positions, etc. We started up our mentorship program last year with over 600 applications. We paired mentors and mentees together in various aspects of the industry. We are doing our whole mentorship program again this year, with over 600 applications received.

Also, Blackbird Music Academy has given us four scholarships that we created an application for online, which we are excited about. Check out sheisthemusic.org to see all of our partners and industry folks involved.

When Bonnie Raitt’s passion for social issues is aligned with her soulful voice and feel-good guitar playing, it becomes apparent as to why she is one of the most impactful musicians of her generation. Raised in Los Angeles, she moved to Massachusetts to attend Radcliffe College but dropped out of school to begin performing at local folk and blues clubs. Soon after, Raitt was introduced to Dick Waterman, an established blues manager, who signed her and quickly had her performing with some of the biggest names in blues music; Muddy Waters, Howlin’ Wolf, and Mississippi Fred McDowell.

Bonnie Raitt performing at John Edwards Presidential campaign event in 2005 Photo by John Edwards, CC BY-SA 2.0 <https:// creativecommons.org/ licenses/by-sa/2.0>, via Wikimedia Commons

In 1989, Raitt began making her anticipated commercial breakthrough. Her album, Nick of Time, in 1990 won three GRAMMY Awards, and its follow up, Luck of the Draw, in 1993 added two more GRAMMYs onto Raitt’s rapidly expanding shelf. Her singles “Something to Talk About” and “I Can’t Make You Love Me” sold more than eight million copies in the U.S. In 2000, Raitt was inducted into the Rock and Roll Hall of Fame. Additionally, her 1996 tribute album to Stevie Ray Vaughn earned her yet another GRAMMY, proving that Raitt is indeed an unstoppable force to be reckoned with and one of the most decorated blues musicians of all time.

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INTERVIEWS

INSIDE THE INDUSTRY

Tinker, Tailor, Solder, Buy!

A Closer Look at Luthier, Kathy Wingert

By Tara Low

K

athy Wingert has carved a name for herself (pun intended) in the field of luthiery, specializing in highend acoustic guitars and harps. The Southern California luthier had a “lifelong lust” for the instrument, purchasing her first guitar in the ninth grade. That lust grew over the years with a yearning to learn all she could about the voicings of this beautiful instrument.

After researching, experimenting, and learning all she could through books and a class at a local community college, Wingert began working for an instrument repair and restoration shop

owned by Jon Peterson. In 1996, she officially began building her own line of instruments— Kathy Wingert Guitars. Daughter Jimmi joined the team in 2003, adding to the beauty of her instruments with custom ornate inlays.

As a musician, when did you first begin playing guitar?

I had a delayed start, considering my lifelong lust after the instrument. I finally got my hands on a functioning guitar in ninth grade when I had saved enough babysitting money for a $99 Univox 12 string.

What drew you to the instrument?

My first musical crush was from my dad’s record collection. It was Joan Baez sitting in a field of wildflowers with a lovely little Martin 0-size guitar. I was in love with the stories and the simplicity of just voice and guitar.

Photo by Jim McCrain

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How did you eventually begin crafting guitars?

I began at the library. Remember those, before you could feel like you could know everything from the device in your back pocket?! There are still treasures to be unearthed in books with lots of pages and a little bit of dust.

After finding a book—the name of which I do not recall, and I’ve not seen it since—I read everything I could find on guitar construction, repair, tool usage, tool sharpening, wood identification, everything I could think of.

None of the books had the answers to the questions in my mind about how to make the sound I wanted in a user-friendly size, but one morning I woke up with the realization that I knew how to build a guitar from start to finish, and I figured the rest would reveal itself as I got to work.

I was lucky that at the time, there was a guitar-making class at a local community college. The course had been in existence for almost 20 years when I found it. The specialty of the class was the use of the mold system created by Bob Mattingly, a classical guitar maker who had died long before I found the class, but it is the ultimate small-shop solution. There may be some images on my website or Facebook page.

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How long have you been building your own line of acoustic guitars?

I have been building for 25 years.

Where do you draw the inspiration for your designs?

I have about 10 or 12 body shapes between acoustic guitars and harp guitars, but I have two basic shapes that make up fully 90 percent of my work. My biggest concern was to build a guitar that would be comfortable to hold that could retain some of the bigger body sound.

Of course, I tried making a 00 with a deeper body; it’s what everyone tries at least once, but that was clearly not going to produce what I was looking for and was the wrong direction for the fabulous 00/OM body size. I changed tack and developed a body that was long and lean and makes a fabulous crossover between fingerstyle and flatpicking. After making a guitar that could bridge that gap better than any guitar I had been able to find in all my years of guitar study, I created a more typical, larger than a 00, curvier than a dread, and not as huge as a jumbo guitar that frequently gets put into the “auditorium” category.

As for aesthetics, I’m all over the place. I will provide what buyers want, almost exclusively with the help of my daughter, the amazing inlay artist Jimmi Wingert. Her biggest superpower is that she comes at this with zero ego. If a client wants something, she will work it out. She is willing to abandon hours’ worth of design work when someone changes their mind, and she receives all criticism as if it’s instructive. Because of those abilities, she generally doesn’t have to do that because she was listening from the beginning.

How do you choose the woods you work with?

I seek guitar tops with a long sustain, stiff lengthwise, and without runout. I look for a

INTERVIEWS

general musicality to the sound of the wood.

For backs and sides, I tend to stick with traditional guitar woods. Being a little older, I have the advantage of having invested in enough wood for my career and of giving that wood time to season.

How do you define your tone?

This is one of the most difficult subjects to tackle in talking about musical instruments. Unless it’s jagged vs. wavy signal shape on a scope, like oboe vs. flute, it’s very hard to define tone in language that we all have in common. I describe the tone I’m after as being as dark as possible without losing articulation. The simple shorthand I use is to compare Ella Fitzgerald and Alison Krauss. Ella had a massive three-octave range, but you wouldn’t even realize how high she was singing unless you tried to match that pitch. It was uniformly rich and dark all through her range. By comparison, Alison Krauss, whom I also adore, has a bright and limber voice. For guitar tone, I am seeking more Ella.

What’s currently on your workbench?

A Wingert Model E fan-fret with straight, gorgeous cocobolo and no inlay. Jimmi is still keeping her distance during the last days of this pandemic.

(Knock on wood; keep wearing your masks; get your shots.)

Your daughter does the beautiful inlay work on your guitars. What inspired her to get involved in that craft?

I don’t know that she was inspired as much as bullied into it. Jimmi was always artistic and creative. I knew from my early days of building that she would be good at it, but she resisted. She resisted adamantly. One day I finally asked her to tell me exactly why she didn’t want to do it. She confessed that she didn’t want the life she saw me living. Guitar making is very time-consuming, and she had seen me working around the clock way too many times. I had to admit she had a point. So I called my friend Larry Robinson, and he talked to her.

With the inspiration of Larry’s work, which obviously was way beyond fret markers or items in a headstock, and the use of the guitar as a canvas by Grit Laskin, Jimmi saw that the way had been paved for non-traditional designs and

dug in. Within a couple of years, she found herself quite busy working for not just me, but for my competitor/friends as well.

As a side note, I find that to be one of the most fascinating things about the guitar world.

Competitors are friends. It was in the sharing of information that the craft of guitar building was elevated into what we see today—with fantastic guitars everywhere you look—from what it was a generation ago when people only knew a small segment of the skills needed to put together a good guitar.

What has been the most challenging part of being a luthier?

Time management.

How about the most rewarding?

Players making really good music on my guitars.

The Black and Tan harp guitar pictured on your website is absolutely stunning! What are the challenges in building a harp guitar versus a dreadnought body?

Ack. How much time do you have?

The harp guitar is challenging because of the stresses on the guitar body, the sheer bulk of the instrument, and the multiple pieces that need to fit with other parts already in your way. It’s just a lot of guitar, a lot of sanding, and a lot of bench space needed to complete the steps.

I find the single most difficult part of harp guitar building to be the binding transition from the harp arm to the harp head. It’s silly. It’s small. I have an idea of what I want to see, and I’ve had a hard time making it happen just exactly how I want it to. It is highly likely that no one else has ever looked.

How many guitars do you create a year?

My average has been 10 a year. I anticipate having that slip. I have produced as few as seven and as many as 18 in one year.

As a musician, what musicians have made the biggest impact on your music?

Probably, unintentionally, Crosby, Stills, Nash & Young has had the most lasting impact, in that all the guitar fills I learned when I was first learning guitar are the ones that stick. Old habits die

hard. The biggest impact to my own musicality definitely comes from vocalists. I have gone back to some of my classical repertoire and thrown out performance notes or critiques from juries and just tried to reimagine lines being sung by favorite singers. Don’t worry—no one will ever have to hear it. If I play at all anymore, it’s in my living room with the windows closed.

What advice would you offer to someone interested in becoming a luthier?

1) Find a job repairing guitars. Start as the shop maid if you have to, but know repairs, hopefully from a shop that is capable of repairing wood as well as doing setups.

2) Find a class and build a couple of guitars. If the school gives out certificates, throw them out. No. Six months in school doesn’t make you a master luthier. What makes you a master is being able to adapt practices that result in a perfect outcome in your own environment. Having built a couple of guitars is what it will likely take to be hired to sweep the floor at a reputable guitar repair shop.

3) Go to college. You may think you don’t need it or want it. But unless you are asking these questions with your retirement savings already in the bank, then you are too young to choose a life without options. Trust me on this. You need options. Guitar making will still be here when you have an education in your back pocket. Your clients are probably going to be educated, well-spoken, well-read, well-traveled, and you are going to have to communicate with them in writing and on the phone. So while you’re there, pick up a class on contract law and art appreciation, maybe intro to architecture, or a real estate class that covers basic design identification. These things can never hurt and will not be a waste of time. No learning ever is.

4) Play. Play well enough that you can scratch the surface of any style your clients might throw at you. There are builders who do not play, but the buyers seem to show a little extra respect to builders who do play. Besides, what fun would it be to design the best car in the world and never get to drive it around the block?

All photos provided by artist with permission to use unless otherwise noted.

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INTERVIEWS

Spirituality Through Her Music: The Moon and Stars: Prescriptions for Dreamers

By Kate Koenig

W

hen you hear the voice of folk artist Valerie June, you instinctively know to keep listening. There’s something about singer-songwriters like her who truly leave a mark—something that’s simple yet ineffable, an inimitable spirit that can be heard behind their every musical breath. That’s what June has to offer on her new record, The Moon and Stars: Prescriptions for Dreamers, released this past March.

Beginning with the meditative, soulful “Stay,” rising up to the bright, playful “Colors,” and eventually arcing down to the anthemic “Why the Bright Stars Glow” and “Starlight Ethereal Silence,” which features field recordings of bird song, her sound is ethereal, and otherworldly. It’s roots rock; it’s Americana; it’s folk; but it’s also so much of its own art that it feels as though it’s coming from another plane. As June elaborates on her vision, it’s clear that that’s exactly what she was going for.

The physical album also comes with literal prescriptions— guides in the liner notes to how listeners can spiritually connect with each track. As June says, “These songs and my work are about reminding people of their life purpose and their gifts so that they will share it so we can get back a little bit of balance.” As she expresses below, that greater spiritual balance is something lost as many cross from childhood into adulthood. The album breathes with a powerful sense of spirituality, but as June notes, she’s spiritual, not religious.

The record, save “Starlight Ethereal Silence,” was completed in January 2020, but once COVID hit, June and her team decided to push back the release to 2021.

It was co-produced by Jack Splash, whose credits include Alicia Keys, Kendrick Lamar, and John Legend. It also guest stars Carla Thomas, the “Queen of Memphis Soul,” known for her enduring vocal work with Stax Records in the ‘60s, who sings backing vocals on “Call Me a Fool.”

June’s connection with both collaborators helped shape the record into the multilayered, culturally resonant piece that it is.

Read on to learn more about June’s passion behind The Moon and Stars, her inspirations, and the spirituality that underlies her music.

Photo by Renata Raksha

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Can you tell me about the process of making your new album?

It was really a fun process, but my record-making experiences are usually not what I would describe as fun.

They’re usually more like, “I’m scared because studios are sterile, and oh my god, what’s going to happen.” But this started not as an intention to make a record—I think that’s where all the fun came in. It was just me and the guys, and we went in and we made the demos of “Call Me a Fool,” “Smile,” “Stay,” “You and I” . . .most of the big

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INTERVIEWS

Photo by Renata Raksha

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INTERVIEWS planet. But I also think that when we’re little, we know that that’s why we came to Earth, but we don’t know how to get it out and articulate it. And as we get older and the world and society isn’t built to support us along our dream path, and with our individuality and with our gift that we need to share. So we start to dim it down, and we lose that magic that we have when we’re little. In which case, the Earth becomes out of balance because we have all of these people that have gifts that were never able to share them.

So what we’re looking at is all of this imbalance of what could be so beautiful.

Valerie June performed “Home Inside” Brooklyn, NY for Nat Geo Earth Day Eve 2021 Virtual Celebration, which aired Wednesday, April 21, 2021

heavy-produced songs on the record.

And I listened to them, and I was like, “Hm, we’re missing some dimensions and galaxies.” Then I ended up meeting Jack Splash, and because he is such a lighthearted person and such a cool person to just be around and talk to and know, that part was fun. And everyone he brought into the room and all the musicians were amazing, and they were like so easy to get along with. . .so yeah, it was a really fun process.

What was it like working with Jack Splash?

If I had an idea of something that I wanted to do, he was 100 percent supportive of that. And as a woman in the chair of producing, that was huge to have this amazing top-of-the-art producer saying, “Sure Val, if you want to try a beat, let’s try a beat!” And not everything we tried worked; some things we’d be like, “Mm, let’s go back.” But the fact that he was open to trying gave me confidence in my voice as not only a musician and an artist and songwriter but as an engineer and producer. There’s also another producer on “Colors,” whose name is Ben Rice—he’s a Brooklyn guy—and Ben was the same.

The “whole openness to wanting to just explore and have fun with music” part was huge with both Jack and Ben. And also with the musicians that I worked with. I’ve known the New York-based musicians for many years, and they know my language. They know that I don’t write music and I don’t speak in musical terms. I speak in terms like “thunder,” “gray,” “colors,” “green,” “black,” and I tell them what I want to hear. I say something like, “I want a softer part on this.” And sometimes I’ll have musical examples, and sometimes I won’t, but they know me well enough now that I don’t have to

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do that much explaining to get what I’m looking for.

What is your creative process like?

Usually, a song starts with the voice, and I’ll hear the voice humming and singing.

I’ll sing that to myself again and again, and sometimes I get the whole song, sometimes I don’t get the whole song.

And after I get the voice, then I find the instrument that it works with. Like with “Stay,” for example, I was playing piano—and I don’t play piano—so I was just playing block chords that I looked up on the Internet. And as I was hitting those block chords, I started to hear the voice, and it said, [singing] “Oh I, I don’t know,” and I kept playing, “how long I’ll stay.” And I wrote the song, and then when I got with my piano player, Dave Sherman, who is amazing at playing piano, I showed him the block chords, I sang him the song, and he was able to do all the beautiful embellishments on it. At the beginning of the very first song on this record, you’ll hear the barroom piano.

From where do you take inspiration?

Everywhere. Plants, people, books, poems, paintings, gardens—lots of gardens (I went to the Botanical Gardens this week), dreams. “Why the Bright Stars Glow” came in a dream; I’ve written other songs in dreams. Some songs come when I’m cooking. You know, just wherever they can.

In the album’s description, you refer to a sort of magic about the way we live.

Can you elaborate on what you mean by that?

Well, we’re all creators, and I believe that every life has a purpose, and every person has a gift that they can give to the

Can you speak about the role of spirituality in your music?

It’s all spiritual [laughs]. It’s all spiritual in the way of things from heart to soul to courage to bravery to dreams to just connecting us with the fact that everything first starts in our imaginary realm. And that imaginary realm could be called a spirit realm. And why could it be called a spirit realm? Because we can’t see it. You can’t really see thoughts, but when they start to happen, you can see them; when they start to form and manifest, and they become physical like this table I’m sitting at. It’s physical now, but it was somebody’s ideal to make an enamel table. And they had it in their head. And it was invisible. So that world, the invisible world, is the spirit world. And that’s the world where many of the songs come from. It’s like the ether. It’s kind of like you put your hand right through it. I don’t know where it comes from, but I hear it, and I live there every once in a while; I get treated to go and hang out there. And I bring these songs back from this space.

But I think we all have the capacity to go to that space. It looks different for everyone, but it’s always there, and it’s always with us, and that space is where our magic lives. And when we can connect with it, then we remember our gift that we had when we first came to Earth, and we’re able to recharge our batteries so that we can get on about the business of making it happen here. And I think that’s really what the songs are; they’re just like little seeds to remind and inspire people of that side of themselves.

What was it like working with Carla Thomas?

Oh, it was so much fun. She is one of the most joyful people in the world. She reminds me in her joy energy of Mavis Staples, because they both just exude this lightness to life even though they’ve seen very many things on Earth and many challenges and different things. She opened the door for me to be able to do what I’m doing. And so because of that, because of her being an elder in music, she was able to tell me things that I feel like I can use to keep me on my path.

Working with her was a prescription. Like how I say there are different poems that I

INTERVIEWS

The world is trying to change for the better every day, and it’s going to take each of us believing in ourselves and our dreams to create a new and more equal stage for the future of the music business. Believe! might read or working with a certain plant or wearing a certain color can be prescriptions for me...being with Carla was a prescription for me.

What is your favorite song on the record?

“Starlight Ethereal Silence.”

Why? [Laughs.] Because I think that the birds, they’re the best singers. I’m learning from them.

What did you bring to this record that was different from other records you’ve produced?

With this record, I’m like fearlessly igniting people’s superpower, basically starting the human spirit evolution through music, which is what I feel Sun Ra or Alice Coltrane do with their mindfulness music. And that’s that.

I’ve been scared to do it in the past for many different personal reasons, and with this one, I was like, “You know what? I’m just going to let all of my magic out.” [Laughs.] I know that I’m a healer, and I know my life’s purpose is to be a bodhisattva like so many other people on Earth, and what we do is we lift people up. We give them light. We remind them of who they really are.

Did the social upheaval of last summer influence the presentation of the release at all?

It affected the process of how I would be able to tell the story of the record, and the purpose of the record for dreamers, and the raising of

consciousness and the spirit practice side of it. All of it came from having the record finished in January of 2020 and having a year to look at the world, watch it explode, and know exactly what I need to do as my part to help heal it. I wouldn’t have had that whole theme of “Dreamers”; it didn’t come until after the pandemic started, just listening to the record as I watched the news.

And even watching the January 6 riot and knowing how the negative side of ourselves can be easily turned on like a light switch, I’m like, “Well, yeah, it can, so why can’t the positive side be turned on?” And my way of being is to use positivity as a form of activism and a form of creating great change in the world. I feel like we’ve already heard people like Dr. King say, “I have a dream”; we’ve heard Angela Davis say, “Hey, the way people of color are being treated isn’t fair”; we know Harriet Tubman knocked down doors so we can be free. So now I feel like the whole perspective of that. Still keep those voices being heard but also show how through living magically and mindfully and in joy and through positivity, we tell a new story. We write a new chapter of the book because wherever your mind is and whatever you continue to cycle through and say, that’s what you continue to live. So if we start saying things like, how do we treat each other with more harmony, with more positivity, and more loving kindness,

Photo by Kirk Stauffer

if that’s our intention every day, it’s going to start to happen.

How did you feel about being a part of the National Geographic event on April 21? I feel like their mission is related to yours.

It is very related to my mission. I felt so excited to be a part of it because, well . . . I look at my niece and nephew. With all of the plastic on the planet and with all of the bad decisions that we continue to make every day, is there going to be a planet for them? And then I’m also such an Earth lover that sometimes I get down on the ground in the garden, and I just kiss the dirt.

I love the Earth. And when I think about it, I know our power as human beings. And the negativity of worrying about climate change and worrying about the planet can weigh me down sometimes. But then I realize with enough of us becoming conscious of our responsibility to the planet and the ways that in our own life we can make those shifts and changes to help it to be a better planet, just like what I said with the light switch of negativity from the protest, the light switch of positivity in the way we treat Mother

Valerie June performing at Showbox at the Market in Seattle, WA on August 18, 2019

Maps for the Modern World

By Valerie June Released April 6, 2021 Published by Andrews McNeel Publishing A poetic call for mindfulness, creativity. and analog real-world connection in an increasingly disconnected world from singersongwriter Valerie June.

Maps for the Modern World is a collection of poems and original illustrations about cultivating community, awareness, and harmony with our surroundings as we move fearlessly toward our dreams.

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INTERVIEWS Earth will begin to shift, and it’ll heal faster than we ever thought possible. And I think we kind of subconsciously know that the planet can heal faster than we think is possible, but it’s time now that we actually not only know it, but we start living it. Like I went to Home Depot and I was buying a paint roller, and I was like, “Man, these plastic ones are really cheap, I want one.” But then I thought about it, and I was like, “No, I’m going to get the wooden one with the metal because that’s going to be easier to reuse and recycle in another form than it needs to be.” So just these things to think about the planet and the Earth and how we can shift the energy of it through each little mindful step that we do. Mindfulness is everything, even with the planet, even with the way we treat each other. Everything.

You mentioned earlier that after you find the voice for the song, you then find the instrument to go with it. What is your favorite instrument for songwriting?

The guitar is the first instrument I go to, but I don’t have a favorite. They are all super special to me.

What guitars are you currently playing and why?

Guild Aristocrat Electric: I love it because it sounds beautiful, and it’s lightweight!

Martin Acoustic Dreadnought 000: I love it because it’s got a very warm sound and a smaller body. Our bodies fit together like a perfect match.

What is your definition of guitar tone, and has it changed over the years?

Not too bright, but bright enough. Not too buzzy, but fierce enough. Just sweet enough in all of the right ways. I don’t think my definition of tone has changed because I’m still finding my perfect tones and colors. It’s an everpresent process.

What does your practice consist of?

During the pandemic, I would play scales and songs for about six hours each day between the instruments. It was fun to have the time at home to make practicing a key point of my day.

What inspired you to play guitar?

I was in a band in Memphis as my first venture in music. I sang and wrote songs only. When the band broke up, I had built up a great following, and I found myself unable to do shows by just singing alone. That’s when I knew I needed to learn to play guitar. I was in my early 20s, and I just started with books and videos. It’s been a self-educating experience.

What is your advice for young women who hope to work in the music industry?

There’s no better time than now for a woman to be in the music industry. The world is trying to change for the better every day, and it’s going to take each of us believing in ourselves and our dreams to create a new and more equal stage for the future of the music business. Believe!

Track Listing 1 “Stay” 2 “Stay Meditation” 3 “You and I” 4 “Colors” 5 “Stardust Scattering” 6 “African Proverb” 7 “Call Me a Fool” 8 “Fallin’” 9 “Smile” 10 “Within You” 11 “Two Roads” 12 “Why the Bright Stars Glow” 13 “Home Inside” 14 “Starlight Ethereal Silence”

Movers and Shakers at 117 Entertainment Jentry Davis and Cassie Wells Owner/President Zach Farnum of 117 Entertainment expands with the addition of Cassie Wells Label & Content Manager and Jentry Davis as Publicity Manager to join its already existing team Publicity Manager Erin Fligel who has been with the company since 2019. 117 has opened a new collaborative and creative space in Germantown’s 100 Taylor Arts Collective in Nashville, TN.

Photo ID (L to R): Cassie Wells, Jentry Davis, Zach Farnum, Erin Fligel

Photo Credit (L to R): Jessica Adynelle, Cassie Wells, Jason Myers (2)

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“A motivated and driven team is instrumental to our success in this era of ever-evolving strategies,” says Farnum. “Cassie and Jentry add a new energy to our team and bring innovative ideas, unique experience, and excitement. We are thrilled to have them as a part of the 117 family and helping us stay on the cutting edge of the industry. Our company is more collaborative than we’ve ever been!”

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Wells was brought onto the team after time as the morning host on YoCo Nashville and program director of WDKN in Dickson, Tenn. She is in the Army Reserves and hosts her own podcast, The Cassie Wells Podcast, where she’s interviewed Jordan Davis, Allie Colleen, Canaan Cox, and more. Her focus, in addition to running 117 Music, is on developing strategic content with clients and translating that to opportunities with partners, including media outlets and influencers.

Davis grew up around the music industry, with her brothers both finding success in Nashville. After completing her undergraduate degree in Public Relations at Louisiana State University, she moved to Music City to dive into the business side of music. She interned at 117 Entertainment early in her journey before going into B2B marketing; now, she’s back to do what she came here to do.

INTERVIEWS

Natalia Lugo

on survival through music, writing for a range of musical styles, her go-to Luna guitars, and dialing up a variety of tones

By Caroline Paone

“I find inspiration in simple things—nature, the sky, the sun on my face. I’m very sensitive, and everything inspires me,” says Natalia Lugo, whose artistry takes on many forms.

S

he first picked up guitar after a life-altering experience.

“My mother passed away when I was six, and I felt very disconnected from my classmates because their worries were, ‘I didn’t see the Ninja Turtles movie,’ (Teenage Mutant Ninja Turtles), and for me, it was like death, life—what? In that moment, I felt so many complex emotions, but music made me feel I wasn’t alone.”

As one of the latest players on Luna Guitars’ roster, she relies on an array of exotic ukuleles and acoustic guitars for creating styles as diverse as bolero, country, pop, and reggae. Her instrumental lineup includes Luna’s Vista Eagle, High Tide Exotic Mahogany Nylon String (guitar and ukulele set), and the Fauna Phoenix. Lugo’s spirited, warmly exotic songs and playing rise triumphantly with a new age of burgeoning young artists.

Over the phone from Puerto Rico, the singer-songwriter exudes enthusiasm for life and creating the ultimate musical masterpiece.

Along with music, you seem involved in several aspects of the entertainment industry.

I’m very blessed. I thank God every day that I can pursue a wide variety of interests like playing instruments, painting, and acting. I even did comedy for some time. That’s how I got started—doing comedy in Puerto Rico. Right now, I’m producing a jingle for a commercial, as well as writing my new album. My career is very varied.

Where are you from originally, and how did you first connect with music?

I’m from Puerto Rico; the music there is very at home for me.

It’s a sound of music you listen to in your grandfather’s house or your father’s house. My father is Puerto Rican too, but my mom was born in New York, and she came to Puerto Rico when she was older. She met my dad at a party, and they fell in love, and then my dad got a job in New Hampshire, so they traveled there when they got married, and they had me.

My dad is a musician. He doesn’t play professionally, but for me, he is, because he plays as well as any professional. He plays guitar and percussion and writes songs. He was always listening to music from all around the world, like Frank Sinatra, Juan Luis Guerra, Gilberto Santa Rosa, El Gran Combo, and José Feliciano.

Then others like Barbra Streisand, Luis Miguel, Mariah Carey, Photo by Maydeline Inés Photography

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INTERVIEWS Journey, and Queen. So, I was used to hearing all types of music in my home. I loved music since I was very little. I got my first guitar when I was six, but I really didn’t get into it until I was 13. I started singing and playing at a local church. I love worship culture and being around people who like to sing and play—that was a huge part of my early musical beginning.

Can you share how you learned to play guitar?

My father taught me my first three chords. Early on, I was very passionate about songwriting.

With those three basic chords, I was able to write all sorts of songs. And then I really focused on becoming a better guitar player. The boys in my school all played guitar—and I only knew three chords—so I would ask them, “Can you teach me to play ‘D’ or ‘F’?” [Laughs] I applied everything I learned. I would also learn songs from watching music videos.

Sounds like you had a real love for music.

I fell in love with music so much. When I really enjoy something, I put my heart into it and try to learn as much as I can. I’ve always been that type of person. If I didn’t know something, I would ask a friend or somebody who knew how to play. When I started performing live, I would just sing and let other guitarists play. But every time I would ask, “Oh, how do you play this power chord—how do you do that?” Then they would teach me. That’s how I learned to play guitar— really, in the street and with my family members, school, and also YouTube.

The Vista Eagle It’s so beautiful. They have different types of wood— koa, mahogany, other types. It has a beautiful design. Every time I play it, people are always amazed.

They’re like, “That’s a beautiful guitar.”

Did you primarily start on acoustic?

Yes. I actually started on a very expensive Spanish guitar that my father had. [Laughs] I would try and be really careful with it. I still have that guitar, and every time I play it, I feel like I’m traveling back in time because the sound reminds me of my early beginnings.

How has your dad been an inspiration for you?

He believed in me. My father dreamed of being a professional musician, and my grandfather actually convinced him not to pursue that career because there’s a threat of like, “You’re going to starve or something.” So instead, he became an engineer. When he saw the musical interest in me, he kind of saw himself. When I was very little, he was like, “I’m not going to do that to you. If this is what you want to do, you can do it.”

He was such a good father, but I didn’t get anything for free or easy. He’d go, “If you want to work in this industry, work for it.” So that really taught

Luna Guitars Fauna Phoenix

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me how to be independent and strong. I used to listen to him like a fan. I’m my dad’s biggest fan.

I would be like, ‘Papi, can you play this song for me?” I recorded a song he wrote when he was 17.

It’s a bolero.

What is your favorite style of music to play and create?

I’m a music lover, so every time I get asked the question about which genre do you fit into or what style do you play, it’s hard for me to answer.

It’s really weird to choose a genre because I have different ways of feeling my emotions.

Whenever I feel something, I also feel (like playing) a different style. My first album, Fuera del Marco, has a variety of music—reggae, urban, country, jazz, and bolero. The title means “out of the frame,” because I wanted to do something that wasn’t what people expected. People always want a concept genre album, but I wanted Fuera del Marco to break those boundaries. Something that I never wanted to have happen to me was to be “framed,” like in the English sense too. When somebody frames you, they try to show you as something you’re not and manipulate you.

Do you usually write on guitar, or do you come up with the lyrics first?

The way that’s most intimate and real for me is with my guitar. On occasion, it can be a ukulele, but if I really want to communicate the music, I go with a guitar, because that’s how I first learned to write songs. I always play guitar— that’s my thing. I like guitar. I’m kind of branching out and trying to write songs on the piano.

One of your main guitars is Luna’s Fauna Phoenix (acoustic-electric) guitar. How has that guitar impacted you?

Well, that guitar makes me feel like a rock star.

It’s beautiful; it has a black (lacquer-look) finish with an abalone art piece of a phoenix and crescent moon. It just symbolizes so much about my personal growth. When I got that guitar, I felt like it was sent from God. God uses people to get to you, like sometimes you see God in your parents or in a child. So, for me, I saw God in Luna sending me that guitar because it was so symbolic and meaningful. The moment I got it, I was going through a transformation, and I was kind of rising from the ashes like a phoenix would. When I played that guitar, it just felt so light and comfortable, and at the same time, it has a lot of body. It wasn’t overpowering, and I could control it. It’s lightweight, and the neck is tailored for women. I immediately felt the difference when I held it. It’s my go-to guitar when I want to feel like a rock star and give it my all.

INTERVIEWS

How do you explore tone options on your Fauna Phoenix, and what features work well for you?

I love that it has a built-in preamp (Fishman® preamp) and tuner (onboard built-in tuner). When it comes to sound, you can get a lot of different tones.

It sounds big—has a real full-bodied sound. I like to play around with the bass, treble, and gain, and create my own sound. If I want a brighter tone, I go up on the treble, and when I’m feeling more mellow, I go up on the bass. That’s the best part—you can feel comfortable trying new things. For example, you can try new rhythms or riffs. It inspires me. Yeah, you sparkle with that guitar.

Tell me about your musical influences?

The artists that I admire have really made an impact on my soul as a growing artist. I would say that I started with Shakira because her early albums before she became commercially known in the U.S. were very relaxed. She was kind of like a rocker chick. If you listen to her songs before she became a pop star—of course, now she’s awesome too; I love her still—but I really fell in love with her album called Pies Descalzos, which means “barefoot.” She also did Laundry Service in English. When I was six, I had that album in my hand, and I was going through those dark, hard times when my mother passed away. At the same time, it gave me the sense of humor I have now. I try to find the happiness in many things. But in that moment where I felt so many complex emotions so young, music really accompanied me and made me feel that I wasn’t alone. The feeling of loneliness or the feeling of longing for someone or feeling abandoned. You know, many feelings. I could listen to something that would speak to my soul, and when Shakira came out with this album, she was killing it.

She was my first, first, first influence. She would play guitar and drums. I loved that.

Then there was John Mayer, and he was my second love. I love the song “Daughters,” and I always play that. Then my third love was Taylor Swift. She blew my mind with her variety, and I really soaked up her songs. There are so many artists I admire—also Sara Bareilles. I remember crying to her songs all the time.

Are you working on new music?

I am writing an album. It’s going to be a four-part album. Like back in the day when people would have vinyl, they had side A, side B, side C, side D. That’s my goal, and I kind of want to divide it into different sides according to who I am. For example, one side will be songs from when I was younger, when I was like 19 and 20. My feelings were just so raw and intense back then. I thought it was beautiful. Then I want to do an English side to be more well-known outside of Puerto Rico. I want to have another side that’s going to be worship because I’m very spiritual.

God has saved me from so much. I’m a Christian, and I want to do a worship album, because if it weren’t for him, I would not be playing music right now. I mean, I almost gave up at one point in my life because it was very difficult. Now you see me, and you see me singing with joy and happiness.

What are your future plans or goals?

My ambition is to create the ultimate masterpiece.

I studied audio-visual communications at university, so if I were to do a masterpiece, it would be an audio-visual masterpiece—it wouldn’t just be a sonic masterpiece. It would be a story with a script, [expressing] different emotions and different messages. Every song will represent a different aspect of myself, because sometimes I’m more abstract, sometimes more literal, sometimes I’m telling stories—sometimes it’s a documentary. What better way to convey a feeling than presenting it with an audio-visual experience? That’s my dream. That’s the masterpiece that I’m working hard toward.

What do you love the most about creating music and performing?

I’m so happy when I do it. I just feel like I’m where I belong, and I love sharing joy with others. I love performing and meeting people, creating and working hard at making something out of nothing.

I love connecting with people and being able to be a part of their lives. I have this thing with my audience in Puerto Rico, which translates to “let’s go together.”

The High Tide I have the guitar and ukulele set— they’re so beautiful together. That’s my tropical set. If I want to do a show by the beach or something like that, I will take my nylonstringed High Tide and ukulele nylon string, which kind of reminds me of a Spanish guitar like my father’s that I learned on.

Photos provided by Luna Guitars with permission to use

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INTERVIEWS

Photo by Matthew Berinato

Tenille Townes: Canada’s Down-to-Earth Sweetheart Turned America’s Next Country Superstar

By Gabbi Calvert

T

enille Townes is a Canadian country queen on the rise.

Townes has toured with major talents such as Miranda Lambert, Little Big Town, Dierks Bentley, and Alan Jackson. Townes will also be a part of Brothers Osborne’s We’re Not for Everyone Tour in the summer months of 2021.

Townes is also a several-time recipient of many highly esteemed music awards, including the 54th Annual County Music Association Musical Event of the Year for her collaboration with country icon Miranda Lambert on “Fooled Around and Fell in Love,” which she also won at the 55th Annual Academy of Country Music Awards as well as New Female Artist of the Year.

Towne’s huge passions don’t stop at music. At 15, she started her concert fundraiser, Big Hearts for Big Kids, which benefits her hometown’s local youth shelter. Since its humble beginnings, the concert has raised over $2 million and even brought in over $89,000 in a virtual fundraiser from the legendary Ryman Auditorium last year.

Towne’s drive and love for country music have kept her going amidst the global COVID-19 pandemic, with the songstress penning 150 songs over the last year. She is looking forward to releasing new music and sharing it with her extensive, dedicated fanbase.

Townes was the first Canadian female in Mediabase Canada to achieve two number one singles with her songs “Somebody’s Daughter” and “Jersey on the Wall (I’m Just Asking).” Her debut album, The Lemonade Stand (2020), added to Townes’ massive country scene success.

We’re so excited to hear that you will be going on tour with Brothers Osborne this summer. What are you most looking forward to about the tour?

My goodness, I’m so excited I can hardly stand it! I am the biggest fan of their music and an even bigger fan of who they are as human

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INTERVIEWS beings. I couldn’t have imagined a cooler tour to get to come back to than this. My band and I are so excited to all step up there and play again—seeing everybody’s faces out there feeling like a community! And I’m so excited to watch Brothers Osborne play every night!

kinds of different communities and to illuminate the spirit of a group of people coming together.

How does it feel to be a two-time ACM Award winner, eight-time CCMA winner, and three-time JUNO Award Nominee?

It’s an incredible honor to celebrate those things. It feels very much like the community of music pulling up a chair at the table, and I’m grateful to take a seat beside people I respect and admire. The thing that means the most to me is that they represent people out there hearing these songs and stories, making them a part of their lives, and that’s pretty amazing to me.

We are Guitar Girl Magazine and love to hear about an artist’s guitars, so what is your favorite guitar that you own?

I love guitars, ha! And love all the ones that I play, but I’m really excited about a new one I’m working on actually that I can’t wait to bring out on tour this year!! It’s a Martin OM28, and I had the wood stained darker, so I could paint the symbols and lyrics of the new music in a lighter color this time. My dream is that every new collection of music I make will have a guitar as a time capsule to represent it, and I’m pretty excited to be working on the second one!

Being a female in the entertainment industry is hard, but it is especially hard as a woman in country music. What was it like being the first Canadian female in Mediabase Canada history to achieve two number-one singles?

It was so exciting to celebrate that and know those songs were played as much as they were on Canadian radio. I feel proud to be a part of the collective of female voices coming together out there to change history right now.

Tell us more about what your concert fundraiser, Big Hearts for Big Kids, means to you. It’s so inspiring, and we would love to hear about the impact it has had on you as an individual and as an artist.

Thank you for asking about Big Hearts for Big Kids. That concert fundraiser has really shown me the power of music and what can happen when a small group of people come together and believe in something. The event has been happening for the past 11 years, benefiting our local youth shelter, The Sunrise House, in my hometown, and it started as a little seed and grew into something beyond what I could have imagined. The night of our first show, the shelter had to close down due to lack of funding, and that night with ticket sales, live and silent auction items between the concert, I watched my community come together to raise $30,000. All these years later, we are over $2 million, and the shelter is running in an essential way for the youth who need it. It is a big part of my dream to see Big Hearts grow for kids who need support in all

I’ve been writing a ton of new music over this past year of being home, and I’m truly so excited to start this new adventure together.

We would love to know more about your songwriting process. What was the process behind writing your most successful songs, “Somebody’s Daughter” and “Jersey on the Wall (I’m Just Asking)”?

Songwriting, to me, is very much a spiritual experience.

Any form of creativity to me is being a vessel. I love getting to talk about things in songs that are maybe harder to just have a conversation about. Music has a way of walking with us through some of our hardest memories or parts of being human, and the comfort and community it can bring is my favorite part about it.

“Somebody’s Daughter” was inspired by a young girl I saw standing on the side of the interstate holding onto a cardboard sign. My mom and I had a conversation in the car, wondering what her story could be, and that moment stuck with me. I got to write with two of my heroes, Barry Dean and Luke Laird, shortly after that drive and was so grateful for the way the song found us that day. Felt like it was in the room waiting for us.

“Jersey on the Wall” came from a group of people I met in Grand Manan, New Brunswick, a small town that had just been through a horrible car accident with five kids from their high school in the vehicle. One of them passed away, and I saw her jersey hanging in memory on the wall during a one of their high school graduations and thought about the questions I have for God as I was sitting among the most incredible group of people who had just been through something so terrible. Shortly after that trip, one of my best friends lost her little brother, and it put me in a place of spinning in more and more questions. Songwriting is my place to process how I feel, and I brought this story to my friends Gordie Sampson and Tina Parole to help me talk about it.

What do you want your listeners to take away from your music?

I hope my songs put a little bit of hope in people’s tanks.

Reminding people that they are not alone in their emotions or experiences is a mission for me. I think as human beings, feeling seen and heard as not the only ones going through something gives us permission to show up and be ourselves. I think it’s powerful when we realize we are all so much more alike than we thought, and I hope people feel that sense of community when they are listening out there.

Can you tell us a little bit about what’s next for you as an artist?

I can’t wait to share some new songs I’m working on. I’ve been writing a ton of new music over this past year of being home, and I’m truly so excited to start this new adventure together. The new songs come from a vulnerable place for me. And gosh, I can’t wait to see everybody on the road soon!

Miranda Lambert’s fourth studio album Four The Record, is celebrating its tenth anniversary this year. The album was released on November 1, 2011, via RCA Nashville, selling over 1M copies and reaching #3 on Billboard 200. Hit singles from the record include “Baggage Claim,” “Over You,” “Fastest Girl in Town,” “Mama’s Broken Heart,” and “All Kinds of Love.”

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INTERVIEWS

A Fiery Guitar for a Fiery Artist: in Conversation with

e Gair

nd Cec

bella a essa Iza

By Van

A

ustralian-born guitarist Orianthi Panagaris has been making impressive moves in her industry for more than a decade, having worked with Michael Jackson, Alice Cooper, and Carrie Underwood, among others.

As if that weren’t already a staggering list of accomplishments, Orianthi recently collaborated with Gibson Guitars on a new signature acoustic, called the Orianthi SJ-200 - Cherry and aptly described on Gibson’s website as a fiery guitar for a fiery artist.

“I had thought about doing an acoustic,” Orianthi tells Guitar Girl, “so when [Gibson] approached me about it, I was over the moon.” She was promptly flown to Montana for a tour of Gibson’s guitar factory, where she got to see exactly what goes into making their high-quality guitars.

Orianthi picked the J-200 model as the base for her guitar fairly quickly, citing that “the sound of it is so full—it’s like a grand piano—it really accompanies you. I wanted a big sound, but one that plays fast.”

The next choice was color. Originally, the guitar was set to be white, but all it took was one look at a splendid red guitar in Gibson’s factory for Orianthi to say hell no, we are going with red!

Of course, there’s so much more to building a custom guitar than a base model and color. Some of these choices were things that Orianthi already had ideas for, including the detailing on the neck. “I wanted my model to have crystal light for good energy with the lotus flower on the neck—just the whole presentation.”

However, what shape to give the neck was a different question entirely. After checking out the necks from Les Pauls and other guitars, nothing felt right. It wasn’t until Orianthi was back

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in Gibson’s Los Angeles showroom that she found what she wanted, in the ES-345 that was used in 2018’s A Star is Born.

“I loved the neck, so I asked, ‘Can we just stick this neck on the J-200 body?’”—a first-of-its-kind request that Gibson was more than happy to fulfill.

After that, details slowly fell into place, and the Orianthi SJ200 - Cherry was born. The Cherry nitrocellulose lacquer finish, excellent J-200 base model, and fantastic neck are far from the only things this guitar boasts, also showing off a AAA Sitka spruce top with a flamed maple back. The headstock features the Orianthi O symbol in mother of pearl. Those gorgeous lotus flower elements can be seen in the ebony neck inlays and on the pickguard. When it comes to electronics, LR Baggs™ came through with their custom Orianthi Pickup System, with controls mounted on the bottom of the soundhole.

About her guitar, Orianthi says, “This guitar really represents everything positive and has a beautiful energy about it. I’m really excited because it is the best acoustic guitar I have ever played—it really is.”

On her experience working with Gibson, Orianthi couldn’t say enough kind things about them. “Gibson has done an incredible job; the whole Gibson team, they’re all top-notch. It was such a dream to work with these people—it’s like a beautiful family.”

Since the beginning of the pandemic, Orianthi has been keeping in touch with her friends and family via FaceTime as well as working on her music. “It’s been an interesting time, also spiritually, spending time by yourself a lot more—having the time to chill out, relax, and think about things and how I could have done them differently. I think that shows in some

Photo by Gibson Brands

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INTERVIEWS

Orianthi SJ-200 Cherry

of the new songs that I have been writing. There’s been a lot of uncertainty and also a lot of peace as well. I think it’s a mixture of things where a door is opening to a new world in a positive way. I’m really excited about the next phase of my career with music and these new songs that I have written. I expected, like most people, that 2020 just fell away, but I had the chance to write with different people, and I wrote so many songs.”

Outside of making guitars, Orianthi is hoping to get back in the studio soon, with her close friend (and producer) Marti Frederiksen. Her last album, O, was released in December of 2020. Orianthi says of its release, “O has been out for a minute now since December. So I can’t believe I’m going to make a new record already, but O was kind of in the works almost two years ago now—we met in 2019 and started working on it, and then COVID happened.

We released it during isolation, which was a little weird. It was a really insane time for many people.

I gotta tell ya, that you get excited about making an album, and you wanna get out and play shows. So it was kind of a bummer not to be able to do that.”

She also has plans to get that concert-like feel back into her music, despite pandemic limitations.

“We are going to be performing O live at a giant geosphere, which is going to be a worldwide livestream in Hollywood on June 19 via sanrestreaming.com. The video effects are going to be insane. I don’t want to say too much, but it’s a top-notch production, and it’s going to be every song. I think it’s something most people have never seen before—we’ve put together a show that is visually and, of course, musically, really entertaining and advanced. I can’t wait to share that experience with everybody and play live. It’s all really exciting. We also have a tour to announce too before the year is over, so it’s all exciting stuff.”

I’m really excited because it is the best acoustic guitar I have ever played— it really is.

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When asked what techniques she’s been using with regard to guitar practice, Orianthi had something of a surprising answer for us. “I gotta be honest with you; I really don’t practice as much as I write songs. I was a songwriter before I was a guitar player. Practicing for me is usually learning a song.” She lists off artists whose songs have recently inspired her to practice, including John McLaughlin and Django Reinhardt, before going on to detail the immersive experience that practicing the guitar this way gives her. “Practicing for me is putting on a record and trying to learn a song or a phrase—it’s a different way of playing. It’s not sitting down and learning a specific technique; I learn the techniques by actually playing.”

These techniques are often not simple ones either.

“I go through phases. At one point, I was obsessed with country music and chicken pickin’. I wanted to be a really good chicken picker, and then I got over that. Then, I moved on to jazz and listened to Wes Montgomery and George Benson. Sometimes I just have different concerts playing on my TV when I’m around the house, and I hear something and say, hey, I want to learn that.”

As for what artists got her into playing the electric guitar, Orianthi has a long and impressive list: “Carlos Santana and Jimi Hendrix, B.B King, Eric

guitargirlmag.com

Clapton, Jeff Beck, Stevie Ray Vaughan.” To her, the inspiration these players provide is a vital part of music-making. “For me, it’s a fire and passion of expressing yourself through playing every night.

Inspiration is important, especially when I feel lost musically because there are too many people in my ear.”

Having too many people in your ear can be one of the more unfortunate consequences of living somewhere like Los Angeles, where music is thriving and ever changing. “Being in LA, there are a lot of people around you saying, this is the way you should write; this is the way you should play; I think this would be great. They bring in a zillion outfits to put on me, and then I’m like, NO, NO. For me, it becomes a battle in my head because of all these different people—it drives me insane.”

One remedy to this never-ending battle for her attention, Orianthi finds, is some solid alone time, where she can differentiate what she wants from what other people want to see. “Being left alone is sometimes better for me anyway. I’ve been down a few rabbit holes when I sit down to make a record.

I really sit and meditate about it, and sometimes it doesn’t feel right. I think that it doesn’t really resonate with my soul; it resonates for other people.”

We asked her if she thought these challenges that she faces in the industry—like being pressured to bend to what other people want—are also faced by her male counterparts. “Yeah. I do. The industry is really brutal on any young artist—it’s not for the faint. When I started off as a kid, my escape was music. It was something of a safe haven for me.

Looking at it now from the music business side, it can be brutal, awful, crazy, and insane. You just don’t know. You need to find friends and people you like—people and family who have your back and who you want to hang out with. I’ve been through a lot of different situations because I didn’t feel comfortable. They weren’t bad people; it just wasn’t the right fit. You need to learn about everything, know where the money is going, and keep your eyes open. I think things have changed, but at the same time, they haven’t. It has been a challenge for me, absolutely. I’m not gonna say it hasn’t.”

However, doing what she knows she likes doesn’t stop her from trying new things. “I think as an artist, it’s important to do that, especially now that I’ve gotten older. When I was younger, I’d be like, yeah, that sounds great. I am pretty impulsive. If the enthusiasm comes out of me, I’m like, yeah, let’s try it.

I’m not opposed to trying anything really. I’m down to experiment musically. As an artist, you want to grow. I don’t want to look back when I’m 100 and see that I made the same record 20 or 30 times.”

Orianthi says she owes her growth and progression as an artist to this impulsivity and excitement about new or out-of-the-box ideas. “I just stay with things that keep me excited. I think enthusiasm sparks the fire. If I’m excited about an idea, I like to move on it pretty fast, which I think is the most important thing. That has really helped me in getting out of situations or dark times. Losing momentum, procrastinating, overthinking, and fear need to go away for me to be the best at what I can be at that time—and that is different all the time. The

INTERVIEWS

Country music icon and trailblazer “Mother” Maybelle Carter was known for her unique style of playing, with the most widely known as “the Carter scratch.” A member of the original Carter Family trio with brotherin-law A.P. Carter and cousin Sara Carter from the late-1920s until the early-1940s, Maybelle went on to form the Carter Sisters and Mother Maybelle with her daughters Helen, Anita, and June from the 1940s through the 1960s. After the death of A.P., the group returned to the name the Carter Family.

Maybelle was a multiinstrumentalist mainly known for playing autoharp, guitar, banjo, and guitaro. Her most noticeable instruments were her Oscar Schmidt autoharps and Gibson L-5 guitar.

Her contributions to country music have been rewarded with inductions into the Country Music Hall of Fame and the Autoharp Hall of Fame, a postage stamp, documentaries, and numerous awards and tribute songs.

Photo by Gibson Brands

business can go from zero to one hundred. There are highs and lows, in-betweens, and upside-downs. This industry is all over the place, and as an artist trying to be creative and keep your head open, there are other stressors going on.”

Another thing that gets her excited is collaborating with other artists, especially outside of her usual genre. “When people approach me to be on their records or collaborate, and it’s different musical worlds, that excites me. I’m like, that would be cool.

Like my collaboration with A.R. Rahman in India for Rockstar for the hit song, “Sadda Haq.” It was really fun; it was really cool. I’m working with Japanese artists as well, and there are more in the works. It’s been really fun and different. I just love it. I love working with different artists in different genres, and I think I’ll continue to do that.”

When asked whom she’d like to collaborate with in the future, Orianthi says she would love to work with Ed Sheeran, and mentioned that she’s started something with Gary Clark Jr., before noting her appreciation for Miley Cyrus’s newest work. “I love the edge and everything that Miley Cyrus is coming out with right now too. Her new record is good, and she is a very talented singer. I think doing something with her would be awesome. I’ve met her a few times, and she was lovely, and I actually met her dad a few times too, so that would be cool.”

As a final question, we asked Orianthi what advice she has for up-and-coming artists in the industry.

“Learn as much as you can, especially from people who you really admire. When they give you advice, take it. If you don’t know the answer, ask questions.

Ask as many questions as possible. Know about the business; know about where your money is going. As an artist, stay true to yourself. If something doesn’t feel right, don’t do it. If it really makes you excited, go for it! If it doesn’t make you excited, but you’re told you have to do it, don’t do it. I have done that before, many times.”

Her last piece of advice ties together with her own musical process and experience in the industry.

“Don’t try to please too many people. I try not to be the person who worries about someone speaking badly of me because I said no, or not liking me. I used to do that all the time, not because of low selfesteem, but just being in this business. At the end of the day, if you say no to something, it’s not because you hate the person, it’s because it doesn’t resonate with you at that moment; it doesn’t mean you can’t eventually do it. I would say yes to things and agree with things or go into situations because I wanted to be that people-pleaser. At the end of the day, if you aren’t making yourself happy as an artist and focusing on yourself, no one is going to have your back more than you.”

American Folklife Center, Library of Congress, Public domain

Carter’s Gibson guitar, accompanied by a photograph of Carter at the Country Music Hall of Fame

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INTERVIEWS

Yasmin Williams:

Pieces of Driftwood

By Alex Windsor

W

hile the acoustic guitar as we know it has been around for hundreds of years, songwriters like Yasmin Williams are helping us listen to it with a whole new extraordinary perspective. Williams grew up in Virginia, where her family introduced her to various music styles that eventually led her to pursue her own sound and earn a degree in composition from NYU. Her colorful harmonics and percussive plucking and tapping techniques transport the listener to a relaxing musical oasis. Her debut album, Unwind, has garnered massive praise from the folk and fingerstyle guitar community and earned her multiple Billboard spots. In her second album, Urban Driftwood, Williams takes her songwriting to the next level, beyond just a great guitar album. Though her playing style might be unorthodox, Williams’s sound is sure to feel warm and familiar.

When did you first start playing? What attracted you to the guitar?

It was definitely after I started playing the video game Guitar Hero. I played the game basically every day after school. Eventually, I beat the game on every level, and my parents got me a real guitar after that. I guess they were impressed.

Did the Guitar Hero controller buttons have any influence on your tapping style?

Yeah, a lot of the game consisted of metal songs, and once you reach the higher levels, there was a lot of tapping going on, and I loved that. I wanted to figure out how to go from tapping on the five buttons to tapping on the six strings of an actual guitar. It didn’t really work that well for me on an electric guitar— I don’t know why; I’m better at it now, but it’s still kind of rough. I was able to mimic the tapping motion a lot better on the acoustic guitar. That’s also why I started lap tapping, because that’s the easiest way for me to tap.

Your sound is so unique—what are some of your biggest influences?

When I first started playing electric, I was definitely influenced by Jimi Hendrix and Nirvana because their songs were easy to play. I learned a few Black Sabbath songs like “Iron Man.” I was definitely into more of the hard rock stuff back in those days. Now, it’s a lot more folk. Elizabeth Cotten is an influence of mine. I’m listening to a lot more acoustic music now.

Photo by Kim Atkins Photography

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INTERVIEWS You studied music theory and composition at NYU. Are there any particular composers that influenced your sound?

Yes, but I didn’t realize it until a friend of mine actually analyzed my music and said, “You were definitely inspired by Debussy and Ravel,” and I was like, really? Then he pointed out the chords that I used. I thought I should know this because I majored in it, but I never really analyzed my music at all. When he said that, it made sense because I love Debussy, I love Ravel, and I’m a big fan of neo-romantic and classical music. I also learned about composers like Florence Price in school, and I guess that was kind of an indirect influence too. Their music is very inspired by nature too, so I think that could be considered one of my influences.

Tell us about Urban Driftwood. What was the inspiration, and how did it all come together?

I really don’t know how it came together, especially that quickly. I finished most of the songs in 2020 because the album was largely inspired by just being stuck in the house and dealing with the pandemic. The social justice movements that were happening, like Black Lives Matter, also inspired me. I went to a couple of protests in D.C. and going to those directly inspired me to finish the song “After the Storm,” the last song on the album. There was a lot for me to reflect on, especially since gigs were canceled and things were so up in the air at that point. The album kind of wrote itself, really. A lot of the songs were just natural extensions of how I was feeling throughout the year. I don’t want to say it was an out-of-body experience because I did think very hard about the songs and the propositions. However, it was like an internal conversation. That’s kind of the first time that ever happened really for me; usually, songs kind of take me a superlong time to finish, and I put a lot of thought into them. This was a very natural, reflective period that just kind of culminated into the album, which was great.

How does Urban Driftwood differ from your first album, Unwind?

With Unwind, I was focused on being known as a good guitar player. I would ask myself, “How can I show that I’m a good guitar player?”

Whereas the second album was about using my composition skills. I wrote most, if not all, of the songs after college, which helped me to grow a lot as a composer. I was focused on writing more meaningful songs. I was also thinking about my unique position of being a Black guitarist—on the first album, I was kind of naive to that, but now I am much more aware of what that means, especially after all of the stuff that happened last year. I often thought to myself, let’s just kind of explore the music that I listened to as a kid and what my parents played around the house. Not to try to sound like other guitarists I knew of, but just to try to sound more like myself. I think I definitely accomplished that, at least to the best of my abilities right now.

What is your songwriting process? Do you usually come up with a melody and build a

chord progression around it or vice versa?

About 98 percent of my songs come together like a puzzle. I’ll record maybe a snippet of an idea that I have one day, and then maybe a week later, I’ll come up with something else that might match that snippet. Then I’ll piece it together and come up with something else. It’s very rare that I write a song from start to finish.

Usually, it’s like, here’s a chorus, here’s a bridge, here’s a verse—do these go together? Yeah, they do, cool. Let’s figure out how to piece them together. That’s kind of a longer process; it’s not like sitting down, having a songwriting session for like eight hours and finishing it; I can’t do that. For my song “After the Storm,” I wrote the climax of the song first, which happens right before the end.

Then like six months later, I wrote the rest. It’s like a puzzle that kind of comes together after some time.

Tell us about your current favorite gear—what are you using right now and why?

This Skytop Grand Concert guitar just sounds like me. It characterizes everything I would want out of a guitar. It’s clear, and it has a kind of bell-like tone. The bass notes are very pronounced but not muddy.

The highs are crystal clear, and the midrange is very nice. You can hear every note in every chord. Even when I’m tapping, everything is clear. For my sound, this guitar is definitely necessary. I also use Black Mountain thumb picks. Not many people give thumb picks much love, but I can’t really play without one. Sometimes I do have to take it off if it gets in the way while I’m tapping, but most of the time, I have it on because I’ll use it for the bass notes. I love reverb, and I have a Strymon BigSky, and that’s always on because it’s basically on every track on my first album too. I’m a reverb fiend.

What are you looking forward to the most in 2021 and beyond?

I got a booking agent and a manager this year, and they’re really helping me with getting a tour set up for the fall, which I will be superexcited to announce hopefully soon.

But yeah, I’m definitely touring in the fall. I wish I could tour sooner, but I cannot because nothing is really open. There’s a group in NYC—their name is Contemporaneous—who is arranging three of my songs from Urban Driftwood for a concert of theirs, which is really cool. They’re like kind of a small orchestra, and I’m superexcited for that. I’ve never heard these songs in an orchestral setting. I’m writing a piece for a berimbau group, which is an Afro-Brazilian instrument.

I’m also writing a piece for a group called Projeto Arcomusical, which is cool because I get to be a composer and only a composer—I don’t have to worry about playing guitar. It

Photo by Kim Atkins Photography

will be nice to use my degree for something, and I’m excited to write that piece for them.

It’s going to be a three-movement, 15-minute piece. So there’s a ton of stuff happening, but I’m mainly excited for just touring in the fall; we’re still working on routing and planning and all of that, but it’s going to be great.

What advice do you have for other young hopeful composers and songwriters out there?

I feel like this is said by everyone, but I would definitely say to be yourself. It’s not worth compromising your musical integrity, or personal integrity, just to try to get somewhere quicker. Work on your music or whatever your talent is, and eventually, you’ll see some success. It always kind of sucks when you see someone who is coming into the scene, and their music is great, but then they feel like they need to go more of a pop route or change their sounds to be more successful.

I would try to stray away from that. Also, this might sound kind of harsh, but don’t have idols, because it’s not really helpful to want to sound like someone else. There’s only one you, so focus on that and making that as great as you can. Those are my personal mantras, and I hope that helps someone else.

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INTERVIEWS

Country Music’s “Next Girl”

By Gabbi Calvert

C

arly Pearce is a classic country Kentucky native turned Nashville starlet. With credentials such as number-one singles “I Hope You’re Happy Now” (RIAA Certified Gold®) and “Every Little Thing” (RIAA Certified Platinum®), several highly esteemed country music awards, and having shared the stage with incredible acts like Luke Bryan, Blake Shelton, Thomas Rhett, and Jason Aldean, Pearce is a strong female presence to be reckoned with.

Only adding to her excellence, she is the third woman in country music in the past 15 years to have her debut single reach number one on the charts, which is an impressive feat that truly showcases her drive and passion for her craft.

Pearce recently released her brand-new EP, 29, and her current single, “Next Girl,” is creating even more praise for the brilliant songstress. The single has been nominated for Best Female Video of the Year at the 2021 CMT Music Awards.

To top off her prosperous last year in the country music awards scene, most recently, Pearce won the ACM® awards for Single of the Year and Music Event of the Year for “I Hope You’re Happy Now” alongside figurehead singer-songwriter Lee Brice. She even performed the single with Lee Brice at the ACM Awards® Show.

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First of all, congratulations! How does it feel to be the ACM Award winner for Music Event of the Year AND the 2020 CMA Award winner for Musical Event of the Year, and also the ACM Award winner for Single of the Year?

When I look back at the beginning of 2020, I was in such a low place in my life, but throughout it all, country music had my back. Being able to receive those awards is a childhood dream of mine, and I honestly can’t believe it’s even real. It’s all just been so surreal, and I couldn’t be more grateful to be able to share my music and have such a warm, beautiful reception from everyone.

Tell us a little bit more of the backstory on 29. What is the true meaning of the collection to you?

For this project, I knew going into it that I wanted to share my experience of healing within this past year. I’ve always turned to music as a source of strength in the bad times, and being able to write these songs as an outlet during this stage of my life was extremely therapeutic for me. I feel very proud to have put together a collection of such vulnerable songs, because that’s what country music is all about.

How are you feeling about the massive success of your current single, “Next Girl”?

We wrote and produced “Next Girl” early on in the pandemic, and it all came together in less than an hour.

Photo by Allister Ann

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INTERVIEWS When we finished the song, I knew instantly that it was going to be the single. No matter what song it is, I always write what feels authentic to me and my story, with the hopes that someone else has been through a similar experience before as well. I’ve had moms tell me that they are going to play this song for their daughters when they start dating, and then I’ve had divorced women who ask me where the song was five years ago. It’s been so fun for me to hear how people take my songs and relate them to their own lives; I love hearing their stories.

We are Guitar Girl Magazine, so we have to ask, what kind of guitar do you play and why?

Do you have a favorite guitar in your arsenal?

My Martin guitar is a personal favorite of mine. I use it a lot when I’m writing songs and working on music in general. I’m also a big fan of Gibson guitars; in fact, if you look closely in the “Next Girl” music video, you’ll see one of the Gibson models that I love.

Being a female in the country music world can be incredibly hard. Could you share with us your experience as a woman in the industry and what you have done to break

I just released my 29 collection, which I am so proud of. It’s my most vulnerable work yet, and I’ve received so many positive messages from listeners saying that it helped them through a difficult journey in their lives.

Photo by Allister Ann

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INTERVIEWS down those barriers?

The women of ‘90s country have always been my biggest inspiration.

They brought a flavor to the genre that had never been done before, and they really made that era of country special. I remember feeling so connected to the stories that Shania Twain, Faith Hill, Trisha Yearwood, and so many other women told in their songs, and I wanted to share that same connection with my listeners. I think that women bring a vulnerability and authenticity to their songwriting that people are drawn to, and thanks to country music fans streaming female artists and requesting their songs on radio, we’re beginning to see more recognition for women in the genre.

What do you hope your fans/listeners take away with them when they listen to your music?

Music has helped me through some of the best and worst moments of my life, and there are so many songs that really define different chapters of my life. There have been moments where I was in a dark place or felt very discouraged, and I listened to or wrote a song, and it was very therapeutic for me. I think that music has so much power, and my hope is that my listeners feel that same connection and feel that sense of happiness when they listen to my music.

Photo by A. Campbell

Can you tell us a little more about what’s next to come for you as an artist?

I just released my 29 collection, which I am so proud of. It’s my most vulnerable work yet, and I’ve received so many positive messages from listeners saying that it helped them through a difficult journey in their lives. I’m also beginning to work on a new project that I’m so excited about, and hopefully, I’ll be able to get back on the road again and safely perform some time this year. So, there’s a lot to look forward to in the coming year.

Ashley McBryde Receives “Song Suffragettes Yellow Rose of Inspiration Award” at Song Suffragettes’ Seventh Anniversary Celebration The Nashville-based all-female collective, Song Suffragettes, celebrated its seventh anniversary in March with a sold-out live performance and Livestream event at The Listening Room Café.

Following a night of entertainment and a Q&A with Ashley McBryde, the multiple award-winning musician was presented with the Song Suffragettes Yellow Rose of Inspiration Award, “an honor bestowed on a female songwriter who has inspired the many Song Suffragette women who one day hope to follow in McBryde’s successful footsteps.”

Photo by Libby Danforth (Back row: Todd Cassetty (Song Suffragettes), Mia Mantia, Madeline Finn, Tenille Arts, Ashley McBryde, Kalie Shorr, Phyllis Stark (All Access Nashville), Brittney Spencer, Taylor Fair (Song Suffragettes) (Front row: Mia Morris, Candi Carpenter, Kaylin Roberson, Allie Dunn, Sophia Scott, Livy Jeanne)

“I’ve said just about everything funny and sentimental I can say,” said McBryde. “You must be present to win, ladies. And the gal that quits last, won...” Performers for the evening, along with McBryde, were Kalie Shorr, Madeline Finn, Livy Jeanne, Mia Morris, Tenille Arts, Candi Carpenter, Mia Mantia, Kaylin Roberson, Sophia Scott, and Allie Dunn.

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INTERVIEWS

The Highway Women

Divulge Details Behind Their Recent Empowering Release, “Dead Man Walking”

By Victoria Shaffer

about what inspired this song?

Drew Haley: I wrote the song with Randy Bryan and Tabitha Booker. It was originally inspired by Randy, who had recently gotten some scary medical news. He went to his doctor’s appointment, and when he arrived, he simply said, “I am a dead man walking.” For me, the song was more personal as I was having marital problems at the time. I pitched the song to our manager, Jill Pavel, and she said, “Hey, we have to record this; it could be your unofficial divorce song.”

How would you describe the new single, “Dead Man Walking”?

Kristen Kae: Fierce. This was the song that we just let go and allowed ourselves to be unapologetic with our delivery and vibe. We just went into the studio and really trusted ourselves and each other in the process.

Photo provided by management The Highway Women consist of four powerhouse vocalists, Drew Haley, Kristen Kae, Jess Paige, and Bailey James, and exude an inspiring level of moxie and grit. Their most recent single release, “Dead Man Walking,” only adds to their rebellious image and empowering message. With an upcoming EP release and potential tour, the girls filled us in on all-things inspiration, songwriting, recording, and “Dead Man Walking.”

The band recently added two new vocalists to their roster—Gabrielle Vaughn and Jenane.

Kristen Kae: Oh my gosh, so many. We all embrace different influences from the likes of Dolly Parton, Reba, Amy Winehouse, Gaga, Aretha, and more!

How would you describe the Highway Women’s sound?

Jess Paige: Unique. We all have different solo styles, but somehow, we blend together in a way that no one could possibly reproduce. We are a bit of country, rock, soul, and guts.

“I wanted to expand the band to further build our intense harmonies and bring the band into some other genres of music including blues, rock, pop-R&B along with country music.

Jenane and Gabbi are a perfect fit as they bring their influences to the group, including Amy Winehouse, Fleetwood Mac, and Joss Stone.

We are excited for our upcoming EP release.” Jill Pavel - Owner

You all have incredible harmonies. Could you tell us a bit about your rehearsal process and how you all go about blending your voices?

Bailey James: Sometimes it is easy, and sometimes we call in our “general,” aka Hannah, our vocal coach. We all have different ranges, and we seem to find a way to make it work. We rehearse with our guitar player, and we also rehearse with Hannah. She helps us fine-tune our delivery. It is always good to work with someone who can hear the things we cannot while we are singing.

When and how did the Highway Women form?

Drew Haley: In 2016, Dallas businessman Jimmy Parman started the label. He sold the label to our manager and owner, Jill Pavel, in 2017. Pavel took the reins, and here we are today. She is relentless and inspires us to plow forward in a very competitive industry.

When writing music for the Highway Women, is there a specific message or energy you aim to convey?

Drew Haley: Whether we write the song, or a song is pitched to us, we always try to embrace songs that are uplifting to women in the form of empowerment.

Which female artists inspire the sound and spirit of the Highway Women?

We love the new single, “Dead Man Walking”!

As one of the songwriters, could you tell us a bit

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What was the recording process like for “Dead Man Walking”? Was it recorded during the pandemic?

Bailey James: Yes, actually, it was. We went into the studio for vocals three times. Our guitarist, Erin Coburn, delivered an astounding guitar track that really challenged us. In a way, she forced us to raise the bar on our vocals, background vocals, and riffs. We had to get creative. This track truly challenged us, but it was worth it. Jill said we are not done until we are done, and she meant it. We masked up, social distanced, and just went in and did our thing.

What was your favorite part of the recording process for “Dead Man Walking”?

Kristen Kae: Well, it never made it to the track, but in one of our recording sessions, Jess, Bailey, and I hit the mic and just had a riff session.

Honestly, we didn’t sound great, but we had a blast. It was truly a letting-off-steam sing-off!

What can fans expect from the forthcoming Highway Women EP? Jess Paige: We are letting go of what is expected from us and just going in and making music that we vibe on. We really want to put out an authentic array of songs that showcase who we are as artists, not who we are supposed to be according to the gospel of the country music industry.

What can fans look forward to from the Highway Women in the near future?

Bailey James: We are working on our new EP, which we plan to release in September. We are also tour rehearsing because we are finally hitting the road this year. Hallelujah and Amen!

Guitar Girl

Magazine 2021 Calendar Guitar Girl Magazine’s 2021 calendar is a beautiful wall calendar.

This 11 x 8.5-inch calendar features the extremely talented Soleil Laurent on the cover, followed by 12 months each showcasing a fabulous female guitar player followed by a bonus four-month pre-planner for 2022 and two pages for notes.

January Nikki Stringfield

February Alex Nicole Windsor

March Guitar Gabby

April Madeline Rosene

May Serena Laurel

June Aliah Guerra

July Holly West

August Moriah Formica

September Anna Sentina

October Tiffany Lloyd

November Nikki ONeill

December Jessia Kaczmarek

PrePlanner Indigo Una

Notes Jimena Fosado

Notes Mean Mary James

Order yours today for $14.99 on our site at GuitarGirlMag.com.

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PHOTO BY JACK LUE guitargirlmag.com Guitar Girl Magazine 43

Encourage. Inspire. Empower.

2018 through 2020

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INTERVIEWS

“African Girl”

Naomi Wachira

Tells All About Living Her Musical Truth

By Tara Low and Gabbi Calvert

Photo by Bryan Tucker

K

enyan American singer-songwriter Naomi Wachira is a deeply soulful, talented woman with a love for creating a welcoming space for her listeners to feel connected and identified.

Wachira has performed alongside colossal talents such as Ziggy Marley, Damien Jurado, Ben Gibbard (Death Cab for Cutie), Dave Matthews, Shemekia Copeland, Clinton Fearon, Valerie June, and many others.

Wachira released her poignant and powerful EP African Girl in 2012, stunning self-titled album Naomi Wachira in 2014, and her most recent album, Song of Lament, in 2017.

Wachira was named Best Folk Singer by the highly esteemed Seattle Weekly in 2013 and received the African Achievement Awards for Best African Female Artist Pop/Fusion in 2020.

We last chatted with you back in 2017 after the release of your album Song of Lament. You released a single “What If?” in early 2019, which is such a beautiful song—and the cello arrangements add so much to the emotion behind the music. Can you share with us the inspiration and songwriting process?

Thank you! The song was born out of helplessly watching as families were being torn apart at the border in 2019. The breaking point for me was the story of the father and daughter who’d drowned while crossing the border. As a mother, I was so distraught because I understand the hard choices you sometimes have to make in order to give your children a better life. It was so heartbreaking and honestly incomprehensible to watch families being criminalized because they wanted a better life. My intention was to create a song that would allow us to step outside of the politics of immigration and see these families as human beings searching for a more dignified, expansive, and liberating way of being. I kept thinking of the phrase “walk a mile in someone’s shoes.” and I wanted to explore what that actually looked like. And that’s how the song came to be.

I wrote it in about 45 minutes, perhaps one of the fastest songs I’ve ever written. I remember my daughter coming into the kitchen in tears because she thought it was such a beautiful song, and that was by far the best compliment.

You released your single “African Girl” off your first EP titled African Girl in 2012. Here we are seven years later, and the song is still so relevant today. What would you like our readers to take away from this song?

There are two observations I have about this song. From a creative side, it is this testament that you can create a work and have it continue living and expanding years after it’s been created.

To me, that’s what I hope to be as an artist; to create work that lives and breathes regardless of how long it’s been since it was created and even when I’m long gone. From a personal perspective, I think people are constantly coming to terms with the importance of owning all that you are if you want to fully embody the life you were created to live. It’s interesting because I feel like the song changes for me almost every year and certain lines have more meaning than others.

Recently, I’ve come to understand the line “where I’m coming from” as the need to understand my trauma and all the childhood wounds I’ve been carrying and then working to heal them so that I can have better clarity for where I’m going.

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INTERVIEWS

My first guitar was a Takamine; I fell in love with the guitar and have been using them since then. Currently, I play a classical P3FCN. I have a great story about my relationship with Takamine.

When we recently connected, you mentioned that you have been in Africa since the pandemic hit. What was the reason for returning to Africa, and what have you been doing to stay creative, write music, and stay connected with your fans during this time?

My daughter and I came to Kenya in the fall of 2019. I had planned to take a four-month sabbatical so I could figure out what the next chapter of my career would look like. When we got home, we discovered that my mom needed an emergency hip replacement surgery.

It felt like divine timing as I’d be able to take care of her during her recovery. This led up to around March 2020, right as the Coronavirus was starting to become a threat.

At first, I thought it would be only a few months, but by October, I knew that we would be here for an indefinite time because the world felt so different, and I didn’t really feel the urgency to return to the U.S. I also felt a lot safer where we were. At the beginning of the pandemic, I felt the pressure to keep performing virtually, but something about it felt forced, so I decided to stop and became intentional about enjoying this rare gift of guilt-free free time. I gave myself permission to be without any purpose or plan. I ended up doing a lot of work on my mom’s house by repainting all of it, including the exterior. I also updated most of her flower gardens and also discovered that I had a knack for baking. But this meant that I completely unplugged from social media and my fans. I didn’t really interact with them that much, and in a way, I was okay with that. I knew in my heart that this season was just about me resting and doing some personal selfdiscovery journeys, and that felt like that was what the season was about. On the other hand, I was still able to do a number of virtual shows for private organizations, and that helped me stay afloat financially.

What is one surprising thing you have learned about yourself during the pandemic?

At the beginning of the pandemic, I had this epiphany that I’m like an onion and every layer you peel has value. I was worried that stepping away from hustling and doing music all the time would somehow diminish my value as a human being. Instead, I discovered that my value didn’t really come from what I did but from who I am. There was something so liberating about looking at my life from that perspective.

You recently were awarded the African Achievement Awards for Best African Female Artist Pop/Fusion.

Congratulations! What did winning that award mean to you?

That came as such a surprise, and it’s definitely an honor.

This is my first-ever award, and it was so affirming, especially in a year where I barely did anything musically.

It was this reminder that the work I’ve done so far has been good and that it brought value to people’s lives—and for that I’m truly grateful.

I saw on Instagram that you just recently heard yourself on the radio for the first time, and you were so excited and grateful. Where were you at the time?

It’s actually crazy that after nine years of being in the music scene, this was the first time I’d heard myself on the radio! I had been checking on my Twitter and saw my friend Gabriel, who’s the early morning DJ on KEXP, had just logged on. I decided to see if Alexa would play KEXP, and she did! I then messaged him that I was listening, and he gave me a shout-out on air. Apparently, a fan of my music heard that and requested “African Girl.” It was such a special moment for me—again, another affirmation that the work I’ve created continues to live and breathe.

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How and when did you first become involved in music, and when did the guitar enter your songwriting?

My mom says that I started to sing before I could talk, and then when I was around five, I joined a choir my parents belonged to called the Brethren. At around 15, I wrote my first song and that became a thing I did all through high school. When I went to college, I didn’t really do much with music, though I did sing in the Women’s Choir for a year. It wasn’t until some friends introduced me to Patty Griffin and Eva Cassidy that I returned to music. I was so struck by the simplicity of their guitar playing while they told such complex and powerful stories. At 27, I bought my first guitar and, with the help of some friends, learned how to play some songs I’d come to love from these women and other artists such as Ray LaMontagne, Sia, Tracy Chapman, and Macy Gray. This then naturally led me back to writing my own songs.

Who were some of your early musical influences?

I remember when I was younger, I was so deeply drawn to the music of Whitney Houston. There was so much power in how she sang, and I feel like it was imprinted in me the type of delivery I wanted to have as a singer. Later on, I was drawn to women who had powerful delivery of their songs, whether that was Tracy Chapman, Miriam Makeba, Ella Fitzgerald, Odetta, Eva Cassidy, or Patty Griffin.

What is your “go-to” guitar for songwriting?

My first guitar was a Takamine; I fell in love with the guitar and have been using them since then. Currently, I play a classical P3FCN. I have a great story about my relationship with Takamine. I’d reached out to them once requesting a discount on a new guitar, and a man named David Vincent responded and offered me a great discount on my first classical guitar. A few months later, I happened to be touring in Nashville, and David said he’d come to see my show. After my performance, he came to say hello, and after a bit of chitchat, he presented me with a case he’d been carrying. In it was this incredibly beautiful classical guitar. He told me that it was his personal guitar he’d owned since 1999, and when I reached out to him the first time, he instinctively knew that that guitar belonged to me. He decided to wait until he met me in person to give it to me as a gift, and I was so completely moved and blown away. I named her Estella. Sadly, Estella was damaged in 2018 during my Europe tour, so she’s currently out of commission, but the best part is that Takamine saw my story and offered me a new guitar which I love so dearly.

Anyway, long story short, Takamine is my go-to guitar for everything!

What is your definition of guitar tone?

So I have to confess that I first had to google what “guitar tone” was because it’s really not something I’ve ever considered. I remember after I’d met Damien Jurado, he suggested that I switch to a classical guitar because he thought it’s warm tones would better complement my vocal style. So I’d say my guitar tone is warm, understated, and imperfect.

You’ve had the opportunity to work with so many amazing musicians. In particular, we’re interested in hearing more about is Valerie June, who is featured in this edition. Can you fill us in on some of your work with her and some other artists?

I got to open for Valerie June in 2016, and I remember she was extremely kind to me. I later ran into her at Bumbershoot in 2017, and we had talked about connecting after the festival, but that never happened as life just took on new forms. I’ve been so privileged to work with some amazing musicians in Seattle like Damien

INTERVIEWS Jurado and Ben Gibbard (Death Cab for Cutie).

These were musicians whose music I listened to long before I had started my career, and to now consider them as peers and friends is so mindblowing. I remember the first time I played at an open mic, Damien happened to be in the audience, and I was awestruck when I spotted him. Months later, he requested I open for him, and that began an amazing friendship. He came on board to produce my first full-length album in 2017, and he also requested I support him on his U.S. and Europe tours in 2018. I still shake my head in disbelief that we are now friends.

Earlier this year, we celebrated Black History Month and Women’s History Month. Can you tell us what those two months mean to you and why they’re important?

It’s actually interesting as this was the first time I wasn’t in the U.S. for both of these. Being in a country where everyone is black, I found that there was little emphasis on celebrating Black History Month, which is a reminder of how I grew up. I don’t think I ever considered myself as Black until I moved to the U.S., and that was such a different experience than what I was used to. As for Women’s History Month, that is definitely more visible of a celebration. But overall, they both felt subdued because the world just doesn’t feel like the same place.

What’s one piece of advice you would like to share for aspiring musicians to navigate the music industry?

Get to figure yourself out as a human being first, and then understand what your mission is with

your music. It’s very easy to get swayed in this industry, and if you’re not sure of yourself or your mission, you’ll find yourself in places you never wanted to be in. Also, learn to be patient because the journey never quite unfolds like the picture in your head. As grounded as you can be in your mission, it’s also important to find balance with being flexible as your career unfolds. To cap it off, enjoy this privilege because not everyone gets to have the kind of life most musicians get to have.

I know we’re all hoping things will be returning to normal soon. What are you most looking forward to when life returns to “normal”?

The chance to tour again. I’ve definitely missed traveling to different places, and that is the one thing I’m looking forward to doing again.

>>> Blues guitarist and singer Rory Block has been releasing albums since 1967, with over 35 albums to date and numerous music awards. In 2018, she released her first album in a series devoted to women in the blues, titled A Woman’s Soul: A Tribute to Bessie Smith, followed by Prove It On Me in 2020 via Stony Plain Records.

CLIP-ON TUNER • USB rechargeable • Tunes guitar, bass, mandolin, and ukulele • 4 modes (2 needle/2 strobe) • Accurate to +/- 0.5 cent • Hours of use on single charge • Bright LED screen • No-slip clip

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INTERVIEWS

Guitar Icon

on her Vast and Varied Career

By Victoria Shaffer

I

t is no small feat to describe Muriel Anderson’s career and list accomplishments. She is an influential guitarist, skilled multi-instrumentalist, devoted teacher, cookbook author, longtime composer, nonprofit founder, and true lover and believer in the power of music.

Anderson filles us in on her varied and vast career, including her musical upbringing, current projects, and collaborating with guitar legends.

Your current project is Acoustic Chef, an international cookbook with music for each recipe. How did this come about, and how do people find it?

In the process of touring internationally, I stay with families more often than in hotels, and word has gotten around that I love great cuisine. Sometimes I’ve even been invited into the kitchen to learn family specialties and then jammed with local musicians. Writing and arranging music in the style of each recipe seemed a natural. All the recipes are pretty easy to make, and of course, it makes it more fun to cook when accompanied by the right music. You can check it out at murielanderson.com/cookbook.

I know it’s hard to pick just one, so share with us a few of your favorites.

The bruschetta is the easiest recipe and so amazingly delicious that sometimes it doesn’t make it past the butcher block table. One of the most fun and unusual is the Tuvan lamb dumplings, taught to me by the throat-singers from Tuva who sing and play on the accompanying CD.

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You are such an accomplished player, Muriel. Could you please tell us a bit about your upbringing and when/how you began playing music?

Thank you. When I was about seven or eight years old, I discovered a 3/4-size guitar that a friend of my mother’s was disposing of, and I instantly began figuring out melodies on it. Everyone in the family played some type of instrument for fun so that we could play Christmas carols and folk songs together. My mother played and taught piano, and her father was a sax player in Sousa’s band and then went on to have his own dance band. At some point, I got the idea that being a professional musician like my grandfather would be pretty cool.

Which musicians have most inspired you and your style of playing?

Doc Watson was my first guitar inspiration, and then later Chet Atkins, Christopher Parkening, and many others. I’ve just recently released a TrueFire course called My Guitar Heroes, where I teach some of the things that my heroes taught me.

Is there a specific brand of guitar that you find yourself most drawn to?

That varies over time. I like handmade instruments

by Mike Doolin, who built my harp guitar, a Tierra Negra or 1960s Ramirez flamenco guitar, steelstring guitars by Steve Klein, David Taylor. On tour, I often play a Camps flamenco and Brunner harp guitar.

INTERVIEWS

Photo by Bryan Allen

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INTERVIEWS

Photo by Bryan Allen

You give workshops and offer instructional DVDs; what do you enjoy most about teaching?

I enjoy that moment where I can hear a dramatic improvement in someone’s playing, just from applying one single concept. That concept seems to be different for every student. I now have a channel where you can learn hundreds of things: truefire. com/h2495.

You founded the Music for Life Alliance. Could you tell us a bit about the charity and the inspiration behind its founding?

Initially, I was concerned about rising crime in my neighborhood due to adolescent drug use. How can you ask kids to “just say no” when you don’t give them something to “say yes” to? These efforts eventually turned into the Music for Life Alliance, and with the help of a handful of dedicated volunteers, we are able to help support organizations doing the hands-on work by supplying them with instruments and funds from my All Star Guitar Night, my annual concert, and a portion of the proceeds of my Acoustic Chef book/CD. It’s a small organization, but it’s gratifying to hear when it makes a positive difference in someone’s life.

You performed in New York with inventor and guitar legend Les Paul. What was the experience like?

You never know who you would meet backstage.

One time a young ukulele player walked out on stage. I thought, “Well, Les is having a little humor onstage now,” but . . . it was Jake Shimabukuro, who proceeded to completely amaze me with his virtuosity. Les always had great stories to tell backstage. For instance, he told me about a show he

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played with Judy Garland where he met the inventor of audiotape for music! Les was a real part of history, and I thought he should be honored in his lifetime, so I put together an All Star Guitar Night to honor him. I rented the Ryman Auditorium in Nashville for the event, and to my surprise, Les offered to play as long as I hired his band. Of course, I did. Les and I cohosted the show, and he never missed a chance for witty and colorful patter.

You also recorded with Nashville country music legend Chet Atkins. How did recording with Chet come about, and how did that experience impact your musical journey?

My mandolin teacher, Jethro Burns, introduced me to Chet Atkins since they married twin sisters!

Chet became a mentor as a person as well as a musician. He taught me a lot about music and valued his friendships. I was careful not to ask him for much since he was already giving his time to teach me some great tunes. Chet wandered into the studio across the street from his office where I was recording a tune he wrote (and I titled) “To B or Not to B,” and picked up a guitar to say, “Why don’t you add a part like this . . .?” I responded, “Well, why don’t you play it?” He smiled and sat in front of the microphone.

What does it mean to you to be the first woman to win the National Fingerstyle Guitar Championship?

Well, I wasn’t thinking of it in terms of a goal; I simply needed something to put after my name in newspaper listings because I kept getting tagged as “singer-songwriter” instead of “guitarist.” The ability to write “guitar champion” completely solved the problem.

guitargirlmag.com

In addition to being a musician, you are a skilled and accomplished composer. When did you begin composing, and how do you feel your work has evolved throughout your career?

Actually, I think of myself more as a composer than a guitarist, and I was composing tunes in my head before I played guitar. Tunes write themselves in many ways, and some of my earlier compositions are much more classical, much more involved and complicated than my current music. I would like to get back to the point where I can enjoy symphonies just playing in my head again.

You’ve had the opportunity to collaborate with so many amazing musicians, from classical to country to jazz to flamenco. What other artists/genres would you like to collaborate with?

I have always wanted to play with the Paul Winter Consort. I love the way he and the members of his ensemble played with sounds of nature. I am also interested in discovering Indian music, especially because I like Indian food, and that means there is bound to be an Acoustic Chef, book two.

What can your fans and our readers look forward to from you in the near future? Where can they go/ where can they follow you to learn more?

Murielanderson.com/now is where I post everything that is new, including upcoming live streams. Bryan Allen and I plan to broadcast live from his sailboat heading up the coast of Maine. In addition to playing and writing music, we will also distribute instruments to music programs for kids at our stops.

Just for fun, you can catch some of our adventures at youtube.com/acousticsailing.

INTERVIEWS

Tone Talk with

H

Tenille Arts

ey! I’m Tenille Arts, and I grew up in a small town called Weyburn, Saskatchewan, in Canada! I loved country music growing up and even had a taste of the farm life because we had a wheat farm in the family. Because of that, country music seemed like the most natural genre for me. I got my first guitar at 14 years old and immediately started writing songs. I was mostly self-taught by watching YouTube videos and following charts. I started making YouTube videos and that led to my first trip to Nashville in 2009. I moved from Weyburn to Nashville in 2015 and have been writing, recording, and releasing music since then.

What is your definition of tone, and how has it changed over the years?

For me, tone is the most important thing, starting with my voice, so I need to make sure the guitar I’m using complements that. My vocal tone has changed over the years; so along with that, so have my guitar choices.

Which guitars, amps, and pedals are you currently using and why?

I’m currently playing two acoustic PRS (Paul Reed Smith) guitars and one electric.

I’ve only played electric for one show, so I’m just getting started. But I love a good challenge, and I’m so excited to learn about the electric guitar world.

What about strings?

I love Elixir® strings! I started out playing on these strings, so it’s hard to change it up once you’re used to a certain feeling.

Photo by Rachel Deeb

Are there certain recording techniques you prefer in the studio?

I don’t record my own guitar parts! I leave that for the incredible studio musicians in Nashville.

How do you keep your sound consistent onstage?

Practice, practice, practice. I’m one of those people who loves to learn, so as soon as someone shows me a new guitar part or a new chord, I go and practice for hours and make sure it’s muscle memory by the time I hit the stage.

What does your practice consist of?

I always practice specifically for each show.

Whether it’s a four-song acoustic set or a full band hour show, I run through the set over and over until I feel like it flows, and it feels natural.

Favorite guitar riff or lick that inspired you to play guitar?

I was a “learn to play guitar to accompany myself” girl until the pandemic and quarantine hit. Then I started diving into some of my favorite Beatles’ songs and learning how to play them. My favorite is “Here Comes the Sun.” What is your advice for young women who hope to work in the music industry?

I want young women to know how incredibly special their unique features are. Don’t change who you are to fit into the music industry. As soon as you do, you become like everyone else.

Stay true to who you are, and create music that you love. Music trends come and go, so don’t chase something. Just keep doing what you’re doing, and it will catch on!

Photo by Grand Ole Opry/Chris Hollo

Country singer Tenille Arts has had a great 2021 so far. She was nominated for the ACM Awards for Best Female Artist of Year, which she was so grateful for. “I’m just very proud of my team and everybody that’s been a part of my career so far.” Her hit single “Somebody Like That” on 19th & Grand Records hit No. 1 on the national country charts and #1 on Billboard’s all-genre Bubbling Under Hot 100 Chart. The song is the first song in country music to hit #1

that was written, performed, and produced by all females. The song was co-written with Allison Cruz and produced by Alex Kline.

Arts is the first Canadian to reach #1 in the U.S. since 2007 and the first Canadian female since Terri Clark in 2004.

“I can’t wait to continue to write this story together. Dreams really do come true!”

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INTERVIEWS

Tone Talk with

Maggie Noelle I

’m a small-town girl, originally from Southwest Virginia. I grew up listening to Bluegrass music and roaming through the woods in the heart of the Appalachians. I started playing acoustic guitar at the age of eight after my mama taught me the basic chords G, C, and D. After discovering the blues, I ventured into powerful soul singers such as Aretha Franklin, Etta James, Nina Simone, Bonnie Raitt, and Susan Tedeschi. My band, Magnolia Boulevard, is my first step into allelectric music, and I feel I’m finally able to fully express myself.

What is your definition of tone, and how has it changed over the years?

From my perspective, tone helps me describe the mood of my guitar and the story told through the song. I started out on an acoustic guitar, so my personal preference for tone has drastically changed over the years.

What are your favorite tonewoods?

Mahogany, always. Then koa and spruce.

Photo by Hunter Selman

Which guitars, amps, and pedals are you currently using and why?

PRS {Paul Reed Smith) guitars have become a huge part of my family, in more ways than one, within the past few years. My stage set up usually consists of my PRS S2 Vela, Custom PRS 50W Combo amp, and the occasional

British singer, songwriter, and guitarist Joan Armatrading released her third album Joan Armatrading 45 years ago in July 1976 via A&M Records. The Gold-certified album by the British Phonographic Industry charted at #12 on the UK Albums Chart and included her hit single “Love and Affection.”

Track listing All tracks composed by Joan Armatrading

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delay pedal (MXR Carbon copy). Also, my handy dandy Hercules guitar stand!

Are there certain recording techniques you prefer in the studio?

Recording is still really new to me! However, I have noticed that I don’t like having many people in the room.

Hot tea, lots of water, and Kentucky bourbon are always good for vocal tracks.

How do you keep your sound consistent onstage?

Allowing myself a few minutes of breathwork and meditation before a show isn’t always possible but extremely beneficial. A little 10-minute vocal warm-up beforehand is key!

What does your practice consist of?

I gravitate to my acoustic guitar, a PRS SE Angelus, when I’m practicing at home. The boys and I practice once a week at a local recording studio. We plug in and work on new tunes, old tunes—but we also love to jam around and find new inspiration.

Favorite guitar riff or lick that inspired you to play guitar?

The intro and solo of “Love Me Like A Man” by Bonnie Raitt. Also, pretty much anything on Susan Tedeschi’s Just Won’t Burn album.

What is your advice for young women who hope to work in the music industry?

In a world where women are constantly criticized for their actions/appearance and feel the need to suppress their opinions, their bodies, their truer self . . . I say use your voice for the greater good. Sing out and don’t hide behind what society has made you feel like you need to be. Wear that crazy outfit on stage, sing that high note you’re not sure about into the mic, and let the criticisms of others roll off your back. Letting go and pouring your soul into your music will set you free.

Side one “Down to Zero” “Help Yourself” “Water With the Wine” “Love and Affection” – “Save Me” Side two “Join the Boys” “People” “Somebody Who Loves You” “Like Fire” “Tall in the Saddle”

INTERVIEWS

Tone Talk with

Jessica Manalo S

oulful singer-songwriter Jessica Manalo, currently based in Portland, Oregon, is a Breedlove artist and shares new covers every Monday to her Instagram followers in what she calls Magic Monday.

In your bio for Breedlove Guitars, you said, “I want people to feel what I feel when I sing.” How do you feel when you sing?

I get really into it when I sing. I feel there is no point in expressing if you’re not going to bare it all. Everything I sing is a real description of my life and my life experiences. I write my world down, and I really do get emotional when I sing. I picture images of my life, whether it be heartbreak to good times when performing. I want the stories in my songs to relate to my audience in any way that resonates with them.

When did you first pick up the guitar, and what drew you to that instrument?

I picked up the guitar when I was 10 years old. Originally, I was a trumpet player. My mom always played her guitar in our kitchen apartment, and so that immediately drew me in, and I was curious from the get-go. I think the guitar is special to me because it roots me to my mom and my childhood.

What’s your go-to guitar for songwriting?

My go-to guitar for songwriting has to definitely be my Breedlove. I am absolutely in love with it. I named her Marbles!

Who are some of your musical influences?

If I had to narrow it down to five—even that’s a lot—but if I had to narrow it down, I would say Paramore, Amy Winehouse, Adele, Alabama Shakes, and Fleetwood Mac. I could listen to these artists forever and never get tired of their music. They are also teachers in my ears. The different styles and flavors I pick up from each one shape me as an artist.

I just love them all.

In your Magic Monday series, you’ve covered songs from a broad range of artists from Amy Winehouse to Michael Jackson, Chris Stapleton, and others. What draws you to a song that makes you want to cover?

There aren’t too many reasons why I choose to cover a song. But what comes to mind is, does it have soul, and how can I challenge myself this time? I usually pick songs so I can add them to my repertoire and have it be a song that many already love. It engages the audience, and familiarity makes people smile.

I just always make sure that I actually love the song itself, and I am not straying away from what I truly love and what suits me.

When I learn songs from the greats—guitar and vocals—it really sharpens my skills when I practice. Practice has been my teacher in between each Magic Monday video I shoot.

I’ve learned so much just running through these amazing songs over and over and over until I lose my voice or my fingers start hurting! I’ve really watched myself grow, and I can truly say that I am proud of all the sweat

>>>

Photo by Haley Cox

and tears I’ve put into my content. There is always room for growth, and I’ll never stop learning as long as I have music near.

Kaki King is one of the most exciting and innovative guitarists working today, known for her unique percussive style. King is as prolific as she is unique, having released ten albums, created two groundbreaking multimedia live shows, and received a Golden Globe nomination for her work scoring the 2008 feature film Into the Wild. King’s third album …Until We Felt Red released on August 8, 2006, is celebrating its 15th anniversary this year.

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INTERVIEWS

Take Five With

Laura Oltman O

ne wouldn’t think the Sixties television series The Monkees would inspire someone to become a classical guitarist. Laura Oltman, part of the Newman & Oltman Guitar Duo, was inspired by the show so much that she ordered her first guitar from the Sears catalog. She picked up a Mel Bay book and began on her journey to what would lead her to become a worldrenowned classical-flamenco guitarist involved in numerous musical ventures.

Newman & Oltman Guitar Duo recently released a new recording, The Book of Imaginary Beings (El Libro de los Seres Imaginarios) – The Music of Leo Brouwer for Two Guitars, available in high fidelity LP, CD, digital download, and streaming formats. The album features works by legendary Cuban composer Leo Brouwer, including arrangements of songs by John Lennon and Paul McCartney, and the newly commissioned work “The Book of Imaginary Beings (El Libro de los Seres Imaginarios),” inspired by the book of the same name by Argentine author Jorge Luis Borges and dedicated to the duo.

The duo are founders and artistic directors of the New York Guitar Seminar at Mannes, Raritan River Music, and the Lanciano International Guitar Seminar in Italy.

Newman & Oltman Guitar Duo directed and performed at the Raritan River Music Festival in May. They will also be directing and performing at the upcoming virtual New York Guitar Seminar at Mannes in July and the in-person Lanciano International Guitar Seminar in conjunction with Estate Musicale Frentana in Lanciano, Italy, also in July and August.

What inspired you to pick up the guitar, and why classical music?

My inspiration to pick up the guitar was The Monkees, the TV show that was popular when I was a little kid. I bought a toy electric guitar from the Sears catalog so my friends and I could have a pretend band like the Monkees. My mom figured out from the instructions that came with the guitar how to tune it and play a couple of chords, something I had not envisioned when I bought it, but it was easy and fun. She got me a Mel Bay beginner guitar book, and I taught myself for a while, as many guitarists do.

I got interested in classical guitar because I was not much of a pop singer, and if you learn chords, you need to sing along. The great thing about guitar as a musical instrument is that it plays melody and accompaniment at the same time; no singing required. It is a lot like a piano in that way. But it is hard to teach yourself classical technique and repertoire, so I took lessons and found it very gratifying. I also had a taste for classical music in general.

Who were some of your early musical influences?

One great influence in that regard was the Lutheran church, where we went to church and where I sang in the choir. There is lots of incredible music written for that church, especially by J.S. Bach. In addition, my parents had a substantial classical music record collection, so I heard and performed classical music a lot.

As a guitarist, Andrés Segovia was a huge influence on anyone studying guitar in the 20th century, which would include me. It is hard to describe how pervasive his influence on classical guitar was during his lifetime. During his career, it was possible as a classical musician to be known to an audience well outside of the classical music fan base. When the recording industry began, it was very focused on recording classical music. Commercial recordings made musicians world-famous almost

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INTERVIEWS

If I had it all to do over, I would marry this career again. It has been extremely fulfilling and full of great personal and professional relationships. instantly in a way that was not possible before the advent of recording technology. Segovia was in on the ground floor of the record industry, and by the end of his career, his name was truly a household word. I actually had a masterclass with him at the Metropolitan Museum of Art when he was about 90. I had a number of his records as well. I was also a Julian Bream fan. What I have always admired about Bream is the repertoire he played and commissioned. I loved the early music he championed, and I think he commissioned some timeless music for guitar. Of course, my main teachers, Luisa Sanchez de Fuentes, Bruce Holzman, and Oscar Ghiglia, were the biggest influences.

Tell us about your partner in the Newman & Oltman Guitar Duo and how the duo was formed.

Michael Newman and I are the same age, and in college, we both went to the summer music programs where music students would go for masterclasses and performing opportunities. In the U.S., the big festival where guitar was available was the Aspen Music Festival, where Oscar Ghiglia was the guitar teacher. There weren’t all that many other summer programs that included guitar, so everyone congregated in Aspen. We both went to Aspen for a couple of summers to study with Ghiglia. After college, I ended up moving to New York, where Michael was living, for graduate school. At first, we were pursuing separate careers but started playing more as a duo once we lived in the same place. After we were married, it became even more natural to work together. We have been able to do that for our entire careers, but it is not for everyone in a marriage.

What do you hope listeners take away from your music?

I hope listeners of my music take away something I never even imagined, like in that Roberta Flack song “Killing Me Softly,” which describes a performance of almost unintended intimacy from the perspective of the listener. Artists put the music, or visual art or written word, out to the audience, and the audience gives it meaning, often far beyond the ambitions of the creator. One time I heard the guitarist Michael Lorimer say what he thought made a great performance. He thought it had to be competent as a basic requirement, but a great performance had to have something about it that was astonishing or practically magical at some level. I agree with that. I would add that, like in the song, it has to create a bond of intimacy with a listener so that they feel like they have learned something about the person playing by the end. I guess a listener always learns something about a performer, although it may be that the performer isn’t telling them anything very interesting about themselves. So, I think you have to share with people something compelling about yourself in what you play. But I hope that listeners also find something about themselves in the music and find that it deeply relates to their own experiences.

business are extremely entrepreneurial. That is, people make up their careers; they don’t typically just get hired for a lifetime job. There are a few jobs that are more like being a highly educated professional, like playing in an orchestra. Orchestras are big, expensive arts institutions that can provide full- or part-time employment and benefits to classical musicians with the right qualifications. University teaching positions are another type of full- or part-time employment that can be more stable than orchestras. Even if you do have a job like a professor of music at a university, which is one of the more secure types of employment available for classical musicians, you still have to hustle your program to make sure there are students or scholarships or adequate facilities to attract students.

If you want to perform as a soloist, opera singer, or chamber musician, you become a self-employed entrepreneur, and you are the product, like being a widget. It is a good idea to see it that way, so you don’t take rejection personally and are willing to be persistent. There is no one route to a career, and the possible routes are always changing. You have to be willing to create opportunities for yourself rather than wait for others to reach out to you with opportunities. We had a friend who was a successful composer of all kinds of music, notably of commercial music, and his motto was “if you don’t fit into the system, make your own system,” which I think are words to live by no matter what you do.

A lot of parents are squeamish about their kids studying music in college and pursuing a career in music. I certainly understand the concern that there is no clear path to employment, and it is an incredibly competitive field. If a student has spent the better part of her life studying music and wants to be a musician more than anything else, she will find a way to make a career. And it will be something that will make her happy most of the time. People who have been very committed to music careers as students find ways to make a living because it is the only thing they ever wanted to do.

Another selling point of a music career is that if you are self-employed, you can’t be fired. I don’t say that facetiously because in all the economic upheaval of the past couple of decades, I have seen a lot of people with supposedly real jobs getting pushed out at the whim of employers who owe them no loyalty. When a person has all their eggs in one basket of employment, job loss is catastrophic. I have not regretted being self-employed even when economic conditions are uncertain. As your career develops, it is good to have a lot of irons in the fire, so to speak, so if one thing is not working out, another will be doing OK. It is kind of like investing in a diverse stock portfolio to hedge losses.

If I had it all to do over, I would marry this career again. It has been extremely fulfilling and full of great personal and professional relationships. I would recommend it to those who can’t imagine doing anything else.

As a music instructor, what is the best piece of advice you would offer a student pursuing a career in classical music?

The best advice I could probably give a student is that the arts as a

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INTERVIEWS

SHE Said!

Photo provided by artist with permission to use.

“Always work on pushing yourself to get better at your craft.”

Tish Hinojosa, Tone Talk interview August 20, 2020

“Know your worth. Walk and talk that.

Because as women, we get underestimated all the time. It’s important to know that you are worthy of being in this industry or any walk of life, really.” ~ Ruthie Foster, Interview in Austin Issue 12 - Summer 2020

“Don’t let someone tell you that you can’t do something. Set goals and find realistic ways to reach them. Think out of the box. Be unique; don’t try to be like someone else!”

Ruthie Foster at Liri Blues 2010 -

Janet Robin, Tone Talk interview July 6, 2020 Photo by Natalie Rhea

Photo by Patricia O’Driscoll

“The song is king for me. The song leads everything. You might start the song on an acoustic guitar, but the song will say, ‘This is an electric guitar song.’ The song will tell you what it needs to be.” ~Joan Armatrading, Interview April 19, 2015

Photo by Riccardo Piccirillo, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons / no changes were made

“I’ve loved Taylor Guitars for as long as I can remember. I remember as a young girl really wanting a Taylor Guitar. I had to save up for it, though; I saved up for a long time and eventually got my first Taylor — I think I was 11 or 12. Immediately after I played it for the first time, I knew I was never going back.” ~Brennley Brown, Interview July 5, 2018

“I tell my students, ‘When you get ideas and you’re starting to write a song, stay as far away from worrying about what happens after as possible because then you get the purest rendering of creativity and you keep it in this place of just satisfying yourself.’” ~ Beth Nielson Chapman, Interview in Americana Issue 7 Winter 2019

Joan Armatrading at Cambridge Folk Festival 2008 - Photo by Bryan Ledgard, CC BY 2.0 <https://creativecommons.org/ licenses/by/2.0>, via Wikimedia Commons / no changes were made Photo provided by PR

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GEAR: NEW Ananashead Effects GT73

Washburn Deep Forest Series

TC Electronic Skysurfer Mini Reverb

Quilter Superblock US amp

D’Addario XS Strings

Michael Kelly Fort Porte Jr. Ziricote

D'Addario Eco-Comfort Recycled guitar straps

Heritage Custom Shop Core Collection H-150 Artisan Aged Electric Guitar

Luna Guitars Uke Vintage Mahogany Concert Black Satin

Breedlove 30th Anniversary Phoenix Concert E

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GEAR: FEATURE

Paul Reed Smith SE Acoustic Guitars

F

eaturing PRS’s hybrid “X”/Classical bracing, which allows the top to freely vibrate, PRS SE Acoustics project with bold, even tone. Plug in, and the Fishman GT1 pickup system delivers dynamic, organic tone that is sure to impress. This electronics system features an undersaddle pickup and soundhole mounted preamp with easy-to-access volume and tone controls, making these workhorse stage instruments. Other high-quality features include solid top wood, ebony fretboard and bridge, bone nut and saddle, as well as the PRS trademark bird inlays and headstock design. PRS SE Acoustics come with a gig bag and are strung with 12-53 strings.

PRS SE Acoustics continue the SE Series’ legacy of providing professional quality and dependability for players of all levels at an excellent value.

“My P20E is my absolute go-to acoustic guitar, whether it’s for a live video or a writing/ recording session. It has an incredible tone right off the bat and needs very little tweaking when it comes to mixing as it sits super well and fits right in. The P20E has the best tone I’ve ever found in an acoustic guitar. It obviously goes without saying that they’re also absolutely stunning!”

Photo by Isabella Grossling

“I’ve been with PRS since I was 14 years old! My first acoustic guitar I ever bought myself was the black Angelus A10E. That thing has been all over the U.S. with me. I took it with me everywhere when I was on my very first tour at 15. It even got some time on the streets busking in downtown Nashville . . . that was interesting, hahaha. It was my trustee sidekick because it was reliable, durable enough to withstand the road, and sounded great in any setting! I loved the black color it came in so much too.

It was perfect!”

~ Sophia Gripari, PRS Pulse Artist

“While performing, my audience and my experience with them is the most important. My P20 is easy to play, and it enhances that special connection with my audience. It has definitely become an absolute essential in all my shows.” ~ Vanessa González, PRS Pulse Artist

“My PRS SE Angelus A40E is the perfect guitar to pick up and practice throughout the day or plug in and play for a live audience. Its tone and harmonics have been a great help to my songwriting process!” ~ Maggie Noelle, Magnolia Boulevard

~ Lexii Lynn Frazier, Pink Sweat$ Photo by Hunter Selman

“I have two PRS acoustics and the black one I got as something to go with my album, Rebel Child. I just recently got a new one and bedazzled the entire front of it to go with Love, Heartbreak & Everything In Between. I have three guitars, and I love them all.

They kind of all have their own little thing going on.”

“The PRS Parlor becomes a part of my days. Not just it’s lightweight that makes this acoustic very easy to play but also its lovely character that makes me love to carry along.” ~ Dusita

~ Tenille Arts Photo by Grand Ole Opry/Chris Hollo Unless noted otherwise, photos provided by PRS with permission to use.

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GEAR: FEATURE

C.F. Martin & Co. Guitars to Know

By Alex Windsor Perhaps one of the most prolific and instantly recognizable names in acoustic guitar manufacturing is Martin Guitar. With nearly two centuries of craftsmanship, Martin guitars have been heard everywhere, from Civil War campfires to Royal Albert Hall. In this guide, we have put together what you need to know about the Martin Guitar brand.

Overview and Mission C.F. Martin & Co was founded in 1833 and remains a family-owned business today. Founder C.F. Martin invented the X-bracing technique, a groundbreaking design that made the guitar body stronger and the tone richer. This design, along with the dreadnought body style, earned Martin the credit of shaping the acoustic guitar into the familiar instrument we know today. It’s no surprise that these guitars found their way into the hands of colossal artists like Hank Williams, Muddy Waters, and Merle Travis. Today, Martin remains at the crossroads of tradition and innovation while prioritizing quality with sustainability. In their own words: “Martin guitars and strings are known for more than their unrivaled quality, craftsmanship, and tone. They are backed by our unwavering commitment to environmental sustainability and responsible manufacturing practices”.

Notable Series Standard Series – Much like the name implies, the Standard Series is made up of Martin’s flagship guitars, such as the D-28 (dreadnought) and the 00018 (small body). These all solid wood instruments feature traditional dovetail neck joints, scalloped bracing, high-performance fretboards, and optional electronics. The Standard Series is made for players looking for that traditional Martin feel, sound, and superb quality.

X Series – Martin saw a need for an affordable, durable line of guitars and responded with the X Series. While these guitars resemble their Standard cousins, they consist of HPL (High Pressure Laminate) composite wood back and sides, and they are competitively priced. The X Series also offers some unique finish options, such as the all-black OMC-X1E. Road Series – Much like the name implies, the Road Series was originally designed for working musicians that needed professional-grade instruments they can take along for the ride. Each one of these guitars boasts hand-selected exotic tonewoods and advanced Fishman MX-T electronics. Every Road Series guitar is pleked for precision before leaving the shop.

Junior Series – As demands for smaller guitars increases, Martin is ready to fill the need with the

Junior Series. These instruments are perfectly proportioned but slightly smaller than their dreadnought and 000 siblings. Despite their petite size, the Junior Series guitars are not toys; they are made of solid wood and are still full of that big Martin tone. Built with comfort in mind, these guitars have high-performance tapered necks and a contoured back edge.

Artist Spotlights Colbie Caillat – Two-time GRAMMY winner Colbie Caillat exploded onto the charts in 2007 with her smash hit “Bubbly.” Her soulful voice and catchy melodies continue to attract new audiences. The first guitar she ever played was her father’s 1968 Martin, and she has loved their “stunning and full” sound ever since. She can often be seen playing a Martin dreadnought or 000 mahogany on stage and in the studio.

“I love working with Martin Guitar, they’re such a familybased company. You can really tell when you walk around the floor because sometimes it’s a grandmother who passed it down to the daughter who’s now passing it down to the granddaughter who works the same job, on the line, in the factory. It’s just a great environment to be part of. The museum is incredible. It has guitars that date back hundreds of years and tells the whole story of how Martin got started.” ~ Lindsay Ell, Interview in Issue 5 - Fall 2018 - Country Girls Rock

Elle King – Multi-instrumentalist and country-rocker Elle King first appeared on the charts in 2015 with her hit song “Ex’s and Oh’s,” and she has since gone on to blur lines and transcend musical boundaries.

Her sound is deeply rooted in rock, country, folk, soul, and blues, and her all-black Martin OMCPA5 seems to be able to keep right up with her.

Lindsay Ell – One of our very own GGM cover artists not only routinely plays Martin but also performed for the Martin Guitar Museum Sessions in 2018. As a skilled guitarist, songwriter, and singer, Ell is a triple threat. While she is often seen wielding one of her colorful electric guitars, she’s certainly no stranger to Martin acoustic guitars.

Brandy Clark – Another of our cover artists playing Martin guitars, country musician Brandy Clark said in an interview on The Today Show that, “I think guitars are like jeans: You try different ones, but you have that one pair. It doesn’t have to be the most expensive.” She added, “Find that instrument that feels like a great pair of jeans and an old shoe.”

Amythyst Kiah – Rising Americana star Amythyst Kiah recently found breakout success, including a GRAMMY nomination for the song “Black Myself.”

Her Martin dreadnought guitar helps her carry her unique style in the form of warm yet shimmering fingerpicking.

Photo by Martin Guitar

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GEAR: FEATURE Photo by Sergio Kurhajec

“I think of Martin Guitars as being perfect for what I wanted to do because I play hard. I pound, and I snap and do all those country blues techniques that I started emulating early on. You can’t do that on a delicate guitar.” ~ Rory Block, Interview on May 23, 2012

Amythyst Kiah performed at the Neptune Theatre in Seattle, WA on February 16, 2020 Photo by Kirk Stauffer

“I’ve been playing a Martin Mahogany D-09 for the past several years. That’s my main guitar. I got introduced to Martin Guitar when I was in college, and I just loved the sound. I’ve just always loved the sound of a Martin. With acoustic guitars, like with my Martin D-09, I like that there’s a little bit of resonance to it.” ~ Amythyst Kiah, Interview in Issue 10 - Winter 2019

“They [Martin Guitar] are just an amazing company, and their instruments speak for themselves. Every time I get a new instrument or something vintage of theirs, I just feel like there’s a thousand songs in them.”

“I’m happy to work with Martin Guitars. I especially hope being seen in connection with Martin Guitars helps to encourage other women of color to learn to play. Sometimes just seeing a photo of someone who looks like you with a guitar can be a positive inspiration and motivation to begin a new craft.”

Valerie June performed at Showbox at the Market in Seattle, WA on August 18, 2019, with her Martin Guitar - Photo by Kirk Stauffer

~ Valerie June, Interview in Summer 2021 edition

~ LP, Interview on December 28, 2014 Photo provided by Martin Guitar

“I play the Martin OMJM. I wasn’t even looking for a Martin (although they are fantastic guitars) when I bought it, and it was WAY out of my price range. BUT once I played it, I couldn’t walk away. I would have never dreamed that years later, I would be a Martin Ambassador.” ~ Brandy Clark, Interview in Issue 14 Nashville-inspired

Photo provided by Martin Guitar

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GEAR: FEATURE

Luna Guitars Guitars to Know

By Alex Windsor

A

nyone that has set foot in a Guitar Center has probably had a Luna acoustic guitar or ukulele catch their eye, and for good reason. These oneof-a-kind instruments have some of the most intricate designs in production, and their tone produces just as much personality as their artwork. In this guide, we have put together what you need to know about the Luna Guitars brand.

Overview and Mission Luna Guitars was founded in 2005 by a stained-glass artist. As a relatively young manufacturer, Luna has been able to connect with the younger demographic (as well as fulfill the needs of seasoned players). In addition to having detailed designs of dragons and flowers, these guitars feature slim profile necks and lighter bodies to accommodate female players.

Luna has since gone on to win over the hearts of ukulele players with their wildly popular Tattoo concert ukulele. Today, Luna is not just another guitar builder; anyone that owns a

Luna instrument is part of the Luna Tribe, a community that embraces creativity, adventure, and selfexpression. In their own words, the Luna Guitars mission is “to create authentic instruments designed to inspire the creative spirit. We support musicians of all ages, as well as the songwriting community, by selling quality instruments at an affordable price.”

Notable Series Vista Series – Perhaps some of the most captivating guitars in production are those in the Vista Series. The top of each Vista guitar depicts a wild landscape, Sarah Lightman with the Henna Series pieced together by using a variety of tropical woods across the body.

Players can choose from a Deer, an The Vista Series also comes equipped with the Eagle (also available in a 12-string model), a premium sound of the Fishman Presys+ (PSYStallion, a Wolf (also available in a left-handed 201) preamp and built-in tuner. model), and a Bear (which also comes in a bass).

Matt Waldon with Safari Koa Supreme A/E travel guitar from Safari Series

Natalia Lugo with the High Tide Exotic Mahogany Nylon A/E Guitar from Hightide Series

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GEAR: FEATURE

Areg Manbelyan with Safari Vista Stallion A/E travel guitar from Safari Series

Charlotte Campbell with High Tide Exotic Mahogany Grand Concert Cutaway A/E Guitar from High Tide Series

Aubrey Wollett with High Tide Koa Grand Concert Cutaway A/E Guitar from High Tide Series

High Tide Series – While the exotic tropical hardwoods of the High Tide Series are appealing on their own, the unique abalone fret inlay designs are the signature selling point. The first fret consists of the full moon in the form of a pearl dot, and every other fret depicts a “wave” that rises as they make their way up the fretboard toward the moon’s gravitational pull. These guitars also come stocked with chrome open-gear tuners and Fishman preamps.

Henna Series – The guitar designs in the Henna Series are a nod to one of the world’s oldest known art forms.

Consisting of the Dragon, Oasis, and Paradise, each guitar in this series is beautifully branded across the entire top using innovative laser-etching technology. Performers can also plug it in using the Luna proprietary built-in preamp.

Safari Series – The increasing demand for travel-size companions led Luna Guitars to launch the Safari Series. These three-quarter-sized instruments are still every bit as aesthetically appealing as their older siblings but in a flight-friendly package. These smaller guitars also make for great starter instruments for younger children.

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Artist Spotlights Natalia Lugo – Singer-songwriter Natalia Lugo found comfort in music while growing up in Puerto Rico, and it wasn’t long before she began writing her own tunes. She gained a massive following on social media after one of her videos went viral. She currently plays a Fauna Phoenix A/E, a High Tide Exotic Mahogany Nylon A/E guitar, and a Luna High Tide Koa concert ukulele. She plays Luna because she loves the overall sound and what the company represents. “They sound as beautiful as they look. You can plug them in, and they sound beautiful. You can play it acoustically, and it sounds beautiful. They have a variety, so they have a variety of sounds, a variety of woods. Luna can help you choose a guitar for whatever vibe you’re going for in any genre.”

Aubrey Wollett – Nashville singersongwriter Aubrey Wollett is a music industry professional with a soulful musical style. She’s toured with country music legends such as Tanya Tucker and premiered music videos on CMT. Aubrey plays a High Tide Koa guitar and High Tide ukulele, citing the dark color, superb tone, and wave art as the reason she loves her instruments so much.

Shevonne Philidor – Also known as Shevizzle, Tampa native Shevonne Philidor is a true entertainer with a unique voice and funky musical style. She’s made multiple

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Shevonne Philidor with Gypsy Exotic Black/White Ebony A/E Guitar from Gypsy Series

appearances on TV talent searches and toured with musical theatre groups. She currently plays the Hide Tide Zebrawood Grand Concert because not only does she love the sound, but she loves the connection to the moon.

Sarah Lightman -- Though she originally pursued musical theater, New Jersey singersongwriter Sarah Lightman found her calling in the LA music scene. After facing her fears and following her heart, a world of opportunities opened up for her—and she hopes to pass the moral of that story on to other young, ambitious artists. She can most frequently be found rocking one of her Henna Dragon ukuleles or her Henna Paradise, Henna Oasis, or Henna Dragon guitars—a design she hopes to include in her children’s book someday!

Charlotte Campbell – English performer Charlotte Campbell can often be found bringing joy to those around her while busking in South London. She is also an avid songwriter in the process of recording her original music.

She loves to play her Henna series guitars because of “how easily it plays-with quite a thin neck and low action- and still gets such a great sound through the pickup.”

All photos, unless otherwise noted, were provided

by Luna Guitars with permission to use.

GEAR: REVIEWS

Martin Guitar DJR-10E Streetmaster Acoustic-Electric Guitar

By Kate Koenig

W

hile the guitar is a highly portable instrument, it’s always nice to have the option of bringing a more compact model when getting on a plane or hitting the streets. Martin’s DJR-10E Streetmaster (from the brand’s Junior Series) is a guitar that doesn’t sacrifice sound quality or dynamic range for size.

The Streetmaster is a 14-fret dreadnought junior acoustic-electric guitar. It’s the same shape as a dreadnought but much smaller with a 000 (or orchestra) depth. It has a 24” scale length and Martin’s High Performance Taper neck so that the neck is 1-3/4” wide at the nut and 2-1/8” wide at the 12th fret. Designed with street musicians in mind, this (dare I say) cute little guitar is perfect for the busker who’d rather not schlep around a deeper, heavier standard dreadnought.

Along with the specs listed above, the guitar has a sapele top, back, and sides, a satin body finish, and a hand-rubbed neck finish. Mistakenly called African mahogany, sapele is a highly sustainable, all-purpose tonewood that behaves similarly to mahogany but adds a little extra to the treble end of things. The guitar has classic scalloped X-bracing made with Sitka spruce.

With a top coloring Martin calls “mahogany burst,” part of the Streetmaster’s design is the illusion of some wear and tear. You’ll notice some spots that are a bit paler, making it look as though they’ve been scratched or worn. Don’t worry if you don’t want your guitar to look used, however. While some of the product images online make the markings look more pronounced, they are subtle and create a charming aesthetic in person.

A simple design, the guitar has no binding or purfling, with the only decorations being a mother-of-pearl rosette and Martin’s scripted logo on the headstock (done in gold).

The bridge pins and strap button are white with black dots, and the tuning pegs are silver. It also comes with an onboard Fishman Sonitone preamp.

Despite the Streetmaster’s size, it has a great, full sound. The high end is as clear as you might expect from a smaller-bodied guitar,

but the low end also comes through powerfully. It can only “boom” so much with its 000 depth, but it does sound like a regular dreadnought—pulled back a bit—when strummed. What I like best about its sound is that overall, it sits comfortably in the mids while the low end is strong. It’s not overpowering--while the high end is clear--it’s not like it’s the only thing you hear when playing. If anything, the even blend of tones is what makes it a great-sounding guitar.

I’m a fan of smaller guitars, and in terms of playability, I really enjoyed the feel of the neck and its tapered width. I was able to slide up and down the neck comfortably and practiced some of my favorite classical and flamenco pieces, noting how easy it was to make certain stretches that require just a little extra work on standard guitars.

Just like how the guitar’s compactness makes it friendly to carry, it also makes it friendly to play.

Set up with the Fishman preamp, the Streetmaster has two wheels to adjust volume and tone (placed underneath the top of the soundhole and an output jack at the bottom left corner of the body).

It sounds great when plugged in. I’ve experienced a lot of issues with acoustic guitar electronics— sometimes they distort the sound easily or the guitar’s squeaks are too pronounced. Neither of those things were a problem with the Fishman preamp—I was able to strum loudly without any undesired crunch, and thankfully, I couldn’t hear the sound of my nails hitting the strings when I strummed with the back of my hand. The only drawback was that without a little EQing, it sounded a bit muddy.

I decided to give the guitar a test run by taking it out to play at a busy park with a lot of wide-open spaces and people milling about. The guitar’s sound carried wonderfully. Especially with the help of my Roland CUBE Street amp, I was even able to perform some fingerpicking tunes like “Blackbird,” the Smiths’ “Back to the Old House,” and the Tallest Man on Earth’s “Love Is All,” seeing that they projected well in the open air. It was great to bring along something so portable and leave with the confidence that it could deliver just as well as anything larger.

For more information and full specifications, visit martinguitar.com.

Price: $699.00

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GEAR: REVIEWS

Luna Gypsy Exotic Black/White Ebony Acoustic-Electric Guitar with Luna Acoustic Ambiance 25-Watt Amp

By Bri Foxx Luna has a plethora of exquisite products at exceptional price points. One specific guitar that I had the honor to try (which undeniably turns heads) is the Gypsy Exotic Black/White Ebony Acoustic-Electric guitar. I also had the pleasure of running it through its Acoustic Ambiance 25-Watt Amp counterpart.

Starting with the guitar, I marvel over the classic “Pearloid Moon Phase” inlays (a staple of the Luna brand) — the moon phases lay over the fretboard so naturally! The fretboard is made of the distinctive pau ferro wood, which is native to Bolivia and Brazil.

The difference in wood is when you do tricks such as hammer-ons, the attack is much quicker! Playability is exceptional because the action is set well, giving the harmonics a luminous ring when plucked or struck. In addition to the spruce top giving off a brighter/crisper tone, the body and neck are made from lush mahogany, creating a rich tonality in the instrument. Overall, the unplugged quality of the sound is remarkably well balanced, like a good breakfast.

The Gypsy Exotic Black/White Ebony Acoustic-Electric is outstandingly versatile! First and foremost, this is the ultimate share-worthy “party guitar.” The physical design alone is enough to get your guests talking, for the showstopping ebony veneered guitar is one of the most eye-catching in the market. Another point I would like to add is that this would be an ideal candidate for beginners, teenagers, and adults looking to get into the art of playing guitar. This model is highly recommended for singer-songwriters just based on the unplugged tonality for those acoustic late-night writing sessions.

The concert cutaway also allows the player to reach more frets, thus granting limitless possibilities for any melodic endeavor.

As far as electronics, this guitar takes a 9V battery and has a built-in Luna SL3 preamp. It is remarkable how the equalizer sliding dials allow you to be as precise as possible. An electrifying feature of this set-up is the “Phase” button. Once engaged, you will increase the warmth of your sound and alter the polarity of the preamp. The built-in tuner is always a plus.

floral paisley-like leather design, the brass hardware is a pleasant accent. In addition to being lightweight, the nice leathery handle makes travel easy. The 2-Channel board allows one to plug an XLR mic and ¼ inch cable directly into the amp. This system also allows one to attach another music playing device — fun for gettogethers, taking breaks between sets, and practice.

The Chorus/Speed element allows you to add depth to the sound, which you can implement with a simple push of a button. You can plug headphones into the amp, as well as connect it to another speaker using the external output. The equalizer is just as adaptable as the Luna SL3 preamp, making the amp a ride-or-die to the Gypsy Exotic Black/ White Ebony-Acoustic guitar.

I would like to note how crisp and glossy the tone of this guitar is when plugged in. The Gypsy Exotic Black/White Ebony Acoustic-Electric guitar, combined with the Acoustic Ambiance 25-Watt Amp, is excellent for anyone looking to play Country/Americana music, especially due to the guitar’s high-end intonation.

The suppleness of the adaptable equalizing options on both guitar and amp can be dynamic for singer-songwriters of any genre performing smaller venues, as well as those who like to busk on a beautiful day.

Ultimately, the Gypsy Exotic Black/White Ebony Acoustic-Electric guitar is not only stunning in beauty, but it is an efficient guitar at a price that is affordable to many. This is a guitar that stands out and offers a fierce element to any music session. The Acoustic Ambiance 25-Watt Amp offers ideal companionship to the guitar, adding contoured flavor to all your amplified needs. And to keep this guitar safe, the optional hardshell case in black tooled leather will assure your instrument is safe during travel and in storage.

For amplification, we plugged it into the Luna Acoustic Ambiance 25-Watt Amp. Wrapped in a

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For more information and full specifications, visit lunaguitars.com.

Price of Gypsy Exotic Black/White Ebony Acoustic-Electric Guitar: $279.00 Price of Acoustic Ambiance 25 Watt Amp: $149.00 Price of Luna Hardshell Tooled Leather Dreadnought/Concert Case: $129.00

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GEAR: REVIEWS

Taylor Guitars GT811e Grand Theater Acoustic-Electric Guitar

By Kate Koenig When it comes to modern guitar design, the competition is fierce. But as one of the most wellrespected brands in the industry, Taylor Guitars is high on the list of innovators. Having introduced their new model, the Grand Theater, in October 2020 with the GT Urban Ash this past January, Taylor came out with two new additions to the GT series: The GT 811e and the GT K21e. We had the privilege of checking out the GT 811e, a guitar with a fresh shape and build.

The Grand Theater model sits between Taylor’s GS Mini and Grand Concert, making it a compact instrument that’s the perfect size for both carrying around a city or taking on a trip. The GT 811e is voiced with Taylor’s new C-Class bracing architecture, an asymmetrical design that combines stiffness and flexibility in a way that helps bring out lower frequencies. The C-Class borrows from and builds on the volume, intonation, and sustain produced by their trademarked V-Class bracing, introduced in 2018.

Of the two new models, the other being the Koamade GT K21e, the GT 811e is designed with more traditional woods: It has a solid Sitka spruce top with solid Indian rosewood back and sides, a Crelicam smoky ebony fretboard, maple binding with rosewood purfling, and a rosewood pickguard.

The body has a gloss finish, while the neck’s finish is satin. It’s decorated with mother-of-pearl “Element” inlays—which resemble mirrored, wavelike crests— an abalone rosette, and Taylor Mini smoked nickel tuners. An acoustic-electric model, it also includes onboard ES2 acoustic electronics.

A material Taylor prides itself in using, Crelicam ebony is named after an ebony production facility in Cameroon that Taylor co-owns. Historically, it was discarded by tonewood harvesters due to its blonde streaks, an aspect which some feels diminish the aesthetic of the classic ebony, but Taylor has put it to good use throughout their products.

Out of the box, the first most notable thing about the GT 811e is the beautiful contrast between the pale blonde Sitka spruce top and the dark, warm Indian rosewood back and sides. The coloring gives the guitar a very elegant appearance, which creates the feeling of a strong, assertive presence and voice.

There’s nothing like a guitar that looks as good as it sounds, as this guitar fits that bill. It also comes with a dark brown, softshell case with red plush lining and shoulder straps that make it easy to carry.

The tone is bright and crisp, strong in the mids, and has a rounded out low end, making it overall very well-balanced. The presence of the low end is stronger than what you would expect from a guitar in its size range—which is exactly what Taylor was going for—arguably, they’ve succeeded. That’s likely due to the use of the C-class bracing, as well as the broad dynamic range encouraged by the spruce and rosewood.

The guitar is a little heavier than it looks, but that doesn’t take away from its resonance—it’s incredibly responsive. It doesn’t take much to get a sound out of it, and the sounds it does produce, sustain for several seconds. The body is particularly sensitive to the E strings, but it’s easy to get tones to ring out across the entire fretboard. Basically, no matter what you play, the body sings with warm overtones.

It has a powerful punch when strummed, and when it comes to fingerpicking, its tones are rich and clear.

And especially for such a compact instrument, it has volume.

There are a couple of features that invite playability, such as the feel of the neck’s satin finish, as well as its 1-23/32” width at the nut. The satin finish gives the neck a nice smooth texture and allows you to move your hand up and down with ease, whereas its narrowness makes it comfortable to grasp and grip.

Another important and unique design element that gives this guitar a comfortable feel (and positions the guitar between the GS Mini and Grand Concert) is the 24-1/8” scale length (the same as if you capo a guitar with a 25-1/2” scale length at the first fret).

This result is a slightly slinkier feel in terms of string tension without sacrificing tonal power. It also results in slightly reduced fret spacing, which lends itself to more dexterity.

When you plug it in, the overtones are then embellished by the clarity of the onboard ES2 preamp. Knobs to adjust the high, midrange, and low levels are located above the neck joint—it plays well with the low end turned up and sounds balanced with just the high and mid raised together. The sound system is that much more reliable given that it doesn’t distort if you turn up the volume; its only shortcoming is because it’s so clear and sensitive, it does pick up on some squeaks here and there.

Overall, with the GT 811e, Taylor’s produced a guitar whose subtle design aspects work together to create a guitar that’s compact yet bold. It has a well-rounded mix, beautiful overtones, smooth playability, and a classy appearance. It’s a warmly expressive yet delicate instrument that’s well worth the investment.

For more information and full specifications, visit taylorguitars.com.

Price: $2,999.00

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GEAR: REVIEWS

Guild Guitars BT240E Baritone

By Alex Windsor

Córdoba Guitars Fusion 5 Jet Nylon String AcousticElectric Guitar

By Alex Windsor

With so many different kinds of guitars out there to choose from, it’s no wonder many of us have a hard time deciding which one to buy next. Guild Guitars recently added another one to the list: the BT-240E, a baritone guitar in the Newark St. Collection.

Consisting of a jumbo body shape (Guild’s F-Jumbo), arched back, and extra-thick D’Addario EXP23 16-70 gauge strings, this baritone guitar is the crossroads where big sound meets deep, rich, smooth tone. The arched mahogany back allows for the low end to bellow, and the solid Sitka spruce top gives the BT240E a very even, well-balanced sound. I was able to play some laid-back, smooth tunes but then cranked it up a notch for a more hard-hitting sound.

The 27” scale mahogany neck with a pau ferro fretboard allows for easy movement up and down the neck.

While this jumbo body can project well on its own due to its construction, it comes stocked with the Guild/Fishman GT-1 Sonitone pickup system to help carry the sound in a live setting.

This guitar is an excellent investment for players looking to add more low-end to their sound, especially fingerpickers that want to experiment with fuller-sounding bass lines. Both solo musicians and ensemble members are sure to enjoy the playability and affordability of the Guild BT-240E. For more information and full specifications, visit guildguitars.com.

Price: $499.00

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Steel-string acoustic players looking to experiment with a nylon-string guitar need to look no further than the Córdoba Fusion 5 Jet—a traditional nylon-string with hybrid steel-string features.

One of the most appealing features is the smaller C-shaped neck, which adds more comfort and playability (great for those of us with smaller hands). The cutaway grants players easy access to the higher register. Unlike many more traditional nylon-string models, side dot markers were added to the fretboard of the Fusion 5 Jet to provide players with simple location markers.

Constructed of a solid spruce top with mahogany body and sides and a mahogany neck with a pau ferro fretboard, this lightweight guitar was comfortable to play, producing pleasing tones in the midrange. For electronics, Córdoba equipped this guitar with the Fishman Sonitone Pickup System that allows this soft instrument to be heard in a live setting. The model we reviewed was the Jet Black finish, which was beautiful, but the Fusion 5 Jet also comes in Sonata Burst and Gloss Natural finishes.

The price point of the Fusion 5 Jet makes this a great guitar for beginners or a musthave nylon-string guitar for musicians looking to add the look and feel of a classical guitar without busting the budget.

For more information and full specifications, visit cordobaguitars. com.

Price: $469.00

GEAR: REVIEWS

Fender Guitars American Acoustasonic Jazzmaster

By Lynna Della Lucé

This is the hybrid guitar we’ve all been waiting for, and it’s no surprise the Fender name is attached! A slim-bodied guitar that plays like an electric, the Acoustasonic Jazzmaster is somewhat of an anomaly — one that manufacturers have been trying to create for years now with little success. This just may be “the one” that blows the doors off and really becomes the frontrunner of the hybrid guitar market.

The Jazzmaster body shape has now joined the Telecaster and Stratocaster models in the American Acoustasonic line of guitars. The iconic offset body style that launched in 1959 brings a slightly larger body than the Tele and Strat, adding additional tones.

With its polyester satin matte finish, the mahogany body feels so nice and smooth. Paired with the mahogany neck in a satin urethane finish, this instrument is truly a dream to play. I was highly impressed with its voicings and fast Modern Deep “C” neck (the carved-out heel mimics an electric fretboard and gives you easy access to those higher frets). It is really easy to glide into when you start playing, and this series is primed to target the everexpanding looping generation.

It can handle percussive beats while sounding like an acoustic for the rhythm parts. Throw on a boost or change the pickup position to wail some solos over your loops.

The pickup switch configuration gives you a plethora of sonic options: warm and natural tones ranging from a mahogany jumbo acoustic sound to an electric fat distortion.

This guitar actually has its own distortion, and it sounds incredibly smooth and balanced.

There are so many different variations and options you have to shape your tone, and it goes from one extreme to another.

Thanks to the three pickups Fender has installed, it makes it possible to do all kinds of variations and to shape it more with the “Blend” knob. Between the new Tim Shaw-designed Acoustasonic Shawbucker, Fishman under-saddle Transducer, and the Fishman Enhancer, you can come up with ten different body styles and tonewood combinations.

The Acoustasonic Jazzmaster is not only versatile in its construction, but you have many options externally. It can put up with rugged road use as well as temperature fluctuations, it stays in tune well, and since it’s slimmer and lighter, transportation is convenient and easy.

It sounds great plugged in direct for recording and through a PA system, but it also has a different feel when plugged into an amp. Adding pedals to the mix gives you even more tonal options. It performs well in live applications and doesn’t produce feedback. It also takes a capo very well. Keep in mind this guitar is meant to be plugged in, as this is not a “campfire” guitar. Once you do so, the possibilities are endless.

I love guitars that are forward-thinking and spark creativity. The Acoustasonic is a great guitar if you are looking for an all-in-one, if you are just starting out, or if you would rather have just one guitar instead of two. This isn’t just another piece of gear. This is a tool that provides massive amounts of versatility for any kind of musician, and it is undoubtedly a game-changer for guitarists.

For more information and full specifications, visit fender.com/ acoustasonic/en.

Price: $1,999.99

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GEAR: REVIEWS

Fender Mustang Micro Guitar Headphone Amp

By Lynnay Della Lucé The world of music gear has changed substantially in the past decade, as we no longer need to lug around 4x12 cabs and have the neighbors complain about our practice habits. Amps have gotten smaller, and amp modelers are getting better and better. Fender now takes this concept of convenience and portability to the Mustang Micro and does not disappoint.

The configuration of the Micro is simple. You won’t get lost scrolling for hours through a bunch of presets that really have no relevance to actual sounds a guitar and amp make. Set up is easy, so you have more time to just dive right into playing.

Fender keeps it simple with 12 amp models and 12 effect combos (which is really all you need). Sounds range from clean blues and twangy country to surf rock reverb tones and metal distortions. Even better, you don’t need guitar cables! It just plugs right into the guitar input jack and runs off

a lithium-ion rechargeable battery.

The rotating input plug makes it easy to fit into any guitar without being cumbersome.

My favorite settings are the ‘90s American amp with the modulated reverb effect and the 2290 delay and reverb effect. It also has Bluetooth capabilities to sync with audio and video in real-time when practicing, and you can even record via the Micro’s USB-C output.

The Fender Mustang Micro is great for travel or at home when you want to practice without the hassle of cables, power sources, or amps. You can keep that creativity flowing and not miss a beat with this device. It may be small, but it packs a big punch. It’s truly amazing what this pocket-sized little guy can do!

For more information and full specifications, visit fender.com.

Price: $99.99

Fender Acoustic Junior GO Amplifier

By Vanessa Izabella Late last year, Fender released a great new acoustic amp line with features designed for the working/traveling musician. We had a chance to review the Fender Acoustic GO, which combines the high-tech features of Fender’s modern amps in a portable package. This 100-watt amp has a single 8” speaker. Other features include Bluetooth pairing with a mobile device, a built-in kickstand so you can angle your amp at the gig, and Universal voltage, which allows for use worldwide. The 2-channel amp—with its independent EQs and effects for each channel—will allow you to customize the sound you like for each channel, whether it’s guitar and vocals or any other configuration you need for your practicing, recording, or performance. The built-in 90-second

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looper with multiple play, record, undo and stop features make creating loops to perform along with simple, and even easier when using the optional footswitch which is sold separately.

One of the greatest features of this amplifier is the rechargeable lithiumion battery which allows between five to twelve hours of usage (depending on the volume of the amp during performing). There are two XLR line outputs on the back for plugging directly into a recording device or PA at a show. There is a 1/4” jack for headphones and a 1/4” aux out.

Selling at $499, this incredibly portable acoustic amp will cover all your needs for small club gigs and great-sounding recordings.

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For more information and full specifications, visit fender.com.

Price: $499.99

LESSONS

Acoustic Fingerpicking Basics

By Leigh Fuge Many guitar players will start their journey strumming along to their favorite tracks with some simple chord changes. But what if you want to break out of the simple strumming and take your playing a little deeper.

In this lesson, we’re going to look at the basics of fingerpicking and how you can start applying this to your playing to really take your chords to the next level.

All of the examples in this lesson use straight 8th notes, which means you’re playing two notes on every beat.

What is Fingerpicking?

Fingerpicking is when you play individual (or pairs of) strings with your fingers on your strumming hand, as opposed to a plectrum. There is a tonal difference which you’ll hear right away. Playing with your fingers will give a softer sound and make the notes feel more joined up and smoother.

Example 3 This example shows the idea of pairing strings together, a very common sight in fingerpicking. You’ll be playing both the B and E strings together as a pair.

Before you start, you will need to label your strumming hand fingers so that you can identify which fingers to use for each of the exercises in this lesson.

In this lesson, you won’t be using the little finger (labeled with a C); you’ll just be using the thumb and the main three fingers (P I M A).

Example 1 This simple ascending picking pattern is great for building finger independence. Play all of the root notes with the thumb, and anchor the 1st, 2nd and 3rd fingers to the G, B, and E strings.

The only finger that changes string is the thumb in line with the moving root notes for each chord change.

Example 2 This example mixes the pattern up slightly. Instead of climbing through the higher three strings, you will only use your first and second fingers to play notes on B and G strings.

The thumb follows the same pattern following the root note across the E, A and D strings while the first and second fingers stick to the B and G.

Example 4 This example is the same pattern as the first, except instead of ascending through the higher three strings, you descend instead.

This follows the same rule as the first example, where you anchor the thumb on the lower notes of the chord and the first, second, and third fingers on the higher strings. This time, you’re leading the descending group with the third finger.

Example 5 This example mixes up both Example 2 and Example 4. It’s not uncommon to encounter more complex fingerstyle arrangements like this; even if the rhythm is straight, the arrangements of the notes can still be complex.

Start slow with this one; it will take a while to get the dexterity of the fingers correct.

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LESSONS

Demystifying the Fretboard

For Fills, Solos & Playing Your Chords in New Places

By Nikki O’Neill

I

remember early in my guitar playing journey when I’d hear the twangy intro riff to “Only a Fool” (The Black Crowes) or the soulful fills and solo licks in “The Wind Cries Mary” (Jimi Hendrix). I was always wondering: how do they find these licks so easily? I experienced the same dilemma with reggae or soul tunes, where the chord changes often are played on just the top three strings: how do you know which fret or shape...? Until I found out, I felt like I was kept out of some secret that every guitarist knew.

The guitar fretboard has a design, and there are different ways that people have figured it out and explained it, depending a little bit on what genre they play. For players of roots styles like Americana, soul, country, bluegrass, gospel, blues, or jazz, and

even the classic rock and pop that sprung out of them, soloing, and playing fills around chord shapes is a very common approach.

It also gives us insight into the fretboard.

If you’re a songwriter, you (and your bandmates) probably deal with guitar parts as you try to create the best possible arrangements for your songs. For this, it’s great to know how to play your chord changes on different parts of the neck, so you can create subtle differences when you play verse #2 compared to verse #1. This is known as playing chords with different voicings.

In this two-part lesson, you’ll learn about all of these things through one approach.

The CAGED system Learning something called the CAGED system helped me profoundly as a songwriter, rhythm guitarist, and improvising soloist. Here’s how it works: all major chords can be boiled down to five visual shapes, based on the open chords C, A, G, E, and D.

Let’s play a C chord, using these five shapes in order, going up the neck. If you know the open C chord and how to play barre chords, three of these five shapes will already be familiar to you. Notice how these chords overlap each other, like chains on a necklace:

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LESSONS Now let’s play an A chord, using the five shapes as we go up the neck. You just start on the second chord shape in the sequence.

“CAGED” is simply an acronym for these five open major chord shapes.

Playing C - Am - F - G Some combination of the four chords C, F, G, and Am can be heard in hundreds of songs, including “Let It Be,” “Dy’er Maker,” and “No Woman No Cry.” Let’s put our new fretboard awareness to use by playing the progression C - Am - F - G. Wait, an Am? The CAGED system can also be applied to minor (and dominant 7th) chords, but it’s best to learn it by focusing on the major chords. Some minor chord shapes in CAGED are also very stretchy. But since so many songs feature at least one minor chord, we’re including Am in this lesson.

Instead of jumping around the neck, we’ll play C - Am - F- G by using the least amount of movement as we go from chord to chord:

To memorize these four chords, play as many songs as you can find that feature some combination of them.

Here are additional examples (the original versions are not always in the key of C, but you can still sing and play them this way): “I Still Haven’t Found What I’m Looking For” (U2) “Big Yellow Taxi” (Joni Mitchell) “Blowing in the Wind” (Bob Dylan) “The Man” (Taylor Swift)

In part two of this lesson, we’ll play fills and solos around these chord shapes.

Smaller versions of C - Am - F - G Sometimes, playing the full versions of these chords will clutter up a song arrangement because they’ll take up a lot of the frequencies that also are played by the bass, keyboards, and another electric or acoustic guitar. So let’s play our chord progression by only using the top three strings:

Tip: once you’ve memorized C-Am-F-G on the top three strings, move them up two frets, so you get D-Bm-G-A. Then explore what the C-Am-F-G chord shapes look and sound like on strings 2, 3, and 4. These mellower voicings are common and incredibly useful.

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TIPS

Let Them Lead

By Kathryn Cloward leader of his own music, when a song had a musical break that was instrumentally led by one of the other musicians in his band, he would step back from the microphone and turn his body to focus his attention on that leading musician. In doing so, he led the audience’s attention to that featured performance too. It was noticeably fascinating to me to see how fluid and classy his movements were in shifting focus to someone else leading—which, to me, are characteristics of a seasoned, confident, and humble leader.

A

bout six years ago, I attended a Jackson Browne concert. It was a sold-out show. My dear friend and bandmate, Barry Rosenbaum, invited me. Barry was a huge fan of Jackson, and he thought it would be inspiring for me to experience a live performance by such a masterful and seasoned artist.

Prior to the concert, Barry provided me with a thorough point-by-point tutorial of Jackson’s career accompanied by all his CDs. I only knew Jackson’s popular songs, including the timeless and memorable “Somebody’s Baby” track featured in Fast Times at Ridgemont High.

It became clear to me right away that Barry was correct. Jackson’s concert was hugely impactful to me in so many ways. At that time, I was just embarking on performing my newly released original songs and leading a full band. I had a lot to learn. An eager student, I paid particular attention to how others performed.

One thing I learned from Jackson that night was how to honor musicians with their solos and be intentional about letting others lead. While Jackson was clearly the

I knew I aspired to be like him in my shows.

Watching him letting others lead and be in the spotlight was my big takeaway from that concert. It also seeded a respectfully deep resonance with Jackson’s passion for writing impact songs that defy commercial templates. I have a Jackson Browne playlist often streaming in my home—which also helps me remember my late dear friend Barry, who was responsible for this musical introduction.

A few months after that memorable show, I attended a concert with my son that featured a well-known local artist. While I enjoyed the songs and the synergy of the band of musicians, I didn’t enjoy how polar opposite the lead singer was from Jackson in regard to sharing the spotlight and letting others have their leads. It was so noticeable to me and imprinted as something I’d never do. Whenever there was an instrumental part of the song led by one of the musicians, the lead singer continued to dance and express herself with rather big, attention-getting moves that distracted attention from the leading musician—so much so that I noticed it song after song. For me, it was a distraction, not entertaining, so needless to say, the performance didn’t resonate with me. In my observation, the lead singer didn’t have an easy time within herself allowing the spotlight to be on anyone else—something I never wanted to emulate.

The Go Go’s to be inducted into the Rock and Roll Hall of Fame in Performer Category Inductees: Charlotte Caffey, Belinda Carlisle, Gina Schock, Kathy Valentine, Jane Wiedlin Formed in Los Angeles during the ‘70s SoCal punk scene, the Go-Go’s became the most successful all-woman rock band of all time playing their own instruments and were known for their energetic

72 Guitar Girl Magazine

performances and catchy tunes. The band signed with IRS Records in 1981 and released their debut highly successful album Beauty and the Beat, which is celebrating its 40th anniversary this year.

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The Go-Go’s will be inducted at The 36th Annual Rock & Roll Hall of Fame Induction Ceremony on Saturday, October 30, 2021, at 8 p.m.

ET. https://www.rockhall.com/ class-2021-inductees

In reflection, I needed to experience this polarity in performances in a relatively short period of time to help me shape what I would and wouldn’t do in my shows. Yes, everyone has a different stage presence and desires for their show, and for me, I knew it would always be important to be willing to shine the light on others and let them lead as appropriate. I learned early in my career in business that it doesn’t take anything away from you to help others shine. I’d rather be a torchlighter for someone else to shine than the keeper of light.

This was apparent a few years ago when I headlined a major event benefiting an international charity. A woman came up to me and said, “Wow, Kathryn. You are so not a diva.” Confused, I asked, “What do you mean?”

She responded, “Most performers would never let someone as talented as Megan sing lead vocals during their own show.” What she was referencing was my willingness to have Megan Nguyen, my band’s keyboard player and backing vocalist, be the lead singer on a few songs while I did backup vocals. Now, this didn’t seem bizarre to me. It took nothing away from me to allow Megan to shine. I am not threatened by her shining. My music will continue moving forward no matter what because I am energizing my own career.

I do think it’s important to point out that Megan is gracious and loyal. Not everyone is, and I don’t work with people who don’t demonstrate integrity.

So, I say to you, if you’re the leader, be a torchlighter. Let others lead. If you’re part of the team, work with leaders who are torchlighters and let others lead. What better way to light up the world with love and live in harmony than to let our music lead the way in setting the stage for unity.

Photo provided by artist with permission to use.

FUN STUFF

ASK ALEXX

Dear Alexx, How can I find the value of a vintage guitar?

This is a fantastic question! I did some digging around, and I found a variety of ways to find the value of a vintage guitar. One option is to price it according to guitars of the exact same model on either eBay or Reverb.com. Reverb has an excellent price guide that has thousands of pieces of gear and bases their estimates on actual transactions. You can see what your guitar has sold for in the past, which will help you determine how much it’s worth.

They also show you how to date your Taylor, Fender, Martin, etc., based on its serial number. The serial number is usually located on your guitar’s headstock, neckplate, or inside the soundhole. If your guitar brand isn’t listed or you can’t find the serial number, you can also let Reverb know in the comments on their price list page. Their community seems to help identify guitars and their value.

Other options are Vintage Guitar Magazine which offers a paid Price Guide that can be accessed via https://store.vintageguitar.com/price-guide.html.

Alternatively, Blue Book of Guitar Values offers the Blue Book of Electric Guitars via https://www. bluebookofguitarvalues.com/#/Product_Detail/68/

Blue_Book_Of_Electric_Guitars, which is available through their website as an online subscription. They also feature three different appraisal options in the forms of self-service (look up a single model value for $2.95), $20 questions (if you’re only interested in getting your guitar’s value without official documentation), or a written appraisal, in which images of your guitar are required ($50). Please check these websites for updated pricing, as the pricing quoted here was as of the publication date for this edition.

Another way to determine the value of your instrument is to take it to a professional appraiser.

Truevintageguitar.com offers a $68 appraisal service, and they even tell you exactly how they determine your guitar’s replacement value. All you have to do is send in some photos and a little information about your guitar.

Personally, I don’t think getting all your guitars professionally appraised is a bad idea, especially if you have any vintage instruments. It’s great for insurance purposes (god forbid something happens and your guitars are destroyed), and it will probably be the most accurate way of valuating it just because it’s something these folks do every day. You may be sitting on a gold mine and not even know it!

Photo by Anabel DFlux

Have a question for Alexx?

She has an answer!

Email info@guitargirlmag.com.

Hope this helps!

~Alexx Calise

Vanessa’s Vibe

By Vanessa Izabella

Photo by Jack Lue

When learning to play guitar, most beginners start in what is considered “Standard” tuning: E - A - D - G - B - E. Some of our favorite riffs and songs have been written in standard tuning for many decades, which is the most common.

Alternative tunings are when a single string, or group of strings, is tuned to a different pitch.

Also under the umbrella of alternate tuning is “Open” tuning. Open tunings happen when the strings are tuned in such a way that when all open strings are strummed, it produces a chord.

One of the best examples of this are songs from The Rolling Stones. Keith Richards is a big fan of open G tuning, which is: D - G - D - G - B - D. This produces a G chord when strummed open, giving way to a whole different set of chord voicing and fingerings.

Some tunings just require the changing of one string, like the very popular “Drop D” tuning. In this tuning, the low E string is tuned down to D, while all the others remain the same. This tuning is very common in rock ‘n’ roll and heavy metal music.

The dropped D makes it possible to play power chords with one finger barred across the fretboard. Some users of open tunings include Duane Allman and Derek Trucks, who, as slide players, use alternate tunings for the compositions.

There are a substantial number of alternate and open tuning combinations that have been explored and used for compositions over the years. Some alternative tunings, such as those in folk music, were created so that certain notes could drone while playing, giving the folk songs a kind of eerie tonality. Alternate tunings are also very common in traditional European and Eastern music to provide some ethnic characteristics to the music.

If you want to get some ideas, check out guitarist/bands such as Kaki King, Vicki Genfan, Neil Young, Led Zeppelin, and Albert King. Exploring the different tunings is a great way to expand creativity and add some variety to your playing and songwriting. I highly recommend giving it a try— the sky’s the limit with all the sonic possibilities!

Alternate and open tunings also create new fingerings and chord shapes on the guitar—sometimes making difficult chords in standard tuning easier to play, like the example above of Drop D tuning. There is no shortage of online resources that list a number of the most popular alternate and open tunings. Songwriters will use some of these tunings in writing new material if they feel stuck or are trying to achieve a different kind of sound and vibe.

Also, be sure and check out our lessons section articles “Acoustic Fingerpicking Basics” and “Demystifying the Fretboard,” which will introduce you to fingerpicking and the CAGED system.

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GIG GALLERY

Gig gallery

With the cancellation of festivals and live performances due to the COVID-19 pandemic, we decided to go “back in time” and share photos from live performances held throughout the Seattle, WA area over the past several years.

Looking forward to live performances again!

Photos by Kirk Stauffer Photography

Carly P ear in Enum ce at Hometo claw, W w A on Au n Throwdow n gust-27 , 2017

ZZ War d Seattle at Showbox in ,W 22, 202 A on Februar 0 y

e hira at Tripl Naomi Wac ril tle, WA on Ap at Se in or Do 8, 2014

s enamin’s Elk land at McM , Hillary Fret January 24 coma, WA on Temple in Ta 2020

Taylor Janzen at Neumos in Seattle, WA on January 11, 2020 Rock Café in on at Hard Abigail Neils December 21, 2019 on Seattle, WA

Jade Bird at Sho wbox in Seattle , WA on October 18, 2019

Dido Showbox at SoDo in Seattle, WA on June 30, 2019

Maddie Poppe at Showbox in Seattle, WA on October 12, 2019

MARO at Showbox in Seattle, WA on June 27, 2019

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Hannah Cohen at Crocodi le Café in Seattle, WA on Ju ne 5, 2019

Girl Blu e WA on at Triple Door Novem ber 24, in Seattle, 2019

Lights at Showb WA on o August x in Seattle, 15, 201 9

Aubree Li z at Jewel box Theater in Seattle , WA on May 28, 2019

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e Theater n at Neptun Kylie Morga er 9, on Novemb A W , tle at in Se 2019

shed ins at Water Lauren Jenk orge, WA on Ge in l va sti Fe 19 August 4, 20

sen Haley John s McMenamin’ Elks Temple , ma in Taco 9, WA on May 2019

Lennon S Neptun tella e in Seat Theater tle April 8 , WA on , 2019

Sara Ph ill Theate ips at Jewelbo r in Seat x tl Januar y 23, 20 e, WA on 20

Jenna R ai Seattle ne at Columb , WA on ia Octobe City Theater in r 29, 20 19

Caylee H George ammack at W atershe , WA on dF August 4, 2019 estival in

Tori Kelly at Vera Proj ec in Seattle t , WA on A pril 10, 2013

a at Tractor Katie Melu attle, WA on Tavern in Se May 9, 2009

Music Makers

Joy Oladokun in defense of my own happiness June 4, 2021 Amigo Records/Verve Forecast/Republic Records

Sleater Kinney Path of Wellness June 11, 2021 Mom+Pop Records

Amythyst Kiah Wary + Strange June 18, 2021 Rounder Records

Hiatus Kaiyote (Nai Palm) Mood Valiant June 25, 2021 Brainfeeder Records

Tedeschi Trucks Band Layla Revisited (Live at LOCKN’) July 16, 2021 Fantasy Records

Maggie Rose Have A Seat August 20, 2021 Starstruck Records

Annie Keating Bristol County Tides June 4, 2021

Hildegard Hildegard June 4, 2021 section1

Japanese Breakfast Jubilee June 4, 2021 Dead Oceans

Liz Phair Soberish June 4, 2021 Chrysalis Records

Azure Ray Remedy June 11, 2021 Flower Moon Records

Diana Jones Song to a Refugee June 11, 2021 Goldmine Records

Griff One Foot in Front of the Other June 11, 2021 Warner Records

Wolf Alice Blue Weekend June 11, 2021 Dirty Hit

The Narcotix Mommy Issues June 11, 2021

Joan Armatrading Consequences June 18, 2021 (Digital) August 13, 2021 (CD/LP) BMG

Deap Vally American Cockroach June 18, 2021 Cooking Vinyl

Ashley Riley Set You Free June 18, 2021

Ambar Lucid Get Lost In The Music June 18, 2021 300 Entertainment

Emily Davis and The Murder Police Never A Moment Alone June 25, 2021

Lucy Dacus Home Video June 25, 2021 Matador Records

Alice Skye I Feel Better But I Don’t Feel Good July 23, 2021 Bad Apple Records

Thalia Zedek 20th anniversary reissue of Been Here and Gone July 23, 2021

Martha Wainwright Love Will Be Reborn August 20, 2021 Pheromone Records/Cooking Vinyl

Rachel Baiman Cycles June 11, 2021 Signature Sounds

Rosie Flores & The Talismen “So Sad” / “I’ve Got a Right to Cry” July 2, 2021 Mule Kick Records

Thalia Zedek Band Perfect Vision August 27, 2021

Natalie Gelman Moth To The Flame June 18, 2021 Blue Élan Records

Lana Del Ray Blue Bannister July 4, 2021 Interscope Records and Polydor Records

The Wandering Hearts The Wandering Hearts July 30, 202 Cooking Vinyl1

Yola Stand for Myself July 30, 2021 Easy Eye Sound

Madeleine Peyroux Careless Love (Reissue) August 27, 2021 Craft Recordings

Eliza Shaddad The Woman You Want July 16, 2021 Rosemundy Records/Wow and Flutter

Lauren Anderson Love on the Rocks August 6, 2021

Melissa Etheridge One Way Out September 17, 2021 BMG

guitargirlmag.com Guitar Girl Magazine 75

FUN STUFF

Casi Joy

Bri Foxx

Photo courtesy of Casi Joy

Photo by Cynthia Karr Location: Atlanta, GA Genre: My genre is considered rock, but I also like to add a jazz twist with lots of percussive fingerpicking, so like a Rock/Soul/Jazz Fusion.

Go-to-Guitar: My go-to guitar is the Takamine EF341SC It’s the same model Bon Jovi uses, and it’s been my ride and die since I was 17 years old. Her name is “Black Beauty.”

Erin Mosley Photo courtesy of Erin Mosley

Erin Coburn Photo by AnneliseLounghead

Location: Atlanta, GA Genre: Funk and Rock Go-to Guitars: Sterling by Music Man 32ca and ESP LTD

Location: Nashville, TN Genre: R&B Pop, Rock Go-to-Guitar: Strandberg

Location: I’m pretty much based out of my tour bus, but my address is technically Nashville! I’m originally from Smithville, MO just outside of Kansas City! Genre: Country Genre: Country Go-to Guitar: My go-to guitar is J-Lo, my Takamine EF-508KC! I love how it plays, and it’s an added bonus that she’s a gorgeous koa wood that matches my hair!

Abigail Zachko

Julie Outrage

Photo by Andrew Bisdale

Photo by Nick Moreland Location: Washington, DC originally from West Africa (Burkina Faso) Genre: Alternative Soul, Jazz, Rock, R&B Go to guitars: Les Paul Epiphone Electric Guitar, Ibanez Semi-Hollow Body Electric Guitar

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Sybil Grace Photo by Sybie Town Studios Location: Portland, Oregon/USA Genre: Progressive Metal / Art Pop Go To Guitar: B.C. Rich - Shredzilla 8 Prophecy Archtop Fanned Frets

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Location: Boston, MA Genre: Contemporary Jazz/Rock Go to Guitars: D’angelico Excel DC mini, AC guitar Dao, and my Ibanez AZ2204 Endorsed by: Elixir Strings, Fusion Bags, AC guitars, D’angelico guitars, Supro amps, Pigtronix, Victory amps

Georgia Webster Photo by Robert Morley Location: Hampden, MA Go-to Guitar: Collings C10 Genre: Country

FUN STUFF

Acoustic Guitars

Acoustic Guitars

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1. SJ-200 2. ES-345 3. Guitar Hero 4. Acoustic Chef 5. Luna Fauna Phoenix 6. She Is The Music 7. The intro and solo of “Love Me Like A Man” by Bonnie Raitt.

8. “Next Girl” 9. “Starlight Ethereal Silence” 10. 100 watts

Trivia Answers

What We’re Reading Now!

Broken Horses: A Memoir Brandi Carlile Crown (April 6, 2021) The six-time GRAMMY Award-winning singer, songwriter, performer, and producer invites us into her life in her memoir, recalling her near-death experience due to meningitis, her fears, growing up poor, multiple family moves, realizing her sexuality, busking on the streets at the beginning of her career, and the hard work it took to make it to where she is today. In addition, she shares stories of the people she met along the way, from Elton John to Joni Mitchell.

There’s also plenty of photos to enjoy. If you’re a fan of Carlile or want to learn more about this dynamic individual, Broken Horses is must-read.

80 Guitar Girl Magazine

Last Chance Texaco: Chronicles of an American Troubadour Rickie Lee Jones Grove Press (April 6, 2021) The “Chuck E’s in Love” singer Rickie Lee Jones released her first memoir in April detailing her life as a woman in the music industry. Jones walks the reader through her early life living a nomadic lifestyle. Her father abandoned her family, and she ultimately left home in her teens.

Known for wearing her signature “raspberry beret,” this heartfelt journey through a musician’s life in the world of rock and roll and the ups and downs—tumultuous relationships and battling with access to drugs often seen in the industry.

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Eye of the Music: The Photography of Sherry Rayn Barnett Counter Culture Publishing (2021) The coffee table book, which contains over 250 images, takes readers on a journey through the music scenes of New York City and Los Angeles from 1969 through 1989. Barnett captured images of musicians and acts such as Ike and Tina Turner, Joni Mitchell, Emmylou Harris, Bonnie Raitt, Linda Ronstadt, Peter, Paul and Mary, Judy Collins, Miles Davis, James Taylor, and many others for local music journals the underground press. By 1972, she had relocated to Los Angeles, where her work was flourishing, and the list of bands and musicians she had photographed was rapidly growing. Music fans will enjoy the images of some of our favorite iconic musicians from their early years.

Crying in H Mart: A Memoir Hardcover Michelle Zauner Knopf (April 20, 2021) Japanese Breakfast indie musician Michelle Zauner recently released her memoir detailing her life growing up with roots surrounding her Korean American family heritage and the foods they enjoyed. Zauner details the struggles she encountered with racism, dealing with the high expectations put on her by her mother, moving to the East Coast to attend college, spending time in Seoul, Korea, and ultimately the cancer that would take her mother’s life. The book is filled with cherished photos and will captivate your soul.

FUN STUFF

FAN FAVORITES >>>>>>>>>>>>>

Gibson Garage May 26 “First Look” media day and VIP party with Joe Bonamassa and performances from Marcus King, Jared James Nichols, Celisse, Maggie Rose, and Striking Matches.

Main room

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Conveyor Belt suspended fro m ceiling with approx. 200 gu itars

Iconic Guitars

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James “JC” Curleigh on the Gibso n Garage and the legacy of Gibson Guita

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Tara Low, Joe Bonamassa, Vanessa Izabella

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FUN STUFF Customize your own Gibson Guitar in the Murphy Lab!

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Jared James

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Tara Low ho lding one of first Flying the V guitars m ade in the late 19 50s

Nichols

CONTRIBUTORs Alexx Calise is an accomplished singer, guitarist, and songwriter.

Perhaps best known for her hit song, “Cry,” which became a staple on the show Dance Moms and boasts millions of hits on YouTube, Calise’s raw emotion, heart-and soul-lyrics, and unmistakable vibrato have impacted thousands of young girls all over the world. Calise is currently working on new solo material and songs for licensing, and she recently released a new EP with another music project, Batfarm. Besides her musical pursuits, she also works in public relations and marketing.

When not playing shows or writing music, she enjoys horror movies, exercising, or taking a well-deserved nap. alexxcalise.net Gabbi Calvert is a writer, publicist, and artist from Findlay, Ohio, who now resides in Nashville, TN. Gabbi is incredibly passionate about all things pop culture, but her forever love is music. Following her passion for entertainment and music, she graduated from Belmont University in April of 2021 with a B.S. in Creative and Entertainment Industries with a minor in music business. Her academic endeavors led her to find a home working in music public relations, and she is now a senior publicist at Publicity Nation PR. Not only does Gabbi work and thrive in the music industry, she is also a musical artist herself. She began singing and playing gigs at the age of 12 in her hometown and has an extensive background in performance. Under her stage name Gabrielle Vaughn, she has released two singles. Gabbi is also a member of the all-female cross-genre supergroup The Highway Women. Gabbi loves spending time with friends and family in her free time, attending drag shows, and bonding with her two guinea pigs Queenie and Peach, and her cat Mitzi. @gabvaughnmusic Kathryn Cloward is an award-winning book series author, performing songwriter, media publisher and producer, director, and serial entrepreneur. She’s the founder and CEO of Kandon Unlimited, Inc., a heart-centered mindful media company intent on creating positive and empowering media for people of all ages. kathryncloward.com Bri Foxx is a 25-year-old rock musician who fronts a band called Toxic Foxtrot. She is a self-taught acoustic-electric guitar player of 14 years but originally a classically trained vocalist. Music is the coal that kindles her soul, and she strives to help the world be a better place. At two years old, she was diagnosed with autism, and she has seen a lot of obstacles in her life. With the support of her family, music was very therapeutic to her development. Eventually, it led to a life of many hours on guitar and rock and roll. Even though she has had her setbacks, Foxx wants to help anyone who is struggling with the struggles of self-identity and the place one finds in the world through the power of the revival of rock.

“No one should ever have to feel like they’re alone.”

Leigh Fuge is a professional guitarist and tutor from the U.K. He works as a session guitarist, plays with several live bands, writes for various high-profile guitar publications, and works daily with his own music students to develop their skills and careers. He is passionate about sharing knowledge and helping aspiring players hit their potential with technical and songwriting abilities. leighfugeguitar.com Cece Gair is a freelance copywriter, graphic designer, and photographer based near Toronto, Canada. When she’s not doing work for Guitar Gil Magazine, she takes on all kinds of projects, the more out-of-the-box, the better. If you’re looking for her, you can find her on Instagram @cecegair, on RedBubble @cecegee, or in the nearest bookstore.

Vanessa Izabella is a professional guitarist that started playing music at a young age. Progressing through high school, Vanessa was playing and performing on multiple instruments, including guitar, piano, and trumpet. She was awarded a scholarship to attend Berklee College of Music in Boston, MA. During her time there, she studied the guitar playing of such influences as Pat Martino, Slash, Pat Metheny, John Scofield, Eric Johnson, and many others.

After graduating with a degree in Music Business, she went on to work with such artists as Pat Metheny and Christian McBride.

Vanessa has traveled the world playing guitar, visiting countries such as France, Germany, Egypt, Italy, Japan, South America, and the Caribbean. She has performed on the bill with such renowned artists as Darius Rucker, L.A. Sno, KISS, Skid Row, Paramore, and Joan Jett.

She is currently recording and performing as the frontwoman for rock trio BAST. vanessaizabella.com Kate Koenig is a songwriter, music journalist, and music teacher based in Brooklyn, New York. From 2016 to 2018, she was the editor of Music Alive!, a music education magazine for middle schoolers, and associate editor for its sister publication, In Tune Monthly. Since her time at In Tune, she has been a regular contributor to Guitar Girl, Acoustic Guitar, and Premier Guitar magazines, as well as the annual Martin Journal. As a songwriter, she’s released two albums—Haircuts for Barbers (2018) and Etemenanki (2021), both of which are available on all streaming platforms. katekoenigwriting.com/ Gabriella “Guitar Gabby” Logan is an Atlanta Native and proud graduate of Spelman College and Vermont Law School. Her background in environmental and music law fueled her desire to start and manage the international all-women touring collective, TxLips Band, LLC. Logan believes it is important for artists to be well-rounded and versed in many areas of the music business, thus inspiring women worldwide to

be an unstoppable force. She is the Board Chair for Girls Rock Asheville and the Diversity Editor for Guitar Girl Magazine. @guitargabby Lynnay Della Lucé was born in Morristown, NJ, and grew up in northern New Jersey. In 2009, she came to Atlanta to pursue better music and job opportunities and quickly made a name for herself in the local scene. She is a multi-instrumentalist, playing guitar, bass, and drums, as well as a singer and songwriter. Lynnay is currently the guitarist for Vices of Vanity, an Atlanta-based rock trio. Her past projects include Chaos, Rocket 88, Project X, and Ballbreakers (Atlanta’s All-Female AC/DC Tribute). @lynnaydellaluce Jack Lue: I’m best known as GNR’s first photographer and for my early work from the Sunset Strip back in the early ’80s. I can actually say I used film! Instagram: @jacklue Nikki O’Neill is an Americana singer, guitar player, and songwriter with a deep love for soul music. Her records have been played on many blues and roots music stations in the U.S., Canada, and the U.K. Based in Los Angeles, she performs actively with her band. nikkioneill.com Caroline Paone is a freelance music journalist. Her work has appeared in Bass Player, Guitar Player, ROCKRGRL, and Bass Frontiers magazines and websites Classic Rock Revisited and SFGate. @CarolineRex Victoria Shaffer is obsessed with music history and a passion for classic rock ‘n’ roll. As a student, Victoria graduated with a degree in English and is currently pursuing a master’s to continue her growth as a writer.

She strives to successfully combine her two obsessions by writing about the musicians and musical events that motivate and inspire her.

Kirk Stauffer is a Seattle-based photographer who has two passions— live music and photography. Over ten years ago, he began to combine them and has covered nearly 2000 performances to date. His photos have been published commercially, featured in Rolling Stone magazine, and one found itself on the front cover of Pollstar magazine. Kirk has been a contributing photographer for Paste magazine, LiveDaily, No Depression, Back Beat Seattle, and a regular SXSW attendee. Kirk Stauffer Photography Alex Windsor is a passionate musician and educator with over sixteen years of experience. While she holds a Bachelor of Arts in Music with an emphasis in Jazz Studies (Bass), she has also extensively studied rock, blues, and classical guitar. She currently serves as the Educational Affairs Specialist for Guitar Center Lessons. Alex can be found regularly performing around the greater Los Angeles area. alexnicolewindsor.com

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