Renowned singer, songwriter, and guitarist Lincoln Brewster’s acclaimed latest release, Real Life, is available now. To fi nd out more about Lincoln and his uplifting new album, go to lincolnbrewster.com.

Lincoln Brewsteron Music Technology in Modern Worship

Real Live:

You would be hard pressed to name a modern worship leader and musician who has better utilized music technology than Lincoln Brewster. Renowned both for his songwriting chops and his virtuosic guitar skills, Lincoln makes the most of his cutting-edge music gear — while sharing the message with heart, grace, and humanity. Currently serving as the worship arts pastor for Bayside Church in Granite Bay, California, Lincoln also continues to tour nationally. He has released seven full-length albums since 1999, including his acclaimed latest, Real Life. A new Christmas album is due out this year, and plans are in the works for a live album. It goes without saying that he has come a long way.

Lincoln’s upbringing in Alaska was anything but idyllic. He grew up in a broken home, seeking solace in music. Gifted at guitar and other instruments from a young age, Lincoln poured his energies into improving as a player and performing live. By age 19, his talent and hard work got him noticed. Recording contract offers began coming in, but by then, Lincoln

had let the Lord into his life, so he chose a different path. He played on a Steve Perry (formerly of Journey) solo album and toured with the singer for six months in the mid-1990s, but soon returned home — in

California, at the time — to be with his new wife and to work with his church as a sound technician. Eventually, Lincoln moved to Nashville, working alongside his wife as a youth pastor. Upon hearing his production work during a demo session, executives from Integrity Media took notice of his talent and signed him to their Vertical Music label. Lincoln relocated to California and began his work at Bayside Church. His experience on the platform, on tour, and behind the scenes has given Lincoln

a unique insight into what it takes to make technology work in the context of worship. As he points out, “I think that a lot of people have allowed for things to get overly

complicated, and ‘technology’ for some people is a bad word — when technology is supposed to be our friend and help us out.”

So, how would Lincoln approach gear and technology if he were starting from scratch? He’d do it with an eye for effective sound solutions that don’t overwhelm the team or the budget. “I think, if I were to go back to some of my

earlier ministry days and start smaller, I would start with a good sound system,” he says. “The nice thing is that you can get some

great sound systems that don’t cost a lot of money, that have a lot of fl exibility, and that are

designed for volunteer use or for people who aren’t at a professional-caliber level. Line 6’s new StageScape

PA system is just phenomenal,” he says, pointing to the system’s intuitive touch-panel controls. “What a cool concept!

Things like that, which are now available, are making it possible for churches that are smaller and don’t have the big budgets to come up

with really great results.”

Lincoln warns against looking at technology as the total solution, rather than just an aid. “Before you have something in place the

way you want it, [technology] can often become your focus. Technology is defi nitely one of those things that offers that

danger. So, we can consistently, day in and day out, be about, ‘Oh, if we just had this, or if we just had this.’

You’ve got to have the right components, but it doesn’t require as much as most people think.” He

adds, “Once you get some things in place, I think a lot of people need to ask what they’re going to do with it. I think [with] a lot of worship ministries, if you went, ‘Okay, here’s everything that you’ve ever needed. Ready, go,’ some of them might freeze for a minute because they’re so not used to thinking about what they’re actually supposed to be focusing on.” He points to the bottom line: “ I think that our focus has to be on how we get God’s people connected in an

authentic way. How are we get them worshiping? What’s going to make that experience work? I ask myself that

every week when I’m putting my set together. I’m going, ‘Alright, Lord, what’s it going to take this

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week? What are the songs? Anything I need to say?’ And [I] really focus on the experience from that angle and work on the practicals as well — the musicianship. I’ve said for years that all really good gear does is better re-create reality.”

This approach applies to recording and live sound in the church. “People say, ‘If I could just get Pro Tools, then I can make a record.’ Well, no. Pro Tools is just going to better reveal what you have. Pro Tools doesn’t make records; Pro Tools allows people to make records. ” He adds, “We’ve got to be careful of the ‘golden hammer’ syndrome. We don’t worship the tools. They’re just tools. We commit to being smart with what tools we need and how much we need to spend. Be frugal, make wise choices, and then get after the task at hand and focus on doing a great job.”

Lincoln’s own setup pairs the latest technologies with classic tones. “I’ve got two Custom Shop Strats that are sort of based around ’57s .” Rather than relying upon miked amplifi ers onstage, Lincoln opts to run his POD HD500 rig direct. “Most of the dates I do on the road are fl y dates. We’ve got to fl y just about everywhere we go. I want something that sounds great, that feels great to play, and will give me consistency every night. For me, that means being able to fl y with it. So, for me, that’s where it [using the POD] started. I recorded some tracks on my very fi rst album with Line 6’s Amp Farm, and I remember thinking, ‘Gosh, it’d be great if I could take this on the road.’ And then the POD came out. I started using it, and, back then, running direct was blasphemy. I’d have people show up after we played at a festival and say, ‘How do you get your tone? I want to see your rig!’ And I’d go, ‘You don’t want to know, trust me.’ And they’d say, ‘No, no, I wanna know!’ And I’d show them. What I found consistently was that people’s brains would not allow them to hear what their ears heard. They just couldn’t get past the reality of what it was.” Lincoln usually opts for a Line 6 Relay G30 or G50 wireless instrument system for his guitar. Lincoln also points to the fl exibility that Line 6’s new XD-V75 wireless microphone system gives to worship groups, thanks to the handheld transmitter’s array of built-in mic models. “I was really shocked at how good the models were inside the microphone. The fact that you could fl ip through a bunch of different mics and try different ones out and see which one worked was killer.” For onstage monitoring, Lincoln depends on Westone in-ears. “I think top to bottom there’s not a better company for in-ears. The UM Series is great. I carry around UM3Xs along with my 5 drivers for backup. They sound awesome, and they fi t great.”

When he heads into the studio, Lincoln uses a Pro Tools|HD rig outfi tted with Waves and Universal Audio plug-ins. He also uses plenty of outboard gear. “I use a handbuilt ADK tube mic (CS-67J) that’s based off of a U-67; it’s awesome. I’ve also got a pair of Shure KSM44s. I use them for vocals, but those mics work on anything.”

Lincoln also relies on Avid’s Eleven Rack to get his favorite guitar tones in the studio. And speaking of guitar tones, he gets plenty from one of his favorite new guitars, the Line 6 James Tyler Variax. “I think every studio ought to own one of those,” he enthuses. “ It’s just amazing how spot-on those models are. It was pretty stunning. I knew the guitar was cool, but at that point, I was just a complete believer.”

You can fi nd Sweetwater-exclusive Lincoln Brewster signature patches on both the POD HD Pro and the Eleven Rack. What’s more, Lincoln has been a Sweetwater customer for almost 24 years. He recalls, “I could tell even back then [that they were a] well-run company, [and that they] thought a little bit outside of the box. If a church calls [and says], ‘Here’s what we’re wanting to do,’ Sweetwater is able to really give them a comprehensive view of product options.”

Lincoln neatly affi rmed his path as a musical messenger when he paraphrased a quote by Martin Luther: “Aside from theology, there’s not even a close second to music in terms of communicating God’s word to people.” He adds, “It’s obviously a very important part of what we do as a church.”

lincolnbrewster.com

Lincoln’s Go-to Gear

Line 6POD HD500

pg. 130

AVIDPro Tools + Eleven Rack

pg. 96

Line 6XD-V75

pg. 22

WestoneUM3X RC

pg. 34

Fender Stratocaster

pg. 123

Lincoln Brewster puts a lot of thought and experience into choosing the gear he relies on when he’s performing on the platform and recording in the studio. Throughout this issue of Worship Sound Pro, you’ll fi nd several products that are similar to the ones Lincoln prefers. Here are a few great examples:

Line 6James Tyler Variax

pg. 122

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TRAINING SHOPPING GUIDE

In the

Classroom

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Musical Training Tools

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N o music program is complete without the proper tools to further students’ progress and to help point them in the right direction. You’ll fi nd a wide range of software and hardware products available for this

purpose, but choosing the right teaching and rehearsal tools can be daunting. Here, we’ll address some general categories and give you examples of gear and technology, with training and teaching in mind. And, as always, we encourage you to call us with any questions you may have.

KEYBOARD AND THEORY

Music theory and keyboard skills give students essential tools for musical communication. Whether they’re just getting started, seeking profi ciency on an instrument, or moving into areas of notation and composition, students can benefi t greatly from theory and keyboard training software.

Teachers also benefi t, as training software provides useful exercise tools (some brands even include customizable tests and worksheets). These features let you tailor your program to your students’ needs, abilities, and levels of progression. Educational versions in particular offer labor-saving options that help teachers organize and carry out lessons.

EAR TRAINING AND VOCAL TRAINING

As students progress into ear and vocal training, they need lessons and exercises they can keep up with — and lessons that can keep up with them. That’s why easy customization and fl exibility are essential. Many titles let you customize individual levels, so students can learn at their own pace. On-screen piano keyboards allow for easy note identifi cation. Some software titles also allow students to use an external MIDI keyboard to input notes. Being able to plug in a microphone and sing directly into the program is also a great feature. A portable hardware trainer makes a handy option for vocal students; it can be used practically anywhere . Because it’s designed for vocal tracking, a dedicated vocal trainer isn’t as “jumpy” as, say, an instrument tuner would be. In addition, a good hardware vocal trainer includes a display that tells students when they’re approaching correct pitch — or drifting away. When students have a consistent way to gauge their accuracy, the doors open to improvement and refi nement.

Roland VT-12This portable vocal trainer gives

you all the tools you need!

TO LEARN MORE,GO TO PAGE 31.

$19900

eMedia Piano and Keyboard Method

Effective keyboard training lets students progress at their own pace!

TO LEARN MORE,GO TO PAGE 105.

$4995

Rising Software Auralia & Musition 5-seat Lab BundleEar-training and theory exercises, tests, and more — in one bundle!

TO LEARN MORE,GO TO PAGE 104.

$69900

eir own pace. rds allow on. Some

w studentskeyboard e to plug g directly a great ware ption be re . r ed

ent racy, vement

GO TO TO PAPAGE 104.

028-029_101_Training.indd 18028-029_101_Training.indd 18 3/26/13 12:11 PM3/26/13 12:11 PM

Music Education Technology DivisionFormerly Lentine’s

CA LL US TODAY AT (800) 822–6752 We’ll help you fi nd what you need! C

Roland RMP-5Outstanding playing feel, fantastic training options!

TO LEARN MORE,GO TO PAGE 41.

$22900

PERCUSSION AND DRUM TRAINING

Whether you choose a single-pad rhythm trainer or a full electronic drum kit, you’ll be amazed by the coaching and rehearsal options at your fi ngertips. Dedicated rhythm trainers offer a compact option, with onboard instruments, metronomes, and an array of rhythm exercises. If you’re going for a multipurpose option, consider a full electronic kit. Most e-kits include training tools right onboard their sound modules, so you get a drum kit that can be used for teaching, rehearsal, and performances.

GUITAR TRAINING

Innovative new tools make learning guitar easier and more enjoyable than ever. There are several standalone tools that let you plug in and enjoy built-in loops, songs, effects, and even amplifi er emulations. Students can slow down tracks, change pitch to match their guitar’s, and even isolate or minimize guitar parts within songs.

Computer-based options allow students to work with notation, tablature, and more. Several titles are loaded with progressive learning opportunities, so students at different levels can use the same programs. Advanced designs now allow for an incredible degree of interaction between the guitar and the computer. Specially designed instruments actually display notes and chords right on the fi ngerboard as students play along with the software. Thanks to this and other incredible technology, students are able to enjoy music programs now more than ever. Call us today to fi nd the musical training tools that best fi t your school.

BOSS eBand JS-10

This great guitar-training tool has built-in loops, amps, effects, and more!

TO LEARN MORE,GO TO PAGE 31.

$42900

Peterson BodyBeat SyncThis wireless metronome is packed with features!

TO LEARN MORE,GO TO PAGE 33.

$12900

Fretlight FG-511An exciting, fun, and easy new way to learn guitar!

TO LEARN MORE,GO TO PAGE 35.

$39999

Peterson BodyBeat SyncTThThiThihiss wwireireelelelessss mmetetroononoomee iisis pacpacackekekeded wiwitth h ffeaeaeatururess!!!

028-029_101_Training.indd 19028-029_101_Training.indd 19 3/26/13 12:11 PM3/26/13 12:11 PM

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Learn !playtoServes Fort Wayne’s Community of Musicians!

As Fort Wayne’s downtown continues to bloom, Sweetwater proudly watches all of the great work the Embassy Theatre does — and continues to do — for our community. By maintaining this majestic building, revitalizing the historic Indiana Hotel, and continuing to bring the finest in the performing arts to Fort Wayne, the Embassy Theatre remains a true community gem — and an invaluable asset to the entire region. We’d like to salute the Embassy — the home of our fantastic Fort Wayne Philharmonic Orchestra and the region’s only touring Broadway series — and say thanks for decades of undying efforts to keep the cultural and civic heart of our city thriving. Sweetwater is committed to supporting and promoting the Arts in our community, and we’re thrilled to continue standing behind such an important local organization.

Sweetwater Celebrates the Magnificent Embassy Theatre

By D.M. Jones

No doubt about it, the guys in Big Bad Voodoo Daddy, one of the preeminent “con-temporary swing” bands out there, love what they do. After thousands of shows, countless fes-tival appearances all over the world, radio hits, film appearances and elbow rubbing with the likes of Leno and O’Brien, these always-dapper kings of swing exhibit an enthusi-asm that shows no signs of flagging — nearly two decades into their career. On May 5 Big Bad Voodoo Daddy bring their unique brand of ac-complished, high-energy swing to Fort Wayne’s Embassy Theatre. With a new album nearly fin-ished, the boys are happy to hit the road, as always. “We tallied it up the other night,” says the band’s trumpeter Glen Marhevka, refer-ring to the current total of shows the Big Bad Voodoo Daddy have played since frontman and songwriter Scotty Morris first formed the combo in 1993. “It was something like 2,400 or so.” If you do the math, this basically means Big Bad Voo-doo Daddy have been road dogs since the get go. “It’s a cool thing to think that we’ve been consistently on the road for this long,” points out Marhevka, who joined the band in ‘95. “It’s still really fun.” From the start, Big Bad Voodoo Daddy have used their collective energy and im-pressive chops to slay crowds everywhere they’ve played. A residency in ’93 at the Brown Derby nightclub in Los Angeles proved an early highlight, and the band soon grew into a formidable seven-piece combo. They’ve since expanded again, adding two more players on the road. “When I joined,” recalls Marhevka, “we had three guys in the rhythm section and three horns. Then we evolved and added on. It was something we needed to do; it was key to our sound.” Key to their current popularity was an appearance in the film Swingers which helped catapult swing (and, by extension, Big Bad Voodoo Daddy themselves) into the national spotlight. Following the release of the film, the trumpeter remembers, “in ‘98 or so, swing hit the entire country.” Big Bad Voodoo Daddy capitalized with hits like “You & Me and the Bottle Makes Three (Tonight)” and “Go Daddy-O,” as they and other bands flourished. You may remember the Cherry Poppin’ Daddies and the Squirrel Nut Zippers, bands that made a big, albeit brief splash on MTV. But new swing’s bright flame burned out quickly. It was a phenom-enon that came and went, a fact that wasn’t lost on BBVD — but didn’t faze them, ei-

ther. “There’s not really any ‘scene’ per se anymore, as far as I can see,” says Marhev-ka. Noting the aforementioned other bands, he says, “There were years when those

bands didn’t even play at all.” So, what has kept Big Bad Voodoo Daddy not only alive but thriving all this time? “We just kept do-ing our thing. We built up a fanbase to the point where we can play in every town, in different countries,” Marhevka says. “There are fans in each city who like to come out, who like to dance. “I’ve talked to people after shows who’ve said, ‘I never listen to swing or jazz,’ but they really enjoy our show, and they come out the next time we come to town.” He’s also ob-served that festival crowds, even when not necessarily there to see BBVD, tend to feed off of the energy and musicianship the band brings to the stage. How does such a well-populated combo manage to not only hit the road but pretty much stay there? Marhevka acknowledges that it requires quite a bit of effort, but the rewards far outweigh the difficulties. “Sure, it’s definitely a challenge to keep such a big group going,” he says. “It’s nine guys plus a four-man crew, and there are lots of logistics: hotels, airfare, and so on. But this is a really, really fun group of guys. There’s a lot of camaraderie. Plus, it’s just a really powerful live experience; it’s really exciting to see. I wouldn’t have it any other way. “When we first started, we stayed in the crappiest places, paying our dues,” he re-calls. “But I wouldn’t trade anything for it.” He also attests that such safety in numbers keeps the band thriving onstage even when a player is sick or having an off night. “Hav-

ing a large group means everybody brings everybody else’s energy up.” Another picker-upper for the band has been the playing opportunities they’ve had. Big Bad Voodoo Daddy’s resume reads like

a musician’s wish list: appearances on “The To-night Show,” “Late Night with Conan O’Brien” and “Live with Regis & Kel-ly” have exposed them to millions, while guest spots with symphony and pops orchestras around the nation have bumped up their profile. Then there were shows in front of three American presi-dents, a stint as the house band on the “Last Call With Carson Daly,” oh, and a gig during halftime at a little sporting event called the Super Bowl. Marhevka points to a par-ticular highlight: selling out the Hollywood Bowl in his hometown. “We’ve

played the Hollywood Bowl, played festivals around the world, played the Super Bowl,” he says before letting it sink in. “You know, I don’t really think about it much, but when I’m mention-ing all of this, it’s pretty amazing!” One would be remiss not to point

out the natty threads BBVD wear onstage — a prerequisite for any self-respecting swing band. “We’ve been collecting cool vintage clothes for years,” says Marhevka. “In fact, we hit the thrift shops in every city we can. I’ve built up a huge arsenal!” Of course, one huge element of the band’s success doesn’t involve flashy suits at all. Big Bad Voodoo Daddy’s studio output has given them plenty of material to knock the socks off of swing freaks and football fans alike. BBVD have sold albums in the millions, and their songs have appeared in over 60 films and TV shows. After releasing several albums of their own material in the 90s and 00s, BBVD tackled a labor of love in 2009, recording an album of jazz great Cab Calloway’s songs entitled How Big Can You Get: The Music of Cab Calloway. Mar-hevka can’t overstate Calloway’s impact on him. “I saw him live,” he remembers. “I was in the 7th grade and my parents took me.” Having already taken up the trumpet, Mar-hevka marveled at the legend’s talent and stage presence. “He made it look so cool — this crazy guy, dancing across the stage, playing trumpet with a great band. He was definitely an inspiration to me.” And, later to the entirety of BBVD. “Doing that album of his songs defi-nitely bumped up our game musically,” he says. “Doing someone else’s material kind of opens up your ears and makes you better

----------------------- Cover Story • Big Bad Voodoo Daddy----------------------

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4 ----------------------------------------------------------------------------------- www.whatzup.com ----------------------------------------------------------------------May 3, ’12

Continued on page 6

BIG BAD VOODOO DADDYFORT WAYNE PHILHARMONIC POPS

Saturday, May 5 • 8 p.m.Embassy Theatre

125 W. Jefferson Blvd. , Fort WayneTix: $25-$65 thru Philharmonic box

office, 260-481-0777, or fwphil.org

By Ryan Smith

It’s been a long road for Staind. The northeast combo which finally broke through to the mainstream years after an eventu-ally fortuitous run-in with Fred Durst (the Limp Bizkit frontman reportedly thought they were Sa-tan worshipers based upon their album art but subsequently helped foster their career after hearing them play) in 2001 with their third album Break the Cycle. Staind are slightly unusual for a metal band in that they are known for their chart-topping sin-gles, penned largely by introspec-tive vocalist Aaron Lewis. Lewis started the band back in 1993 after meeting guitarist Mike Mushok at a holiday party. Hailing from a small town in Massachusetts, Lewis and Mushok filled out the rest of the lineup and began play-ing gigs around the northeast in the early to mid 90s. While their first big break may have been their mid-90s meeting with Durst, their com-mercial breakthrough came after Break the Cycle. To that point, Staind had released two albums, the indie label Tormented in 1996 and the major label Dysfunction on Elektra in 1999. It was the release of the single “It’s Been Awhile” from Cycle, though, that truly broke Staind into the mainstream. Less caustic and a little more catchy than your average metal tune (even for nu-metal), the single was massively popular and has since gone on to become a rock radio staple. Subse-quent singles from the album also did well, most notably “Outside” which has since joined “It’s Been Awhile” in its status as a perennial radio favorite. Staind’s success with radio singles con-tinued with their follow-up LP, 14 Shades of Grey (2003). The singles “Price to Play” and “So Far Away” were both chart-toppers, and the remainder of the album found Lewis exploring his own emotions and apparently twisted self-situation, all of which fans continued to devour. Chapter V, released in 2005, also fared relatively well, with the single “Right Here” peaking at No. 1 on the mainstream rock chart. On 2008’s Illusion of Progress, howev-er, Staind began to show signs of wear and tear as an entity. Commercially, the album

performed well, but the songs it contained had less of an impact and ultimately left less of an impression on the public than did those of past recordings. Even the title indicated some level of frustration within the band. With the lukewarm reception of Prog-ress, three years’ lapsed time between it and the release of their self-titled album, the de-parture of longtime drummer Jon Wysocki, and the release of Lewis’s solo country (not a misprint) debut in 2011, many began to question the future of the band. The apparent instability may have led the band to adopt a back-to-basics approach in recording Staind, released last September. “I think what we tried to do on this record is kind of come back to what Staind of ‘99 was,” says guitarist Mushok. “I mean, that was really the idea behind it, to kind of get a little more aggressive and really the reason why we started the band was kind of play more aggressive music. We kind of went on

this journey, and I think the last re-cord you lose the progress; really kind of took us as far away from that and we could have gotten al-most. And, look ... I love some of the songs on the last record, but I think after kind of completing that, we said, ‘Let’s kind of come back to why we started the band,’ and that’s really what the idea was behind the album.” While Lewis is still solidly within the Staind lineup, his solo EP, Town Line, not only led to questions about his status with the band (Is he going solo full-time? Are Staind kaput?), but also led many to question his own authen-ticity as an artist. As the frontman for a metal band and a Massachu-setts native (albeit a small town one who is known for his enthu-siasm for hunting), listeners and critics alike wondered if he had any business releasing a coun-try album, despite the presence of country stars such as George

Jones and Charlie Daniels on the re-cording. The single “Country Boy,” however, still made an impact on rock radio (something c o u n t r y - t i n g e d music rarely does), and for his part Lewis has mostly justified his choice

of genres by stating he was a fan of country music growing up and a tour with Kid Rock had rekindled his interest. Still, legitimate or not, his divergence from the formula Staind has ridden to suc-cess may have added to the band’s overall desire to get back to doing what they do best with their new album. The lead single, “Eyes Wide Open” may not be as memorable as “It’s Been Awhile” or “Outside,” but it fea-tures Staind’s trademark crunch and catchy yet searing lyrics. “We really wanted to kind of go back to where we started as far as a band, and I think with that was kind of why we ultimately de-cided on having it self-titled,” says Mushok. “There was talk about it being called Seven because this is the seventh record and that’s what seven demons on the cover kind of represents. And so that’s kind of how we in-corporated it. But [the title] was really just about the fact that we kind of got back to playing with the music.”

---------------------------------- Feature • Staind ---------------------------------

Rediscovering the Formula

6 ----------------------------------------------------------------------------------- www.whatzup.com ----------------------------------------------------------------------May 3, ’12

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at doing your own stuff. It’s helped with our approach to the new songs, definitely.” As for the “new stuff,” Marhevka says the band is in the final stages of the new album’s production. “It’s just about done. We’re finishing up the mixing and the art-

work.” He’s excited about the approach BBVD took on the new album. “About half of the album has an entire big band. It sounds really big and beefy; it lets us expand our lines more.” He adds that the band is once again itch-

ing to do what they’ve been doing for years. “The last couple of months, we’ve been full-on working on the album. Now we’re getting out and playing these songs on the road. We all love playing this music and getting on-stage.”

BIG BAD VOODOO DADDY - From Page 4

4 ----------------------------------------------------------------------------------- www.whatzup.com ---------------------------------------------------------------- August 18, ’11

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By D.M. Jones

It’s a long way from the Isle of Man (smack dab between northern Ireland and northern England, in the Irish Sea) and leg-endary blues base Chicago. Especially if your vehicle is the kind of electrified blues that’s most associated with the likes of Buddy Guy and Robert Cray. But, up-and-coming Irish guitar slinger and singer Davy Knowles has finally arrived in the Windy City after a relatively roundabout trek — and he’s barely in his mid-20s. More importantly, his incen-diary style isn’t simply the prod-uct of hero worship; Knowles’s music is infused with classic American blues vibe but also benefits from the artist’s upbring-ing and heavily Celtic early sur-roundings. You’ll be able to experience his potent brand of blues rock up close on August 26, when Davy Knowles and Back Door Slam play Fort Wayne’s Foellinger Theater. It didn’t take Knowles long to become a force to reckon with on guitar. The spark, fittingly enough, came from another re-nowned blues-touched electric guitarist’s band. “I started playing when I was 11 years old,” Knowles recalls, adding that he was inspired by Mark Knopfler and Dire Straits. “My dad had played me a cassette of ‘Sultans of Swing,’ and I wanted to learn it.” Soon after, he received his first gui-tar. “My mom bought me a three-quar-ters-sized Spanish acoustic guitar,” Knowles remembers. Sadly, his connection to his first axe didn’t continue along with his connection to the blues. “It’s disappeared,” he laments. “It’s a shame I still don’t have it.” So how does a teenager living on the Isle of Man turn into a worldwide blues phenom, without taking some of the island with him? “I grew up in a really Celtic place, with reels and jigs in the pubs. When I was young, I thought, ‘Oh, that’s old peoples’ music.” But it affected him more than he knew. “As I got older I picked up a CD by Rory Gallagher,” Knowles remembers. “Re-ally aggressive electric blues, but when he played I heard the reels and the jigs in it. I really try to incorporate that into my own music.” As for the so-called “purists” out there who may attempt to naysay based on Knowles’ relatively tender age, the guitar-ist’s succinct response is indicative of his re-markable maturity and sense of perspective: “Any living person has had great times and has had god awful times.” “I was very enthusiastic about the Laxey Blues Festival they held every year

on the Isle of Man,” he says. “I called the promoter and eventually ended up joining a band called Roadhouse. I was 13 at the time, and Roadhouse was full of older players.” Knowles worked on his chops playing with Roadhouse for a few years and then decided to connect with players closer to his own age. At 16, he put together the first itera-

tion of Back Door Slam. The connection was much closer than simply a collection of like-minded kids. “It was all people from school,” Knowles says. Soon, Back Door Slam were tearing up Isle of Man clubs and pubs with their electric-blues stylings — and keeping an eye toward the east. The band released its debut, Roll Away, which came packed with what would continue to prove several live favorites. At 18, Knowles (and the band) took the leap and moved to central England. Initially full of promise, the move ultimately proved costly. “Our progress stalled,” Knowles recalls. “That version of Back Door Slam finally crumbled.” Bloodied but unbowed, Knowles kept moving forward, eventually securing a re-cord deal in Seattle. Once there, his fortunes changed and momentum took over. “We did a couple of tours, starting out with a South by Southwest appearance.” The band worked, worked some more and then recovered by working yet some more. Davy Knowles and his crew found a home in America, wowing crowds across the nation and touring the well-received album Coming up for Air. That album marked more than the

arrival of Davy Knowles as a musical force; it took the artist into rarified company. Knowles admits that his burgeoning fame, while hard-earned, hasn’t made him jaded. “I made a complete fool of myself in front of Brian May [of Queen] once. I just went, ‘Holy sh**!’ I get starstruck very eas-ily.” So, when Peter Frampton signed on to

coproduce Coming up for Air, how did Knowles’s fare? “Playing guitar with Peter was terrifying at first, quite surreal,” he says. But that trepidation soon dissipated. “He’s just a genuinely lovely guy,” Knowles points out. “He made me feel very comfort-able.” The album rose to the upper reaches of the Billboard Blues chart in 2009 and opened even more doors. Opening slots for the likes of Jeff Beck, Chickenfoot, and Warren Haynes (Gov’t Mule) followed. Knowles’ respect and affec-tion for Haynes’ singing, song-writing, and performing ethic is readily apparent. “He’s such a monumental talent. He does ev-erything well.” Knowles recalls opening for Haynes early on, and how the young upstart got schooled. “We’d gotten sort of big head-ed and went to do a show with

[Gov’t Mule]. Got completely blown away. Completely. It was a great educa-tion!” Knowles’ appreciation for the mas-ters of the craft informs his work ethic. “Whatever you think you’ve learned at 24, they’ve lived so much more. I try to be a sponge around them,” he says, adding,

“I’m very lucky to have that opportunity. Return visits to the Isle of Man are somewhat bittersweet for Knowles. “I just went back and played a show at home, kind of a ‘local boy makes good’ feel-ing. I love going back there, spending time with my folks.” However, he adds that his higher profile makes private time with his family harder and harder to come by. Presently, Knowles resides in Chicago. “I love it here,” he says. “It’s a wonderful place for music. It’s fantastic.” Now more comfortable in his own skin than ever, Knowles is firmly focused on completing his third full-length effort. “I’ve been doing lots of writing after four years of constant touring. Now I’m putting my head down and working, working, working on the new album,” he says. “You’ve got your whole life to make your first album. Then you go on the road. Then you have six to seven months to make your second album. This is a really great time for me. I want to really spill it out on this one.” As always, Knowles soaks in the jour-ney he’s taking, as he’s in the midst of it.

DAVY KNOWLESFriday, Aug. 26 • 8 p.m.

Foellinger Theatre, Franke Park3411 Sherman Blvd., Fort WayneTix: $15 thru Fort Wayne Parks &

Recreation Dept., 427-6000, www.fortwayneparks.org

---------------------------- Cover Story • Davy Knowles --------------------------

Schooled in the Blues