Jimmy Buffett passed away September 1, 2023 at 76. Today, we’re revisiting this conversation with the “Margaritaville” singer-songwriter about his collection of rarified golden-era guitars.
It’s remarkable to say that even after all these decades of exploring all sorts of sonic and stylistic terrain, ‘Seven Psalms’ is unlike any other Paul Simon creation.
Playing his “favorite guitar in the world,” his trusty Huss & Dalton MJC, John McCutcheon deconstructs his song "Peekaboo" and shows how to play it slowly and up to speed.
Over the last 10+ years, Joey Lusterman has worked in every department at Acoustic Guitar magazine: front desk, ad sales, editorial, sound guy, camera man, booth babe, email coder, podcast editor, photographer, book designer… And he’s been behind the camera for nearly every Sessions video! Here are just a few of his favorites (see them all.)
On Christina Vane's album Make Myself Me Again, the slide guitarist is exploring what it means to reconnect with herself in a new, unfamiliar city where she seems to fit right in.
To his colleagues at Acoustic Guitar, Steve James was not only the knowledgeable, reliable author of 185 well-regarded articles and reviews, he was a cherished friend, close collaborator, and the source of endlessly entertaining tales from the road.
On Up the Hill and Through the Fog, the Slocan Ramblers make a clean break from their folk-trad past and establishing three distinctive voices to make the group greater than the sum of its parts.
Stylistically, Joe Russo’s Almost Dead guitarist Scott Metzger's solo acoustic album, Too Close to Reason, covers a lot of territory in what he calls his “sonic landscapes.”
With his 7th full-length album, The Prize, Joe Robinson is reaching for the biggest prize of all: writing songs that are as good as his guitar playing.
Madison Cunningham is a true triple-threat musician: a singer and inventive songwriter, a wickedly good guitarist, and a seeker of unconventional riffs and tones.
Dark Enough to See the Stars is what we call a happy album for Mary Gauthier—the happiest album in her career, recorded at the happiest time in her life.
Tommy Emmanuel, John Knowles, and Steve Wariner share the distinction of being Certified Guitar Players, anointed by Chet Atkins himself. Here they sit down, for the first time, to discuss Atkins.
Billy Strings' Me/And/Dad is a happily unlikely outcome for father and son, a chance to record an album rooted so deeply in memory and gratitude, addiction and recovery.
"The idea was to play something that would allow me to tell a long tall tale without it becoming distracting—or in other words, play something familiar. The actual fingerpicking is instantly recognizable now.”
Winter Hill Blues is Ryan Lee Crosby's strongest work yet, alternating between hard-droning blues on electric guitar and softer, brooding blues on acoustic guitars.
Nitty Gritty Dirt Band founders Jeff Hanna and Jimmie Fadden used to play Dylan tunes together in high school, now the band has released a tribute album, Dirt Does Dylan.
Many people think of the guitar as "America's instrument,” but the truth is the guitar was a relative latecomer to American music. Here, Michael Wright traces the instrument's origins
Playing his “favorite guitar in the world,” his trusty Huss & Dalton MJC, John McCutcheon deconstructs his song "Peekaboo" and shows how to play it slowly and up to speed.
In the folk music boom in New York in the 1960s, the music of guitarist Mississippi John Hurt was a huge influence on players like Happy Traum, John Sebastian, and others.
For this AG Session, Elijah McLaughlin and Jason Toth of the Elijah McLaughlin Ensemble perform two fingerstyle pieces from the ensemble's latest album
Contemporary fingerstyle guitar masters Andy McKee, Kaki King, Christie Lenée, and Mike Dawes reflect on the legacy of the revolutionary guitarist Michael Hedges.
Berta Rojas' album Legado features 12 tracks composed by or written in homage to a pair of classical guitar pioneers: Ida Presti (1924–1967) of France and María Luisa Anido (1907–1996) of Argentina.
Glenn Jones doesn’t see open tunings as an alternate to standard, but rather as the core to his approach to playing and composing on guitar, including on his album ‘Vade Mecum.‘
