guthrie govan tour 2022

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The Aristocrats Announce North American “Defrost” 2022 Summer Tour

The ten-week, 50-show run will mark their first live performances since the FREEZE! Live In Europe 2020

The Aristocrats, (guitarist Guthrie Govan, bassist Bryan Beller and drummer Marco Minnemann) will make their long-awaited return to the stages of North America this summer, for the DEFROST tour. The ten-week, 50-show run will mark their first live performances since the FREEZE! Live In Europe 2020 album was captured, more than two years ago. Audiences starved for some trademark Aristocratic musical mayhem will be treated to a debut of select new material not yet released on any album, as well as a carefully curated collection of fan favorites and deep cuts.

The ultra-power-trio issued a joint statement to mark the occasion: “We’re beyond thrilled to get back out there and do what we do best – playing together, live and loud, in the same room – for our amazing fans who’ve been so generous with their support of what we do as a band. Even though modern technology is great, we wanted to wait until we were physically together before playing any new material, because that’s just how we do it. That’s finally going to happen right before we head out on the road, so it will be really fresh and exciting. We can’t wait!”

In addition to The Aristocrats’ return to the live stage, the band will soon share news of a collaboration project one year in the making, which is slated for release in the spring. More details will follow on this project soon.

Over the past ten years The Aristocrats have released critically acclaimed albums, toured the world, and established themselves as one of the most musically original, refreshingly irreverent, and astoundingly entertaining instrumental rock-fusion acts on the planet. Anyone who’s witnessed their live musical high-wire act – employing random amounts of rock, jazz, pop, metal, and even traditional country – can attest that it is informed by the spirit of a true band, one whose improvisational soul allows for anything to happen onstage at any moment…including the occasional wink and nod at the audience. 

The Aristocrats DEFROST North American Tour

July 1, 2022 Alvas Showroom San Pedro, CA July 2, 2022 Alvas Showroom San Pedro, CA July 3, 2022 Ramona Main Stage Ramona (San Diego), CA July 6, 2022 The Mob Mexicali, MX July 7, 2022 Rhythm Room Phoenix, AZ July 8, 2022 Club Congress Tucson, AZ July 9, 2022 Rockhouse Bar & Grill El Paso, TX July 10, 2022 Launchpad Albuquerque, NM July 13, 2022 The Parish Austin, TX July 14, 2022 Guitar Sanctuary McKinney, TX July 15, 2022 Guitar Sanctuary McKinney, TX July 16, 2022 Scout Bar Houston, TX July 18, 2022 Southport Music Hall New Orleans, LA July 20, 2022 Jack Rabbits Jacksonville, FL July 21, 2022 Will’s Pub Orlando, FL July 22, 2022 Boca Black Box Boca Raton, FL July 23, 2022 The Brass Mug Tampa, FL July 26, 2022 Aisle 5 Atlanta, GA July 27, 2022 City Winery Nashville, TN July 28, 2022 Isis Music Hall Asheville, NC July 29, 2022 Neighborhood Theatre Charlotte, NC July 30, 2022 The Pour House Raleigh, NC August 1, 2022 Rams Head On Stage Annapolis, MD August 2, 2022 Sellersville Theater Sellersville, PA August 3, 2022 Gramercy Theatre New York City, NY August 9, 2022 The Middle East Boston, MA August 11, 2022 Imperial Bell Quebec City, QC August 12, 2022 Café Campus Montreal, QC August 13, 2022 Café Campus Montreal, QC August 14, 2022 Opera House Toronto, ON August 16, 2022 This Is Red Pittsburgh, PA August 17, 2022 Beachland Ballroom Cleveland, OH August 18, 2022 The Magic Bag Detroit, MI August 19, 2022 Irving Theater Indianapolis, IN August 20, 2022 Reggie’s Chicago, IL August 22, 2022 Amsterdam Bar And Hall St, Paul, MN August 23, 2022 xBk Live Des Moines, IA August 24, 2022 RecordBar Kansas City, MO August 26, 2022 The Black Sheep Colorado Springs, CO August 27, 2022 Marquis Theater Denver, CO August 28, 2022 Mesa Theater Grand Junction, CO August 29, 2022 Urban Lounge Salt Lake City, UT August 30, 2022 The Shredder Boise, ID September 1, 2022 Rickshaw Theatre Vancouver, BC September 2, 2022 Neumos Seattle, WA September 3, 2022 Star Theater Portland, OR September 4, 2022 Sessions Music Hall Eugene, OR September 6, 2022 Harlow’s Sacramento, CA September 8, 2022 1720 Los Angeles, CA   September 9, 2022 Great American Music Hall San Francisco, CA 

Full details for all shows, including ticket links as they become available, can be found on the Aristocrats website at: http://the-aristocrats-band.com/shows/

Website: http://the-aristocrats-band.com/

Facebook: https://www.facebook.com/aristocratsband

Twitter: https://twitter.com/acratsband

Instagram: https://instagram.com/thearistocratsband/

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Guthrie govan | marco minnemann | bryan beller, 7/11 the duck usa/canada tour starts tonight.

We had an incredible time in Mexico this past week, playing 3 shows in Monterrey, Guadalajara and Mexico City. Thank you so much to everyone who came to see us and made each gig very memorable for us!

Now we are back in the US of A ready to begin the next stage of the tour. We start in Ramona/San Diego tonight, before heading all across the states and Canada. All the dates and ticket links can be found HERE. Hope to see you at a show soon!

7/10 Read the story of DUCK!

What happens when an Antarctic island Duck gets in trouble at home and flees a penguin policeman all the way to New York City? CLICK HERE to read the story of DUCK . We’ll be publishing this one chapter at a time over the next few months, and chapter 3 is now online! ;-)

6/11 BANG BANG BANG!

What happens when Guthrie Govan sits down to write a pretty fusion tune and suddenly construction workers noisily invade his block of flats? Guthrie explains, as only he can, exactly why “Here Come The Builders” didn’t turn out as he’d originally expected…

And here’s yet another reminder that The Aristocrats DUCK Tour hits North America this summer! We added three new dates the other day in case you missed it. Get the latest info and ticket links HERE.

5/20 AND THEN, REVISITED

Instead of our standard video featurette for the song “And Then There Were Just Us/Duck’s End”, Marco (who wrote it) did something completely different. Let him tell you about it in his own words:

“Whilst composing and recording new material, I found myself browsing through my computer files and reorganizing folders, when the following item caught my attention: the raw demo footage and recordings for ‘And Then There Were Just Us/Duck’s End’, a piece consisting of two parts which ended up being one of my offerings from the most recent Aristocrats albums, titled ‘Duck’.

Being tempted to accumulate and tailor a ‘making of’ video of said piece, I curiously opened and investigated the folder. Immediately I felt inspired to revisit the music in regards to the thought of a scenario of ‘what would this track have sounded like had it been released on one of my solo albums?’

Well, I replayed and rearranged/recomposed a bit and am actually quite pleased to hereby offer this humble solo and still ’demoish’ version of ATTWJU/Duck’s End. Hope it brings some of you joy and I think overall it really gives everyone a bit of an insight of how in my case an Aristocrats demo sounds like.”

Check out the track on Bandcamp HERE.

4/16 The Aristocrats announce DUCK North American tour dates this summer!

Tickets are available NOW from our website HERE.

Having recently wrapped an exclusive run of completely sold out dates on the west coast of the United States (the “Duckling” tour) around the DUCK album’s release, guitarist Guthrie Govan, bassist Bryan Beller and drummer Marco Minnemann will now bring their trademark musical virtuosity and inherent absurdity back to stages all across the United States, as well as Canada and Mexico. They’ll be playing (and perhaps even explaining) a sizeable chunk of their new album DUCK, as well as classic cuts from their five-album catalogue.

Of the upcoming tour, Guthrie commented, “Our new concept album tells the tale of a Duck who travels thousands of miles from his home on a small island and ultimately finds himself in the US… As the sole UK-based member of The Aristocrats, I’m particularly looking forward to retracing his anatine steps this summer!”. Marco adds, “It was exciting experiencing the great response and equally great fun we had taking our newest ‘Duck’ material briefly out on the road for a test drive. I cannot express more how much I look forward to presenting our most recent offerings to all of you wonderful people around the globe.” Bryan concludes, “We’re extremely proud of the DUCK album, but live onstage is where our music always truly comes alive. With that said: North America, we’ll see you soon!”

4/04 THE SONG THAT STARTED IT ALL!

When Marco first wrote a tune that evoked classic 70s/Motown vibes and cheekily named it “Sittin’ With A Duck On A Bay”, he had no idea the whole album would end up being named DUCK. But it’s funny how things turn out. Here’s a short feature on that very song, along with some behind-the-scenes talk about the DUCK story evolution.

3/14 Introducing Rusanda Panfili – the first ever instrumental guest on an Aristocrats album!

The Balkan-flavored madcap final cut on DUCK is entitled “This Is Not Scrotum”. Yes, we know, you have questions. No story spoilers yet, but we’re more than happy to tell you about the first ever instrumental guest on an Aristocrats album – world class violinist Rusanda Panfili (Hans Zimmer Live, Andrea Bocelli, and many more)!

Rusanda’s roots in Moldova bring an unrivaled authenticity to our take on Eastern European fusion, and we’re very grateful that she agreed to appear on such an…*inelegantly* named song.

Some of this live-in-studio footage is from the DUCK DELUXE package bonus material. Just in case you were wondering where to get it. ;-)

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• 04/04/25 - 04/09/25 The Aristocrats in Miami, FL at Cruise To The Edge Buy Tickets

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The Aristocrats Announce “Defrost” North American Tour

The Aristocrats have just announced the “Defrost” summer tour, which will take the instrumental trio across all of North America with 50 performances. The band – consisting of Guthrie Govan, Bryan Beller , and Marco Minnemann – will be on the road for 10 weeks across the U.S and Canada.

“We’re beyond thrilled to get back out there and do what we do best – playing together, live and loud, in the same room – for our amazing fans who’ve been so generous with their support of what we do as a band,” the group states. “Even though modern technology is great, we wanted to wait until we were physically together before playing any new material because that’s just how we do it. That’s finally going to happen right before we head out on the road, so it will be really fresh and exciting. We can’t wait!”

The Aristocrats are also teasing a collaboration that’s been a year in the making. That project, slated for the spring, will have more details revealed soon. Their latest album Live in Europe 2020 was released last year.

The Aristocrats “Defrost” North American Tour Dates:

More from no treble.

The Aristocrats Unveil DUCK Summer Tour

The Aristocrats Release “Duck”

G3 – Joe Satriani, Steve Vai, Eric Johnson and Bryan Beller: Crossroads (Live)

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• May 15, 2022 Setlist

Guthrie Govan Setlist at Twenty One, Southend-on-Sea, England

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• Jun 08 2019 Guitarfest Chile 2019 Santiago, Chile Add time Add time
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Guthrie Govan: “You need to learn to enjoy the sound of a scale before you have any hope of using it effectively, in the same way you have to learn to like whiskey”

With his instrumental power trio The Aristocrats sounding more 3D than ever on new release with the Primuz Chamber Orchestra, Govan checks in to reflect on his career so far

Chances are, if you’ve ever been stood anywhere remotely near a discussion about the greatest guitar players on earth, you’ll have heard the name Guthrie Govan. 

Though he would never describe himself in that way, the English fusion wizard is widely regarded as not only one of the most technically sophisticated players to emerge since the likes of Shawn Lane and Allan Holdsworth, but also one of the most tasteful, with a sense of melodic phrasing that’s just as dynamically exquisite as Larry Carlton or even Jeff Beck himself. 

His 2006 solo debut Erotic Cakes raised the bar for instrumental guitar music, arguably becoming the most important solo album for shredders since Steve Vai’s game-changing Passion And Warfare masterpiece of 1990. 

Pushing six-string boundaries is something he continues to do in The Aristocrats, who have released a handful of highly acclaimed studio and live albums since forming just over a decade ago – including their latest collaboration with the Primuz Chamber Orchestra. 

That alone would be enough to make for a remarkably impressive resume, but the Chelmsford-born 50 year-old has plenty more in his list of achievements – from briefly joining progressive rockers Asia early on to eventually backing UK grime hero Dizzee Rascal, later recording and touring with progressive rock mastermind Steven Wilson and, in more recent years, performing in composer Hans Zimmer’s live band. 

Then there’s his work as a guitar instructor, which has included stints at various music colleges, articles and transcriptions for magazines and a host of breathtaking video lessons/performances for companies like Lick Library and JTC. It's fair to say his life would have been very different without those stringed blocks of wood we all know and love... 

“They tell me I was three years old when I started,” says Govan, talking to Total Guitar in between arena dates with Hans Zimmer and an ever-so-slightly more intimate session spot with Polish pianist Tomasz Bura at London’s Jazz Cafe. 

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“Early on I was just trying to achieve this impossible feat that I saw my dad doing, which was getting through an Elvis song! It quickly became clear to me that the guitar is a typewriter, it’s a machine you use to make music.

“My instincts led me towards trying to copy anything I heard, rather than just guitar stuff. So anything from a TV theme to a Christmas carol at school was fair game. We all hear technical music in everyday life – you might turn on the TV and hear some virtuosic violin thing or a jazz piano or a bluegrass player burning on a banjo. I always felt if things like that were possible, why not try to do them? 

“That came full-circle when I was 13 and I fell in with the metal crowd at school,” continues Govan, who by this point had started to become “microscopic” about the various barriers he perceived in his own playing. “Suddenly over the course of a week, I knew who Steve Vai and Tony MacAlpine were. I realized people had already been taking the guitar to its limits and I started homing in on their styles.”

They probably had a big impact on the player who ended up writing the Erotic Cakes material.  

There was one track on the solo debut that had already been gaining traction within the guitar community – a piece called Wonderful Slippery Thing, which had won him the Guitarist Of The Year award in 1993. 

The song had been specifically composed for the UK competition and, in amongst its smorgasbord of sizzling fusion licks and earworm melodies, featured a Dmaj7 string-skipping/tapping run that became a big talking point in his career early on.

“I guess my 21 year-old brain was thinking about how many cool guitar things I could cram into three minutes without compromising the musicality,” remembers Govan. “I remember deciding to put that fast ultra legato lick in there and thinking, ‘Okay, I like the sound of all this stretchy tapping stuff and the bubbly texture that it creates!’ 

“I thought about how efficiently I could get that idea across. Maybe 1.3 seconds would be enough time – something extreme and startling but also in context, so it didn’t become the point of the piece.” 

Other tracks like Waves were indicative of a musician searching for new things that had never been done on guitar, snaking around the fretboard in ways few would ever dare.

“That song didn’t start with me saying, ‘Let’s write some callisthenic thing that will clean my neck for me!’” smiles Govan. “It was mainly me hearing a contour in my head thinking ‘This is clearly a synth melody, I wonder if it’s possible to make a guitar do that!’ It’s nice that people found something in that song. Some of them like to learn the melody, film themselves and put it onto Instagram. I’m flattered that it’s a party piece.” 

One defining element of Govan’s playing that’s pretty much encompassed all of his recordings to date is his extensive usage of chromaticism and outside scales – employing the so-called ‘wrong notes’ at the right time in order to create musical tension. When you speak to the guitarist about these more unexpected or challenging intervallic choices, you quickly get the impression it’s one of his favorite things about being creative.

“At any point in time you have a spectrum of notes to choose from, with the ultimate right note at one end and the ultimate wrong note at the other,” explains Govan. “It’s all about what kind of note you want right now. It would be boring if every note you played felt right, without tension or release.

“It’s better to ask yourself at what point in this gradient is the note interesting enough, but not so ugly it will ruin what you’re trying to say. I like that idea of weaving around predictable and surprising notes, because it’s the balance between the two that makes a melody compelling.” 

I’m not consciously thinking on a note-by-note basis like, ‘I think I want something chromatic now and then I’ll resolve on a major third for beat one'

Ultimately, it’s all about your ear, he shrugs. If your ear works well enough, you should be able to replicate what you’re hearing in your head with no barriers in between. 

“I’m not consciously thinking on a note-by-note basis like, ‘I think I want something chromatic now and then I’ll resolve on a major third for beat one!’ But I guess processes are happening in the background in the same way that when we speak English we know where the verb goes. 

“We’re not choosing where to put the verb, we just know where because that’s how we learned. And that’s a pretty good summation of how I experience music. To me, it’s just another first language.” 

For anyone who has sat down and tried to learn or use a scale to no avail, such as the melodic minor – which, because of its minor third, major sixth and major seventh, can present some contextual challenges, and require more attention to phrasing – Govan can offer some words of wisdom. “You need to learn to enjoy the sound of a scale,” he stresses, “before you have any hope of using it effectively.”

“In the same way, you have to learn how to like whiskey, I don’t think many people enjoy their first taste! [laughs] Melodic minor can be like that, but if you listen to enough music where that tonality is featured prominently, you get a sense for it. The notes stop sounding weird. Developing that kind of sensibility comes from bonding with a scale and internalizing it.” 

You need to learn to enjoy the sound of a scale before you have any hope of using it effectively

When it comes to gear, Govan is mainly known for his Charvel signature guitars – the latest of which being this year’s dazzling MJ San Dimas SD24 CM – and collaborating with Victory on their V30 amp series, both of which more often than not combine to form the core of his sound.

From there he’ll design his pedalboard around whichever project he’s performing in: the Suhr Koko Boost, Providence Anadime Chorus, Dunlop Jerry Cantrell Wah and TC Electronic Flashback Delay are among the favorites that have stuck through the years.

But what about the lesser-known favourites in his gear collection, such as the Gibson ES-335 and PRS Custom 24 he’d been seen with before any signature models arrived, initially through Suhr before he moved over to Charvel in 2014... 

“That Cherry Red 335’s almost exactly the same age as me.” grins Govan. “I traced the serial number and it’s close to my birthday, so it clearly has to be a part of my life. I’m not sure if I would use it for a whole show anymore, like I did 15 years ago with [local fusion band] The Fellowship.

That Cherry Red Gibson ES-335 is almost exactly the same age as me. I traced the serial number and it’s close to my birthday, so it clearly has to be a part of my life

“There’s something incredibly musical about the way a 335 feeds back when you’re close to your amp. It’s easy to coax those singing notes that go on forever out of a guitar with that design, with none of the shrieking you get from a hollow guitar without the block in the centre. 

“What else have I got? There’s my 1963 SG Special. That was my first ‘good’ guitar and will never be going on the road. The headstock is so fragile-looking, I wouldn’t trust any airline with it. It has P-90s and does a cool version of that rootsy slide tone I search for from time to time. 

“I like my Vigier fretless for certain things. It came in handy for a couple of tracks on the road with Hans, as did my Strandberg eight-string. The other exciting new guitar is a Huber Orca 59, which I stumbled on somewhere in Texas a few years back. It’s my idea of how Les Pauls should sound. 

“Again, it’s not something I’d use for a whole gig. For situations like that it can only be the Charvel because it covers all bases, but this Huber has something special and does the whole Peter Green thing.” 

This Huber has something special and does the whole Peter Green thing

And as for the aforementioned Custom 24 seen in some of his very earliest videos, we are reassuringly told it’s been “sleeping somewhere in Nevada” while its owner has been keeping busy with a slew of projects crossing all genres and venue sizes. When they’ll next be reunited is anyone’s guess... 

“It’s safe, it’s fine and thinks of me often,” grins Govan. “It will stay there until the next time I find myself with enough luggage allowance to bring it home with me. I’m curious to see what it will feel like to play again because it’s been over a decade. I guess it’s vintage now so probably worth something!”

• The Aristocrats With Primuz Chamber Orchestra is out now via Boing.

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Amit has been writing for titles like  Total Guitar ,  MusicRadar  and  Guitar World  for over a decade and counts Richie Kotzen, Guthrie Govan and Jeff Beck among his primary influences as a guitar player. He's worked for magazines like  Kerrang! ,  Metal Hammer ,  Classic Rock ,  Prog ,  Record Collector ,  Planet Rock ,  Rhythm  and  Bass Player , as well as newspapers like  Metro  and  The Independent , interviewing everyone from Ozzy Osbourne and Lemmy to Slash and Jimmy Page, and once even traded solos with a member of Slayer on a track released internationally. As a session guitarist, he's played alongside members of Judas Priest and Uriah Heep in London ensemble Metalworks, as well as handled lead guitars for legends like Glen Matlock (Sex Pistols, The Faces) and Stu Hamm (Steve Vai, Joe Satriani, G3).

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