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The Soulful Partnership: Grammy-Nominated Eric Bibb and Larson Guitars

Mon, 18 Aug 2025 15:21:00 +0200

Eric Bibb, a three-time Grammy nominee, is renowned globally for his authentic blues and folk music. His captivating voice and poignant songwriting have made him a staple in the roots music scene. For acoustic guitar enthusiasts and fans of Bibb's masterful playing, the collaboration between this esteemed artist and Larson Guitars, especially their iconic Prairie State Series, is a story worth exploring.

Bibb's choice of instruments significantly shapes his sound. Among his favored guitars, Larson Brothers guitars hold a special place. These legendary instruments, particularly models from the Prairie State Series, provide the rich, resonant foundation essential for his intricate fingerpicking and expressive vocals.

The Legacy of Larson Guitars and the Prairie State Series

The Larson Brothers, Carl and August, were groundbreaking acoustic guitar builders in Chicago from the late 1800s to the mid-1940s. They were pioneers in steel-string guitar construction, developing innovative techniques like laminated bracing and "built under tension" tops and backs. These methods contributed to the remarkable strength and superior tonal qualities that made Larson guitars highly sought after by discerning musicians.

The Prairie State Series, introduced by the Larson Brothers in the mid-1920s, stands as a testament to their advanced craftsmanship. These vintage acoustic guitars were celebrated for their unique internal support rods and sophisticated neck systems, which further enhanced their acoustic properties and projection. The Larson Prairie State guitar represents the pinnacle of their design philosophy, offering exceptional clarity, warmth, and volume – qualities that perfectly align with Bibb's expressive style.

Eric Bibb's Sound: Enhanced by Larson's Craftsmanship

For an artist of Eric Bibb's caliber, the best acoustic guitar is one that can translate his deep musicality into pure sound. The Larson Prairie State guitar offers the kind of historical depth and sonic excellence that complements his artistic vision. Its inherent warmth, crystal-clear articulation, and soulful resonance allow his blues and folk narratives to truly come alive.

As Eric Bibb continues to tour and create, his partnership with the legacy of Larson Guitars underscores a profound respect for heritage and an unwavering commitment to musical truth. For those seeking high-quality acoustic guitars with a rich history and exceptional tone, exploring the enduring appeal of the Larson Prairie State Series is a journey into the heart of American roots music. Discover the sound that helps define a Grammy-nominated artist.

Check out the Prairie Series here

Jimi Hendrix Unplugged: The Soulful Secret of His Stahl Acoustic Guitar

Mon, 18 Aug 2025 15:24:00 +0200

When the name Jimi Hendrix is uttered, the roar of a Fender Stratocaster and a wall of Marshall amps immediately comes to mind. His legacy is undeniably built on groundbreaking electric guitar innovation and electrifying stage presence. Yet, a fascinating, lesser-known chapter in his story reveals a deep connection to a specific acoustic instrument: a Larson-built Wm. C. Stahl acoustic guitar, which served as a constant companion in his private creative space.

This isn't mere speculation; direct accounts confirm that in 1969, at his New York City apartment on 59 West 12th Street, a particular acoustic guitar held a prominent spot in Jimi's bedroom. It was always out of its case, ready to be played. This "surprise guitar" was no ordinary instrument. It was a Wm. C. Stahl, Style 8, circa 1920, acoustic guitar, meticulously crafted by the legendary Larson Brothers of Chicago.

The Larson Brothers, Carl and August, were true pioneers in acoustic guitar building from the late 1800s to the mid-1940s. They were celebrated for their innovative techniques, including the early adoption of steel strings, laminated bracing, and the unique "built under tension" construction that gave their instruments remarkable strength, projection, and a rich, resonant tone. While they never put their own name on their instruments, they built for various distributors, with "Stahl" being one of their most esteemed brands. The Stahl Style 8 was a top-of-the-line model, boasting exquisite details like abalone trim and elaborate peghead inlay, a testament to the Larsons' meticulous craftsmanship and the guitar's superior quality.

Those closest to Jimi during that period attest to his profound connection with this specific Larson-built Stahl. They remarked that "he ate and slept with this guitar and it was the only guitar he played at home." Its well-traveled, battered original case spoke volumes about its constant presence in his life. This was the instrument where melodies were born, lyrics conceived, and the raw essence of his musical genius was explored away from the glare of the stage. Accounts even suggest that Eric Clapton gifted this very Stahl guitar to Jimi, adding another layer to its incredible provenance.

This vintage acoustic guitar was Jimi's intimate tool for composition. Songs like "Flying High" (which he later recorded a version of) and "Gypsy Woman" were worked out on this very Stahl. For an artist known for his boundary-pushing electric sound, the deep, soulful character and articulate voice of a Stahl acoustic guitar offered the perfect canvas for his songwriting process, highlighting his roots in the blues and folk traditions.

Recently, the existence of this remarkable instrument gained wider attention when it appeared at auction, complete with documentation supporting its direct link to Hendrix. This confirmed what insiders knew: a Larson-built Stahl acoustic was a cherished and indispensable part of Jimi Hendrix's musical journey, a powerful reminder that even the greatest electric guitar icon found solace and inspiration in the pure, unplugged sound of a masterfully crafted acoustic instrument. It stands as a rare, tangible link to the private, creative world of one of music's most enduring legends.

Check out the Stahl series

The Spark of Invention: Les Paul and His Larson-Built Experimentation

Mon, 18 Aug 2025 15:25:00 +0200

When we think of Les Paul, the immediate image is often of his iconic Gibson signature electric guitar, solid-body innovation, and multi-track recording genius. He literally put his name on electric guitar history. Yet, before the "Log" and before his legendary collaborations with Gibson, Les Paul's earliest forays into amplifying the guitar found an unexpected, yet crucial, partner: instruments built by the legendary Larson Brothers.

The Larson Brothers, Carl and August, were master luthiers operating out of Chicago from the late 1800s to the mid-1940s. They were far ahead of their time, pioneering techniques like steel-string guitar construction, laminated bracing, and their unique "built under tension" method. While they never put their own "Larson" name on their guitars, they built exceptionally high-quality instruments for various distributors under brands like Stahl, Maurer, and Prairie State. Their guitars were known for their robust build, excellent projection, and resonant tone – qualities that, coincidentally, made them intriguing candidates for early electrification.

It was precisely these characteristics that drew Les Paul to a Larson-built guitar in his quest for a louder, more sustainable instrument. In his youth, struggling to be heard over drums and horns in dance bands, Les Paul began experimenting tirelessly. One of his early, pivotal instruments for these experiments was reportedly a Larson-built acoustic guitar, specifically described by some sources as a Stahl or Euphonon model (both Larson brands).

Les Paul's method was radical for the time. He wasn't just amplifying an acoustic guitar in the traditional sense; he was beginning to transform it. On these Larson-built acoustics, he would often attach various pickups – phonograph needles, telephone pickups, anything he could get his hands on – directly to the guitar's top, aiming to capture and project the vibration. While these initial setups were crude by modern standards, they were the very first steps towards the solid-body electric guitar revolution he would later lead.

The Larsons' "built under tension" design, with its inherent stability and resonant qualities, likely provided a sturdy and responsive platform for Les Paul's early, often destructive, modifications. The strength of these vintage acoustic guitars meant they could withstand the attachment of primitive electronics without falling apart, allowing Les Paul to push the boundaries of what a guitar could do.

So, while the Larson Brothers might not have known they were building instruments that would become the canvas for the birth of the electric guitar, their meticulous craftsmanship and innovative designs played an unsung, yet significant, role. Les Paul's early experiments with their acoustics were the crucial bridge from the acoustic world to the electric future, proving that even a traditional, beautifully crafted Larson guitar could become a launchpad for revolutionary sound. The legacy of Les Paul and the understated excellence of Larson Guitars are, in this unique way, forever intertwined in the annals of musical invention.

The Gift of Sound: Bob Dylan and His Larson-Built Euphonon

Mon, 18 Aug 2025 15:26:00 +0200

Bob Dylan is synonymous with a singular voice, poetic lyrics, and a revolutionary impact on folk music and beyond. While his journey famously took him through various iconic acoustic guitars – from Martins to Gibsons – a lesser-known but deeply significant instrument in his collection boasts a unique provenance and a direct link to the esteemed Larson Brothers: a Euphonon acoustic guitar gifted to him by none other than Johnny Cash.

The story traces back to the legendary Larson Brothers, Carl and August, master luthiers who ran their influential workshop in Chicago from the late 1800s to the mid-1940s. These pioneering brothers were renowned for their innovative construction techniques. They were early proponents of steel-string guitars and developed methods like laminated bracing and their distinctive "built under tension" approach, which resulted in instruments with exceptional strength, clarity, and resonant projection. Instead of branding guitars with their own "Larson" name, they built for various distributors, giving rise to revered brands such as Stahl, Maurer, Prairie State, and, notably, Euphonon.

Euphonon guitars, as products of the Larson Brothers' meticulous craftsmanship, were highly prized for their balanced tone, rich harmonics, and robust construction. They were favored by country and western artists of the era, known for standing out in a mix and offering a sound that was both sweet and powerful.

It's within this context that the Euphonon enters Dylan's orbit. At the pivotal Newport Folk Festival in 1965 – the very event where Dylan famously "went electric" – Johnny Cash also performed. According to historical accounts, including Robert Shelton's book "The Country Music Story," after the festival, Cash gave Dylan his Larson-built Euphonon guitar as a tribute to a fellow musician. This was a significant gesture, as both artists were titans in their respective fields, each profoundly influencing the other and the broader landscape of American music.

While Dylan's later electric ventures and his well-documented acoustic Gibsons and Martins often take center stage in discussions of his gear, the presence of a Larson-built Euphonon in his collection speaks volumes. It represents a tangible link between the folk traditions he emerged from and the respect he garnered from established legends like Johnny Cash. This vintage acoustic guitar, born from the innovative spirit of the Larson Brothers, became a personal connection between two musical giants.

The Larson Euphonon gifted by Johnny Cash is more than just an instrument; it's a piece of intertwined musical history, highlighting the enduring legacy of the Larson Brothers' craftsmanship and the deep camaraderie among artists who shaped the sound of a generation. For enthusiasts of Bob Dylan's acoustic sound and collectors of fine vintage guitars, this particular Euphonon holds a special place, a silent testament to a remarkable friendship and a pivotal moment in music.

A Deeper Dive: Understanding Our Guitars

Mon, 18 Aug 2025 15:27:00 +0200

Behind the Design: Understanding Our Heritage and New Era Guitars
At the heart of every guitar we build lies the spirit of two remarkable innovators: Carl and August Larson. From the early 1900s through the 1940s in their Chicago workshop, the Larson Brothers weren't just building guitars; they were pioneering the future of acoustic design. They were responsible for patented techniques that were decades ahead of their time, from arched tops built under tension for strength and power, to their unique laminated bracing which created unparalleled clarity and projection.

This legacy of inspired engineering and peerless craftsmanship is the foundation upon which our instruments are built. To honour the different facets of their genius, we have created two distinct guitar series: Heritage and New Era. Understanding the philosophy behind each is the first step to finding your perfect sound.

Our Two Series: Heritage vs. New Era
The Heritage Series is for the traditionalist. It is our promise of historical authenticity. Featuring vintage-correct laminated bracing and a hand-fitted dovetail neck joint, each guitar is crafted to be as accurate as possible to the original pre-war Larson instruments. The result is a sound that is pure Americana: dry, punchy, and incredibly articulate, with a woody character that is the soul of traditional blues and folk music. This series is a direct link to the past.

The New Era Series is for the modern player. It asks the question: what if the Larson Brothers were building guitars today? Featuring solid Moonspruce bracing and a modern bolt-on neck joint, this series embraces contemporary lutherie for its precision and long-term stability. This construction offers increased sustain and a richer, more complex palette of harmonic overtones. It is a more versatile and powerful interpretation of the Larson sound, designed to excel in any contemporary musical setting.

Our Tonewoods: Mahogany vs. Rosewood
The tonewood of a guitar's back and sides shapes its fundamental voice. We focus on two classic, time-honoured choices.

Mahogany is known for its strong, focused midrange and woody character. It provides a clear, direct, and balanced sound that is exceptionally good for recording and for styles where every single note needs to be heard with clarity.

Indian Rosewood is known for its deep lows, sparkling highs, and rich harmonic complexity. It produces a lush, powerful, and immersive sound with a hint of natural reverb, perfect for creating a huge sound for solo performance or modern fingerstyle.

Our Masterbuilt Option: The Pinnacle of Our Craft
For the ultimate expression of our craft, we offer the Masterbuilt designation. This is the highest tier of our New Era line, where lutherie becomes artistry. A Masterbuilt instrument offers access to an elite selection of the world's finest and rarest tonewoods—from prized Cocobolo to exquisite European Walnut—along with greater scope for custom appointments. This allows you to commission a truly personal, heirloom-quality instrument that is built without compromise.

Larson Guitars at Guitar Summit 2025

Mon, 18 Aug 2025 15:29:00 +0200

We’re heading to Mannheim for Guitar Summit, taking place 26 – 28 September 2025 at the m:con Congress Center Rosengarten, Rosengartenplatz 2, 68161 Mannheim, Germany.

We’ll be bringing a full line-up of Larson guitars — from our core range through to the Masterbuilt Black Label models — each one built with the same craftsmanship and design principles that Carl and August Larson pioneered over a century ago.

More than anything, we’ll be there to talk guitars. If you’re curious about the Larson Brothers’ history, want advice on choosing the right model, or just fancy hearing the guitars side by side, come by for a chat.

It’s a great chance to try them out in person and see why these instruments, first designed in Chicago in 1900, are still inspiring players today.

The 1904 Patent That Reinvented the Guitar’s Backbone

Thu, 28 Aug 2025 02:23:03 +0200

In 1904, August Larson secured a patent that looks almost boring at first glance: strips of wood glued together in layers, forming the guitar’s internal X-brace. If you have ever wondered why your modern steel string does not explode like a cheap deck chair when you tune it up, you have him to thank.

Traditional acoustic guitars were built for gut strings, which applied far less tension than the shiny new steel strings that were taking over American music at the time. Most makers simply swapped strings and hoped for the best. The Larsons decided hope was not a structural engineering plan, so they reinforced the X-brace, the criss-cross of wood supporting the soundboard, by laminating it.

Here is the trick: instead of just spruce, they sandwiched a strip of dense hardwood such as rosewood or ebony between two layers of spruce. That spruce–hardwood–spruce construction gave the braces far more strength without piling on unnecessary weight. The top could still vibrate freely, but it would not collapse under the strain of steel.

Why It Mattered

Structural stability. Their guitars could actually survive steel strings, making them playable for years rather than months.
Tone. The bracing not only supported the top but shaped the sound. Larson guitars are praised for their bright, focussed tone with a resonant bass. That quality comes straight from this laminated X-bracing idea.
Future proofing. This was decades before Martin and Gibson fully caught up. The Larsons were designing for a steel string future that the rest of the industry had not woken up to yet.

The Quiet Revolution
The irony is that the Larsons rarely even put their own names on these innovations. Their guitars were sold under brands such as Maurer, Stahl and Prairie State. While Martin and Gibson get showered with glory for “inventing” the modern steel string, the Larsons were already building them.

Legacy
Today, when luthiers talk about Larson guitars, this patent is often cited as the backbone, literally, of their lasting reputation. Modern builders still replicate laminated X-bracing when recreating Larson-inspired instruments. It is a classic case of engineering meeting artistry: invisible to the player, but vital to the sound.

Larson Bros Masterbuilt Grand OM. Intelligent, Complex Tone in a Modern European Build

Sun, 07 Dec 2025 14:01:00 +0100

A new video from Gitarrenstudio Neustadt puts the Larson Bros Masterbuilt Grand OM in the spotlight, with Kevin Burg guiding viewers through its tone and feel. Built in Germany under master luthier Klaus, this OM is positioned as a modern Larson that stands apart from standard copies thanks to its own concept, voicing and character.

Burg describes the sound as intelligent and complex, with lines that bloom into rich overtones and a cooler timbre that never feels sterile. Fast passages reveal a multi-dimensional response, while both strumming and fingerstyle expose how evenly the guitar handles difficult intervals and higher-register single-note lines.

The featured instrument combines a Latemar spruce top (very likely torrefied) with Madagascar rosewood back and sides, paired with a mahogany neck for stability and warmth. Burg highlights Madagascar rosewood in particular as a wood that rewards long-term playing, offering huge potential and a distinctive, cool complexity as it opens up.

For players curious about the new generation of Larson Bros acoustics built in Europe, this demo functions as a focused listening session and an invitation to experience the guitar in person at Gitarrenstudio Neustadt. Anyone who appreciates carefully voiced OMs with a sophisticated overtone profile will find this Masterbuilt Grand OM an intriguing candidate to try.

Click here to watch the video

Me and Larson Brothers. We're a Unit.

Tue, 07 Apr 2026 18:03:00 +0200

When a guitarist of Eric Bibb's standing describes a guitar as one of his favourites to tour with, it means something. Bibb has been playing for over five decades, has more guitars than most players will ever see, and is careful about what makes the road with him. So when he picks up a Larson Bros. OM and says the words above, unprompted, on camera for Guitarist Magazine, it is worth paying attention.

The story of how it happened is a good one. Bibb spotted an all-mahogany Larson Bros. model in a Paris shop window. The look of it drew him in. He played it, and he bought it. That is how it tends to go with instruments that are built honestly.

From there, the relationship grew. The company reached out, learned what he liked, and sent him the spruce-top OM you see in the video. He did not send it back. Both guitars now tour with him regularly, tuned to different pitches to accommodate his voice across a long run of shows.

What strikes Bibb about the instruments is what has always defined Larson Bros. building: tone, response, and a quality that reveals itself under the hands of a serious player. Bibb plays fingerstyle exclusively, bare hands, with acrylic nail reinforcement on three fingers. No pick, no effects, nothing between him and the guitar. At that level of intimacy with an instrument, there is nowhere to hide. The guitar either delivers or it does not.

His does.

Larson Bros. guitars are built for exactly this kind of player. Not the collector who locks them away, and not the casual strummer who will never push them. The player who needs an instrument that works every night, in every room, under real pressure.

Watch the full interview on the Guitarist Magazine YouTube channel.

Larson Bros. Guitars. Est. Chicago. 1900.

Maurer Concert Serial #21: Just Off the Bench

Thu, 23 Apr 2026 16:44:00 +0200

The Larson Bros. Maurer Concert Serial #21 has just come off the bench, and it immediately sets the tone for what this revival represents. This is not simply another instrument. It is a direct continuation of a design philosophy that prioritised precision, efficiency, and tonal integrity above all else.

The Concert body has always occupied a unique position in the Larson lineage. Compact in form, but never limited in voice, it reflects a disciplined approach to sound. Every dimension serves a purpose. Every structural choice is about extracting maximum response from minimal mass. That principle is fully realised here.

Serial #21 demonstrates just how effective that thinking remains. The first impression is immediacy. The response is fast, controlled, and articulate, with a clear fundamental that sits forward in the mix. There is no excess bloom, no uncontrolled resonance. Instead, the instrument delivers focus, balance, and clarity across all registers. It is the kind of voice that rewards precision and exposes nuance.

What stands out most is the efficiency of the build. The top reacts with very little input, translating even a light touch into a defined, musical output. This is where the Larson approach continues to prove its relevance. Rather than relying on sheer size or volume, the design works through structural intelligence, allowing the instrument to project with authority while remaining composed.

Visually, the guitar holds to that same philosophy. Nothing feels excessive. The lines are clean, the proportions deliberate, and the overall impression is one of quiet confidence. It does not attempt to announce itself loudly. It simply reflects the quality of the work behind it.

As one of the early instruments in this new chapter, Serial #21 carries additional weight. It is a reference point. A signal that the standards being set are not aspirational, but already realised. If this is the baseline, then the direction is clear.

The Maurer Concert returns not as a reinterpretation, but as a reaffirmation. The principles established over a century ago remain intact, and in the right hands, they continue to deliver exactly what they were designed to do.

Inside the Prairie State: The Steel Rod System That Set Larson Guitars Apart

Sat, 02 May 2026 01:38:00 +0200

Most acoustic guitar innovations are hidden from view. The player sees the wood, the bridge, the tuners, and the finish. But some of the most important ideas live inside the body, where structure and sound meet.

One of the most distinctive Larson Brothers innovations was the internal steel-rod reinforcement system used in Prairie State guitars.

By the late 1920s and early 1930s, the acoustic guitar was changing quickly. Steel strings were becoming more common, players wanted more volume, and larger-bodied instruments were beginning to take hold. All of this placed greater stress on the guitar body and neck joint.

August Larson understood the problem. A guitar had to be strong enough to withstand string tension, but it could not simply be overbuilt. Too much stiffness would reduce vibration and limit tone. The challenge was to create strength without sacrificing responsiveness.

The Prairie State steel-rod system was one answer.

Inside the guitar, metal rods helped stabilise the body against the pull of the strings. The system was designed to support the instrument structurally while also allowing adjustment of the neck angle. For players and repairers, this was forward-thinking. Neck angle issues remain one of the most common long-term concerns in steel-string acoustic guitars, and the Larsons were already designing around that problem nearly a century ago.

What makes the idea especially interesting is that it was not decorative. It was not visible from the outside. It was pure function: a hidden system built to help the guitar survive, perform, and remain serviceable.

Prairie State guitars became known for this kind of structural ambition. They were not ordinary instruments with a new name on the headstock. They represented the Larson Brothers’ willingness to rethink how an acoustic guitar could be built for the modern steel-string era.

The steel rods also say something important about the Larsons themselves. Carl and August were not chasing novelty for its own sake. Their inventions came from the workbench. They identified practical problems and solved them with a builder’s logic: make it stronger, make it last, but let it sing.

Today, Prairie State guitars remain among the most recognisable and technically fascinating Larson-built instruments. Their internal reinforcement system is part of that legacy. It reminds us that some of the most important design choices in a guitar are the ones the audience never sees

A Prairie State guitar carries its innovation quietly, inside the body, exactly where it matters.

Eric Bibb Featured with Jools Holland on BBC Sounds

Sat, 23 May 2026 19:12:00 +0200

Renowned singer, songwriter and guitarist Eric Bibb recently joined Jools Holland for a special edition of Earlier with Jools Holland on BBC Sounds performing with his Larson guitar in a programme celebrating the deep connections between classical music, jazz and blues.

Alongside Jools’s selections from composers and artists including Brahms, William Byrd and Miles Davis, the episode also featured performances from Vikingur Olafsson and The ORA Singers. Eric Bibb performed live in the studio with Jools and shared music that has inspired him throughout his life, including works by Joseph Canteloube, Florence Price and Antônio Carlos Jobim.

Eric’s unmistakable tone and expressive playing once again highlighted the timeless character and craftsmanship of Larson guitars, bringing warmth, soul and authenticity to the broadcast.

Eric Bibb and Larson Brothers Featured in Guitarist Magazine

Sun, 31 May 2026 00:27:00 +0200

The July 2026 issue of Guitarist magazine includes an excellent interview with acclaimed blues artist Eric Bibb, alongside a detailed look at the Larson Brothers OM he now uses on tour.

Across the feature, Eric talks about his life in music, the development of his distinctive fingerstyle approach, and the instruments that travel with him around the world. Among them is his Larson Brothers OM, which he describes as one of his favourite guitars to tour with.

One of the highlights of the interview is Eric’s account of first discovering a Larson Brothers guitar in a Paris shop window. Drawn to the instrument immediately, he bought it on the spot and began a relationship with the brand that continues today.

The feature is accompanied by a superb series of photographs from Matt Lincoln, showcasing both Eric and his Larson Brothers OM. The images capture the simplicity, craftsmanship and character of the instrument while providing a fitting backdrop to Eric’s story.

For everyone involved with the Larson Brothers revival, it is fantastic to see the guitars featured so prominently in one of the world’s leading guitar publications, particularly in the hands of a player as respected and influential as Eric Bibb.

Our thanks to David Mead, Jamie Dickson, Matt Lincoln and the entire Guitarist team for producing such a thoughtful and beautifully presented feature.

The July 2026 issue of Guitarist is available now.

Larson Brothers Guitars Artist Carl Carlton Returns To The Road In 2026

Fri, 05 Jun 2026 00:21:00 +0200

Larson Brothers Guitars artist Carl Carlton is set to return to the stage in 2026 alongside singer-songwriter Melanie Wiegmann as the pair embark on their Miles Of Time Tour.

Supporting their latest album, Miles Of Time, the tour will take audiences across Germany and Europe, showcasing a musical partnership that blends Americana, Blues, Soul and roots music with the kind of authenticity that can only come from decades of experience.

Carl Carlton is widely regarded as one of Europe’s most accomplished guitarists, having performed and recorded with artists including Joe Cocker, Robert Palmer, Eric Burdon, Peter Maffay and Udo Lindenberg. Throughout his career, his playing has been defined by feel, dynamics and musicality rather than flash, making him a natural fit for the philosophy behind Larson Guitars.

As a Larson artist, Carlton represents the values that have defined the Larson name for more than a century: craftsmanship, individuality and a deep connection between player and instrument. His appreciation for vintage-inspired design and exceptional acoustic tone reflects the same principles pioneered by Carl and August Larson in Chicago during the early twentieth century.

Joined by Melanie Wiegmann’s soulful vocals and an outstanding backing band, the Miles Of Time Tour promises an evening of heartfelt songwriting, world-class musicianship and genuine musical connection. The live show combines new material from the latest album with songs from their acclaimed debut collaboration, creating a performance that is both intimate and powerful.

For Larson Guitars, it is always a pleasure to see our instruments in the hands of artists who continue to push music forward while respecting the traditions that helped shape it. Carl Carlton’s ongoing journey is a perfect example of that balance.

We wish Carl, Melanie and the entire band every success on the Miles Of Time Tour and look forward to following their journey throughout 2026.

For ticket information, visit Carl Carlton and Melanie Wiegmann’s official channels.