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Third Man Records

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Third Man Records - All You Need to Know BEFORE You Go (2024)

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• White, Jack
• May 1, 2022 Setlist

Jack White Setlist at Ascend Amphitheater, Nashville, TN, USA

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Tour: Supply Chain Issues Tour Tour statistics Add setlist

• Taking Me Back Play Video
• Fear of the Dawn Play Video
• Black Math ( The White Stripes  song) Play Video
• Dead Leaves and the Dirty Ground ( The White Stripes  song) ( Jack played the verses on piano and played the choruses, bridge, and solo on electric guitar. ) Play Video
• Love Interruption Play Video
• Temporary Ground Play Video
• I Fought Piranhas ( The White Stripes  song) Play Video
• Let's Build a Home ( The White Stripes  song) ( Tour Debut; First time played live since 2015. ) Play Video
• Over and Over and Over Play Video
• Hi-De-Ho Play Video
• High Ball Stepper Play Video
• What's the Trick? Play Video
• I Cut Like a Buffalo ( The Dead Weather  song) Play Video
• Apple Blossom ( The White Stripes  song) Play Video
• Love Is Selfish Play Video
• A Martyr for My Love for You ( The White Stripes  song) Play Video
• Baby, Please Don't Go ( Joe Williams' Washboard Blues Singers  cover) Play Video
• Ball and Biscuit ( The White Stripes  song) Play Video
• Sixteen Saltines Play Video
• Freedom at 21 Play Video
• Steady, as She Goes ( The Raconteurs  song) ( with "Eosophobia" tease towards the end of the song ) Play Video
• Icky Thump ( The White Stripes  song) Play Video
• Seven Nation Army ( The White Stripes  song) Play Video

Edits and Comments

21 activities (last edit by The_DA , 7 May 2022, 02:01 Etc/UTC )

Songs on Albums

• A Martyr for My Love for You by The White Stripes
• Apple Blossom by The White Stripes
• Baby, Please Don't Go by Joe Williams' Washboard Blues Singers
• Ball and Biscuit by The White Stripes
• Black Math by The White Stripes
• Dead Leaves and the Dirty Ground by The White Stripes
• I Cut Like a Buffalo by The Dead Weather
• I Fought Piranhas by The White Stripes
• Icky Thump by The White Stripes
• Let's Build a Home by The White Stripes
• Seven Nation Army by The White Stripes
• Steady, as She Goes by The Raconteurs
• Fear of the Dawn
• Taking Me Back
• What's the Trick?
• Freedom at 21
• Love Interruption
• Sixteen Saltines
• High Ball Stepper
• Temporary Ground
• Over and Over and Over
• Love Is Selfish

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Setlist History: The White Stripes "Icky Thump"

Ascend amphitheater.

• JD McPherson Add time Add time
• Jack White This Setlist Start time: 9:15 PM 9:15 PM

Jack White Gig Timeline

• Apr 28 2022 Tabernacle Atlanta, GA, USA Start time: 9:15 PM 9:15 PM
• Apr 30 2022 Ascend Amphitheater Nashville, TN, USA Start time: 9:15 PM 9:15 PM
• May 01 2022 Ascend Amphitheater This Setlist Nashville, TN, USA Start time: 9:15 PM 9:15 PM
• May 23 2022 The Pavilion at Toyota Music Factory Irving, TX, USA Add time Add time
• May 24 2022 BOK Center Tulsa, OK, USA Add time Add time

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Tour Update

Jack white – “corporation” (live at warsaw in brooklyn, ny).

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How Jack White’s Third Man Records Made a Mark on Nashville

In March of 2009, when Jack White , Ben Swank, and Ben Blackwell opened Third Man Records’ headquarters in Nashville, they didn’t have grand ambitions to invade the city’s already-bustling music scene. Their plan was to absorb Tennessee’s rich music history while they began to press and distribute White’s and his colleagues’ records.

Third Man had existed on paper since 2001, but for the first eight years they didn’t have a home base, and White had been focusing on his own music. In 2008, though, the White Stripes went on hiatus (they ended up breaking up officially in 2011), and White gained back the rights to his earlier recordings. “Licensing was starting to revert back to him at that time and we kind of thought, Oh well, we can actually do the label and start reissuing some stuff ,” Swank says. By the end of that year, White, Swank, and Blackwell had decided to start the label in earnest.

Nashville, White’s home since moving from Detroit in 2005, seemed like a good place to start. It was a manageable size and had all the resources the label needed, including United Record Pressing — one of the largest vinyl manufacturers in the country. And White, after 30-plus years in the Detroit, wanted to distance himself from Midwest for a while. “I got really burned in Detroit, being heavily involved in the scene up there,” he told the Nashville Scene in 2011. “I’ve always felt like my soul came from some other place. And maybe it is from down South,” he told the Tennessean in 2014. “If you love music, you keep digging deeper, and you’re going to get down to the South.”

They bought a building in an industrial zone, just south of Nashville’s downtown, and set up an office, a storefront, a recording studio, and a live-performance space. Ben Blackwell, White’s nephew, moved down from Detroit, and Ben Swank, White’s longtime friend, moved from Toledo.

Their first official releases included several singles by White’s other band, the Dead Weather, a single by Kentucky-based garage rocker Mildred and the Mice, and a single by New York singer-songwriter Rachelle Garniez, along with some White Stripes reissues.

None of these early records were by Nashville musicians, because Third Man’s three men planned — for the most part — to keep to themselves. “I tread lightly on the scene in Nashville,” White told the Nashville Scene in 2011. “I don’t wanna cause any problems.”

“We wanted to allow what was already happening there to kind of continue happening,” says Swank, who acts, among other things, as the primary A&R for the label. “We didn’t want to be perceived as these people who just moved here from out of town and were like, ‘Oh no, this is ours now.’”

By 2017, though, Third Man would become an essential part of Nashville’s musical landscape, and home to some of the city’s most promising traditional country and Americana musicians, including Margo Price, whose debut album Midwest Farmers’ Daughter was one of last year’s biggest indie/country crossover successes.

Between 2009 and 2014, along with Jack White–related projects, Third Man reissued a number of vintage blues and country records and released hundreds of seven-inches by artists from around the country. The label also signed some new artists, including White’s ex-wife, model and musician Karen Elson, Kelley Stoltz, and old-timey singer songwriter Pokey LaFarge.

In Nashville, they hosted live performances in the acoustically engineered “Blue Room,” which they often recorded and pressed to vinyl. They started an online vinyl collectors club, and developed a dedicated — and sometimes obsessive — international fan base.

The label’s owners also slowly but surely began to explore Nashville’s music scene. “At first we were supportive fans,” Swank says. They went to shows on Lower Broadway and in East Nashville, they made friends with local musicians, and, most importantly, they listened.

For Jack White’s first solo tour in 2012, supporting the album Blunderbuss, he recruited a young local fiddle player named Lillie Mae Rische — who had also appeared on the album — as well as Cory Younts of Nashville’s Old Crow Medicine Show to play in various iterations of his band.

Then, one Thursday night, around the beginning of 2015, when Ben Swank was watching a show at the Basement East in East Nashville, Margo Price, a regular on the neighborhood scene, took the stage, accompanied by a seven-piece band. He was surprised to see “a local artist going that full on for a weeknight gig,” and when she began to play her voice blew him away.

For Price, this was just a regular night. She had been playing shows in Nashville for over ten years, first with her band Buffalo Clover (which at one point included Sturgill Simpson) and more recently as a solo act, but still hadn’t been able to break into the city’s commercial country-music industry.

At the time, Price was in the process of trying to shop around her debut album, Midwest Farmer’s Daughter, which she had recorded with her own money. No one she shared it with was interested, though, until she and Swank made contact. “I had no management, I had no booking agent, I had no publicist,” Price says. “I told my lawyer, ‘I think they might be into signing me.’ And he was like, ‘Well, they only do singles. They just don’t put out full albums, really very much.’ I was surprised that they ended up picking it up.”

Price finally connected with Swank, she says, through her pedal steel player, Luke Schneider. “He knew some folks over there and he told me they were into hearing my album.” She sent it over to Swank, who shared it with the rest of the Third Man team. “We connected a lot,” says Swank of meeting Price. “We’re both Midwesterners by birth and there’s a sensibility there that I think we share.” By the end of September 2015, she had become Third Man’s first contemporary country signee.

Midwest Farmer’s Daughter was released on March 25, 2016, and received glowing reviews from a diverse range of publications, from Rolling Stone Country to The New Yorker to The Fader and Noisey . The album mixes classic country instrumentation — somewhere between Loretta Lynn and Waylon Jennings — with candid, first-person narratives. Her lyrics tell stories of her childhood in rural Illinois, her problems trying to navigate the music industry in Nashville, and coping with the loss of her son, Ezra, who died as an infant in 2010. “It was a concept record about who I was,” she says.

Its critical success, which bridged the worlds of Third Man’s hip indie-rock fan base, Americana purists, and mainstream country listeners, could also be seen in its sales. Midwest Farmer’s Daughter peaked at No. 10 on the Billboard Country chart, and also reached No. 11 on the U.S. indie chart. On April 9, 2016, Price appeared as the musical guest on SNL , and at the 2016 Americana Awards in September, she won the award for “Best Emerging Artist.” She is now Third Man’s most popular artist besides Jack White himself.

Though Price was Third Man’s first country signee, the label wasn’t new to country music. In fact, they had been introducing their fan base to the sounds of vintage country for quite some time. In 2004, Jack White had produced and played on Loretta Lynn’s album Van Lear Rose, which Third Man reissued in 2015, and in 2011, White collaborated with Wanda Jackson on the album The Party Ain’t Over. Over the years the label had also released a collection of old recordings by the Carter Family, a live Willie Nelson album, and a reissue of the compilation The Lost Notebooks of Hank Williams.

The decision to sign Price also came at a time when the label was starting to reconsider their place in Nashville and Detroit’s communities. They had just opened a second storefront in Detroit’s Cass Corridor, and wanted to move toward establishing local identities in both cities. “These two cities are very important to us for very different reasons,” Swank says. “Let’s work with more local artists. Let’s reissue things that make sense in the history and the context of the places we’re located in.”

In Nashville, Third Man aligned with the local scene further when, in October of 2016, they signed Lillie Mae Rische . By that point, she was one of White’s go-to collaborators, and had played in the studio and on tour for White’s Lazaretto album. Her own album, Forever and Then Some, which White produced, was released in April of this year. “She was always playing songs backstage and I think it took a while for Jack to convince her to let us do a record for her,” Swank says. But when it came to recording, the process flowed naturally. “It was one of the first producer jobs for him where he just went, ‘There’s not a lot I need to add here.’”

Earlier this year, Third Man picked up another country artist: a staple of Nashville’s live music scene named Joshua Hedley . Like Rische, Hedley had spent time playing fiddle as a side man for artists including Justin Townes Earle, Johnny Fritz, and sometimes for Margo Price. He also performed several nights a week at Roberts Western World, one of the famed honky-tonks on Lower Broadway in downtown Nashville, where he would play covers of classic country songs by George Jones, Merle Haggard, Waylon Jennings, and the like. “He calls himself ‘Mr. Jukebox’ because he just knows a million songs,” Swank says.

When Hedley began to focus on his own songwriting, Third Man seemed like a perfect fit. He and Swank had known each other socially for a long time — “We were barstool buddies going back to when I first moved to town,” Swank says – and Hedley had already played at a few Third Man sessions in recent years. So when Swank found out that Hedley had self-produced an EP, he was keen to listen. “It had this really sad Roy Orbison croon to it that was really striking. I sent it to Jack and we were just blown away that it was him and that’s what he was doing.”

“It’s like, ‘Man all this classic country stuff is back in vogue, and here’s Joshua who’s been doing it forever, let’s get in his corner,’” Swank says. “It’s almost an unfair thing, that other people could be doing it, but not this guy who’s probably influencing them.” Hedley officially signed to Third Man in June. “Every day of the last 24 years has led up to this moment,” he wrote on Instagram.

While adding these local country artists was the Third Man roster was partly a calculated move, it also “just felt natural,” Swank says. If you live in a city as vibrant as Nashville and care deeply about music, as someone like Swank, or Blackwell, or White does, it becomes almost impossible not to get involved. “It’s always like ‘People need to hear this and maybe we can be the people that help make that happen,’” Swank says.

Third Man’s fans, too, seem to have reacted to the shift remarkably well. “Even though country music isn’t generally my cup of tea, one thing 3rd Man has taught me is to be more open to new music,” one user wrote on White Swirl, an online fan forum. “Our ingrown fan base really gets behind it,” says Swank. “They understand that this stuff, yeah it’s country music, but it’s a little bit rock and roll as well. If not musically, then at least in philosophy.”

Swank is right; there is something unique about their country artists’ ethos — a certain edge that has the potential to cross genre lines, despite the traditional nature of the instrumentation itself. Price’s, Hedley’s, and Rische’s songs and aesthetic are imbued with a kind of punk-rock spirit that harkens back to the outlaw country musicians of the ’70s, but still feels thoroughly modern. They draw on tradition, but not in an ironic way. It’s not a shtick.

“What Joshua’s doing, for instance, if it wasn’t handled as adeptly as he does it could come off as pastiche or just strictly retro,” says Swank. “Even though it is very steeped in a classic country sound, I don’t think it is. I think it’s one-hundred-percent sincere.”

For the artists, signing to Third Man, which is still most famously associated with Jack White’s projects, provides an opportunity to stand out from the Nashville crowd. While still sticking to their country roots, they can tap into different scenes, and fans, outside the region. “I think if Joshua signed with somebody else, it would be great, and it could be good for his career, but it wouldn’t be as exciting,” says Swank of Hedley’s decision to sign with them.

Exactly what makes an artist work on Third Man is hard to pinpoint. If it’s not based on genre, then it must be something less tangible that is rooted in emotion rather than logic. “The music that does something for me is either very soulful or very challenging,” Swank says. “But there’s a lot of music that’s soulful and authentic that doesn’t make sense on our label.”

The artists that interest Swank are the ones “that are gonna be doing what they’re doing whether someone’s getting behind them or not,” he says. “That’s how it felt when I went to see Margo and she was up there with this seven-piece band on a Thursday night. This is just what she does.”

For now, Third Man’s artists are doing that work for them. Joshua Hedley’s album is due out next spring, and if his live performances are anything to go by, it is likely to draw on the ’60s and ’70s classic country sounds that he used to cover (his sweet spot is a point where his soft, George Jones-like vocals and tales of heartbreak meet Waylon Jennings’ hell-raising, outlaw edge). “For me the genre of country music was perfected in 1965 and anything after that, albeit good, was experimentation,” he told Rolling Stone late last year. After playing a series of shows in Australia, Lillie Mae Rische is performing this week at Flannel Fest, an Americana music festival in Wisconsin, and is on the bill for the mainstream country festival Stagecoach, in Indio, California, early next year. And Margo Price, whose new album All American Made came on October 20, is about to open for Tim McGraw and Faith Hill, two of mainstream country’s biggest stars. “I’m happy to get exposure on all rounds,” Price says of the shows. “Maybe we can turn some people on to some music that has a little more grit or dirt under its fingernails.”

Some of the music execs who turned down her first album may well even be in the audience. “I think there’s a lot of people trying to backpedal and say ‘Oh no. We like tradition, we think that’s cool too,’” Price says. “It’s just real funny that people that were on the outside for a long time, they get on the inside, and all the insiders want a piece of the outside.”

• third man records
• joshua hedley
• margo price
• lillie mae rische
• ben blackwell
• the dead weather
• mildred and the mice
• rachel garniez
• pokey lafarge
• kelley stoltz
• karen elson
• cory younts

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Jack White’s Euphoric Nashville Homecoming Concert Won’t Be Forgotten

By Joseph Hudak

Joseph Hudak

Jack White took my phone and locked it in a bag. To be fair, it was actually Yondr, a company that specializes in phone-free experiences, like White’s homecoming concert on Tuesday night at Nashville’s Bridgestone Arena. But the no-technology, no-distractions edict was clearly the famously analog musician’s idea. And a good one, it turns out.

Over four-and-a-half hours, three distinct acts soundtracked a dark arena that, without the glow of mobile devices, was nearly impossible to date. White’s set, guitar-heavy, up-tempo and anthemic, could have been mistaken for a Seventies rock show, while openers Margo Price and Joshua Hedley evoked the lo-fi strum and twang of country’s golden era.

With Price and Hedley both signed to White’s Third Man Records label, the night had a decidedly family feel, as well as an air of triumph. Especially for Hedley, who made the dramatic leap across Broadway from honky-tonk singer in Robert’s Western World to honky-tonk singer on an arena stage. The “Mr. Jukebox” crooner , whose big voice and super-sized band, complete with string section, filled the Bridgestone, had no intention of forsaking his roots, however. “See you at Robert’s on Monday,” he promised during a final bow.

Price took the family vibe of the evening to heart — announcing onstage that she and husband Jeremy Ivey are expecting a baby in May. “I have been hiding something behind my guitar,” she said, introducing the life story “Hands of Time” off her debut album Midwest Farmer’s Daughter . With her band locked in tightly to the country-funk beat she’s been cultivating, Price’s performance was a stunner, touching on tracks from her debut and 2017’s All American Made , as well as showcasing new songs, like the freight-train hustle of “Heartless Mind.” She cut down sycophants in “Leftovers,” celebrated her own resilience in “A Little Pain” and hit a money note in the Nashville-bashing “This Town Gets Around.” But it was a solo reading of “All American Made” at the piano, with Ivey on harmonica, that packed the most punch, as Price cut through American hypocrisy with lyrics about crooked presidents and neglected immigrants.

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View this post on Instagram Played Bridgestone Arena tonight and shared some news with the crowd… I have been hiding something behind my guitar for a few months now. My husband and I are expecting a baby this May. 💕 love you to the moon and back @jivey A post shared by Margo Price (@missmargoprice) on Nov 20, 2018 at 9:22pm PST

If Price and Hedley’s sets were displays of controlled vocal prowess and country discipline, White’s headlining performance was a master class in going off the rails. Upon taking the stage, he was banging out cacophonous notes on his guitar while staring down the superb drummer Carla Azar, whose cymbal White sent crashing to the ground before they even began the opening number “Over and Over and Over.” He kicked, shuffled, shrieked and at one point fell down some stairs, guitar in hand, only to get back up and furiously attack his instrument.

Over 25 songs, White played milestones from throughout his career, from White Stripes sing-alongs — like “Hotel Yorba” (reimagined as a rockabilly number) and “Hello Operator” — to entries with the Dead Weather (“I Cut Like a Buffalo”) and the Raconteurs (“Steady, As She Goes”), whom White confirmed are recording new music. Another White Stripes song, “We’re Going to Be Friends,” off 2001’s White Blood Cells , found White inhabiting the role of a Nashville Mr. Rogers, introducing himself to the crowd as their neighbor and friend. The gesture, warmly appreciated by the audience, further cemented the gig’s familial vibe and White’s role as a champion of Music City.

Throughout his two-hour set, White pushed his voice as hard as his guitars, fully embracing a hoarse rasp when warranted, and encouraging his fans to handle a chorus here and there. By night’s end, his pipes spent, he could barely offer his customary goodbye: “You’ve been incredible, and I’ve been Jack White.”

But that exhaustion — along with the intense focus of a phone-less audience — is what made White’s wild performance, ostensibly a makeup for his rain-canceled set at September’s Pilgrimage Festival, a true “moment.” In the end, it stood as one of those Nashville concerts where — despite the arena being well below capacity — everyone will claim they were in attendance. And without the cellphone photo as proof, who’s to say they weren’t?

Jack White’s set list:

• “Over and Over and Over”
• “Black Math”
• “Corporation”
• “Hotel Yorba”
• “Love Interruption”
• “Cannon”
• “I Fought Piranhas”
• “Hello Operator”
• “Respect Commander”
• “Dead Leaves and the Dirty Ground”
• “We’re Going to Be Friends”
• “I Cut Like a Buffalo”
• “Why Walk a Dog?”
• “The Hardest Button to Button”
• “Steady, As She Goes”
• “Lazaretto”
• “Freedom at 21”
• “Sixteen Saltines”
• “Humoresque”
• “The Same Boy You’ve Always Known”
• “Connected by Love”
• “I’m Slowly Turning into You”
• “Ice Station Zebra”
• “Ball and Biscuit”
• “Seven Nation Army”

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Jack White is going on tour in 2022, marking his first headline shows in four years!

The cleverly titled The Supply Chain Issues Tour kicks off April 8 with two dates in Detroit before coming to Nashville on April 30 and May 1. White will headline Nashville’s Ascend Amphitheater both nights.

This tour will celebrate two forthcoming releases from White, Fear of the Dawn and Entering Heaven Alive . The first is due out April 8 via Third Man Records with the second dropping on July 22. Each album is now available for pre-order on vinyl and CD now.

Third Man Records Vault Members will have access to first presale tickets beginning Dec. 13 at 10 AM. Citi cardmembers will have access to presale tickets for the US shows beginning Dec. 14 at 10 AM through Dec. 16 at 10 PM through the Citi Entertainment program. Find out more about that here . Fans can also register for a Dec. 16 presale by saving “Taking Me Back”  here . Tickets go on sale to the general public at 10 AM on Dec. 17. A limited number of VIP packages will be available for each show. Tickets and more information are available here .

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Third Man Records is an independent record label founded by Jack White in Detroit, Michigan in 2001. In March of 2009, a physical location was established in downtown Nashville. The space is a combination of a live music venue, a record store and the headquarters for the label.

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Inside Jack White’s Incredible Third Man Records

Posted by Jeff Gorra | Jun 9, 2017 | ArtistWaves , Jack White , Music , Nashville , Record Stores , Tribute | 0 |

A tour and pictorial of the Nashville gem

My first thought as I got out of the car at Third Man Records in Nashville, TN was —  this feels right . I had no idea where I was having never been to Nashville before, but something about the industrial street on the edge of Pie Town, where Third Man Records has literally set up shop, just seemed Rock N’ Roll. From its subtle, yet vibrant facade with the lightning rig symbol on the roof, to the neighborly warehouse foundation still intact, I found Third Man Records to be genuinely honest before I even stepped in the door.

Jack White is obviously well-known for his dynamic music with The White Stripes, The Dead Weather, The Raconteurs and his solo material. As you can tell from White’s eclectic mix of old-fashioned guitars, White is also a bit of music historian with a passion for vinyl. White started Third Man Records as Detroit-based independent label in 2001. The initial intent was to use the label to reissue some of the White Stripes early material via “45’s. From there, White continued to produce various artists and reissue more of his own material on the Third Man label, mostly as exclusive vinyl offerings.

The name Third Man, has meaning behind it as well. Almost every record in the Jack White catalog has his Third Man logo imprinted somewhere on it — even those released prior to the launch of Third Man Records. White has occasionally expressed his admiration for the number three and the 1949 film The Third Man . As White worked on his music in the 90’s, he also had an upholstery company named Third Man Upholstery.

In March of 2009, with numerous Third Man releases out in the world (including Raconteurs’ live albums pressed for each of their 2006 UK shows), White opened the first Third Man Records physical location in Nashville. It’s one of most unique music establishments I have ever seen. The location is organized around five dedicated sections: the record store, a “novelties lounge,” the label’s offices and distribution center, its recording studios, and its photo studio. Each of White’s solo records and the Dead Weather records were recorded at the Third Man studio.

As I glanced wide-eyed at the museum-like, vintage photo booth and classic guitars on display, I found myself asking the staff if it was OK to buy some of the items I had in hand as even the yellow, Third Man branded composition books were so eloquently placed without a retail feel. White’s accomplishments are very tastefully blended into the mix as well. The walls sport records and plaques that span White’s storied career thus far. The White Stripes wall is one of the first things you see as it proudly holds its place behind the counter as you walk in. Tucked in the bottom right shelf of the front showcase, sits White’s three Grammy awards. It was the last picture I took because I almost didn’t even notice it.

One of the biggest attractions to the Third Man Records novelties lounge is the 1947 recording booth. For $20 you can record your own song right there. No advance notice or reservation is needed. It’s a first come, first serve setup where you are able to record on the spot, a two and half minute song. Upon concussion you immediately receive a 6 inch “33 record to take home. A similar recording setup is now in place in their Detroit location as well.

As for the records to purchase, many of the Third Man label artists have their music available in vinyl format at the novelty lounge in addition to the Third Man Records website. Such artists include; Yak, Wanda Jackson, The Haden Triplets, Margo Price, Dwight Yoakam and of course, The White Stripes, The Dead Weather, The Raconteurs and Jack White.

Two of the most exclusive categories in the vinyl catalog are the Blue Room and Green Room series. For the Blue Room, singers and bands that are traveling through Nashville, are invited to stop by to record one or two songs at Third Man Studio to be produced by Jack White. The songs are then made available on 7 inch vinyl and digitally on iTunes. The cover photos are taken in Third Man’s “blue room” photo studio/live venue. Recordings by artists like Beck and Michael Kiwanuka have been some of the most popular in the series. The Green Room offers a similar model, but focuses on non-musical performances. Whether it’s White conducting an interview or stand-up piece, the Green Series deals with non-musical ideas. It involves spoken word, poetry, or instructional discussions on a wide range of topics from cattle auctions to comedy. The Green Series usually contains an interview component and is also produced by Jack White. They too, are made available on 7” vinyl singles and digitally on iTunes. It’s here where you’ll find White interviewing the likes of Tempest Storm and Conan O’Brien. Like the Blue Room, all recordings are done right there onsite at Third Man.

The Blue Room also hosts a series entitled the Light and Sound Machine — which is a monthly film series to take place on the third Thursday of each month. Screenings are curated and hosted by filmmaker and critic James Cathcart, whose goal is to provide a venue for marginalized cinema, both new and repertory. Screenings take place on 16mm as well as digital.

The right side of Third Man Records is the music venue and studio. In addition to hosting the aforementioned acts as they come through Nashville, there is a live venue that holds a plethora of creative events. On any given night, you can find a local band rocking the stage, a national or global act jamming to a packed crowd, a comedy show (Bill Burr was performing the day I was there) or an educational session.

In case record label, recording studio, live venue and record store were not enough, there is also Third Man Books . It’s here where you will find some underground and compelling non-fictional stories. One of their most recent releases was TOTAL CHAOS: The Story of The Stooges — As Told by Iggy Pop . It’s the only book that provides the story of the Stooges by Iggy Pop himself — as he saw it, as he lived it. Dave Grohl, Josh Homme, Joan Jett and Jack White contributed to the book.

Another unique offering via Third Man Books is Life is a Total Rip Off . In this book, John Olson of Wolf Eyes, reviews one record a day, every day, for one year. He reviewed everything from death metal demo cassettes to the Staples Singers’ gospel and gives the reader an in-depth look into all the different genres, often turning you on to new music you never knew existed.

Staying true to theme, upholding the arts is a subject matter White and Third Man have taken a step further, as demonstrated by past partnerships with organizations such as Brightspark Travel and WorldStrides OnStage — where they created “School Choirs & Bands at Third Man: A Vinyl Recording Experience.” The partnership is described as a one of a kind program that offered students behind-the-scenes access to Third Man Records, as well as the chance to record their own “45rpm vinyl records. Through the program, students were treated to an exclusive tour, a Q & A session and the chance to record in the Third Man studio. The students then received a 7 inch single of the performance pressed in their school colors, a commemorative plaque for display at each school, and the option to upgrade their package to include a commemorative folder complete with a diploma signed by White. Currently, Brightspot offers a tour stop and recording opportunity at Third Man through their Nashville Performance Tour package.

Overall, Third Man Records is genuinely — for the arts fan, by the arts fan. It has its niche, primarily showcasing vinyl records, vintage instruments, old-fashioned styles and recording mechanisms, yet there’s a fascinating touch where the classic elements of the time period, like the 1947 record booth, are preserved to the point where they are attractive to both the modern music fan and the historian — similar to much of Jack White’s music.

Aside from his own musical career, Jack White is clearly doing a lot of great things for the arts. Through showcasing appreciation for the past, he is encouraging the future. As I grabbed my bag of merchandise, took a peppermint (the only option available of course) from the candy bowl and began to walk out, another employee met me at the door, handed me the Nashville Scene weekly publication and suggested I check out all the live events happening in and around the city. “Take Me With You When You Go.”

For more go to ThirdManRecords.com Or visit either location: 623 7th Avenue South, Nashville, TN 441 West Canfield Street. Detroit, Michigan 48201

Check out: We’re Going to Be Friends , children’s book by Jack White available for pre-order, the Third Man Records truck and Third Man Pressing, a vinyl pressing facility located in the back of the retail store in Detroit.

~ all photos by Jeff Gorra

Check out Jeff’s: Why Jack White Is One Of Today’s Most Inspiring Artists

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Founder/Editor/Writer @ArtistWaves — a voice of the artist platform. Compelling & inspiring stories…Behind the art, from the artist. Follow on twitter @JeffGorra | [email protected]

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Live at Third Man Records ||| Nashville & Cass Corridor

By Stephen Thomas Erlewine

August 9, 2018

Earlier this year, Boarding House Reach became Jack White ’s third solo album to reach the top of the Billboard 200. Its speedy sequel Live in Nashville ||| Live in Detroit won’t even reach the charts but that’s by design. The triple-record set belongs to an exclusive club, the Vault of Third Man Records, the label White launched in 2001. Live in Nashville ||| Live in Detroit is the 37th release in this limited-edition, subscription-only series, following the celebrated 36th installment—a splashy vinyl-only reissue of Captain Beefheart & His Magic Band ’s Trout Mask Replica —by a matter of months.

Servicing Jack White fans with live souvenirs of recent gigs is a fairly common practice for the Third Man Vault, but this particular release sequence is noteworthy. Trout Mask Replica was the first time the Vault dipped its toe into reissuing an artist outside of the Third Man empire and as it was the first vinyl repressing of a celebrated classic in nearly a decade, it brought eyes to a club that was previously the province of White diehards. And Boarding House Reach —with its 37,000 copies sold on vinyl, the largest number of any album released in 2018—underscored just how many diehards there are in the United States and, just as importantly, these figures hint at how White fans embrace the same philosophy as the rocker: They’re fighting to preserve old-fashioned ways.

Boarding House Reach notably found White battling this instinct within himself. He recorded most of the album on his lonesome, letting himself indulge in stiff funk workouts, operatic prog, and obtuse poetry. Live in Nashville ||| Live in Detroit explodes through his self-imposed confines through the simple act of transferring these experiments to stage in collaboration with a new touring band. Not all the players in the current group are new to White’s world—the rhythm section of drummer Carla Azar and bassist Dominic Davis supported him during the tour for 2012’s Blunderbuss , albeit in two different bands—but a fresh lineup energizes White, letting him squall and lurch as he fiddles with old White Stripes tunes and puzzles-out translating his recent fever dreams for an audience.

By definition, the crowds at these two concerts—one held at Third Man Records Nashville at March 16, the other a private show at Third Man Records Detroit on April 18, the day before he played the town’s “pizza arena,” Jack’s winking name for Detroit’s Little Caesar Arena—are very different than Live at Bonnaroo 2014 , the last full-band live record he released. That was a set designed to thrill a festival, but the audiences here are subscribers to the Vault, ready to hear White in an intimate setting. To his credit, White decided to skimp on familiar songs—“Dead Leaves and the Dirty Ground” is the only White Stripes hit to appear on both sets; the much longer Nashville LP finds space for a twisted “Fell in Love With a Girl,” a full-throttle “Hello Operator” and a valedictory “Seven Nation Army”—in favor of finding out what makes his new songs tick.

Especially when heard in contrast to the leaner Stripes tunes, the new material seems ornate. But instead of wrestling the weirder new songs to the ground, White peppers his older tunes with squalls emanating from his throat and guitar. He lurches forward, trying to push himself into the future. Compared to Boarding House Reach , which wore its self-styled weirdness as a badge of honor, these modern overtures are subtle but they’re apparent, particularly as he threads his art-and-R&B inclinations with lashing guitar. While some of the songs still seem a bit ungainly—draped in its Freddie Mercury harmonies, “Over and Over and Over” always collapses underneath its own weight—his generic exercises, such as the wannabe power ballad “Connected by Love,” gain definition through live collaboration.

More than the songs themselves, this instrumental interplay is the reason to listen to these two concerts. Like Boarding House Reach itself, Live in Nashville ||| Live in Detroit already feels like a document of a transitional period for White, a time when he’s pushing and prodding, attempting to redefine his sound without losing his signature. Although it is certainly of primary interest to the devoted, it’s a shame the set is only available to subscribers because it’s a more compelling listen than the studio set and the reason why is simple: Jack White is always at his best when he wrangling with other musicians.

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Jack White Previews New Touring Band With “Taking Me Back (Live)” Video [Watch]

Jack White shared a new live video of his latest single, “ Taking Me Back “, to his YouTube page on Friday. This latest video confirms White’s band configuration for the upcoming Supply Chain Issues   world tour.

Filmed from  The Blue Room  at White’s own  Third Man Records  in Nashville, TN, this live take on “Taking Me Back” sees the bandleader joined by three longtime collaborators, drummer  Daru Jones , bassist  Dominic John Davis , and keyboardist  Quincy McCrary . Notably, White tracked every instrument on the studio version of “Taking Me Back”, which will appear on the first of two albums set for release in 2022,  Fear of the Dawn . This live rendition shared on Friday stays true to the original while each member of the band adds their own flavor and technique. Jones’ unique drumming compliments distorted basslines from Davis, all while McCreary’s fingers flutter along and add high-frequency melodies on the synthesizers.

“People keep asking who’s going to be in the band, what’s the band going to be like for the tour dates … We thought it would be good to let people see who it is,” said White in an interview with  Alt 98.7 . “We can do really hard-hitting stuff, and then also really gentle acoustic numbers … They’re such improvisational musicians. They really perform differently each time.”

Related: High Water Festival Shares 2022 Lineup: Jack White, My Morning Jacket, More

As has been the case with all previous solo tours, the group will be ready to perform nearly any song from White’s catalog, everything from  The White Stripes  and  The Raconteurs to  The Dead Weather  and, of course, his solo songbook.

“I’m doing songs from everything I’ve ever done in my life. Not much is off-limit. Everything that I was the main songwriter or main singer, then that’s kind of in our bag of tricks,” he explained. “I think we ended up having over 80 the last time I went on the road.”

Jack White will kick off his  Supply Chain Issues  world tour on April 8th with two consecutive shows at Detroit, MI’s  Masonic Temple Theatre , the very same day he releases  Fear of the Dawn . Head to his official website for additional information on tour dates, tickets, and album releases, and check out “Taking Me Back (Live)” below.

Jack White – “Taking Me Back (Live)”

[H/T  Consequence ]

Jack White Art & Design

Third Man Records Headquarters Nashville

Spanning two addresses and more than 10,000 square feet, the Third Man Records Nashville headquarters is inarguably the most detailed, in-depth and wide-ranging design work White has ever undertaken.

White bought the main building (623 7th Ave S) in October of 2008 and immediately assembled his preferred team of collaborators (carpenters, architects, painters, fixers) in a furious reimagination of the space that had previously served as a somewhat dull office/photo studio.

By March of 2009 Third Man made it’s public unveiling and just one month later, on Record Store Day, the storefront would open to a line of fans and looky-loos eager to see what treasures lay inside.

The growth of both Third Man’s record label endeavors and its other operational expansions led to the purchase of the former Stuttgart South automotive repair shop next door at 621 7th Ave S in 2011. Serving primarily as warehouse storage and office space, White concocted the invented backstory of the building having previously served as an industrial factory (with mock blast furnace) and then later as a motel to drive the narrative and design choices.

From dark room to live performance stage, vinyl mastering to climate-controlled master tape storage, direct-to-customer mail-order to hospital kitchen…the Third Man Nashville headquarters is a dizzying array not only of function, but of eye-catching design and decor that over twelve years on continues to wow and impress all who walk through the door.

Destroy All Lines & Triple M present

Kingswood microscopic wars 10 year anniversary tour, buy tickets, you need to be 18+ to attend this event, event details.

Special guests: The Delta Riggs + Jacob Fitzgerald & The Electric City

Ten years ago, KINGSWOOD firmly staked their claim as one of Australia’s finest new voices in rock music with the release of a dynamic and electrifying debut album, MICROSCOPIC WARS. Following a string of successful EP releases that helped define the band’s early sound and generate momentum and fan bases around Australia, when it came time for Kingswood to deliver their first studio album, they went big.

Drenched in rhythm, carried by the band’s strong chemistry and bolstered by a confidence and swagger felt between songwriters Alex Laska and Fergus Linacre, MICROSCOPIC WARS heralded not just an exciting jump off point for the Melbourne group; for fans, it was the start of a journey with a band whose ambition would see them navigate a diverse range of music influences to follow. 

To celebrate the tenth anniversary of the MICRO WARS era, Kingswood are taking their ARIA Award nominated record around the country this August. Joining them on tour at all stops will be Melbourne's JACOB FITZGERALD & THE ELECTRIC CITY, while in Adelaide and shows in Perth and Bunbury respectively, fierce talent MOLLY ROCKET and DEATH BY DENIM will be opening for their hometowns. And, for their very first time touring together, Kingswood will be joined on all East Coast dates by THE DELTA RIGGS; the beloved group enjoying their ascendancy as one of the country’s finest rock groups at the same time as Kingswood prolific rise. For the bands and fans alike, this type of tour is one that has been a long time in the making — now ready to be devoured and enjoyed by all. 

Kingswood are excited to breathe new life into this beloved material, with a live show set to impress and show love to the music, but also to the fans – longtime and new alike – who have been part of the journey. 

“The Microscopic Wars Era was full of giant leaps into new worlds, previously just a kids dream. We embraced every moment with unbridled enthusiasm. Bigger shows, bigger crowds, festivals, international touring, it was a truly magical time that only fuelled our passion and confirmed our chosen path as the right one. So many friendships memories made remain nurtured and cherished today.  

The album itself culminated many years of learning, honing, cultivating, experimenting. We threw everything we had at the chance to go to Nashville and record with Producer Vance Powell. We also met our now long-time collaborator Eddie Spear, who engineered the album. Nashville inspired us and we’ve returned there for most of our subsequent records. 

We are well aware of the impact that album had and remains to have on our devoted fans. For a band that shifts genre freely and willingly it can be difficult to move with us, and we know we have our own army of ‘frogstompers’. 

So we cannot wait, genuinely we couldn’t be more pumped to honor this album by playing it in full, along with other hard charging heavy Kingswood tunes, and get nostalgic with the fans that helped throw our little band onto the big stage. “

Fergus Linacre, Kingswood

MICROSCOPIC WARS brought Kingswood to Nashville for the first time, the band recording at Blackbird Studio with multiple Grammy Award winning producer and engineer, Vance Powell (Jack White, Arctic Monkeys). Featuring now seminal favourite tracks including ‘Micro Wars’, ‘Ohio’, ‘ICFTYDLM’ and ‘Sucker Punch’, MICROSCOPIC WARS put Kingswood on the map, taking them around Australia numerous times – a crucial step in the development of their powerful sound as a live unit. 

Their time spent in Nashville was the beginning of a long-lasting love for the American city, and has since become a second home of sorts for Kingswood as they would go on to record 2016’s After Hours, Close To Dawn, and 2020’s Juveniles in the iconic music city. 

Ten years and six studio albums on, Kingswood remain one of Australia’s hardest working bands but still, there is time to reflect on and celebrate the project that in many ways, started it all.

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Childish Gambino announces global 'New World Tour' with Nashville stop, new music and more

Rapper, singer, actor and producer Childish Gambino has announced his return to the global stage with a 2024 "New World Tour." He will be stopping in Nashville at Bridgestone Arena on Sunday, Sept. 1.

Known for songs "Les," "Redbone," "This is America" and "3005," Gambino—born Donald Glover—will kick off his tour on August 11 in Oklahoma before making 33 stops around North America. Gambino will wrap up his North American portion of the tour in October in Chicago.

Musician Willow Smith, who uses the stage name Willow, will accompany Gambino on his North American tour dates.

Gambino has not globally toured since 2019 , when he hit the road to support 2016's "This is America."

Gambino also dropped some new surprise music alongside his tour announcement. He released an album titled "Atavista" with reimagined versions of songs from his fourth studio album "3.15.20," which was removed from streaming services earlier this month.

Need a break? Play the USA TODAY Daily Crossword Puzzle.

"Atavista," the final and finished version of the now-removed album, includes two new tracks, released via RCA Records.

It also includes features from  Ariana Grande, Kadhja Bonet, 21 Savage, Summer Walker, Young Nudy and Ink. 

How do I buy tickets to Childish Gambino's 'New World Tour'?

Presale for all show dates for American Express Card Members will begin prior to general on-sale at thenewworldtour.com with varying dates.

Tickets go on sale to the public on Friday, May 17 at 10 a.m. CST at  thenewworldtour.com