Video Playback Error
The Adobe Flash Player is required to watch videos on this page
| Hometown | Mission, KS |
| Genres | |
| Band Members | Nick Nave-lead vocal, keys, acoustic<br/>Dan Swanson-... » more |
| Achievements |
» more |
| Upcoming Shows | None |
| Contact Information: |
September 2008 Americana / Alt Country
August 2008 Contemporary/Soft Rock
July 2008 Jam Bands
September 2008 Americana / Alt Country
August 2008 Contemporary/Soft Rock
July 2008 Jam Bands
May 2008 Americana / Alt Country
May 2007 Pop
May 2007 Country / Americana
June 2007 Pop
October 2008 Judging Excellence
September 2008 Judging Excellence
Red Guitar, Blue Album by rockkansas.com
Red Guitar, fronted by Nick Nave and John McKenna, just released its debut album, "Based on a Blue Story," produced by band-member Tim Suttle, and has been busy playing shows in the Kansas City and...
Red Guitar, fronted by Nick Nave and John McKenna, just released its debut album, "Based on a Blue Story," produced by band-member Tim Suttle, and has been busy playing shows in the Kansas City and...
Red Guitar: Based On A Blue Story by The Pitch
Jangle rock peaked about two decades ago, but Based on a Blue Story is a nice reminder of why people liked it so much the first, second and third time around. This Kansas City five-piece is...
Jangle rock peaked about two decades ago, but Based on a Blue Story is a nice reminder of why people liked it so much the first, second and third time around. This Kansas City five-piece is...
Red Guitar, Blue Album by rockkansas.com
Red Guitar, fronted by Nick Nave and John McKenna, just released its debut album, "Based on a Blue Story," produced by band-member Tim Suttle, and has been busy playing shows in the Kansas City and Lawrence area. McKenna and Nave spent time writing songs in other area bands before forming Red Guitar. Nave was and McKenna played in the Lawrence band Huckleberry from 1994 to 1997, while Nave was attending the University of Kansas. Now the two of them have hooked up again to form the country rock outfit Red Guitar, which played its first show in March of this year. Nave said it's been a different experience than what he remembered in college, but it's been fun. When we did Huckleberry, John and I were in college at KU, and our friends helped a ton," he said. "We broke through in the Greek system. We'd go door-to-door to sororities and play songs and sell CDs. We actually did pretty good that way. Now it's slower and more satisfying. One fan at a time will come up and ask 'Who are you guys? You're great, can I get on the mailing list?' It's very rewarding. How did you come to form Red Guitar? John McKenna and myself started playing as a duo called Nave and McKenna two years ago. Over the course of writing together again, we decided to go back into the studio and record something. We recorded the Red Guitar record with Tim Suttle. Us three did the record with help from some friends and finished it November of 2002, and then we immediately put the live band together. What were you going for musically with Red Guitar? Musically, we wanted to emphasize strong melodies. We were going for kind of a late '70s, classic rock feel with a little bit of Americana from like the Counting Crows and the Jayhawks. I felt like we hit the target musically pretty solidly. How is it different to be playing in this band in front of an audience compared to what you were doing in college? Well all the guys in the band are in their late 20s to early 30s. There's some real maturity and musical seasoning, and an absolute sense of fun. We're having a great time, and the crowd has a great time. We love making this music. That's the key difference. We're happy with what we're playing, and the reaction has been great, so it's a double win. What other work had Tim Suttle produced? Tim suttle had produced some of his own stuff, and a band called The Girl is a Ghost. He hasn't done a ton of producing, but this is a huge break-out for him in engineering and producing. He started in Manhattan ten years ago, and he's been living in Kansas City for seven years now. How did he affect the band's sound on the album? The arrangements are tight, and it all sounds killer to me. I'm almost amazed because I can't believe its what we did, and Tim is a huge part of that. And Tim is a friend. We worked with him on purpose to get that sound, then he went ahead and joined band too, so it all worked out. Do you and John McKenna write songs together or separately? We write separately, then we come together to arrange and critique songs. We have a good working relationship. We fire away on each other's songs, so we have better results than if we were just sitting around in our rooms and writing. Was it difficult to translate the studio recordings into a live set? Actually, the guys we're playing with are quite talented, and it came off pretty easily. We rehearsed a ton, and once we got it all together, it didn't seem to be as much work as I thought it would be. Being happy with CD gave us a solid foundation to work with. How is it different to play to audiences now compared to when you were in college? In college we had a ton of friends who would come see us whether we sucked or we were really good. But now, we have to be as great as we possibly can be. Now people have to make a conscious choice to come see you, so we make sure to deliver what people want. Even playing ballads, we've found that live they don't hit as well, so we've gone to playing about one ballad in 12 songs on purpose. It's interesting to see the way different crowds react. We do some covers, like Jackson Browne, and some Dylan and a Zevon song. In Columbia, which is a total college town, the covers fell flat, and the originals came off much better. Do you play many covers live? About 20 percent of our songs are covers, and we're trying to add originals and covers at the same time to bulk up our set because covers are easier to pull off. Are you worried that that will detract from your originals? Not really. We do covers we love to play, and we're firm in our mission that we're not a cover band. We just throw them in for fun. If you come to a show, you'll hear a couple covers, and about 10 originals. Cover bands are so tempting because the money is huge, but I don't have time to do a cover band and an original band. So I'll just do the original stuff while I can. Interview by JJ Duncan
Red Guitar, fronted by Nick Nave and John McKenna, just released its debut album, "Based on a Blue Story," produced by band-member Tim Suttle, and has been busy playing shows in the Kansas City and Lawrence area. McKenna and Nave spent time writing songs in other area bands before forming Red Guitar. Nave was and McKenna played in the Lawrence band Huckleberry from 1994 to 1997, while Nave was attending the University of Kansas. Now the two of them have hooked up again to form the country rock outfit Red Guitar, which played its first show in March of this year. Nave said it's been a different experience than what he remembered in college, but it's been fun. When we did Huckleberry, John and I were in college at KU, and our friends helped a ton," he said. "We broke through in the Greek system. We'd go door-to-door to sororities and play songs and sell CDs. We actually did pretty good that way. Now it's slower and more satisfying. One fan at a time will come up and ask 'Who are you guys? You're great, can I get on the mailing list?' It's very rewarding. How did you come to form Red Guitar? John McKenna and myself started playing as a duo called Nave and McKenna two years ago. Over the course of writing together again, we decided to go back into the studio and record something. We recorded the Red Guitar record with Tim Suttle. Us three did the record with help from some friends and finished it November of 2002, and then we immediately put the live band together. What were you going for musically with Red Guitar? Musically, we wanted to emphasize strong melodies. We were going for kind of a late '70s, classic rock feel with a little bit of Americana from like the Counting Crows and the Jayhawks. I felt like we hit the target musically pretty solidly. How is it different to be playing in this band in front of an audience compared to what you were doing in college? Well all the guys in the band are in their late 20s to early 30s. There's some real maturity and musical seasoning, and an absolute sense of fun. We're having a great time, and the crowd has a great time. We love making this music. That's the key difference. We're happy with what we're playing, and the reaction has been great, so it's a double win. What other work had Tim Suttle produced? Tim suttle had produced some of his own stuff, and a band called The Girl is a Ghost. He hasn't done a ton of producing, but this is a huge break-out for him in engineering and producing. He started in Manhattan ten years ago, and he's been living in Kansas City for seven years now. How did he affect the band's sound on the album? The arrangements are tight, and it all sounds killer to me. I'm almost amazed because I can't believe its what we did, and Tim is a huge part of that. And Tim is a friend. We worked with him on purpose to get that sound, then he went ahead and joined band too, so it all worked out. Do you and John McKenna write songs together or separately? We write separately, then we come together to arrange and critique songs. We have a good working relationship. We fire away on each other's songs, so we have better results than if we were just sitting around in our rooms and writing. Was it difficult to translate the studio recordings into a live set? Actually, the guys we're playing with are quite talented, and it came off pretty easily. We rehearsed a ton, and once we got it all together, it didn't seem to be as much work as I thought it would be. Being happy with CD gave us a solid foundation to work with. How is it different to play to audiences now compared to when you were in college? In college we had a ton of friends who would come see us whether we sucked or we were really good. But now, we have to be as great as we possibly can be. Now people have to make a conscious choice to come see you, so we make sure to deliver what people want. Even playing ballads, we've found that live they don't hit as well, so we've gone to playing about one ballad in 12 songs on purpose. It's interesting to see the way different crowds react. We do some covers, like Jackson Browne, and some Dylan and a Zevon song. In Columbia, which is a total college town, the covers fell flat, and the originals came off much better. Do you play many covers live? About 20 percent of our songs are covers, and we're trying to add originals and covers at the same time to bulk up our set because covers are easier to pull off. Are you worried that that will detract from your originals? Not really. We do covers we love to play, and we're firm in our mission that we're not a cover band. We just throw them in for fun. If you come to a show, you'll hear a couple covers, and about 10 originals. Cover bands are so tempting because the money is huge, but I don't have time to do a cover band and an original band. So I'll just do the original stuff while I can. Interview by JJ Duncan
Red Guitar: Based On A Blue Story by The Pitch
Jangle rock peaked about two decades ago, but Based on a Blue Story is a nice reminder of why people liked it so much the first, second and third time around. This Kansas City five-piece is centered on the harmony vocals of songwriters John McKenna and Nick Nave, who channeled the dusty, sweet harmonies of the Jayhawks and the '60s yearning of the Connells into a comfortable and comforting sound of their own. The band's nondescript name comes from the mysterious song "Inarticulate Blue" (Heart like a red guitar/A red candle dreaming), and though not particularly marquee friendly, the tag does the band justice. Red Guitar isn't afraid to sound mournfully pretty on "Rosemary" (the kind of song everyone wishes Ryan Adams would slow down and write) or the banjo-filled "Better Way to Move On." Its melancholy has enough depth to move into new territory opened up in the '80s, during the first "rediscovery" of Gram Parsons. By Mike Warren Article Published Feb 12, 2004
Jangle rock peaked about two decades ago, but Based on a Blue Story is a nice reminder of why people liked it so much the first, second and third time around. This Kansas City five-piece is centered on the harmony vocals of songwriters John McKenna and Nick Nave, who channeled the dusty, sweet harmonies of the Jayhawks and the '60s yearning of the Connells into a comfortable and comforting sound of their own. The band's nondescript name comes from the mysterious song "Inarticulate Blue" (Heart like a red guitar/A red candle dreaming), and though not particularly marquee friendly, the tag does the band justice. Red Guitar isn't afraid to sound mournfully pretty on "Rosemary" (the kind of song everyone wishes Ryan Adams would slow down and write) or the banjo-filled "Better Way to Move On." Its melancholy has enough depth to move into new territory opened up in the '80s, during the first "rediscovery" of Gram Parsons. By Mike Warren Article Published Feb 12, 2004
Red Guitar: Based On A Blue Story by rockkansas.com
Sometimes a really good album lands in your lap that you just didn't see coming. That's what it's like to pop in Kansas City band Red Guitar's debut, "Based on a Blue Story." Out of nowhere these guys come along with a moving rock album driven forward by acoustic guitars and piano with a tinge of country reminiscent of the Gin Blossoms or the Jayhawks. Songwriters John McKenna and Nick Nave have released a simple, slick album with beautiful songs and flawless production. That might sound a little too slick for some tastebuds, but really it's just a good Midwest album that appeals to basic pop sensibilities. "Based on a Blue Story" has some real personality. The album isn't anything new or innovative. It's not going to change music, the world or anyone's political views. It won't even make you think much. But it's good, solid songwriting with modest, well-executed musicianship and a very listenable and irresistible sound. The album starts on a good foot, with "Jump Out On the Water," one of those driving-down-the-highway-to-something-new songs. The band reveals its Eagles influence as they sing "All the lonely hearts out on the freeway / Are shining like a desparate parade. California" is a late stand-out track with a slow drive backed by a falsetto wail before the first words of the Wilco-esque vocals proclaim: "We were dreamers and we could listen / We could see farther than we could believe / Yeah, we're watching the skies / Above California. The album's got a couple of slow spots, but overall, this is a very solid release. By JJ Duncan RockKansas reviewer
Sometimes a really good album lands in your lap that you just didn't see coming. That's what it's like to pop in Kansas City band Red Guitar's debut, "Based on a Blue Story." Out of nowhere these guys come along with a moving rock album driven forward by acoustic guitars and piano with a tinge of country reminiscent of the Gin Blossoms or the Jayhawks. Songwriters John McKenna and Nick Nave have released a simple, slick album with beautiful songs and flawless production. That might sound a little too slick for some tastebuds, but really it's just a good Midwest album that appeals to basic pop sensibilities. "Based on a Blue Story" has some real personality. The album isn't anything new or innovative. It's not going to change music, the world or anyone's political views. It won't even make you think much. But it's good, solid songwriting with modest, well-executed musicianship and a very listenable and irresistible sound. The album starts on a good foot, with "Jump Out On the Water," one of those driving-down-the-highway-to-something-new songs. The band reveals its Eagles influence as they sing "All the lonely hearts out on the freeway / Are shining like a desparate parade. California" is a late stand-out track with a slow drive backed by a falsetto wail before the first words of the Wilco-esque vocals proclaim: "We were dreamers and we could listen / We could see farther than we could believe / Yeah, we're watching the skies / Above California. The album's got a couple of slow spots, but overall, this is a very solid release. By JJ Duncan RockKansas reviewer
CD of the Day: Beauty Will Save The World by Absolute Powerpop
It's time for some power pop and roots rock straight from the heartland of America - Mission, Kansas, the home of Red Guitar. Their brand new release Beauty Will Save The World is turning out to be one of the more enjoyable releases of this barely 2 1/2-month-old year. Red Guitar seems to be an amalgam of The Jayhawks, The Gin Blossoms, Matthew Sweet and a slower, midtempo Weezer (i.e., "Island In The Sun"). There really isn't a bad track on this album, which came to my attention during a recent wade-through of cd baby releases. Things start off smashingly with "V-Day", which has a bit of "With or Without You" U2 behind the verses, but the chorus is pure power pop. The title track follows with a more modern sound, kind of like Millicent Friendly, for those familiar with that fine 2005 release. "Leave It In Another Day" is a slight bit slower, but with a punchy, anthemic chorus, and "The Sting" is where the "midtempo Weezer" sound is most apparent. And the ones I'm not singling out aren't slouches either; most of the remaining tracks have memorable chourses at the least. Discoveries like these are what make the CD Baby listening marathons worth undertaking.
It's time for some power pop and roots rock straight from the heartland of America - Mission, Kansas, the home of Red Guitar. Their brand new release Beauty Will Save The World is turning out to be one of the more enjoyable releases of this barely 2 1/2-month-old year. Red Guitar seems to be an amalgam of The Jayhawks, The Gin Blossoms, Matthew Sweet and a slower, midtempo Weezer (i.e., "Island In The Sun"). There really isn't a bad track on this album, which came to my attention during a recent wade-through of cd baby releases. Things start off smashingly with "V-Day", which has a bit of "With or Without You" U2 behind the verses, but the chorus is pure power pop. The title track follows with a more modern sound, kind of like Millicent Friendly, for those familiar with that fine 2005 release. "Leave It In Another Day" is a slight bit slower, but with a punchy, anthemic chorus, and "The Sting" is where the "midtempo Weezer" sound is most apparent. And the ones I'm not singling out aren't slouches either; most of the remaining tracks have memorable chourses at the least. Discoveries like these are what make the CD Baby listening marathons worth undertaking.
'World' Party by lawrence.com
Red Guitar celebrates the release of “Beauty Will Save the World” Thursday, March 30, 2006 The melodic FM-friendly pop rock purveyed by The Jayhawks, The Gin Blossoms and Matthew Sweet lives on the capable hands of Red Guitar. The KC-based seven-piece is a collective of friends whose lineage dates back to the mid-’90s Lawrence music scene. The band recently released “Beauty Will Save The World,” a keenly produced follow-up to 2003’s “Based on a Blue Story.” Songwriter and keyboardist Nick Nave stopped by to preview the new record and discuss the band’s past and present journey. Interview highlights (sans music) long-hand-style: lawrence.com: Fill us in on the back-story a little bit. Our story probably started in about 1994. Me and the other main singer/songwriter John McKenna were in a band called Huckleberry. It was very acoustic college folk-pop-rock stuff. We kind of went our separate ways for a while and came back together in about 2000 and started playing together as a duo and started adding musicians … We’ve always split songwriting duties 50/50. Tell me about your formative influences – what records do you look up to most and which had a direct effect on Red Guitar’s sound? I think you can definitely draw some direct links to some Springsteen, some Neil Young, some Jackson Browne … that vein of classic American rock and roll songwriters. When I hear your CD, I hear hits. You have to create your own buzz when you’re an independent band — how are you doing that? Maybe a long time ago it was doing it to get rich and famous or to be that popular guy that’s playing down the street. But now we take pride in being truly independent. We do all of our own production — our recording, our management, our booking. We just keep trying to put our name out there in every way we can – trying to play shows on the weekends in Lawrence and Kansas City primarily and trying to get radio stations to be interested in us. We had some good interest with the last record and we’re hoping with this one we can hopefully find that hit … As much as we want to be ‘cool’ or whatever, we do write hooky, poppy songs. So let’s go back in time to Lawrence 1994 when you were playing in Huckleberry. That was a time when The Crossing was still a venue. How was (Lawrence) different? At The Bottleneck, for instance, there was buzz every night. It was hard to get into open mic night … If you were a rock and roll fan you could probably go pay the cover at The Bottleneck just about any night and be pretty happy with what you saw. That was kind of the shining light back in the mid-’90s for us and when we finally got to play there it was a big deal and we worked really hard to pack it. I really feel like Lawrence is rising again, but it definitely dipped a little bit after that mid-’90s peak. I think it got mentioned in “Rolling Stone” as kind of a buzzworthy music town. The Lazer was playing free-format indie/modern rock music. There was definitely a buzz. It was fun to be in a band and have big dreams. Did you try and ride the coattails of the Paw/Stick thing at all? Well, if you listen to our music you might know that even if we tried we probably couldn’t have done it. That stuff was huge. There was some serious national buzz about the Lawrence “scene” and “sound.” We kind of write these pop songs and we’re kind of in the Bob Marley/John Denver vein — in a good way. I don’t know if that’s possible. You think you sound like John Denver? No. I think John Denver was an influence, though. I can vouch for that.
Red Guitar celebrates the release of “Beauty Will Save the World” Thursday, March 30, 2006 The melodic FM-friendly pop rock purveyed by The Jayhawks, The Gin Blossoms and Matthew Sweet lives on the capable hands of Red Guitar. The KC-based seven-piece is a collective of friends whose lineage dates back to the mid-’90s Lawrence music scene. The band recently released “Beauty Will Save The World,” a keenly produced follow-up to 2003’s “Based on a Blue Story.” Songwriter and keyboardist Nick Nave stopped by to preview the new record and discuss the band’s past and present journey. Interview highlights (sans music) long-hand-style: lawrence.com: Fill us in on the back-story a little bit. Our story probably started in about 1994. Me and the other main singer/songwriter John McKenna were in a band called Huckleberry. It was very acoustic college folk-pop-rock stuff. We kind of went our separate ways for a while and came back together in about 2000 and started playing together as a duo and started adding musicians … We’ve always split songwriting duties 50/50. Tell me about your formative influences – what records do you look up to most and which had a direct effect on Red Guitar’s sound? I think you can definitely draw some direct links to some Springsteen, some Neil Young, some Jackson Browne … that vein of classic American rock and roll songwriters. When I hear your CD, I hear hits. You have to create your own buzz when you’re an independent band — how are you doing that? Maybe a long time ago it was doing it to get rich and famous or to be that popular guy that’s playing down the street. But now we take pride in being truly independent. We do all of our own production — our recording, our management, our booking. We just keep trying to put our name out there in every way we can – trying to play shows on the weekends in Lawrence and Kansas City primarily and trying to get radio stations to be interested in us. We had some good interest with the last record and we’re hoping with this one we can hopefully find that hit … As much as we want to be ‘cool’ or whatever, we do write hooky, poppy songs. So let’s go back in time to Lawrence 1994 when you were playing in Huckleberry. That was a time when The Crossing was still a venue. How was (Lawrence) different? At The Bottleneck, for instance, there was buzz every night. It was hard to get into open mic night … If you were a rock and roll fan you could probably go pay the cover at The Bottleneck just about any night and be pretty happy with what you saw. That was kind of the shining light back in the mid-’90s for us and when we finally got to play there it was a big deal and we worked really hard to pack it. I really feel like Lawrence is rising again, but it definitely dipped a little bit after that mid-’90s peak. I think it got mentioned in “Rolling Stone” as kind of a buzzworthy music town. The Lazer was playing free-format indie/modern rock music. There was definitely a buzz. It was fun to be in a band and have big dreams. Did you try and ride the coattails of the Paw/Stick thing at all? Well, if you listen to our music you might know that even if we tried we probably couldn’t have done it. That stuff was huge. There was some serious national buzz about the Lawrence “scene” and “sound.” We kind of write these pop songs and we’re kind of in the Bob Marley/John Denver vein — in a good way. I don’t know if that’s possible. You think you sound like John Denver? No. I think John Denver was an influence, though. I can vouch for that.
Red Guitar Review: "Beauty Will Save The World" by The Mule News
Are the boys from Red Guitar Kansas City’s answer to Wilco? Not exactly, but that is as good a place as any to start describing this seven-piece. Moving beyond the alt-country roots of their first release, 2003s “Based On A Blue Story,” Red Guitar has expanded their sound along with their membership to bring a very rich disc to us. Think of their sound in terms of the melodic parts of Wilco, like “Summerteeth.” Then add in just a little U2 or Coldplay vibe with strong songcraft and you begin to see the appeal of “Beauty Will Save the World.” The band’s founders, singer-songwriters John McKenna and Nick Nave, have worked together since their early KU days making music in various ways. It is apparent that they have really hit upon a good mix with this lineup and these songs. The album is inviting and full of catchy hook filled American roots rockers that should play very well here in their Midwest stomping ground. The title track is full of punch and a nice guitar hook, you will be singing along halfway through the song. “Come Down” lays down a strong piano vibe reminiscent of Wilco. “V-Day” starts slow and builds to a perfect power finish. They also can play the atmospheric alt-rock. The last two tracks “Ribbon” and “Place In the Sun” are stunningly good, soaring songs that leave you wanting more more more. I have been listening to this disc since Ryan Patrick Imming told me about it a couple of months ago. In fact, RPI and Red Guitar recently shared a bill at the Grand Emporium. Hopefully a local promoter will get Red Guitar to Joetown soon. In the meantime go check out the band’s website at www.red-guitar.com . You can link to mp3s, check out the band’s Myspace page and get info on purchasing “Beauty Will Save The World.” If you like American music and alt-country you really owe it to yourself to check out Red Guitar, and don’t forget the band’s battle cry: Spread the Red!
Are the boys from Red Guitar Kansas City’s answer to Wilco? Not exactly, but that is as good a place as any to start describing this seven-piece. Moving beyond the alt-country roots of their first release, 2003s “Based On A Blue Story,” Red Guitar has expanded their sound along with their membership to bring a very rich disc to us. Think of their sound in terms of the melodic parts of Wilco, like “Summerteeth.” Then add in just a little U2 or Coldplay vibe with strong songcraft and you begin to see the appeal of “Beauty Will Save the World.” The band’s founders, singer-songwriters John McKenna and Nick Nave, have worked together since their early KU days making music in various ways. It is apparent that they have really hit upon a good mix with this lineup and these songs. The album is inviting and full of catchy hook filled American roots rockers that should play very well here in their Midwest stomping ground. The title track is full of punch and a nice guitar hook, you will be singing along halfway through the song. “Come Down” lays down a strong piano vibe reminiscent of Wilco. “V-Day” starts slow and builds to a perfect power finish. They also can play the atmospheric alt-rock. The last two tracks “Ribbon” and “Place In the Sun” are stunningly good, soaring songs that leave you wanting more more more. I have been listening to this disc since Ryan Patrick Imming told me about it a couple of months ago. In fact, RPI and Red Guitar recently shared a bill at the Grand Emporium. Hopefully a local promoter will get Red Guitar to Joetown soon. In the meantime go check out the band’s website at www.red-guitar.com . You can link to mp3s, check out the band’s Myspace page and get info on purchasing “Beauty Will Save The World.” If you like American music and alt-country you really owe it to yourself to check out Red Guitar, and don’t forget the band’s battle cry: Spread the Red!
Technical Requirements
club-style p.a. with 3 vocal mics and boom stands, 2 direct boxes, 2 mics for amps, and 4 mics for drum kit
Technical Requirements
club-style p.a. with 3 vocal mics and boom stands, 2 direct boxes, 2 mics for amps, and 4 mics for drum kit
Copyright ©Amazing Media Group 2006-2023 Contact Us
iAnEAqqqq