Fingerstyle guitarist, composer and arranger Alexandr Misko is taking his latest album, Final Boss, on an extensive North American tour, with a significant run of Canadian performances stretching across Manitoba, Saskatchewan, Alberta and British Columbia.
The German-based musician is touring with his self-designed Frankenstein Guitar, a heavily modified instrument central to the distinctive combination of melody, percussion and experimental techniques that has helped build his international following.
‘Final Boss’ Expands Misko’s Fingerstyle Approach
Misko began playing classical guitar at age 12 before discovering modern fingerstyle techniques online and developing his approach independently. His experimentation eventually led to the Frankenstein Guitar, which allows him to tap, strike and detune the instrument while producing arrangements designed to create the impression of multiple musicians performing simultaneously.
His early tapping compositions generated more than one million views online, while arrangements of Michael Jackson’s “Billie Jean” and George Michael’s “Careless Whisper” have reached tens of millions of listeners worldwide.
Released in April, Final Boss develops those techniques across an entirely instrumental record recorded in Tübingen, Germany. The project incorporates detuning, percussion and cinematic elements, with Misko using the guitar as both a melodic and rhythmic instrument.
‘Intergalactic March’ Uses Unusual Prepared-Guitar Technique
One of the album’s key tracks, “Intergalactic March,” highlights Misko’s emphasis on instrumental storytelling. The composition depicts a confrontation between a massive industrial machine moving through galaxies and a lone hero determined to stop it.
To create the track’s metallic texture, Misko uses a prepared-guitar technique that involves weaving a CD between the strings of his Frankenstein Guitar. The technique has been developed through years of live performances, and Misko now uses a Star Wars DVD when recreating the effect on stage.
His approach has also attracted recognition outside the fingerstyle community. MusicRadar named Misko Guitarist of the Year in 2018. Two years later, he performed at Carnegie Hall alongside harpist Alexander Boldachev, beginning a continuing collaboration between guitar and harp. His career has also crossed paths with composer Hans Zimmer, reflecting the cinematic influence evident in Misko’s compositions.
Canadian Tour Includes Extensive Western Canada Run
The North American tour began Sept. 1 in Buffalo, New York, before moving through several U.S. cities. Its Canadian portion begins Sept. 18 at Crescent Arts Centre in Winnipeg, followed by performances in Regina and Saskatoon.
Alberta dates include Edmonton, Cochrane, Red Deer, Calgary and Lethbridge before the tour enters British Columbia for an extended series of performances.
The B.C. schedule includes Penticton, Kelowna, Sicamous, Kamloops, Duncan, Courtenay, Nanaimo, Victoria and Sooke. Misko will then perform two nights at Inlet Theatre in Port Moody on Oct. 14 and 15.
Vancouver performances are scheduled for Oct. 16 at St. Andrews-Wesley United Church Cathedral and Oct. 17 at Lynn Valley United Church. Two shows at Fort Langley Town Hall on Oct. 18 and 19 will conclude the Canadian portion of the itinerary.
Additional Shows Added as Tour Expands
Demand has resulted in additional performances, including the second Port Moody date and multiple sets at Saskatoon’s Capitol Music Club. The tour will also feature two performances at Rabbit Box in Seattle on Oct. 21.
After leaving Canada, Misko will continue through the western United States, with stops in Oregon, California, New Mexico and Colorado. Scheduled venues include the Museum of Making Music in Carlsbad, Kuumbwa Jazz in Santa Cruz, The Back Room in Berkeley and Swallow Hill in Denver.
The tour is scheduled to conclude Nov. 15 at Swallow Hill following more than two months of performances across North America.
With Final Boss providing the foundation for the current run, Misko’s tour puts the Frankenstein Guitar at the centre of a live production built around unconventional playing techniques and instrumental storytelling, while giving Canadian audiences across Western Canada an extended opportunity to see his approach firsthand.