Voted "Guitarist of the Decade" by Guitarist Magazine 

Guitar Player's Reader's Poll Winner for Best Acoustic Fingerstyle Guitarist 4 years in a row: 1993-1996

"To say Legg plays a good guitar is like saying Menuhin saws a fine fiddle. This man is ridiculously talented." - Music Week

"...Legg is, above all, a guitarist of great power, invention and versatility... 

Through fast-fingered picking, spontaneously layering parts and occasional ringing harmonics, he sounds like an orchestra." - St. Petersberg Times

"Unlike Richard Thompson or Robert Fripp, in whose league he belongs, Legg seems never to have been seduced by rock.

But unlike Leo Kottke or Ry Cooder, whom he also occasionally resembles, Legg is an adventurer, not an archivist. - Newsday

"Technical brilliance paired with a troubadour's tale-weaving skill:

these are the things that keep Adrian Legg in lofty company among the world's best guitarists." - Boston Globe

"A brilliant acoustic guitarist and composer, Legg has become a leading authority on all matters pertaining to the guitar,

contributing articles and books as well as instructional videos." - Ovation / Adamos Magazine

Impossible to categorize as a player, Adrian Legg incorporates virtually every genre on his guitar in a

virtuosic instrumental style with effects. He brought electric approaches to acoustic playing,

creating a modern cross-over amalgamation in the tradition of eclectic folk

playing that goes back to the 1960s." - Guitar by Richard Chapman, 2000

"There are guitarists, there are axe-wielding maniacs, and then there are wizards.

Adrian Legg is one of the wizards. He has enough technique to do just about anything he wants,

but also the sensitivity to honour the contours of a melody." - Philadelphia Enquirer, Aug. 5, 2000

Adrian Legg has more than lived up to the expectations stirred by an ongoing avalanche of praise from critics, fans, top guitar mags and peers alike.

Joe Satriani once said, “He’s simply the best acoustic guitar player I’ve ever heard…he plays like he has hammers for fingers.”

The genius that the Boston Globe has called “technical brilliance paired with a troubadour’s tale-weaving skill” led him from 1993-96 to be

voted Best Fingerstyle Guitarist four years straight by the readers of Guitar Player magazine.

On Inheritance, his second release for Favored Nations and ninth overall, Legg blends his extraordinary

virtuosity on the acoustic with a lush sonic arena that harkens back to the musical textures of his childhood life before the guitar -

gentle contemplative ballads, snappy percussive jams, rock-edged electricity,

hints of folk music, Irish jigs, raw swampy blues, and high energy modern rock-fusion improv.

The accolades have come nonstop since Guitars and Other Cathedrals,

the first of five releases on Relativity Records, tweaked the ears of guitar fans everywhere in 1990. 1993’s Wine, Women and Waltz

was selected by the readers of Guitar Player magazine as Best Overall Guitar Album in the 1994 Reader’s Poll.

He earned Best Acoustic Album in this same poll in 1992 and 1993, respectively, for Guitar For Mortals (1992) and Mrs. Crowe’s Blue Waltz (1993).

Readers of England’s Guitarist magazine voted Legg Acoustic Guitarist of the Decade in the magazine’s 10th anniversary poll.

Over the years, he’s played at the Montreux Jazz Festival and toured with Richard Thompson, David Lindley,

Joe Satriani, Eric Johnson and as part of the G3 Tour featuring Satriani, Johnson and Favored Nations founder Steve Vai.

He’s also shared the wealth of his talent and experience with three teaching videos

(Beyond Acoustic Guitar, Fingerpicking & Open Tunings, How To Cheat At Guitar) and

two books—the technical Customizing Your Electric Guitar and the musical “Pickin’ and Squintin" - a collection of Legg’s guitar

compositions in tablature and standard notation. In recent years, he has also been a commentator at large for

National Public Radio’s All Things Considered, and more recently, regular listeners have heard his guitar versions of the show’s theme music.

Born in the Salvation Army Hospital in Hackney, London, Legg is a classic mongrel Londoner,

with the long mixed East End blood of entrepreneurial Hugenot and Jewish refugees topped up from a sturdy line of

East Anglian farmers; a fertile genetic stew mixed further with Welsh, West Indian and Philippino in his grandchildren.

While studying oboe under parental pressure (his own words), he began fashioning his own guitars, “or rather odd

stringed instruments that at least could execute an acceptable twang” from pictures in newspapers, scraps from the school woodwork scrap bin,

fret wire and with strings held on by head rest cover containers taken from the local bus station.

While working at the airport in Liverpool, he met a young man who invited him to join a band and introduced him to country music.

After two years of working in Liverpool working men’s social clubs, he hitch-hiked back to London,

where he played electric guitar in clubs and joined up with bands that eventually traveled outside the U.K.

A demand from a band leader that he use an acoustic to play loud chords up against a mic for one number nudged him towards the acoustic as a separate instrument.

As popular as his catalog of recordings is, Legg’s true home is onstage. “Playing live is the whole point,” he says.

 “Everyone makes a journey, an effort; we all come together – me, the audience,

the people who run the venue – to share this wonderful, universal, human emotional interaction. This is where music lives.”