Washburn Festival EA20 Acoustic-Electric Guitar Review: The Ultimate Workhorse for Performing Musicians

I have spent years on the road, hopping from dimly lit coffee shops to booming outdoor festival stages, and if there is one thing I have learned, it is that not all acoustic guitars are created equal once you plug them in. For many of us, the search for a guitar that feels comfortable during a two-hour set, resists feedback at high volumes, and maintains a “true” acoustic tone through a PA system is an exhausting journey. We often find ourselves compromising—either the guitar sounds great unplugged but becomes a muddy mess on stage, or it is a “stage guitar” that feels like a piece of plastic in our hands. Finding that middle ground where craftsmanship meets electronic reliability is the holy grail of gigging musicians. Without a guitar that can bridge this gap, your performance suffers, your focus shifts from the music to the mixing board, and the audience misses out on the nuances of your playing. That is exactly why we took a deep look at the Washburn Festival EA20 Acoustic-Electric Guitar to see if it truly lives up to its legendary reputation.

What to Consider Before Buying an Acoustic-Electric Guitar

An Acoustic-Electric guitar is more than just an item; it’s a key solution for musicians who need the portability and natural resonance of an acoustic instrument paired with the power and versatility of an electric one. It solves the primary problem of volume; while a standard acoustic is limited by its physical projection, an acoustic-electric can fill a stadium. Furthermore, it allows for tone shaping—adding bass, treble, or even effects—that a traditional mic-and-stand setup simply cannot offer with the same level of consistency and feedback rejection.

The ideal customer for this type of product is someone facing regular live performance scenarios, songwriters who want to record direct into an interface, or enthusiasts who want the flexibility of practicing unplugged at home while still being able to “crank it up” when friends come over. On the other hand, it might not be suitable for those who are strictly purists looking for the deepest, most resonant dreadnought sound for purely bluegrass or unplugged folk settings, where the thin-body design of some acoustic-electrics might feel too bright. In those cases, a full-bodied dreadnought without electronics might be a more traditional choice.

Before investing, consider these crucial points in detail:

• Dimensions & Body Shape: The shape of the guitar dictates both comfort and tone. A “Festival” or “Grand Auditorium” body is generally thinner than a dreadnought, making it much easier to hold for long periods, especially for smaller-framed players. This reduced depth also significantly helps in reducing low-end feedback when the guitar is amplified.
• Electronics & Preamp Quality: Since the “electric” part of the name is 50% of the equation, the preamp system is vital. Look for systems that include at least a 3-band EQ (Bass, Middle, Treble) and a built-in tuner. Higher-end systems, like the one found when you see its full feature set and user reviews, will also include a “presence” or “notch” control to kill feedback frequencies.
• Tonewoods & Durability: The choice of wood affects the “color” of your sound. Spruce is the industry standard for tops because of its clarity and projection, while Maple (often used in the back and sides of stage guitars) provides a bright, percussive attack that helps the guitar “cut through” a dense band mix.
• Ease of Use & Playability: A guitar is only as good as its neck. Features like a Florentine cutaway allow your hand to reach the higher frets easily, which is essential for lead playing. Additionally, check if the guitar has a two-way truss rod, which allows for precise adjustments of the neck’s curvature to compensate for humidity changes.

Understanding these variables is the first step toward finding an instrument that won’t just sit in its case. While the Washburn Festival EA20 Acoustic-Electric Guitar is an excellent choice for those seeking a professional-grade stage instrument, it’s always wise to see how it stacks up against the competition. For a broader look at all the top models, we highly recommend checking out our complete, in-depth guide:

First Impressions: Unboxing the Washburn Festival EA20 Acoustic-Electric Guitar

When we first pulled the Washburn Festival EA20 Acoustic-Electric Guitar out of its packaging, the visual impact was immediate. The Natural finish over the Spruce top and Flame Maple back and sides gives it a classic yet high-end aesthetic that looks far more expensive than its price tag suggests. In an era where many manufacturers are moving toward matte, “open-pore” finishes to save on costs, Washburn has stuck with a polished, professional look that screams “stage-ready.”

The “Festival” body style is a proprietary Washburn design that feels incredibly ergonomic. It is notably thinner than a standard dreadnought, sitting snugly against the body. When we first sat down to play it, the Florentine cutaway—that sharp, stylish notch—immediately stood out. It doesn’t just look aggressive; it provides unparalleled access to the upper register. Before even plugging it in, we noticed the weight balance was nearly perfect, a testament to the quality of the Flame Maple used in the construction. We took a moment to check the latest price and availability and were honestly surprised that this level of finish work is available to the average gigging musician. It feels solid, substantial, and ready for the rigors of the road.

A Deep Dive into the Performance of the Washburn Festival EA20 Acoustic-Electric Guitar

Writing this review required more than just a quick strum. We took the Washburn Festival EA20 Acoustic-Electric Guitar through its paces over several weeks, testing it in quiet practice environments, direct-to-interface recording sessions, and high-volume rehearsal spaces. What we discovered is an instrument that isn’t trying to be a “do-it-all” campfire guitar, but rather a specialized tool for the performing artist.

The Festival Body and Florentine Cutaway: A Masterclass in Ergonomics

The standout feature of the Washburn Festival EA20 Acoustic-Electric Guitar is undoubtedly its physical architecture. Most acoustic guitars are bulky, forcing your strumming arm into an awkward angle. We found that the thinner “Festival” body depth solves this immediately. It feels more like playing a large electric guitar than a traditional acoustic. This isn’t just about comfort; it’s a technical advantage. Thinner bodies have a higher resonant frequency, which means they are significantly less prone to that low-end “howl” or feedback that happens when you stand too close to a monitor on stage.

The Florentine cutaway is the other half of this playability equation. While many guitars use a “Venetian” (rounded) cutaway, the sharp Florentine point on the EA20 allows your hand to move deeper into the neck without your palm hitting the body. During our testing, we were able to play full-voiced chords and lead lines up to the 19th fret with ease. For players who incorporate fingerstyle techniques or lead fills into their sets, we highly recommend you experience the playability for yourself. It changes the way you approach the fretboard.

Sonic Signature: The Power of Spruce and Flame Maple

The choice of materials in the Washburn Festival EA20 Acoustic-Electric Guitar creates a very specific, and very desirable, tonal profile. Spruce is known for its “snap” and broad dynamic range, but when paired with a Flame Maple back and sides, the result is a bright, shimmering top end with extremely fast note decay. We found that this makes the guitar incredibly articulate. Every note in a complex chord rings out individually rather than blurring together.

As one user noted in their feedback, Maple guitars have a unique sound compared to Mahogany or Rosewood. While Mahogany is warm and “woody” and Rosewood is deep and “scooped,” Maple is transparent. It reflects exactly what you play. If you have a heavy strumming hand, this guitar will bark; if you play lightly, it will shimmer. We were particularly impressed by the stunning visual appeal of the Flame Maple, which catches the light beautifully on stage, adding a level of showmanship to your performance that plain woods simply cannot match.

The Barcus-Berry EQ4T Preamp: Professional Control at Your Fingertips

An acoustic-electric is only as good as its pickup system, and Washburn didn’t cut corners here. The inclusion of the Barcus-Berry EQ4T system is a massive win. In our evaluation, the 4-band EQ (Bass, Middle, Treble, and Presence) allowed us to dial in a usable tone in seconds, regardless of the amp or PA we were using. The “Presence” control is particularly useful for adding that “air” and sparkle to the top end that often gets lost in digital mixers.

We also put the built-in tuner to the test. It is bright, responsive, and—most importantly—it mutes the output when engaged. This is essential for professional gigging; nobody wants to hear you tune between songs. The notch control also worked wonders in a high-gain environment, allowing us to “dial out” a specific frequency that was causing a feedback loop. This level of control is a feature that really sets it apart from the “volume-and-tone-only” knobs found on entry-level models.

Build Quality and Tuning Stability: The Road-Ready Neck

A guitar that won’t stay in tune is a liability. The Washburn Festival EA20 Acoustic-Electric Guitar features a Maple neck with a 2-way Truss rod. During our testing period, we moved the guitar between a climate-controlled studio and a humid outdoor porch. The neck remained remarkably stable. Many guitars at this price point require a setup adjustment the moment the weather changes, but the 2-way truss rod gives you the flexibility to make micro-adjustments in both directions, ensuring the “action” (the height of the strings) stays exactly where you like it.

The engineered wood fretboard was a point of interest for us. While some might miss the feel of Rosewood, the engineered wood used here is extremely dense and smooth. It feels very similar to Ebony—slick, fast, and resistant to wear. We found that it contributed to the overall brightness of the instrument, providing a “snappy” feel under the fingers that encouraged fast playing. When you factor in the high-quality D’Addario EXP-16 strings that come standard, the guitar feels premium from the moment you first pick it up.

What Other Users Are Saying

The general sentiment surrounding the Washburn Festival EA20 Acoustic-Electric Guitar is one of pleasant surprise regarding its value-to-performance ratio. Users consistently praise the instrument’s arrival condition and ease of play right out of the box. One reviewer highlighted how fast the shipping was and noted that the guitar “plays easy and sounds great,” which aligns perfectly with our findings regarding the neck profile and setup.

Another common theme in user feedback is the appreciation for the unique Maple tonality. As one player accurately pointed out, Maple has its own voice that stands apart from the common Mahogany or Rosewood builds. Positive reviews often mention the “clear and balanced” sound provided by the Barcus-Berry electronics. On the flip side, some users have noted that the thin body lacks the “unplugged boom” of a traditional dreadnought. While this is a design choice rather than a defect, it is relevant feedback for someone looking for a guitar primarily for unamplified living room playing. Overall, the consensus is that for the gigging musician, this guitar is a reliable, high-performing “great vendor” recommendation.

Comparing the Washburn Festival EA20 Acoustic-Electric Guitar to the Competition

While the Washburn Festival EA20 Acoustic-Electric Guitar is a powerhouse, it’s important to see how it compares to other industry staples to ensure you’re making the right choice for your specific style.

1. Fender CD-60SCE 12-String Acoustic Guitar

If you are looking for a massive, choral sound, the Fender CD-60SCE 12-string is a completely different beast. While the Washburn EA20 focuses on precision and stage feedback control, this Fender provides the lush, doubling effect that only 12 strings can offer. It features a solid spruce top but lacks the thin-body comfort of the Washburn. We would recommend the Fender for solo performers who want to fill up a lot of sonic space, but it won’t offer the same lead-playing agility or upper-fret access that the Washburn’s Florentine cutaway provides.

2. Yamaha APX600 OBB Acoustic-Electric Guitar

The Yamaha APX600 is perhaps the closest direct competitor to the EA20. It also features a thin-line body designed for stage use. However, the Yamaha typically uses a shorter scale length and a slightly different electronics package. While the Yamaha is an incredible “workhorse” and often slightly more affordable, the Washburn Festival EA20 Acoustic-Electric Guitar wins out on aesthetics with its Flame Maple back and the more sophisticated Barcus-Berry EQ4T system. If you prefer a “flashier” look and more granular EQ control, the Washburn is the better investment.

3. Cordoba C5-CET Spalted Maple Cutaway Classical Guitar

For those who want the Maple look but prefer the soft touch of nylon strings, the Cordoba C5-CET is a fantastic alternative. Like the Washburn, it features a thin-body cutaway design, but being a classical guitar, it has a much wider nut width and a flatter fretboard. It is perfect for bossa nova, classical, or folk styles where a mellow tone is required. However, if you are playing rock, country, or pop, the steel-string snap of the Washburn EA20 is much more appropriate and will hold up better in a loud band environment.

The Final Verdict: Is the Washburn Festival EA20 Acoustic-Electric Guitar Right for You?

After putting the Washburn Festival EA20 Acoustic-Electric Guitar through a rigorous evaluation, we can confidently say it is one of the most reliable and aesthetically pleasing “stage” guitars in its class. It strikes a rare balance between comfort, feedback resistance, and professional electronic features. While it may not have the unplugged low-end thunder of a massive dreadnought, that is exactly why it succeeds—it is built to be played through a speaker, where those low frequencies usually cause problems. Its bright, articulate voice and incredibly fast neck make it a joy to play for hours on end.

We recommend this guitar to any performing musician, from the weekend warrior to the touring professional, who needs an instrument that looks as good as it sounds. If you are tired of fighting feedback and want a guitar that feels as effortless as an electric, you should definitely secure your own Washburn Festival EA20 today and take your live performances to the next level.