...That does beg the question of what amp setup would you guys use if you had this guitar and wanted to perform a solo singing/playing gig outdoors? I just started researching the idea, and saw that Boss Acoustic singer live rig, looks interesting but prefer tips from those that perform.
This is a huge topic, and full of opportunity for personal preference discussions. I refuse to shy away, especially from over-simplifications and super-summaries...
If you have a discerning ear, I would suggest you purchase as much pickup/sound reinforcement gear as you can afford, and then expect to spend tons more, later, as you try to "improve" your rig. Or your ears. Depending on your physicality and frequency of performance, gear weight and number of trips to the vehicle are an extra consideration. Do you want to cart lots of stuff back and forth, or just make one trip?
Microphones will most accurately reproduce the sound of your acoustic instrument, but controlling feedback outside of a studio environment can become a career, overshadowing (and ruining) a performance. Microphones can be mounted onto, as well as inside of a guitar. These all require serious pre-amplification/equalization control to suppress feedback. And that translates as a power requirement which usually means an onboard battery, though some may be powered via Phantom power (which requires use of a TRS or XLR cable). Powered pickups are referred to as "active", while non-powered pickups are referred to as "passive".
Under Saddle Transducers, both active and passive systems, give an acoustic guitarist greater volume and freedom of movement before feedback, but are notorious for that piezo "quack-ey" sound. They are not difficult to install: you have to drill a hole though the saddle slot, then adjust the saddle height to account for the height of the pickup. And you want to properly attach them to a 1/4" endpin jack in order to be able to plug and unplug your guitar. If you don't get perfect seating of the UST (saddle compressing pickup ribbon against saddle slot) you get to deal with individual string volume, as well as quality of sound issues. Here, Mi-Si pickups are worth mentioning, as they offer an active UST powered via a capacitor (a 60 second charge provides an entire day's worth of performance).
Edit: An oft-unmentioned pickup is the Barbera Transducer. Think of it as a "saddle replacement." Like a UST it requires drilling a small hole through the saddle slot. It completely replaces an existing saddle. The downside? You don't get to fiddle around with saddle intonation and height. But, assuming you are past those stages, the benefits come into play: It is passive (no power required), loud, relatively feedback resistant, and it sounds really, really good.
Bridgeplate-mounted transducers are now quite common, as they produce a warmer, more "woody" sound and are less "quack-ey" that USTs. Many must be glued in, which some folks refer to as a "destructive" install. Some may be attached using special double-sided tape, so these are referred to as "non-destructive". At issue is whether or not you plan (or will need) to remove or replace them, later. LR Baggs Anthem is popular, sounds good, is a bit involved to install, and requires a battery. K&K is popular, sounds "acoustic-ey", doesn't need a battery, but must (should) be glued in, and is more prone to feedback than some other offerings. James May Ultra Tonic is like a K&K with built-in feedback suppression, doesn't need power, but must also be glued in. Trance Amulet features a non-destructive install, sounds great, is real feedback resistant, but is a bit more finicky to install and requires power (either on-board battery or Phantom power). And the list goes on.
I'll leave the vocal microphone selection discussion for another day (hint: Use one that you like and can afford).
An "acoustic amp" is a bare minimum requirement (an acoustic guitar does not sound like an acoustic guitar through an electric guitar amp). You can pay a small fortune for a quality acoustic amp, and it may be just what you need... until you become convinced you need more.
A "PA" can be a step up for the performing musician, especially for vocals. A big PA can mean lots of heavy equipment, but can sound outstanding. Bose was an early proponent of minimizing the amount and weight of the gear while maximizing the sound, though now, many others have joined the effort. Though no longer made, I would contend that the Fishman SA220 may have been one of the best valued solo acoustic performer's rig made, to date. I sold mine to a starving artist (I had purchased a Bose L1 Model II to replace it), but it never failed to get rave reviews from audience members. If you can locate a used one in working condition, I would suggest snagging it.
The most important thing to remember about amplifying your acoustic guitar is (if I didn't already mention it) to plan on spending more money on more gear, later.
