"52 WEEKS OF MUSIC CITY" | Kimura Productions

Week 52 (12-27-18): Robert Earl Keen

Well, we're here. This is the end. Over the year I've talked about the extremely high expectations of "52 Weeks of Music City" and the fundamentals of what goes in to a great show. I've focused on the energy of the performance, the chemistry of the band, the technical skill, the writing, the passion, etc. Those are the main focus points in all the reviews over the year. And as the year has gone on, the expectations have gotten higher and higher. Week 52 is no different. In fact, the expectations have never been higher as we are in the last and final show. And it's at a venue where they won't allow just anyone to perform. You have to have a history and you have to have a successful history in this seemingly impossible industry. So, therefore, the expectations are highest at this level. I've said how every show is special and different in some way, and this final show is an example to that and all the expectations.

I was fortunate enough to end this incredible journey at a venue that meets every expectation and has a history of brining in the highest caliber musicians where not just anyone can play. The Ryman Auditorium. It has such a rich history where photography is not allowed unless under special permission. You can't even have your phone out (at most shows) without risking getting thrown out. This stage has had the best in the industry step on the hardwood of that stage, so it's a big privilege to end this journey here. And Robert Earl Keen did all the justice of what that hardwood stage deserved to conclude this journey. I've shot multiple bands from Texas, and that is a state that breeds talent and musicians. So ultimately I expect a lot coming from that state. Keen is by far a stranger to the stage and has had decades of success as a singer/songwriter from Texas. So much to the point that he would barely have to sing at the notorious Ryman since the packed out crowd was providing backup vocals throughout the show. To fill the Ryman and have everyone singing along and creating a sense of togetherness in a world with such separation is a special thing in itself. And Keen accomplished just that.

This show demonstrated how Nashville brings the cream of the crop to the music industry. The versatileness that each musician brought was the best of the best. Throughout the show Keen would give the mic to each member of the band to sing a song. So you would see a little spotlight from each person who demonstrated the versatileness I earlier described. For example, you would see Tom come from behind the drum kit to the front stage and sing a song, meanwhile Brian would step away from the fiddle and go behind the drum set, just to jump back to the front of the stage to play a song on guitar for his turn in the spot light. I've thrown the term "singer/songwriter" out at many of these reviews. It's a term that may be overused a bit. Just because you play an instrument and write down words doesn't necessarily give you that title. There are different levels of singer/songwriters, but it's not a title that everyone is entitled to. Everything has to go together and make sense and there has to be meaning and passion behind the track, otherwise it's just a hobby verse a passion, and there is a difference. Nothing wrong with either or, it just is what it is and I try to call it what it is. Ex: I love playing this guitar, and I love writing songs, and I love creating lyrics, but I don't have the passion for it as many other people, therefore, I am not a singer/songwriter, and I'm good with that. But there is, without a doubt, that nobody can question that title for Keen as he has been this industry writing since the early 80's with over a dozen albums and many more singles. This is why this show was so special to me, because it was a compilation of success of what a singer/songwriter has accomplished. It is what true Nashville brings and represents. It's the best of the best. It's a testament to see the success at a show at a venue that is notorious for having an audience that knows music so well.

As I said before, each show is special and unique in itself. Not just because of the musician or the venue, but also the environment and surroundings. This was a show that was staged so incredibly amazing with all the props on stage and the outfits worn by the band members. It was such a fun show to shoot and you really couldn't get a bad angle. This was a Christmas tour called "Cosmic Cowboy Christmas" so, the energy was there, the passion was there, the love was there. Being in the industry for so long, and as many tours as I can imagine as Keen has been on, it was a beautiful thing to see him perform with so much love and a smile that wouldn't go away throughout the night. That wasn't just for show either. As the show went on and each member had their moment to sing a song, Keen would be back stage and I would talk to him between songs and he would say "You having fun?!" or "Hey, this would be a cool shot right here!" and then he would say "These guys are great, aren't they?!" It's the little moments like that which was why this was a perfect way to end it. After the show we talked for just a bit backstage and the smiles continued. It's so great to see such success come from such a genuine person and I couldn't have ended this journey on a higher note than I did. It was the perfect way to wrap up "52 Weeks of Music City".

A very special and sincere “thank you” to all the bands/artists/venues/staff who have been a part of this project and journey. I have learned more than I could ever imagined.

Week 51 (12-22-18): Three Star Revival

There is a lot of appreciation I have when a band brings something new to the table. I love when all the pieces fit together perfectly and each shows their talent in different way. Three Star Revival had all the technical components and complexity that you would want in a show. As this journey comes near the end of I've learned that the talent that this town has, and the talent that this town brings in, is beyond next of what any city has to offer at this level and at this quantity. There is so much talent everywhere, so not matter how big or how small the venue is, you have to bring the most energy and the best performance, otherwise this industry will eat you alive. Three Star Revival had all the elements as they demonstrated at the Basement East.

Their style is very groovy with a "feel good" vibe with the effects they use. They compose each track with a bit of a solo from each instrument, which may sound like a lot, but is by far not overdone. Nowadays I feel people focus more on the length of the track to make something more commercial/marketable/radio ready. I feel like Three Star Revival focuses on the music and making a great track. Does it really matter if it's a minute longer? Maybe it won't get on radio, but it puts for a better track that has a more full completed sounding composition, which is what they bring. If it needs to be longer, make it longer. The energy of the show was incredibly high and well received by the audience. This is East Nashville, so it’s the most artistic areas in Nashville where people bring the high expectations to this specific venue. It's easy to tell that they have made a footprint in the industry by having a following come from different parts of the state while singing and dancing along throughout the show. It's very possible that this following could grow up north and further west with the uniqueness they achieve.

Ben was playing rhythm along side lead vocals showing off his range with high notes and complicated vibrato in his voice. If you were to see him live it would be obvious to notice that he is a true performer. Cameron was playing lead guitar adding in each subtle note that was the cherries to all chords separating the sound from each song, making it original. Gregory was on the keys adding a very bluesy/jazz sound. He would go off on a solo hitting each key with precision and power. If you take away Gregory, it's just a different band with a different sound and something would be noticeably missing. Tyler played the bass, with a little backup vocals, sliding all up and down and making his solos sound as if it was on a regular guitar. And then Bo was on the drums demonstrating the technical beats playing soft, than bringing up the energy during the build up. He would have sections where there would be a perfect metronome roll on the snare while hitting ghost note beats. It's very important to have chemistry with the whole stage when you have a band that goes off on a jam band style tangent filled with solos. It's something that you can't really rehearse, it just has to come naturally. When you have the chemistry and everyone on stage is on the same page then the end result is an impressive and brilliant performance that the audience will enjoy. They each brought the energy to the stage and demonstrated why Nashville is such a competitive market, because the competition is high.

Week 50 (12-13-18): Lance and Lea

Lance and Lea has proudly kept the streak of uniqueness and authenticity going during their performance at the Analog at Hutton Hotel. This was a duo performance with a couple in the front with a full band behind them. This was a show for their album release of "There Goes My Heart". It's obvious by now that the performance and energy a band brings stands out in these reviews. I've said so many times how you can tell how much a band loves what they do by their performance. This was a little different. Every band in the past has sung to their audience and engaged them by putting all focus on the show for that specific audience. This show was unique in it's own as Lance and Lea sung to each other almost performing for one another verse the audience. It's not only obvious that they love performing musically, but it is very apparent that they perform to each other. Singing back and forth looking at each other more than singing to the audience. They create a moment that is theirs and they are in their own moment and through that, they share it with the audience. It's really special when you have something so raw and authentic that you are a part of something that is so meaningful, even if that moment wasn't written specifically for you.

Their writing is incredibly relevant and relatable. But also very specific as they write about past events they've shared together. Again, as relatable as it is, it's tailored to them specifically which is why it's so unique and well written. They don't hold back in their writing and let it all out for the world to hear. The good times and the bad. Writing with that much vulnerability brings out an extraordinary authentic final product. Many duos have a similar feel where it's soft with an acoustic "easy listening" sound which is incredibly relaxing. As Lance and Lea definitely have that sound, they also bring another rougher/harder sound. I talked to Lance after the show and had to give him credit for his performance. I don't know if he was just showing off, or was just having a good day, or if he just had high energy being their album release, but he brought everything he had that night. I was truly impressed how he brought a harder grungier sound to a soft duo set. The energy and sounds he brought out of the guitar reminded me of the end of "Back to the Future" where Marty McFly was playing "Johnny B. Goode" with the crazy guitar solos bringing the energy up in the entire venue. Lea wasn't too far off either. She wasn't just pretty girl who could sing standing on stage. Definitely such more than that as she brought so many different elements playing rhythm acoustic and stepping on the piano demonstrating her versatile musicianship.

But the chemistry of the two singing together really meshed well with the rest of the sound these two projected. Just having two different pitches of male/female vocals isn't enough. There has to be the right sound to complete great sounding harmonies. It takes a lot of time and a lot of practice to accomplish what Lance and Lea has vocally. This is where the chemistry is most important as you want to separate yourself from all the other duos out there. The timing has to be right and the tone in your voice has to be specific for two different sounds to match. The two sounds vocally have to compliment each other as these specific ingredients can’t contradict the sound as they are matched together. They seemed to have perfected that in their album release show. I spoke to both of them for a bit after the show and they were telling me how this album was a five year long project from writing the tracks, recording the record, to waiting for the right time to release the final master. It takes patience and discipline to have a successful release and I don't know if it was just the right timing, or if the performance was just perfectly practiced and executed, but everything seemed to be going right for this duo that night. All the work compiled in that five year span lasted an hour and it reminded me that the process is often taken for granted when watching a show. It was a subtle reminder that these people don’t just get on stage and perform, there is a long process to get from the songs to the stage.

Week 49 (12-07-18): Great Peacock

As I wind down this journey with only a few shows left I reflect on a lot of these past shows and reminisce on all the great music I've heard and discovered over this long year. When I shoot a show and write a review, it's not over. I continue to follow these bands and I continually listen to a lot their music and repost their accomplishments and their milestones. I have become a fan of these bands and really become extremely passionate of these people personally. They have my support and my best wishes of success. This was my immediate thought this week as I shot Great Peacock at the Basement East. Their style is extremely eclectic ranging from a soft country/Americana sound to soft rock feel. Their music is just so mesmerizing the way it’s composed. I found myself going into a wormhole on the internet searching for all of their music. Their music is so well written and very well composed that I continually wanted more.

Andrew is on guitar and lead vocals. He has a very unique sound to his voice being able to distinguish the Great Peacock sound that separates other bands. Everything goes together perfectly. Frank was on the bass and backup vocals. Often times I feel like there is a little less communication on stage with the bass player. Sometimes they just stand in the corner off in their own world playing along, but Frank made statements while playing being involved and anything but an ordinary bass player just standing on the back of the stage. He was extremely energetic and showed passion while performing. Lemuel was on the drums and at one point the entire band circled him playing off his energy almost letting him dictate where the song was rising and going down. It really showed the level of respect and enjoyment all around from each member of the band. And at last, Blount was on lead guitar and vocals. Aside from his crazy energy throwing his hair all over the place, lifting his guitar high in the air to show the crowd, and crazy outfit wearing a poncho, he is extremely talented with his high energy matching his technical skills as a musician. He is every live music photographers dream, bringing authenticity and emotion on the stage. His vocals perfectly compliment Andrew's giving them that soft country sound.

I was instantly hooked listening to their music. The writing definitely fits what I listen to on a regular basis. The rhythm is so well done and different from other sounds. They have a soft country sound but with rock like rhythms, it really blends together uniquely and beautifully. Then the song builds up to the chorus which is where you can hear how much of these songs can be a hit where it’s a very recognizable sound that you will want to hear again and again, and then it leads in to the solos where Blount would go off on a tangent throwing all the cherries on top ending the song with a perfectly orchestrated composition. I have a very strong feeling that this is going to be another band that I will be reposting a lot of successful stories on. They had a new album drop earlier in the year, “Gran Pavo Real”, that is great from beginning to end. There aren't a lot of full length albums out as I feel people's attention span is getting shorter by the minute, but this album really keeps you in tune the entire way through. Their music is so likable that you would find yourself, as I did, going back and listening more and more often. I wouldn’t be surprised if they found success in soundtracks in TV and film and their music really fits a lot of “feel good” moments and enhances a moment.

Week 48 (12-01-18): The Wooks

Sometimes these reviews are hard to start. There are so many things to cover from the performance to the talent. This show had a little bit of everything. Definitely the talent was there, the uniqueness of the performance, the writing, the style. One thing is for sure, The Wooks exceeded the high expectations for a great show at the High Watt. I've covered a lot of different genres during this journey. The Wooks covers a few of them. This Lexington native band brings the term Bluegrass to a whole new level. They have the grassy roots in their stings and it's mixed in with the Americana (and a slight country) feel. I always find it interesting how a band is set up from the different instruments, especially bluegrass bands. There wasn't a percussion at this show. It was composed of Arther on guitar and vocals with CJ accompanying vocals and on the lead guitar with Roddy on the bass and vocals, Harry on the mandolin, and a banjoist.

One of the things I love about live shows is watching the bands chemistry and how they react to each other and the energy they play off one another. One musician would go on a solo and all eyes on stage would be on that one person giving the direction of the build up and transitioning to another continuing the solo. Some of it seemed improvised, which I loved because you get these magic moments (as I saw multiple times throughout the show) that are unique to that performance only and the raw talent really comes out, but it all seemed very well rehearsed. You have to have a lot of chemistry to have something like that happen with five musicians on stage. It was extremely visually satisfying watching each member trade off solos and watching what one another was going to do next, but it was incredible sounding with all those strings up there not missing a beat and all staying in tune with each other.

As far as the technical aspects go, this has been one of the most talented string band I've seen. The writing is beyond exceptional. Their track "Out of Mine" is incredibly well written and composed from the lyrics to each solo. The entire flow was to perfection. The guitar solos were as technical as I've seen in a while. The banjo playing was the bluegrass touch at an expert level. The way they would all come together and vocally harmonize together would make you forget where you were. Lastly, the mandolin. Harry could put on a show alone with the way he played. I have never seen a more talented mandolin player as I did that night. He made sounds that I didn't know was possible. The mandolin is such a special instrument because it adds a beautiful soft addition to the overall sound, but Harry brought the sound out at such a higher level that I've never heard before with adding solos so complicated filled with fast strumming and muting out the strings adding a sense of percussion rhythm. It was anything but subtle, in the best possible way. Sometimes I mention a well known artist that reminds me of the band just to give a feeling of what they sound like to someone who's never heard them before. I can't really pick a specific band/artist that the Wooks sound like. They sound like the Wooks. They are completely original in their sound and I can't put a band like them. It's such an original sound and they have separated themselves from the other musicians bringing something new, fresh, and different.

Week 47 (11-23-18): Strung Like A Horse

I've always said you can tell how much a band loves what they do by their performance. Sometimes it's a very passionate love of music, sometimes it's being on stage and sharing an emotion through music. Either way the crowd will react based on that particular emotion during that particular performance. If you're up there looking miserable the audience is going to be miserable as well. For Strung Like A Horse’s performance, it’s very apparent the audience was anything but miserable and they love what they do from the show they put on. And the audience reacted the exact same way. I haven't seen a band have as much fun on stage as I saw with Strung Like A Horse at EXIT/IN. It's easy for an audience to be engaged and have fun and react to a band's performance if everything in the show is working. But to have the crowd as engaged and participating was special. There was a moment where Clay, lead vocals/guitar and Tyler, lead guitar, went to the front of the stage holding a chord on the guitar letting the audience strum the guitars. At one point they had the entire venue head banging. The engagement was very well received and everyone in the room was having a blast. There were smiles all the way around from both sides of the stage. I saw a fan taking a picture in front of the stage and the band got in the background posing for the camera.

The energy was overwhelmingly high in the entire building. SLAH would definitely fit into the Americana genre, but added many different elements beyond that. This band from Chattanooga brought their grassy roots to Nashville and it was very well received. They had some songs that were very gritty honky tonk style with Eric running the fast tempo bass-snare-bass-snare on the drums. Then there was a bit of a softer southern rock on a few songs. But you can't have an "Americana Sound" without a huge upright bass. I always loved the upright bass because, visually, it just fills up the stage so much more, and photographically just adds something old timey and different from the rest of the musicians on stage. Audio wise, I love how deep of a sound you can get with a little bit of a ring (or rattle) from the stings. And the final Americana ingredient was the Ben plucking away at the banjo.

This was definitely an enjoyable show. I really appreciate the high energy and talent SLAH brought to Nashville. It was a fun show to shoot all the quirks from head banging to laying on stage to the belly dancer who came out for a few songs. It really matched the writing for the lyrics of the songs as they tell so many stories and almost acted them out on stage. It's ok to be goofy, it's definitely a must to have fun, but at the same time taking your music and the performance serious and making sure everyone is enjoying themselves while doing all the above is a special thing, which is why this is a special band. They put a new meaning to the word "show" and you can't leave without having a huge smile on your face.

Week 46 (11-15-18): Jackson Bruck & The Dukes of Hume

As the weeks go on, the level of expectations are get higher and higher as we only have six shows left. I've experienced some of the most talented musicians on this journey, so this isn't something that I'll let just anybody be a part of. When it comes to shooting a band, I'm open to all suggestions. As long as they're good, I don't really care how we cross paths. A lot of times a band will reach out to me, sometimes it's a band that I heard at the same show opening for another band I'm shooting. However I come across a band to shoot is irrelevant to me, the number of followers and how "big" they are is irrelevant to me. They have to be good since there are so many options out there, I want to be able to have a good show to shoot and to write a review on. I came across Jackson Bruck & The Dukes Of Hume from a friend who went to one of their pervious shows and he said I had to include them in "52 Weeks of Music City". So I did my due diligences and checked out Jackson Bruck's music and then immediately reached out to have them be a part of this. Luckily they had a show for their single release at True Music Room and Bar during a week I was available and we were able to make it work. And they are a specific reason of why the expectations of "52 Weeks" are so high, and with only 6 shows left, they have raised the bar.

I don't choose specific genres and there isn't any specific qualifying factor I look for in shooting a band. I just want to hear great music that I can discover and relate to. Jackson Bruck & The Dukes Of Hume covered everything I was looking for in shooting a show to review. The performance was stellar with energy. It's always obvious how much a band loves to perform by the energy they bring. But not just the frontman. I look at each individual piece and it's obvious if they are just performing to fill a paycheck, or if they are really in to the music and love what they are doing. It adds to the show if every person on the stage brings the same level of energy, the they all had that. Corky, or the "Californian Cowboy" as he was referred to, was on the lead guitar adding elements of rock solos throughout the show. His energy level was so in the moment of the performance where your eyes would drift over to watch him rocking out in the coolest outfit of "52 Weeks". Alongside Jackson was his sister Jacy singing harmony beautifully, adding a soft sense of melody in what was a rock show. It was a very subtle but extremely noticeable addition to the group as she added a full sound to the chorus/backups. Chris was on the bass and backup vocals and Sten on the drums as they kept the beat setting the tempo and powerful moments of the show. And then there was Jackson on guitar/vocals. Energetic, talented, passionate. Obvious things to say in a review that don't really express the level of meaning for each term. He was energetic from the way he would scream out a chorus demanding all eyes on stage. He was communicating with band members even if he had his back towards them on stage. He would be all over the stage getting the whole crowd to participate and would set the mood from his performance to the audience where eventually everyone in the venue was singing and dancing together. He's extremely talented with the technical aspects using every inch of the guitar and not sticking to basic chords, nothing about this performance was basic. His vocals seemed so experienced at such a young age where you can tell he has practiced over and over again until there was perfection. And he was passionate as you felt every emotion as he would strike the guitar for every chord.

His passion transitioned off the stage as I talked to him for a while after the show. This was a very heavily classical rock influenced band and when I talked to him I told him how much it reminded me of Bruce Springsteen. Everywhere from the music but most specifically edginess in his voice. There was the same melodic raspiness in his voice which propelled throughout the venue creating such an amazing performance. He talked about how much of an influence Springsteen was and how passionate he was about being an actual rock band, not just from the music, but through the lyrics as well. It was really refreshing to hear someone at that age appreciating and keeping such an important and influential genre alive. I see big things in the future for Jackson Bruck & the Dukes of Hume. If you do so many things right, there's no way you can fail. This band has a lot of time to get things going and if they stay focused and continue doing what they're doing, they'll find success.

Week 45 (11-07-18): Dan Layus

Long before I even moved to Nashville I had a very special and specific place for music in my heart. Music motivated me. It would set a mood for me. It would create a moment, or it would bring back a moment. There are very specific parts of my life that I relive through music. I remember walking to class listening to songs and over a decade later, when I listen to the same song, it takes me back to that moment which was so special. And if you told me over a decade later that I would be shooting a show of that specific moment, I would never believe you. I've mentioned how every show I've shot for the duration of "52 Weeks of Music City" has been special for one reason or another. This was a special week just for me because I relived so many moments of my life as I was so fortunate to shoot Dan Layus for Week 45 at City Winery Nashville. I've always appreciated and adored Augustana and what they have musically helped me get through and related to. I used to play "Boston" at every show I played in college, so when Layus played that on the piano, it was extremely difficult for me to take photos as I was behind him on the stage and wanted nothing more than to put the camera down for just one song and enjoy those memories from so long ago.

Besides music, the performance is one of the things I focus the most on in all of these reviews. I just really appreciate the vibe a band or artist brings. There is a different level of energy with different shows. This particular show was a solo set with Layus. So as large as the City Winery is, the overall setting was incredibly intimate as Layus was the only one on a large stage. But I've never seen an artist so in the moment as I saw Lays during his set. He is definitely no stranger to the stage, but to isolate yourself being the only person on stage with all eyes on you and to be that in the moment is true love for the art. I've talked about the different dynamics of band on stage. I've seen a pack crowded stage with 12 plus musicians having a full sound, and I've talked about smaller traditional alternative bands having the fundamental guitar/bass/drums and how the focus is a lot less distracted with all the other sounds. But having just one artist on stage with one instrument is incredibly vulnerable where all focus is on you, especially at a large packed out venue like City Winery. But Layus put all vulnerability aside and put on a show expressing all emotions making you feel like you are the only one in the audience.

To set the night, Layus would play some songs switching from electric to acoustic, then over to the grand piano, and back to the acoustic. I've listened to a lot of his music in the past, but this was the first time I've heard him live. It was definitely a different experience hearing first hand as it was definitely a different setting from previously recorded tracks I've heard. Again, it was a solo set so everything was very isolated as all the focus was on one part of the stage. Since it was just Layus, you really saw the raw talent come out. His voice was unlike anything I've previously heard as it seemed so controlled and well practiced. He has a bit of soft raspiness with a melodic vibrato that I haven't noticed before. I've always been jealous of pianist. It's an instrument that can have any version of any song,and when a musician can be alone on stage with a piano and a microphone and fill up a huge room, you're gonna have an emotional feeling to the performance. This was the first show of this project where there was a baby grand piano and Layus definitely did it justice and I was very proud to be able to capture that moment and have it be a part of this project. One of the things that really stood out to me the most about the show was how Layus would bow in appreciation after every song. It's something I've never seen before and was a perfect conclusion to every song. It really demonstrated the love and appreciation he felt from the audience. As the show ended I headed back to the greenroom and got to talk to him for a little bit before the night let up. I was talking to him about the set and how much I enjoyed it and he showed that same appreciation and humbleness as he did on stage. He was truly genuine and it was a true pleasure to include him include him in this project.

Week 44.2 (11-01-18): Pet Envy

Part two of Week 44 was with Pet Envy at The Basement East. I said I wasn't going to do multiple shows in a week. It's just too much work. I said in a previous review how I research a band and listen to their music before reaching out to them about a show. I want to know what I'm about to shoot and I want to know the band and see how their online tracks translate to the stage. I had reached out to a few bands and it was just good timing where there were two really great bands playing that was luckily the same show. So I thought that it would be better to spend a little more time to do a second review that week vs only covering one band, because it would be really hard picking one over the other as they're both so talented. Pet Envy was the headliner for Lightning 100's November show for Thunderground. Anytime there is a Lightning 100 event, count on the headliner being amazing. They know music so well and know what great raw talent is that I've never been to a Lightning 100 sponsored event where the headliner was lacking in any aspect of their performance. Pet Envy kept that streak alive that night. They brought whatever they needed to bring in any form that it could be brought in because they had 100% everything of what I want to see in a show. Great music, amazing vocals, on point musicians, and a wildly entertaining performance.

I was greeted by Jake in the greenroom and from the second I met him I knew he was an entertainer. Just a goofy happy guy loving ever second of his life. He brought so much positivity and energy that I couldn't wait to see him perform. Sometimes a band stays backstage in the greenroom getting ready or talking business, or just letting off some steam. But it was fun to see Jake running around the venue dancing to all the openers and having fun. I use the term "animated" a few times in the past. I love it because the artist doesn't care how they look and how goofy they feel, they just want to have fun and live in the moment and that transfers to fun show that everyone is enjoying. That's what Jake brought to the table. You can't watch a Pet Envy show and not think that every person on that stage is having the time of their life.

I'm a little stumped on how to describe their specific genre. It's a little mix of different things. There is definitely a pop essence with a fast jazz beat and a funky grunge taste. Shelbi controls her voice with perfect low natural vibrato in her voice so effortlessly where she'll go from a low to high key bringing the crowd to recognize her talents and be more engaged in the performance. The chemistry on the stage was noticeably strong and natural as they didn't even have to look at each other to feed off one another's energy. The reason why that's so important from a performance standard is because one musician may be feeling a moment and a connection with the audience that the other people on stage has to recognize so everyone can be on the same page and build up that moment more for the show. This is something that can't be practiced or rehearsed because you don't know how you're gonna feel until you are on the stage. There were many moments where I thought, "they are in the moment, they didn't practice this," and it was good and enhanced the show. And that is the difference between an artist with original music creating a moment vs an amazing cover band reading sheet music. Another thing I love is when bands play with a smile on their face. I think that's such an important piece of the performance. If you're not having fun playing, the audience isn't going to be having fun listening. There were all the smiles by everyone on that stage. You could tell how much fun Pet Envy was having and how much they loved being on that stage. Emma would be on the bass laughing and having fun while singing backups sharing that same smile with everyone else. She brought her talents and passion on the stage. I've always said that the bass is an extremely important factor of music that goes unnoticed and king of gets drowned out, but if it's not there you notice it. That wasn't the case with Pet Envy's bassist Emma. She stood out and demanded recognition from her technical knowledge of the bass. Sometimes it's just the levels are right where it sticks out a little more, sometimes it's a complicated bass rhythm that stands out a bit. I don't know what it was but everything about Emma's part of the performance stood out as she played with precision and accuracy. Everything was going right in that department and I'd put her next to any other bassist I've seen play. Everything went right that night. The people were great, the music was amazing, the performance was stellar. I had a feeling going in to the night that this was gonna be a little more work but also was gonna be worth it. I'm glad I did a double header and I thank Pet Envy for confirming that for me.

Week 44.1 (11-01-18): The Roosevelts

I've always proudly bragged about how amazing Nashville is. From the music to the people to the city itself, it's the best place in America to live. One of the reasons why it is so amazing is because of companies/brands like Lightning 100. If you've read past reviews, you will know how special this radio station is. From every Sunday night hosting "Sunday Night Live" with the amazing Ana Lee hosting at 3rd and Lindsley, to huge music festival Live on the Green, they do so much for the music industry here in Nashville. I went to The Basement East for a double header to shoot Lightning 100's Thunderground show which is a show on the first Thursday of every month dedicated to local artists where you can discover great new music. I always find it interesting how different genres are particular about different aspects of their music. Sometimes a band sticks very close to their niche and follow the "rules" of what makes that particular genre what it is. And then there are times where an artist will be so desperate to be different and they try to combine different genres that don't really make sense. Sometimes it can sound cool, but sometimes (maybe most of the time) it doesn't really work and I just get bored and turned off. For example, there was an artist I saw at SXSW a few years ago in Austin and she mixed EDM music with Country calling it "CDM" and it was a disaster of a fail. When you combine two things that extremely opposite it will most likely sound horrible.

But The Roosevelts have the perfect mixture of a few genres that wasn't extreme and wasn't forced and the outcome was a great show that everyone enjoyed. It was very easy listening with a large influence of pop/dance with subtle electronics and alternative/rock. No genre was overtaken by another so the composition of the music was extremely well done and extremely well accepted by the audience. When you have a pop influenced band, the vocals have got to be flawless because you're competing with artists like Justin Timberlake, Bruno Mars, etc. You can't just sing, you have to be a performer. Mitchell was on guitar and lead vocals but he accomplished a great show through hitting those notes and dancing all over the stage. There are always moments in a show where you can tell the artist is connecting with the audience. This happened when Mitchell dedicated a song to a friend that had passed away and he handed out white roses during the song in memory of their friend and also in memory of anyone else in the audience who had experienced that same tragedy. It was a connection that was so deep that I haven't seen throughout this project yet. At that point it was more than just music and a group of guys performing on a big stage. It was a nice moment of reflection and remembering.

This is why music is so special and how a performance can have so much meaning to the audience. The way the guys performed with so much passion and singing with so much emotion, yet not letting it affect your voice, was what set the mood for an entire room and that was something I truly appreciated. Adding to the pop vibe we had Jason on the lead guitar and backup vocals. When they would harmonize together it brought that fullness where you felt like everything was complete. It gave a Maroon 5 kind of feeling when they would harmonize the higher notes. It was such an enjoyment mixture of great music and performing that you couldn't help but clap along and be in the zone. Definitely see something here long term with the Roosevelts as they seem to have all the important pieces together. Great music, great style, great energy!

Week 43 (10-26-18): Caleb Hawley

There are many fundamentals that go into an amazing show. First and foremost, the music has to be good. You have to have a sound that sets the mood, and you get to create and choose what that mood is. There's also an overwhelmingly high amount of music out there where it's incredibly difficult to be different and set yourself apart from all the others bands out there (and you need to be able to do that to create a unique/authentic experience). The lyrics have to be relevant, the rhythm and chorus have to be catchy. The performance has to be entertaining. And if you can't have all of these fundamentals perfected, the audience won't be engaged. Caleb Hawley had all of these things. I could tell this was going to be a good show from the second I walked in the green room at EXIT/IN. The energy just seemed really high and in good spirits. I walked up to Caleb and he immediately jumped up to greet me and we got to talking. He seemed more interested in talking about this project verse his music and showed such appreciation and gratitude for me being there. It's really been a breath of fresh air meeting all these amazing people on this journey and how much support everyone has for one another.

The genuine spirits carried onto the stage as Hawley performed with the same "jumping up" energy and authenticity when we first spoke. All the pieces were together at this show. From the music, to the performance, to the outfits. The 80's windbreakers took me back decades, the "Leon Bridges" style dancing, jumping all around and "dance like nobody's watching" attitude was in the entire room. Not a single person looked bored. It's hard one for me to put a specific genre for Hawley. It was a little jazzy with the keys, and a little funky with the bass, with a late 80's/90's vibe with a touch of Prince. The notes Hawley hits are all the cherries on the top. He has a clean/clear high range but also very raspy at times. When I was researching Hawley to get the overall feeling/vibe I could tell it's going to be worthy show to shoot. Hawley vocals are what lured me in and made me reach out. I knew there was something there and, not to sound modest, I was right. His online music perfectly translates to his onstage performance.

With 43 shows down, I think it's safe to say I've seen an extremely diverse amount of shows and genres. They have all been good, they have all been different. But I don't know if I've ever shot a show where there was more of a connection and interaction with the artist and the audience than I witnessed at Hawley’s show. The way they fed off of each others energy was magical on so many different levels. I've never seen an artist sing with their hands, and really entire body, as much as Hawley did. His performance was almost like a theater where he would include the audience and communicate with them through his animated antics. Everyone was having a blast and you could tell, with the passion Hawley performed with, he was having just as much fun where being on stage is his medicine. He took everyone away from whatever problems, issues, troubles, worries they were having and brought them in the moment where they could escape for a few hours. And that is what it takes to create an amazing show.

Week 42 (10-15-18): Jay Putty

As the weeks have gone on, I have found myself being more selective on who I’m reviewing. From the beginning I’ve always listened to the band prior to their show. It gives me an idea of their style and energy and it gives me what to look for. But I have to also like the music. I listen to their music while editing to remind me what I was going through in that moment, so if I’m going to be listening to a particular band for hours and hours, I’d prefer to enjoy it. Sometimes it takes a little research on the different shows going on that specific week. I found a show at the High Watt and was researching the music and that’s how I came across Jay Putty. I listened to some of his music and got into quick contact with him.

When I first walked into the High Watt it felt like a pretty typical night. Very busy, nice crowd, lots of energy. I always talk to the artist/band of the show I’m shooting, even if it’s for a brief moment. This was a different night for the High Watt as they had about 6 different bands performing. So it was pretty hectic and since the crowd was growing by the minute, it was pretty hard to point anyone out. Keeping in mind, 90% of these musicians I’ve never met before, so it almost seems like a blind date. You don’t really know them. Unfortunately I didn’t get to meet Putty before his set as it was already packed out. As Putty made his way on stage I was at the front setting up and he reached out to shake my hand and thank me for coming. I said “Yeah man! Do your thing and let’s talk after your set.” As many shows as I shoot, I know how busy things get with setting up, sound check, people trying to talk to them. The reason I mention that was I got to talk to Putty after his set and the man is just a fantastic and extremely appreciateive person who doesn’t take anything for granted. It’s always a great experience for me when an artist recognizes that and Putty is the type of person I wish the most success from.

The show was great, the openers were incredibly talented and there was a lot of positive energy on the stage. This was a night where a lot of pop musicians came out. So it was a little out of the norm of what I listen to on a regular day to day basis. I understand autotune and I get the reason why people use it, but I think that it should be a tool used for the recording studio and so lightly used for small things, not to enhance vocals. I don’t think it should ever be used on stage. So when I was preparing to shoot Putty’s set, I was hoping it wasn’t the pop with autotune I heard earlier. I was really hoping it was what I had listened to prior to his show. Fortunately, it was exactly that. Raw vocals and raw talent with no effects and just a voice and a microphone. The reason I wanted to review Putty’s show was because of what I listened to was so authentic and natural that he didn’t need any of that junk. His vocals are fine just the way they are with little need for adjustment in post production. That’s the sound I want to hear on stage. And that’s exactly what Putty brought to the stage. This style is kind of everywhere in the sense that he has some tracks that are a little pop and then some that are a little more easy listening. Some tracks have a touch of production and some are just stripped down to the guitar and vocals. Both are equally excellent, but the theme always seems to have the same elements of passion. What gets me on every track, and what I keep going back to, is the vocals. Hearing an artist who has the talent and range but also knows how to stay “between the lines” is extremely refreshing. Almost with an Adam Levin feel with the different high ranges and chorus with the higher pitch touches. For me that is such a good thing. It fits in everything I love in music with the “feelgood/happy” vibes. While editing I was listening to Putty’s tracks and it brought me back to the moment of shooting, listening more deeply to his music and hearing more of the lyrics and passion. It was as if I was editing from the High Watt.

Week 41 (10-08-18): Carl Anderson

I first met Carl Anderson in Austin, TX a few years back during a tour through Austin for SXSW (South By Southwest). SXSW is a music festival that focuses on new music where there are multiple showcases where very talented artists can share who they are and what they've been working on. I was on the road with a band filming and we stopped by Austin for the festival and that's were I met Anderson. I was luck enough to catch one of his showcases and found out he lived in Nashville as well. We stayed in contact and when I first started doing "52 Weeks of Music City" I knew I had to include him. He's often on the road so I had to keep track of his Nashville shows so I could get him in on a review. Now, I don't just include friends to fill a week. Part of the reason why I'm doing this is to discover new music. But another huge part is to promote great music to the world that I have already discovered. I must say, it's getting close to the end and I was getting nervous that Carl wouldn't have a Nashville show by the end of the year. Low and behold, he had a show pop up at the Basement Nashville and was able to be included in him.

Anderson represents everything that I love about Nashville music. You hear the term "Singer/Songwriter" all the time in this town. Because they're everywhere. But there are definitely different levels of talent with that term. You can't just throw a bunch of chords together and have terrible lyrics and then call yourself a "singer/songwriter". Unless you just want the title, which really means nothing at that point. But it is Nashville. And the bar is high. And Anderson is one of the reasons why that bar is set so high. To be a good songwriter you need to be able to keep the audience engaged and listening throughout the entire song. To be an amazing songwriter you need to make the audience lost and take them to a place away from where they are. You have to be vulnerable and you have to put yourself out there. That's what Anderson does. It's relatable and you feel all the emotions and pain. That's a hard thing to do. Like I said, this is why the bar is so high in Nashville. But it's not just the writing. You can be an absolutely amazing songwriter but be the worst performer.

Sometimes the talent of songwriting doesn't translate to the talent of performing. I've seen this so many times where the song is so good, but the artist performing just doesn't have the singing or playing talent (whether it's they're just nervous, which you'll have to get over, or they just plain out suck). I've also seen it the other way where an amazing artist will play a flawless cover and then plays an original and I'm just left thinking "Man, that was terrible". Carl Anderson has it all. You get lost in the songs through the performance and the lyrics take you to another place. His voice is incredibly soothing, yet very raspy, especially when he hits certain vibratos, that you'll forget if you're sitting or standing, where you are, what day of the week it is. It's how he completes the specific traits of "singer/songwriter". You can't get lost in a great song if you can't relax hearing it. Anderson knows how to put a past experience or an old memory and compose it to an experience for the entire audience. It's definitely a unique experience that is worthy of Music City.

Week 40 (10-06-18): The Gripsweats

Well, the streak for uniqueness and amazing music continues this week. I visited Woolworth on 5th to shoot The Gripsweats, which was a new venue I've never shot at before. All around, great vibes as Woolworth is located downtown, so you have people there who are extremely anxious to let go of some energy and incredibly craving to hear great music and have fun! And in order to do that, you have to have a band that is ready to provide the entertainment and energy to keep people satisfied, or they're gonna leave. Because it's downtown. You go to any bar, venue, street, corner, ally way, hole in the wall, there's live music. And it's all good. So if it's, for some off night reason, not good, people will leave in a second. I was happy to see that the crowd knew good music and as the night went on, the show got harder and harder to shoot as more and more people were piling in and dancing.

This was a bit interesting to me since downtown Nashville is typically all country music. It's touristy. It’s what Nashville is known for. So the people want to experience that, hear honky tonk, and country cover songs. That's not what this show was. Far from that. It wasn't your typical "sing a long" "radio tune" cover band. This was straight jam band funk. It wasn't a typical show that I shoot. It, yet again, was a talented band that was different from any other review. I said in last Week's review that I love the stripped down three piece band because the focus is so heavily influence by the three fundamental elements: Guitar/Bass/Drums. Well, this show was complete opposite. It was a full band adding so many different components (which I also love so much, as previously stated). There was Andrew Muller on the guitar. Then the Gripsweats had the bass player and drums. But then added the keys, hand percussion, and a horn section with the trumpet and saxophone. So it was a more full set adding a lot more volume to the performance. I talked about how adding these different dynamics changes the show. The focus is a little more on the sound as a whole and has less focus on each individual. But if you listen closely you'll hear a lot more unity in the band.

The connection was incredibly interesting as Muller would be absolutely perfectly on beat with the keys hitting notes that it seemed like they were human metronomes. As I said before, this was a very funky jazz kind of jam band. So the drummer has to be on point with the beat, otherwise everyone will know, and the band will fall apart. Because the drummer is the backbone of the beat and sets the rhythm for the whole show. Well it was, again, perfectly on time and on beat. Jazz drummers have a thing for playing stripped down sets, but doing a lot with what they have. And then the percussion adds sounds that just blew me away with the intensity of his playing with the complicated fills. Like I said before, this was very much a jam band. So as obvious as it was that these guys practice endlessly, there's also a sense of "feeling the music" and the vibe and being in the moment, where you can't practice that in rehearsal. A lot of this is chemistry and being in the moment and having fun. That's exactly what I felt this night was about. I would see each band member going off on a solo and the rest of the band was playing off that musicians energy and moment and it just worked. How the show was a little different was that it was all instrumental and they didn't have any vocals in their performance (until they had a few guest vocalist come up for a few songs). But primarily it was all musical. I love this because the instrumental has GOT to be there in order to keep an audience engaged enough to stick around. And I also love that it's not like anything else you'll see in downtown Music City. It was definitely a show to experience if you have that "music bug" and want to see the best musicians on a stage. Because downtown Nashville really only brings the best.

Week 39 (09-28-18): Sad Baxter

There's a reason why EXIT/IN is one of my favorite venues. The talent that they bring through is always on point. They don't stick to any specific type of music. You can hear everything from hip hop to heavy metal. But one thing is for sure, it's consistently good! There are so many more genres of music that Nashville offers. And Sad Baxter is the perfect example of how Nashville offers such a large diverse amount of quality music in every genre. It's impossible to not discover great music, which is what happened this week. Every week so far has had been at least a little different, making each week unique on it's own. I've shot shows where the stage is completely full (with every imaginable instrument), and then I've shot shows with one person on the stage. I love both and each brings a completely different vibe. I love the full stage because it brings such a full sound with so many different elements that have to all be perfectly planned and very well practiced. But I also love the simplicity of smaller bands where each individual stands out a lot more and the focus can be a lot more specific to the ear.

Sad Baxter was set up as a small band where the influence of each band member is so isolated that each one of them really sticks out. It's incredibly important that each member is on tune and on beat, otherwise everyone will notice. Deezy is on guitar and lead vocals with Mandy on the bass, then Alex is on the drums and also vocals. That's it. And I love it. The simplicity of the three person band is something I've always loved and appreciated. It's not too much, nothing is over produced. You have the three fundamentals. Guitar/bass/drums. I love that so much because it doesn't get over complicated and have too much going on where it takes away from the music. It fits perfectly into the grunge genre. I also love it when drummers are very involved with the vocals. It puts a different level of energy in the drumming. It's not as easy as it looks having every limb doing something and then your brain operating to sing the lyrics on top. I've definitely seen drummers do backup vocals, but Alex definitely had a larger portion than just backup, so it was definitely an enjoyable moment to watch him passionately sing while playing. Their style is very grungy/alternative. It takes me back to the 90's during the Nirvana style alternative era. I grew up in the 90's being heavily influenced by that decade of music. If you know me, you know I have had a hard time letting that period of music go. I've often said it is the greatest decade of music (in every genre) of my lifetime. So it's no wonder that Sad Baxter stuck out to me so much.

They use the distortion with the power chords and simple, yet extremely authentic, chord progressions in the intro/chorus of their tracks. The chorus' really stand out with the melodies flowing in such a catchy manner and then Alex on the drums singing the harmonies to compliment everything giving that 90's grunge vibe. Often times I see the bass player just off to the side playing, not really getting in to the music. They are there playing, but they really aren't in to the moment. And I think "Man, does this person even want to be on stage?!" This was the complete opposite with Mandy on the bass. She was moving all over the place, swinging around, totally feeling the music and the vibe, owning the stage. That's really important with a small band like this. You have the drums in the back, and then two people up front. So you're a huge focus visually on that stage. If you look like you're bored and not feeling the music or vibe, that is going to translate to the overall performance. She did an amazing job knowing what her role was and owning it. Because of that, this was such a good show in a genre I love taking me back to my favorite decade of music. The only thing bad about this show is that it ended. They definitely left me craving for more!

Week 38 (09-17-18): Dan Smalley

When I first moved to Nashville I gotta admit, I was not a country music fan. It just wasn't a genre I listened to growing up. I grew up in the grunge/alternative era. I know Nashville is the Country Music Capital of the world, but if you've lived in Nashville for a while you'll know there is so much more than just country here. T hat being said, there is Country everywhere, it's just not all Country. And it does grow on you. A few of these reviews have been Country, and I've actually loved all of the Country musicians I've reviewed so far. Dan Smalley has kept that streak going during his performance at in Loser's parking lot for a summer show that Whiskey Jam hosts a few Mondays of the summer. It sounds small, playing in a parking lot... but they do it right with setting up a huge stage and bringing big name artists. It is anything but a small event. I always talk to the artist at some point of the night. A lot's going on with sound checks and loading the equipment after playing, and then talking to the fans who came to see you perform. I walked over to Dan after his set and he was so genuine in his appreciation to be a part of this project. We were talking a little and he mentioned he recently moved to Nashville from Louisiana with his family. I love hearing that because it shows the love and support, but also the trust that is involved with a life changing decision like that. It's very hard to make a move like that which is full of uncertainty. But that is the story of Nashville. A lot of Country musicians move here to be closer to the scene and get a foot in the door in the industry.

Part of the reason why I don't think Country music stuck with me was I feel like the mainstream Pop Country was about showing off and being popular and was not about the music at all. I feel like it's just thrown together and the lyrics don't have any thought or meaning. Country is a genre, to me, that lyrically can not be thrown together. That is the most important aspect of Country Music. Smalley is one of the musicians I've listened to that is why Country Music has "grown" on me. Musically, to get me hooked, you have to have that catchy beat that draws me in. Then I'm listening and paying attention, which is where the lyrics are important. Smalley tells stories about his past and his life that sticks to his roots and is relevant to his life. It's because of that why I feel many people can relate to him and his music. It's obvious that his songwriting is anything but thrown together. I think the best example of his songwriting where you really feel the passion is his track "Ghosts". He tells a story where every lyric has a purpose and a place. The writing is so well done and deep that clearly it's about specific emotions and times in his life which translates to an audience being so focused on what happens next in the story that they become a part of it.

This is another case of a musician who can sing and doesn't need to go over the top and show off, like I see all the time. Smalley has a very recognizable voice, so he doesn't have to show off his voice and his range, because it's there and it's where it needs to be, and the passionate way that Smalley sings those lyrics is where I become impressed. It's everything it needs to be, nothing more, and nothing less. By doing that, he keeps you in the moment and in focus on the song and doesn't allow you to stray your thoughts else where. He’s very engaging with the crowd and communicates with them during his songs. He’s a performer. He’s an artist. I’ve seen a lot of Country musicians come in to this town and a lot of them haven't lasted too long. I have a feeling that Dan is going to be here a while, so look out for him!

Week 37 (09-15-18): Sarah Borges

Nashville is such a great city to discover new music and up and coming musicians. It's everywhere, and it's all great! There are so many events and festivals that are so accessible where you will, without a doubt, find new music you love and can relate to. This week was at Americana Music Association. It's an Americana festival that is a whole week at venues spread all over Nashville of all sizes. You buy a bracelet, then have access to every show. They have an award ceremony and hold a conference during the week. The networking in this genre is incredible and I've seen and discovered some of my favorite current bands. I was extremely happy Sarah Borges was able to be a part of it. Americana Fest is a big deal. Not just for the musicians and the industry, but for the fans. The best of the best play and there are so many options of shows to choose from. If you ever play this festival, you have to bring it. You can't just be a good singer/songwriter/musician. The performance has to be there. The expectations are extremely high and the audience wants to see a show and they want to have their mind blown. Americana Fest is a huge showcase where record labels are on a hunt to discover new musicians. It’s almost like an audition. This is your time to show off and to prove that you belong in this industry.

Well, Borges did just that. Her performance was so energetic and authentic. As I shot her show I was thinking, "She's done this before. A lot." She looked like she belonged on that stage where she just let loose and got lost in her performance. The ultimate result, an amazing show where the crowds ridiculously high expectations were met. People pay a lot of money for these Americana Fest bracelets, so expectations are even higher from the spectators. She performed with the talented Bottle Rockets and Eric Ambel who are by far no stranger to the stage. When you see them play, you think, these guys have been doing this a while. A very long long while. The precision in every second of the entire performance could have been a studio recording as these guys don't miss a beat.

Everyone was so in tune with one another that it's obvious that these are the musicians that set the bar and these are the musicians that separate the great from the professionals. Borges definitely fit well in this festival as she has a large influence of Americana in her style and songwriting. But there's also a large rock influence (with a little grunge) which, I felt, is where the performance really stood out. But the Americana chord progression with a bit of distortion is what I really appreciated. Fitting in to the genre but also sticking to your roots. It reminded me a lot of the Cranberries, with the type of music and singing style and rhythm throughout the set. And then to end the night she showed off. Big time. Ending with what I didn't expect singing with flawless perfection vibrato in her vocals that was the firework finally proving why she belonged on the stage where the expectations are high in a crowd that can't be fooled. I had to wake up and remember that I was working, not getting lost in a show.

Week 36 (09-07-18): Mingo Fishtrap

This week was a deep one. I went back to the Cowan and caught Mingo Fishtrap. It was, without a doubt, one of the more entertaining nights. This was another band from Austin, TX so whenever an Austin band comes to town I have pretty high expectations for both the music and performance. Mingo Fishtrap definitely met both of those expectations. One of the things I talk about the most is the performance. It's Music City, so the expectations are extremely high. People expect to hear great music but also expect a visually pleasing performance. Whether it’s from the performance itself, or the flair and lighting on the stage. You can tell if you achieve that from the communication from the stage to the audience. Nashville isn't going to just participate, you have to engage us and, if it's good and the energy is high, we will reciprocate. To see people of all ages clapping a long and dancing, it was easy to tell that everyone was enjoying themselves. They do such a great job including the audience in their performance, and that can be a very hard thing to do if you are in a different state, away from your "home crowd," yet they do this with seemingly little effort.

To set up the band, Roger Blevins Jr is on guitar and vocals. He's the only guitarist in the band so he's doing lead and rhythm. He'd go in to a solo, but then the rhythm goes away, but the rest of the band lifts up those specific parts where nothing is lost and enhances those solo parts. I've seen bands (with one guitarist) do that and there is almost a silence where certain elements aren't there that need to be. The band does an amazing job making sure there is no silence on those solo parts because it really adds to the energy of the songs. Steve Butts is on the trumpet and Dan Bechdolt is on the saxophone adding that "Motown" vibe. Chip Vayenas is on the drums and backup vocals with Aaron Hatmaker on the bass keeping the funky vibes on a flawless tempo. And then Dane Farnsworth is on the keys adding the final elements of jazz while singing backup as well. He broke out the talk box, which is something I absolutely love! This was a show that was spectacular from beginning to end. The passion, the love, the audience, the music, the lyrics, the musicians. Everything was there.

Some musicians just stand in one spot the entire set, it makes shooting their show easier, but it's boring. Every member in Mingo Fishtrap was dancing along and, not playing but, performing. That's when you can tell the musicians are having a great time, and that's how the audience responds to their energy, dancing around clapping and having a blast. Their music is very jazzy, funky (almost like Motown). So it's not wonder the entire audience was dancing and swinging around. The lyrics Roger writes has so much depth and meaning that you can tell how much love and passion goes in to the writing process, and that love and passion translates to the stage. Before one of their songs Roger was talking about how the world isn't in the best state that it can be in and we get so distracted and worked up by the little things that we get divided and all we should do is love. He talked about how every single person in that venue has the ability to change the world and make it a better place. I couldn't agree more and that really stuck out to me. I haven't met a more passionate musician who wants to bring everyone together and make the world better through their music. I feel like Nashville shows a lot of love and you can feel it everywhere you go. I don't know if I've felt more love at a venue than I had at the Cowan with Mingo Fishtrap.

Week 35 (08-30-18): The Wild Feathers

I feel like I keep saying every week is special, and I really hate sounding repetitive. It may sound redundant that I’m saying that again, 35 weeks in, but it’s true. No matter how big or how small the show, it’s the different elements the band brings: their performance, the sound, the writing, and even the venue. I had the special pleasure of including the Wild Feathers on this project, an incredibly successful Nashville based band. And the venue: Lightning 100’s Live On The Green Music Festival. To start, the reason why this show is so special is because it's everything of what Music City represents. Lightning 100 has been putting on these Live on the Green shows for almost a decade. It's every Thursday for four weeks, and the last week they have a show Thursday/Friday/Saturday. They have huge act names who come out, and it's always free to the public. This isn't a small show, it's a music festival, so you must have credentials to do photography, they won’t let anyone just bring a camera and shoot the show. You have to have special permission and must be with the band, you can’t ask to shoot it for fun (even if it’s free). So much work and time goes in to this and they do it for the love of the music. It's truly amazing what Lightning 100 does for people, musicians, and our community. That had to be mentioned because without them, this show wouldn't have happened.

To set the stage, the Wild Feathers consists of drummer Ben Dumas and then three frontmen vocalists. Taylor Burns and Ricky Young on guitar/vocals and Joel King on bass/vocals, and we also have Brett Moore on lead guitar. For me, it takes something significant in the music to hook me. There is so much great music out there now and it's extremely competitive, because the market has become saturated with talent. I was a fan long before this show at Live on the Green, but the second I heard them many years ago, they had that element that separated them from all the others. It was something that I haven't heard and the way the three harmonize together, to perfection, is what captured me. They recently dropped a new album "Greetings From The Neon Frontier" where they played multiple tracks from. This was the first time I've heard the new tracks, so this was like a new show for me. Since then, I've listened to the new album and I love the fact that they stayed to their roots in the southern rock n roll, Americana vibes. The thing that hooked me on this band was the singing. They would start individually singing different verses and then come together in the chorus making it so powerful. They stuck with this in their new album and I feel like that is why their fan base keeps growing. The best example of what I'm talking about is their earlier track "Left My Woman," which is the track that got me following them. They each start with a verse and then when all those voices comes together in chorus in mesmerizing harmony it takes you away to another place. They each have different tones/pitches in their voice which sound different individually but together, just makes sense. And nobody over powers (or tries to over power) one another, as they are all together on one team making the chemistry on stage so strong where it's apparent that these guys are there for one another.

But all that being said, having a great composition of vocals/guitar/bass/drums is not enough. The lyrics has to be there as well. If it's not there, then the engagement for the listener won't be either. Songwriting is something which can't be thrown together. Well, it can but if it is, it's going to suck. There has to be heart and emotion in a song. I always think a song has to have a lyrical purpose that goes in correlation with the mood of the music. I feel like the Wild Feathers have always done such a great job with the stories they tell in their songs. Their new album does just that as well. It's obvious how much soul and emotion went in to that album and it seems like it definitely meant a lot to them from the way they performed with so much passion. Some times, at the end of a review I say "Watch out for this band, they're going places so check them out!" I'll end this review with this: If you HAVEN'T heard of the Wild Feathers, where have you been??? You can't watch for this band to blow up, because they're already there. At this point, you can just watch them grow bigger!

Week 34 (08-24-18): Mike Arnold & the Music City Rockers

Every week seems to have a little bit of a different theme to me. I always find something specific about each show that I’m passionate about and usually gravitate towards that during a review. If I feel passionate about something it’s because the artist/band made me feel that passion either through their lyrics or something in their performance. If I had to come up with a theme for this weeks review I would say that theme would be “for the love of the performance.” This is what you saw with Mike Arnold & the Music City Rockers when they performed at the Local. It’s a bit weird coming into a show where you’ve never met the band member and all communication has been through text messages or through some platform of social media. I saw Arnold come out and he immediately came up to me and introduced himself as we got to talk for a bit before his performance. I always appreciate musicians doing that. Getting to talk to him before his set was special because I got to see how passionate he was and how appreciative he was to be a part of this project. The feeling was definitely mutual and I couldn’t think of a nicer more friendly person to be a part of this project.

The band was composed of Arnold on the vocals. He sings with a very bluesy/southern rock kind of style. Then Matt was on the drums where he displayed his, obviously long, career history of playing technical fills and never missed a beat. Originally I thought Matt was playing on a double bass pedal since he played with such speed and precision. When I discovered it was a single bass pedal it blew my mind and I must admit, I was a bit embarrassed to discover my ears deceived me, especially being a drummer. There where very specific parts of him playing where I thought "YES! Double kick!" But nope, it was just a talented drummer. For it to sound like a double kick and it's not there, that's talent. And then we had Kyle was on the bass keeping the rhythm throughout the set. I feel like bass players don't get the credit they deserve, maybe because it might not stick out as much, but if you take it away, the entire sound and the whole dynamic changes. Kyle played where you would notice it. He added an element where it was the foundation of the song and I feel like that's a hard thing to do. Peter was on the keys which always adds the "cherry on the top". And then we have Crawford on lead guitar. He's the only guitarist in the band, so playing rhythm and lead is a pretty big responsibility to hold. But, he does it flawlessly. He had a tube going from a pedal on the floor up to his guitar. At first I thought it was some sort of beer bong. I thought, this was a first for "52 Weeks of Music City”… but it was a talk box. Definitely an effect I don't see too often but a cool one that adds a lot to their performance with deep tones. To top it off we have Cindy and Nancy to harmonize the vocals throughout the show giving it's final elements.

Meeting Arnold before, I definitely felt how passionate of a person he is and he took that right on the stage. Smiling and laughing the whole time with the band and how he communicated and involved the audience throughout the performance really shows just how much he loves playing out. He is extremely theatrical in his performance, moving all over the stage while dancing and singing with that passion I keep bringing up. He would have his arms up in the air shaking and would pick up the mic and stand going across the stage like Steve Tyler. It’s always a pleasure to see a band having that much fun on stage. That kind of performance is contagious and can really transition to the crowd, and it did beautifully as I noticed everyone was having beyond a blast. So this weeks theme: For love of the performance!

Week 33 (08-17-18): Leah Blevins

This town is so amazing. I’ve said that time after time. The reason why it’s so amazing is because of the people and what they represent. It’s a community that supports each other and the talent level that Nashville attracts is one of the reasons why it is so special, and since the talent level is so high that’s also why it’s so incredibly competitive. But being an artist in Music City isn’t enough. You can’t just schedule a show and pack out the house. It’s a lot more complicated than that and a lot of work goes in to finding your way and making something out of nothing. It takes a lot of time, a lot of work, and a lot of help from surrounding people. If people don’t know who you are then it’s going to be very difficult, if not impossible, to sale out a show. It’s so difficult because every night there are so many options of different shows going on all at once. This town is saturated with talent and there are music venues everywhere, so you need to find the right music venue on top of that. It can’t be too small, it can’t be too large. If you don’t do the work, you won’t find success at your show, no matter how talented you are. Leah Blevins is the perfect example of this week’s opening review. Having the talent, but also putting in the work (both in the performance and the advertising of the show). Blevins perfected that at the High Watt as she packed out the venue.

Blevins is definitely no stranger to Nashville and has developed an understanding of the industry and knows the necessary steps to take, building her career and making specific steps towards success. There are some musicians who are studio vocalists and some who are live vocalists. It's easy to hide in a studio where you have multiple takes to perfect the vocals. You can go to town and just belt it to heighten a part of the song. But when you perform live, you get one take and that's it. There's no "I didn't hit that right guys, let's try it again." If you can't transition your talents to the stage, you won't have a good show. Blevins’ got both. Her studio work is great and extremely talented. You can tell she hits perfect levels that are definitely difficult. But she transfers that to her live performance just like the studio cut, displaying her talent and range with so much control onto the stage. She has both. She brought on the talented Abigail Dempsey to harmonize the vocals, adding so much depth to the music and performance. Seeing the two of them on stage you can't help but believe that these women are rock stars with a future.

The talent is out of this world and the way Blevins performs makes you so engaged where you can't look away. Her style is unique within the country genre as she separates the traditional country style vocals with the layered harmonies. Her style is more raw and less modified in both her studio work and performance. I love that sound, but you don't have to have that to be a country artist. And the definition of that genre has changed so much to what it used to be. It's no longer country as it's now "New Country". Blevins brings back the classical country genre by using other classical elements in her songwriting and lyrics, giving a kind of "Dolly Parton" style. I see a lot of new singer/songwriter females coming in to Nashville, which is great; we need them in this industry, but there is a difference between wanting to get signed, be the front person, and have people know your name verse the attitude Blevins gives. She has to do this. She was built for this. It’s clear the dedication and work ethics are there and the focus is on the passion of making music, not all the other nonsense that doesn’t deserve focus. You can tell that to be true from watching her sing. If there was one theme to this week’s review with Blevins, it would be “Effortless Control.”

Week 32 (08-08-18): Wes Williams

As the weeks have been flying by, I thought that these reviews would start to get harder and harder to write. But there is something unique about each band/artist and music, in general, is so diverse where a lot of artists have found a way to separate themselves from one another. They’ve all given me something different to write about. I ventured deep into East Nashville to meet Wes Williams at Radio Cafe, a venue I had never been to before. This project has shown me just how much music is out there and Williams has given me something different to appreciate about music. If a band reaches out to me to shoot their show, I’ll listen to their music to see if it’s something I feel would be good for both the band and this project. When I first listened to Williams I was immediately excited to include him in this project.

One thing I love when shooting a show is finding out a little more about the band I'm shooting. Williams is another band from New Orleans so I was excited to talk to him about a past review I did from another band from NOLA. It's always fun hearing about the current tour since a lot of these bands don't live in Nashville. It was interesting to hear his past and how he lived in Louisiana and the music scene out there. From the music I've listened to online, Williams was typically with a full band. This show was a little different since this was a solo tour. I always appreciate when a musician breaks down all the extras and display their raw talents and emotions. It makes for a more intimate show where you can connect more closely to the lyrics since there is less going on. So it was a nice surprise for me.

When I listened to his music before it was great, but when he first started his set I was blown away by his vocal range. Williams really has a knowledge for his voice and how close and how far away he needs to be from the mic. There were times where he was near the back of the stage singing and the mic would still pic up the vocals. The control he had was incredibly impressive. It just shows the talent that comes from New Orleans. Many times, when you have a singer who has that much talent and control, they lack in other areas (because their main focus could be their singing and not as much on guitar, and vise versa). But Williams displayed his versatile musical talents with his guitar. You often see solo acts hitting the guitar as a percussion, which I love, but Williams was selective of where he would hit the guitar, knowing that hitting different areas would give a different depth and even hitting the neck to give a vibration on the strings adding to the song. He would also bring in a looper to keep the percussion of the guitar going throughout the song, adding a rhythm strumming and then add in solos, creating a one man band jam session. We see that a lot in solo acts, but from experience, I can tell you, that is extremely difficult. The timing has to be perfect, otherwise the entire song is ruined. Maybe Williams doesn't perfect it at every show, but he definitely did Wednesday night. As a musician I truly appreciate what he did that night because I know how hard it is to add all those different components to a live song when you're the only one performing.

Week 31 (07-30-18): Augustus Carroll

I said in my last review that I always listen to the band before shooting them so I can get some kind of expectations of what to capture and what vibe they’re gonna bring to the stage. It’s always good idea to be mentally prepared for what to expect. When I first heard Augustus Carroll I immediately was attracted to his music, so I found myself at his show at the East Room in East Nashville. This project has brought a lot of people into my life from band members, to managers, to record labels. This particular case was a little more special as I was introduced to Carroll’s family. I got to speak with his dad Phil before the show and he was so happy and excited, it was a true delight meeting and talking to both him and his wonderful wife and telling them about this project. Those are the greenroom experiences and conversations that I truly value and is what has brought the love of this project.

When I initially listened to Carroll’s music, I thought it was extremely soft, soothing and very relaxing. I found myself leaning back in my chair without distraction of anything around me. It’s definitely “easy listening” on another level. That’s what drew me to shoot one of his shows. It wasn’t like anything I’ve reviewed yet. He’s definitely a writer that has a deep passion and a specific message in all his songs and you feel very at ease when listening. He sings his melodies so softly and doesn’t let go, so he keeps you in that moment. You’re focused on that moment with the song, not focused on someone showing off what they can (or can’t) do. That is a huge flaw, and I believe a large insecurity, when artists do that. If you can do that, it’s ok, but doesn’t fit in every song. Carroll has demonstrated where he needs to be and at what level. His song style fits perfectly with what he is trying to accomplish delivering an incredibly soothing show.

Carroll brought his sister on the stage for backup harmonies. The two of them sound be along side, perfectly in sync, not overpowering one another. Carroll writes with simplicity, which I believe is the best way to do it. If you have too much going on in a song you can lost the audience. It’s this non-showoff style that gets me lost in the song. It’s obvious when that happens and that’s when you’ll start to lost me. But Carroll’s writes to the song, not to the audience. It’s very apparent he has a vision and story that he wants to tell and that’s what he writes. He doesn’t feel compelled to write what he thinks is popular or what he thinks people will want to hear. When you write to the audience, you fail. You lose so much creativity and credibility. You’ll find your songs don’t matter as much and have no depth. Carroll is the perfect example of a singer/songwriter that has found a balance of meaningful lyrics with a great rhythm to accompany his compositions. Since he writes to the story, he connects with the audience more. And that is the way to start a successful career in and endlessly competitive industry.

Week 30 (07-23-18): Charlie Abbott

I never know what to expect at any of these shows. They're all just so different, it's hard to leave thinking the same thing when I come in. I always listen to the band before I shoot them so I can get an idea of what to expect, but the performance is always different and I always leave with a complete different experience than I thought I would. I found this week was no different when I visited The Cobra Nashville for this weeks review with Charlie Abbott. A lot of times people ask me what type of music the band I'm shooting that particular week sounds like, so I like to have an idea, and it’s very important to know what you are shooting before you get there. You can learn a lot about a band from their live performances on youtube.

Abbott’s music is extremely well written and recorded. It has a full band, pretty standard. But he was playing a solo set, just him and the mic. So at first thought I felt like it would be very different without the other elements. But it was surprisingly similar to a lot his tracks he recorded. He brought the same talent but also emotion to his solo set. And it was just as good. There is something to be said of taking a stage yourself and stripping down all the comforts of the band and being up there by yourself. It brings the rawness of the song from when it was first written. It's more intimate and all eyes are on you. You have to carry all the weight and there isn't anyone to fall on. But Abbott did a beautiful job owning it and connecting with the audience. During a segue Abbott was tuning his guitar and stopped and looked up to the audience and said "I was having a bad day, but now I'm happy. Thanks for letting me play my 'living room tunes' for y'all." That, for me, was a nice moment because, I too, was having a rough day and I was able to escape that through discovering great new music and being able to relate to someone through a guitar. As I said before, you lose certain elements when it's just you on stage. There is nobody to help harmonize with you, or pick you up if you miss a beat. Everything us much more noticeable. But that's also why I love these solo sets, because you see the real raw talent that comes out as what Abbott shows.

When he would play a solo, all the focus was on that and there wasn't anything overpowering or distracting from that solo. But when he played the solo it felt a lot more full since he had his pedals set to the perfect levels (using a delay and having it timed just right). From his performance, I would say that Abbott falls in the soft rock/indie genre. But it's a little harder to generalize that since this isn't his typical set (like his tracks with a full band). But his tracks definitely have a little southern rock/alternative feel. Some of it being a little harder with a taste of punk with the fast snare drumming. Some of it reminded me of the Strokes and some of it reminded me of the Ramones. And then there is some that had a hint of Buckcherry. All great things and as MUCH as I loved his solo act I'm equally as excited to check out his full band. As I listened to more of Abbott’s music I discovered that he has had a lot of success in many different channels from songs on MTV, Showtime, CBS, and has a track on a big upcoming film! It's no surprise because everything he writes is so beautifully crafted and structured and also extremely marketable. I would say it's "feel good tunes" that you want to listen to on a road trip to the beach with a bunch of friends. I see a lot more success like this in Charlie Abbott's future and I'm truly excited to watch him grow even more and hopefully work with him again in the future. He has quickly became one of my regular playlists on every day listening.

Week 29 (07-20-18): Hunter Tynan

Any time I hear a musician is from Texas my expectations automatically go up. So much great music comes out of that state. There is so much talent there. But also, the attitude that Texans brings is unlike anywhere else. They are proud. They are confident. They are perfectionists. I found that Hunter Tynan met all those expectations. I got to talk to Tynan for a while in the green room before his set. He was telling me stories of going to EXIT/IN to see a show and just dreamed of playing on that stage. I feel it's an accomplishment to perform on that stage because this venue will not just book anyone. They are extremely selective and that's why so much great music has played there for so many decades. I was extremely proud to be able to capture that moment and accomplishment for Tynan. In a town that is so saturated with endless flawless talent, it's really hard to separate yourself amongst the other fish. There is no room for error. There is no time to waste. Everything has to be perfect. That's where the "perfectionist" of Tynan’s Texan blood comes out.

Being a great rhythm guitarist is not enough. And the reason why is because you'll be far more limited on what you can achieve in your writing. You need to fully utilize the neck so your creativity has more avenues to write. Tynan has really done an amazing job in his journey to perfecting that aspect of writing. His bridge solo from "Born to Soar" is the perfect example by sliding up and down the neck, hitting harmonics, and building in technical picking solos. This is where he shows his education from music, by hitting these factors and knowing where to hit the strings (closer to the bridge) to give a higher pitch strum. You see his Texas confidence come out in his performance. Smiling and interacting with the band running all over the stage, just having a good time. This is where all the hard work is shown.

The stories he tells are extremely captivating where the entire audience gets lost in a daze while Tynan sings with such a soft melody and then the piano player adds in a higher, slightly hard harmony to give the song exactly what it needs. His southern rock, Americana sound fits in Nashville perfectly. This is what Nashville is. And in a genre that is extremely popular and here, Tynan has somehow managed to separate his sound and performance in a unique way that when you listen to his music, you hear Hunter Tynan. That’s a pretty difficult thing to do anywhere, let alone Nashville. But Tynan has managed to do that. You have to be willing to listen to the feedback, really understand it, and not get offended and apply it where needed. But you also can’t listen to too much of it, you have to know what you want and listen to the people who will help you get there. From conversations with Tynan you could really tell he has gone through all the feedback and applied what he thought was pushing him to the correct music direction, and I feel that is how he has separated his sound from others, while keeping what he is passionate about.

Week 28 (07-11-18): Knuckle Dragger

This was an interesting week. I say that because this week's review was from a specific genre that I don't really follow. I said from the beginning that I was going to be honest in all the reviews of these bands. I shot at The End which is an amazing small "dive" venue. It's not fancy, it's just about the music, which I love. They typically attract much harder heavier bands at this venue. This particular show was a death metal show with a lot of screaming and heavy distortion. That's exactly what death metal is. It's not something that I go out of my way to listen to or, to be honest, really enjoy. Just like some people don't like country and some people don't like rap. We all have our preferences. But I do think it's important to cover all genres in this journey, because you do see a different side of the music scene. And this show is exactly what Nashville represents. All genres. It's extremely easy to not like a specific type of music and not go to that show. But when you do and you can look past that, you can really appreciate the performance and instrumentation of these artists. And that's exactly what happened when I went to shoot Knuckle Dragger.

You can separate the fact that you don't like a specific type of music and then focus on the artistry that they bring to the table, making it a very enjoyable show and broadening your music horizons. It was extremely fast pace, high energy, all about the music, and straight raw talent. The drummer had the double bass pedal going the entire time. As a drummer, I will tell you that is an extremely hard thing to accomplish. The consistency of the beat is a difficult thing to achieve, not to mention excruciatingly exhausting. But it gives the music the tempo that it needs. I also see many drummers (in heavier bands like Knuckle Dragger) surround themselves with extra toms and symbols and just start hitting random things that don't make sense and takes away from the song. This definitely wasn't the case. And it doesn't really get much faster than death metal so, many kudos to their drummer! The lead vocals was your typical death metal performance. In all honesty, that is a type of singing that I would never be able to do. It's tough singing like that and it really puts your throat in pain. But it's not juuuuust screaming. You still have to be on tempo and also in harmony with the rest of the band, otherwise you're just screaming. But this wasn't the case with Knuckle Dragger and it's one of the reasons why I'm glad I came, because I found something different about a genre that I don't often listen to.

I used to think all these bands do is just yell, but that's so much further from the truth. Like I said, you have to be able to harmonize your sound in order to have a good set and I was very impressed with how they did that. Then we have a lead guitarist. Kind of the foundation for a heavy band. Many people think it's just power chords and distortion. But there is so much more that goes into achieving a specific sound from your guitar. You don't just hit a distortion pedal and go to town on your guitar. Gary showed me this at the show, there are many more elements that go in to it. And beyond that, the guitar solos are faster and heavier than other bands I've seen and to do all of that with displaying the energy and banging your head the way Gary did is incredibly difficult. All in all, this was a very successful show and review for me. I'm so glad that I got a chance to step out of my music comfort zone because Knuckle Dragger really gave me an appreciation for a genre that I didn't really get. I may have to check out more of these shows! It's definitely a different type of energy than I've ever seen!

Week 27 (07-05-18): Wood & Wire

Everyone knows that Nashville is the music capital of the world. Everyone knows that Austin is the live music capital of the world. So what happens when you have a band from the live music capital of the world in Nashville? An amazing night full of straight up raw talent and a performance to remember. That's what happened when Wood & Wire visited Station Inn in Week 27 of "52 Weeks of Music City". Station Inn is in a new part of Nashville where it is surrounded by brand new luxury condos, expensive shopping and bougie restaurants. But Station Inn itself is very old and has been in that spot for a very long time. They have stayed the same and haven’t changed their look despite the new modern look around them. I was greeted by Tony at the door and got to talk to him for a bit before the show and he is a truly genuine guy. Very personable and appreciative. It's great people like this that I hope the most success and accomplishments with their passions because you just know they are going to do great important things with it!

Wood & Wire is a very bluegrassy, fast pace, high energy, upbeat band. They are composed of a four piece, all strings. Tony is on the lead rhythm and Trevor pickin the banjo with Billy on the mandolin and Dom on the stand up bass (which, how can you not love?). It's interesting to see a band like this without any percussions, but it would almost take away from everything that's going on in the performance. There is so much focus on the strings where I feel adding drums would drown out the complexity of the four strings. The set up was definitely interesting as they had only one condenser mic that they would all crowd around to sing in harmony. Dom would slide his big bass closer singing the harmonies contributing to that bluegrass sound. His voice is so distinguished and adds such a different component to the overall performance and it really separates this bands sound from others, making them more recognizable and authentic. The level of talent hypnotized the audience. There was so much energy that they would ALL just start clapping along (without assistance from the band). That's a special thing because the audience did that themselves through the energy of the performance and song and bringing that many people together at one time is, in it self, amazing. The complexity that Trevor played effortlessly on the banjo sets him apart from many other banjo players I've seen. He performs so fast and technically to perfection that it reminded me of a scene from "Bonnie and Clyde" where they are getting chased down an old dirt road in a raging gun fight.

I talk about energy and chemistry with a band and their performance a lot. I think it's incredibly important and can make or break a show (and in many cases, the band). The communication that they had was so noticeable and fun to watch. You'd see Billy look at Trevor from across the stage and they would meet at the center dueling the most intriguing mandolin and banjo solos. The highlight for me was seeing all the smiles on the stage. You felt a sense of support from each musician and could really tell how much they appreciated each other in their performance. It's obvious that these gentlemen love what they do so much and that is why this Austin band had such a memorable performance. It’s why the audience participated in the show. It’s bands like Wood & Wire why the expectations for Austin music is so high, and they have helped to set that bar.

Week 26 (06-27-18): Ben Sturgell

As I approach the halfway milestone of this project, I’m yet again reminded of why I love this project so much. I discovered another amazing new artist, Ben Sturgell, at a brand new unique venue, the Back Corner, which has a very modern look and very deep stage. I got to speak with Sturgell and he was telling me all about his current projects and all the work that goes into the song and shared a little more of what goes into the songwriting and recording process. When Sturgell talked about what goes in to his songs, it became very apparent that he really puts his heart out there and you really feel something. It's extremely obvious that cares about every person that played every part (small or large) into the process and he is genuinely appreciative. We talked a bit before his performance about the industry a little and he asked if I played and I told him "it's just a hobby". He looked at me nodding his head, but maybe with slight confusion, so I felt the need to elaborate. "It just got too competitive for me and I honestly saw how amazing everyone in this town was and they were light years ahead of me and THEY were struggling, and when I stopped loving music (which I sooo much needed) I decided to stop killing my passion." And he looked at me with complete understanding and said "Yeah man, seriously, it'll get you. But I love it!" And THAT is the type of attitude Sturgell has. Just straight "LO V E" and then all the negative stuff, keep it in. I thought that was a really cool moment and one of the things I love about this town. He went on to introduce me to multiple people and musicians to, really help me network, and told them about my project while looking engaged the entire time (even though he had heard it three or four times at this point) and I really appreciate that. So that is why I am so glad I was able to have such an amazing person for this half way point of this huge project.

The stage was a really interesting set up. Sturgell is primarily on the keys, then there is a bass player with hand percussion/drums and a trumpet. For a few songs, Sturgell would jump on the guitar, but other than that, there was no guitar. We see keys a lot at shows, but hardly ever as the foundation for the performance. It happens, but not often, or without guitar. So it was interesting because it puts so much emphasis on the keyboard player. Well, mission accomplished. Sturgell definitely didn't shy away from showing off his abilities to have that as the backbone of each song. Visually you have this stage that isn't the widest, but has walls up on both sides, and then runs really deep. But on the back wall of the stage you have this enormous screen that is used for videos/photos/promos/whatever the artist wants to throw up there. Sturgell just finished a new music video that he showed that looked really good on that huge screen and will be releasing soon. They did a great job and the song choice was definitely the perfect one.

I always say there is something unique that sets a show separate from the rest. As I was taking shots by the stage, I noticed there was a painter there, Jeff Bertrand, that was painting the entire time while Sturgell was playing just adding another unique vibe to the night. Musically Sturgell has a pop, pop/rock vibe (reminding me a little of the Fray, more like Maroon 5). Definitely commercial (in the best possible way), meaning his music is incredibly likeable that anyone could get in to and really start following. By commercial I mean the songs are composed perfectly where the hooks just draw you in and you have to listen again and again. I know the term "commercial" isn't necessarily a positive thing in today's industry, but in this case it definitely is as I feel like 'being commercial' means that this person/artist has something for everyone and I feel like Sturgell has that. The composition is the biggest part of everything I said. Everything is so well put together you are just left with wanting more.

Week 25 (06-21-18): Matt Thiessen and The Earthquakes

I had the pleasure to shoot Matthew Thiessen and the Earthquakes at the Basement. Thiessen is definitely anyone but a stranger to the music industry here in Nashville. His older stuff was a lot heavier (with more distortion) and when I heard his acoustic versions it really showed me his talent and range. There is just something about hearing a song with no production. The raw version always tells you a lot. The acoustic versions really bring out the precise elements of his craft. Both versions are amazing, just very different and set different emotions and vibes. Thiessen has been working on a solo project that is a different direction from his past success. It seems like the acoustic versions really influenced this new direction of his current work. I was at his house when he had recently finished a new album and he played it and, as different as it was, it was beautiful. I was crossing my fingers that he would play a show in Nashville so I could include him in this project. And that’s how I found myself back at the Basement.

I spoke about shows being crowded and making it difficult to shoot. I’ve shot at the Basement many times, a lot in maxed capacity, but never like this. I have never been to a show at the Basement more packed out than this night. It was so crowded that I really couldn’t move. I always try to be respectful to both the band, fellow photographers, and most of all: the audience. I need to get my shots, but I also want you to enjoy the show that you came and paid to see. But Thiessen has such a loyal following where they will go no matter where it is. And it was beyond packed out to where you couldn’t move. As I said earlier, the Basement is a venue where you DO NOT TALK. People will get mad. As I tried to move around the crowd I noticed I was annoying people, making it more difficult to shoot. But I still had a job to do.

With the Earthquakes, Thiessen has really transitioned to that acoustic songwriter emotion telling people his stories through his guitar giving an almost “coffee shop” (easy listening) sort of vibe. Very relaxing, very comfortable. With his new LP “Wind Up Bird” you really see (hear) the other side of Thiessen and his journey as a musician and how it never ends. We all aspire to grow, even when we’ve reached different heights and accomplishments, we look forward to the next chapter and the next project. This LP shows all of that. It brings the emotion and struggles that some with the journey. Lyrically Thiessen hits the nail right on the head (specially his tracks “Mother’s Triumph” and “Man of Stone”) with expressing how he feels and his thoughts and desires mixed in with different perspectives. Musically, the songs are laid out with so much thought and precision where it’s obvious that everything was carefully placed with purpose from each chord to each pluck of the string. I’ve worked with Thiessen on a few projects in the past and there is one thing for certain: I have never worked with someone with as much attention to detail as Thiessen. He cares about every aspect of every second of the song. He is a perfectionist.

The melody of the vocals is so soothing where you can tell Thiessen has grown as an artist by stepping out of his comfort zone and away from what he’s known for. When going to a show, it’ve very easy to listen to the music, enjoy it, and then go home. But if you really take a moment to think about the amount of time, work, energy, and emotion that it takes to compose a single track, let alone a full album, you really get a different level of appreciation. It’s hard to bring that out in a performance, but the way Thiessen performs you will really see all that emotion and energy that was thoughtfully put into each aspect of each track, leaving you with the appreciation and confirmation of a well put together album.

Week 24 (06-14-18): Rose Creek

Two guys harmonizing to an upbeat rhythm accompanied with subtle drum fills and guitar solos not overpowering the performance. Everything you could wish for out of a great show. That’s what talented Rose Creek brought to Analog at Hutton Hotel this week. I first heard Rose Creek many years ago at Tin Roof about five years before, unknowing that I’d be working with them long term. My first impression was identical from this impression. I came back to the relaxing comfort experience Analog has to offer with the same high expectations I bring to every show.

Rose Creek is primarily an Americana band with a country influence as Caleb and Brandon share the mic creating perfect pitches simultaneously. This band is yet again another great example of what Nashville has to offer to the music scene. It’s bands like (collectively since there are so many) that give Nashville the prestigious reputation of Music City. The talent is incredibly high to the point where there is an intimidation factor, even if you’re playing on the side of the road. Songwriting is obviously big in this town and when you carefully calculate all the different elements of a song with as much attention to detail as Rose Creed does, you come out with amazing songs. Caleb Fletcher plays rhythm acoustic while Brandon Bell plays along on electric lead adding a little more flavor and a twist to the Americana Genre. When they sing together it brings back that old school country sound. There are a lot of duo singing bands with multiple frontmen, however, I feel like it doesn’t always work out, even though both vocalists can be extremely talented. The sound has to match and I’ve witnessed “overpowering” from duo performances which will destroy a performance, and ultimately the band. Rose Creek has found that match. As they sing both low and high, they come together displaying the higher notes at the same time and then bring softly bring the levels down just right and it just fits and feels right.

I hear the simultaneous high and low vocals a lot (and it definitely sounds amazing) but when you have both hitting those high notes correctly as Bell and Fletcher does, it really takes the song to new levels. It’s all controlled and not over the top showing off as I see a lot. So the song is extremely enjoyable as the “showing off” and doing too much actually becomes boring and loses me. Musically, all the pieces are together. But that’s not necessarily enough when it comes to composing a great song. The lyrics have to match the emotion of the sound to make something great. Songwriting can be a long process which can’t be thrown together. If it is, you can definitely tell and then you’re left with just a boring basic song that won’t have any depth. Rose Creek does everything correct when it comes to compiling an amazing track where everything goes together perfectly.

Week 23 (06-03-18): Molly Parden

I made my way back to Lightning 100’s “Sunday Night Live” at 3rd & Lindsley for Molly Parden, an extremely talented singer/songwriter of Music City. There is something about the “Sunday Night Live” shows, whether your their in person or listening to the live broadcast, but it’s always incredibly captivating. That’s exactly what Parden did, she captivated the audience, regardless of where you were listening. She is a solo artist singer/songwriter telling the story of her life through her guitar. It was a typically busy greenroom backstage where a lot of people were talking with Parden about many different things, so I unfortunately didn’t get to talk too much, but the brief conversation we had before she went on really summarized who she was and what to expect from her performance. Just a very genuine positive person who is just as interested in listening rather then being listened to.

Parden’s show was primarily on the acoustic and she plays with an extremely soft strumming style guitar and her singing style is very similar, soft, very clear, hypnotizing. She does is with just enough range and emotion where everything is on the same level where nothing overpowers one another vocally or musically. It’s very calculated and precise with the amount of volume and nothing show boating or over the top. When you have a stage like “Sunday Night Live” it’s very easy to want to go off and show your talent and range since you always have a packed out house, but also with the performance being live streamed on one of the largest Nashville radio stations. Parden doesn’t focus on that. She focuses on her guitar and her lyrics. She won’t allow what she is capable of doing overpower what the song and the performance needs. Because of that, she gives a more real and in depth and personal performance where you could hear a pin drop. It’s extremely hard to have one person on a very large stage have an entire venue so engaged that nobody is talking or on their phone and completely lost of all distraction. She’ll make you lost in a different dimension that she has taken the audience where they can’t think of anything else but the performance.

Singer/songwriter is a term I feel gets thrown around a little too loosely in Nashville. I’ve used that term many times during this project, and yes, it’s the majority of what Nashville is. Technically, anyone can call themselves a singer/songwriter, but there is true singer/songwriters and then hobbyist singer/songwriters. You don’t have to call yourself a singer/songwriter, that title is typically given to you when deserved. The main thing here is “songwriter”. This is so important because the story you tell through your lyrics have to be relevant and engaging, otherwise you’ll lose your audience before the first chorus. This is how Parden kept the entire venue in silence. She had every word carefully organized and thoughtfully in place where, obviously, nothing was thrown together or accidental. You can’t just throw some words together that rhyme to make a song, otherwise it’s just gonna be boring and meaningless. This is how Parden is a true singer/songwriter. Being relatable is important to connecting with your fans and audience, Molly Parden does that beautifully.

Week 22 (05-31-18): Dustbowl Revival

I revisited the High Watt to shoot the astonishing Californian band, Dustbowl Revival. It’s very interesting to see a band from that far away play on this side of the country. The music is different out there and there are different influences, so you never really know what you’re going to get. You can sometimes sense a level of success of a band with the turn out of the crowd, but when a band from that far away from the other side of the country draws a full crowd, the success is there. Bands from out west usually tour out west, the bands from the south usually tour in the south (at least starting out). You could have a very successful band in the east that nobody has ever heard of in the west, it can take time to get that kind of range geographically wise. Nashville is a good place to stop by because we love live music and will go to a show, even if we don’t know the band. But to see as many people in attendance, but also singing along, really shows that this band has been making moves and working extremely hard.

There’s a lot happening on the stage at once with Dustbowl Revival. You have front man Zach Lupetin on guitar and vocals and front woman Liz Beebe on ukulele and vocals. Then to the right is Connor Vance on the fiddle and Daniel on the mandolin. Behind them is Joshlyn Heffernan on the drums and James on the stand up bass. On the other side is Matt Rubin on the trumpet and Ulf Bjorlin on the trombone. Each bringing a different key presence. Lupetin and Beebe have such a perfect sound together matching each other vocally to perfectly matching keys and harmonies. Lupetin would be singing low while Beebe would sing higher harmonies, then the would switch where she would sing lower and Lupetin would show of his high range. It demonstrates that they are confident and willing to step out of their comfort zone, and they do that very well. You can tell how much the band is in to their performance from their movement and expressions. James would be picking the higher notes on the bass while making those expressions of pure enjoyment and happiness. Vance worked the fiddle almost as best as anyone I’ve seen live, with a smile on his face the entire time. For me, the show steeler, game changer, energetic/in the moment trombone player (or pretty much any performer I’ve seen in a while) was Bjorlin. He would dance and swing as fast and hard as he does meanwhile playing every note to perfection. He would engage the crowd without saying a word, just playing these incredible trombone solos, meanwhile the entire audience is screaming with approval. Having such a long instrument and the way it’s playing (going in and out) really is fun to watch and is almost like a prop with the way Bjorlin uses it. Incredibly talented and most fun to watch.

They have an Americana sound with a touch of soul and a funky flair. Some bands always sound the same for each track on every album, maybe because it’s safe or it’s who they are. But having a little diversity in each song is good. I think it’s still important to know who you are and stick to a genre, but be able to reach different sounds within that specific genre. Dustbowl Revival does this extremely well with some of their earlier albums to their latest album. They never lost the horns and strings (fiddle/mandolin) keeping that sound that is Dustbowl Revival. They did a live take of their track “Only One” which has quickly become one of my favorite songs and is a great example of who they are with all the pieces subtly put together and is lyrically captivating.

Week 21 (05-23-18): Heathen Sons

This week was yet again another example of why I love Nashville so much. It’s not all country. There is something for everyone. If you ever go to Mercy Lounge then you’ll most likely experience a show like this week’s review. This was another band that I had to include in this project for multiple reasons. I’ve gotten to become very close friends with all of the band members of the Heathen Sons. We’ve worked on many music videos over the years and I’ve shot a lot of their shows, in fact this was actually the first band I shot for live music photography. The excitement they bring to the stage is nothing but pure rock and roll. Their band’s performance is what got me instantly hooked. I’ve said, multiple times, that one of the most important aspects for a good show is the energy in the performance that a band brings to the stage. You can have an amazing band that has an incredible sound, but if their live performance is boring, you may as well just stay home and listen to the tracks on your couch. This is the exact opposite with the Heathen Sons. I made my typical way backstage to meet my friends and we reminisced about old times as well as future projects.

The time came for their set to start and we made our way to the stage and as I was walking out I noticed that the crowd grew enormously. That always makes shooting a show harder since there is less space to move around, but on the other side it makes a better performance from the band as the Heathen Sons especially feed off the crowd’s energy. On top of that, the Heathen Sons are one of the hardest bands to shoot since they are all over the stage in their “Nirvana” like performance pushing into each other and head banging from one side of the stage to the other. They never seem to stay in the the same area for longer than 3-5 seconds. They definitely feed off one another’s energy and play off each reactions perfectly. Their sound is mostly southern rock, with a touch of Americana as Dayton Swords demonstrates with a slide. This Nashville band from Georgia has definitely found their sound and are bringing back rock and roll to the Nashville music scene. The whole crowd was bobbing their head the entire time, and as the show went on, the crowd got more rowdy. The way they grow on the crowd and really build a high momentum of the peaks of the song and just let it all out at once is the moment you are hooked.

As earlier mentioned, I’ve known the Heathen Sons for many years. Their first album was more distortion and rock. It was an album of having fun, drinking beer, and getting into trouble. Over the years of working with them I got to know them on a much more personal level and their every day lives verse their onstage rock star attitudes. I was very fortunate to watch them grow as a band and when their second album came out, you could really hear the growth in every aspect. This show was more focused on their second album “Born To Lose” where you could really feel the pain they were going through over the years. There wasn’t a better moment when Josh Huggins played a solo song, “Born To Lose” which had every emotion and true heartbreak. It showed the singer/songwriter talent that Huggins shares. This song was very stripped down and raw. These guys had everyone in the audience screaming and rowdy, and the next song was this solo song where you could hear nothing but Huggins and a pin dropping. The entire venue was silent as Huggins had their complete focus. This album was still rock, but a lot more stripped down and lyrically more personal. As a fan, you want to hear something new, but also same, when a favorite band comes out with a new album. It was similar to their older album, but had way more maturity and you could tell that each of them was a lot closer to mastering their trade. But one thing mains consistent with the Heathen Sons, they put on a show. And you will enjoy it, hands down.

Week 20 (05-17-18): Sweet Crude

Oh Sweet Crude, y’all are truly amazing. I ventured back across the river to the east side to the Basement East. This was another band from outside of Music City traveling from New Orleans bringing their Louisiana French vibe. They definitely brought a lot of unique dynamics to Nashville. It’s always interesting meeting a band in the greenroom before they perform. It’s fun to watch how they interact, prepare for the show, and the pre-show rituals. Sometimes it’s practicing, tuning the instruments, prepping their voice, drinking, socializing. Sweet Crude was particularly focused on this sold out show. Alexis was in work mode focusing on vocal exercises to a perfection which translated incredibly nicely on stage. She could be an opera singer with the range and control she has. The entire band was incredibly polite and inviting, which can be hard at times considering the amount of travel that goes into a tour (sometimes the last thing you want to do is put on a smile when you’re exhausted). And then we took a break to discuss whether or not it was “Laural” or “Yanny.” If you don’t know what that is, it’s a viral argument where some people hear “laurel” and some hear “yanny” and nobody agrees. We came to the conclusion that it was definitely “Laural”. That’s how fun and relaxing this group was, where you don’t have to “fake it” and before we knew it, we were all joking around and laughing.

When they came on stage, their presence was noticed. The crowd roared with excitement and the stage set up was the perfect ingredients to a visually perfect show. You have the typical drums, bass, keys, but then you have Alexis with a few stand up drums and tambourine for percussion. The passion she brought to the performance really displayed a higher energetic persona that was contagious amongst the audience where everyone had their hands up and living in the show. Then she would take the mic and dance all over the stage showing off her opera like vocals. Next to her was other frontman, Sam, who brought out the violin on multiple songs and would also occasionally bring out the tambourine along with an electronic drum synthesizer. It was a very well produced show musically adding electronic tracks accompanied with the high pitch stand up drums.

Sam and Alexis would be dancing throughout the stage and then come back together singing to one another as if there was nobody else in the room. It was as if they were on another planet the way they would react to each other during the performance and communicating through facial expressions. You couldn’t help but notice the connection the two shared. The entire show was very full without a dull moment and so theatrical that you were so engaged that you wouldn’t even know you were smiling the entire show. Their outfits looked as if they were out of a Hollywood movie, adding to the theatrics. From the outfits to the facial expressions, from beginning to end, it was all good. They threw a curve ball at one point and started singing in French, teaching the crowd to sing along. And the crowd received it very well and everyone was in full participation. This isn’t the type of performance that is just thrown together. It was very well thought out, very well planned, and VERY well rehearsed. If left me with the final thought, these people belong on stage.

Week 19 (05-12-18): Guitar Army

It’s just not fair. The level of talent that was on this stage is inhuman. There’s no other way to put it. This was the most talented performance I’ve ever seen from any show I’ve ever been to. There will be a lot of bold statements made here, but I will stand by all of them. City Winery Nashville hosts a lot of amazing and talented musicians and these gentlemen definitely upheld the highest of expectations at this venue during this phenomenal performance. I made my way backstage to meet the artists who were performing. It was a brief introduction with the members but I had been long friends with joe Robinson (who won Australia’s Got Talent at age 16) and since he’s on the road 8-9 months out of the year, this was a great time to catch up. I have seen him perform many times in the past and this guy is nothing short of a walking prodigy as a musician. I have often said that he is one of the greatest guitar players currently walking this earth. He is incredibly humble, so he would disagree, but I’ve never seen someone do what he can do with effortless accuracy.

To set the stage, Guitar Army consist of three frontmen guitarists. Joe Robinson, John Jorgenson, and Lee Roy Parnell. And behind them was a full band. They would play a song and then would take turns playing lead and come to a battle where each individual would challenge one another and they would each show off their flawless solo skills. It was like a boxing match the way these guys were throwing “punches” back and forth and just when you didn’t think it could get any better, they would prove the audience wrong. Jorgenson’s use of the harmonics was unlike anything I’ve ever heard before. I had no idea a guitar had that many harmonics and the way it was used was mind blowing. Parnell used a slide that was so fast it would take time for your eyes to register just where he was on the fret board to when the sound was coming out. Robinson would play a solo using every scale on the guitar. They would battle and then share smiles of amazement as each solo ended.

There is a certain mathematic formula for guitars and solos and the fundamentals. These guys have studied the math behind the guitar for decades, and it shows. You can’t practice what these guys do. They have an understanding of the guitar, not just knowing how to play it, but why they would hit a certain spot for a specific sound with perfect accuracy and timing. At one point, just to make things more impressive, Robinson played a solo song where he would use a looper for rhythm and then come in and started looping solos, and if that wasn’t enough, he strapped on another guitar playing both at once. While singing. Impossible, right? Not only do I question how someone does that, but how do you get to the point to discover this and then perfect it. He would have the acoustic that he would lightly strum/pick and then he would hit the strings on the neck of the electric for the lead/solo parts. This just goes to show that you need to step outside of your comfort zone to explore new options, because you’ll be amazed at what you can discover once you take a few steps out of that zone. It’s unfamiliar at first, but the more you do that the wider range of sound you’ll be able to achieve, making you a more diverse player just like everyone on the stage. When I was talking with Robinson he mentioned that he wakes up every morning and practices for hours, then takes a break around 8am. So he’s already put in hours of work before most people even wake up. That’s what it takes to accomplish the next level. Raw talent is a thing, and it is incredibly essential, but the best of the best have to practice and always be willing to learn and adapt.

Week 18 (05-01-18): Charles Johnson

I believe I’ve shot just about every venue in Nashville. One of the great things about this city is how much it is continually growing. There’s always new venues pooping up that set a different vibe. The Analog at the Hutton Hotel is a newer venue and it’s unlike any other venue I’ve been to in Nashville. It’s a very relaxing environment with great acoustics and a beautiful stage. Perfect settings for shooting a show. If you’re attending a show, it’s surrounded by couches giving such a comfortable and relaxing setting. This environment was the perfect atmosphere for Charles Johnson, because that’s exactly what his music is. Comfortable, relaxing, and easy listening. The atmosphere Johnson creates is realtime where you’re so focused on the lyrics and music that you aren’t thinking about work, bills, troubles. It’s a true way to escape and be in the moment. He doesn’t allow you to think about anything else going on in your life.

I spoke with Johnson for a bit in the greenroom before his performance. He is definitely a perfectionist in every aspect of every minute of the show. He has a very deep voice which translates to a collective raspy performance. Even with a deep voice, he is still able to hit the higher pitch notes and it comes out very soft and comforting. It’s very therapeutic and relaxing. Johnson comes from the west coast in California. So he brings a lot of his western sound to Nashville. He is a little old country (soft sooooft rock), singer/songwriter, story teller all in one. His vocals have a bit of a Bruce Springsteen influence and the soft picking with light lead accompanied with a slow violin was the perfect combination of everything you’d want in a show after a long work day. It was true easy listening. The lyrics were so well written and the words are so full of passion that you can tell they were thoroughly planned and carefully executed within the song. Along with the soft finger picking continuing throughout, the total composition was unlike anything I heard in a while and was in utter enjoyment.

The composition of each instrument was so flawlessly performed that you are left with an enormous relaxation and sense of happiness where your only regret is that the shows over. I always love capturing the expressions of the musicians at their shows (you see how emotional and in to the moment they are in and can really help create that same moment for their audience). But one thing I love more than capturing those expressions is when the musicians will interact with the photographer and almost pose for them, like the violin player, who would catch eyes and make funny faces. It just shows how much fun they are having on stage and really shows the jokester personality. When you have that type of presence on stage, you enjoy playing more, the audience enjoys the performance more. The band did a great job doing that in a new environment and venue that is incredibly relaxing. Some times you can lose people if it’s too relaxed, but Johnson and the rest of the band did a great job keeping the flow going at a great pace.

Week 17 (04-25-18): Kid Freud

Just to get an idea of the process for reviewing a band for this project. I get recommendations from friends and at this point I get bands and management teams reaching out. I don’t accept every invitation if the timing isn’t right, and sometimes if it doesn’t seem like there would be much of a product to review I may not accept a band to review. I always listen to the specific band when I’m editing so I want to enjoy the process (so I’d rather the music be good). The truth is, a lot of times, I’m still researching bands and reaching out. I’ll check out the various venues across town and if I like the sound of a band I’ll reach out to them to see if they’d like to be a part of this project. That’s how I came in contact with Kid Freud. I was doing my research on which bands were playing on specific days of the week and would listen to band to see if I think it would be a good match. When I came across the High Watt again I found Kid Freud was playing a set and I gave their music a listen and immediately reached out.

From all of the bands I’ve shot so far, Kid Freud is probably the closest to what’s on my iPhone while I’m driving around, working out, listening to music in the office. They are a very traditional band, filling all the basic fundamentals. Guitar/bass/drums. The classic three piece band. They are like an old school garage band. Very grungy/alternative sounding. Think Neon Trees/the Strokes. Not overly distorted, nothing flashy, not over the top. They walked on stage and felt comfortable and confident in their music and put on a great show the was very well performed and quite enjoyable for this genre. There are bands out there who are very talented, but when you see them live, they just kind of stand there playing almost like they aren’t in to their own music or don’t want to be there. This show was the exact opposite. They were all over the stage, making it difficult at times to focus in on a moment, but I didn’t care. Part of shooting a show is trying to enjoy it as well (as much as you can since your focus is on the camera vs the show) but also capturing those photo worthy moments when something unique on stage is going on.

Daniel Closser was behind the drums (and as I said before I’m a little more critical on the drumming portion of the set since I am a former drummer), but he played with so much precision and versatility. His drum kit was very simple. A pretty stripped down four piece set with a high hat, crash, and ride cymbal. But he could really expand the sound with adding different pressure to the different parts of the drum head and added a lot of flare with the rims all on beat. It’s one of the things I look at in drummers, how are they maximizing their kit and do they have all the things that aren’t really needed, or like Daniel, have a little bit but doing a lot. Kurt Kraft was on the bass and provided backup vocals. I talked with him before the show and we had a great conversation, but when he got on stage, his stage persona came out being one of the key pieces to an enjoyable performance with his rock style bass playing while singing backup. And at last we have the front man Alex Tomkins with lead guitar/vocals. He had a special way of communicating with the crowd and building the moment of the show with his edgy catchy vocals. Kid Freud definitely has a unique sound on an older genre that isn’t around as much as in the 90’s early 2000’s. But it’s catchy and memorable and that’s all that matters in ears of the fans.

Week 16 (04-21-18): Sebastian Garcia

This week was another case of where I discovered an artist at an earlier review and kept in contact with him. Sebastian Garcia opened for another artists and when I saw his style and heard his voice I knew he’d be a great fit for a future review. After I saw him perform I spoke with him for a little bit and talked to him about this project and how I’d like to have him be a part of it. So we stayed connected over the next months and when he came up with a show that I was available to shoot for a review, I hurried to the opportunity. He reached out to me to let me know he was playing at Mercy Lounge for their hip hop night, where bands come and cover various hip hop artists and play about three original songs. This was another one of those “theme nights” that is quickly becoming popular in Nashville. This was the first show at another favorite venue of mine. Mercy Lounge is in the same building as the High Watt but twice the size allowing a larger crowd for bigger nights.

On theme nights, some bands stick to cover songs to fill their whole set. It’s okay to do that, but I always enjoy hearing original music verse rehearsed tracks. I think it’s a great way to get the crowd excited and sing along and get the energy going before playing your original tracks. As most musicians that night stuck to covers, Garcia didn’t. From what I heard at the earlier show, his music was so good I feel that covers aren’t really needed and that his talent shines more on his original tracks. There was just so much more passion and meaning behind the original songs allowing you to feel his emotion with the expressions he sang with. So he performed one cover and decided to fill the rest of his set with originals. Where I was so drawn to Garcia was through his talent vocally. He is perfectly on pitch and harmonizes with flawless effort. There are a lot of talented singers in this town, but when you hear people who have a different level of talent, the natural raw talent, it really separates the good from amazing, and then the amazing from extraordinary.

Garcia was a student from MTSU (Middle Tennessee State University) in Murfreesboro with an influence in music. He has a very specific style with his latino look and gives a little attitude when he performs. Confidence is important because it can enhance your performance, but you have to be confident for a reason. You have to know you’re going to hit those high notes and not think about it so you can focus on the other hundreds of things going through your mind as you perform. Garcia is obviously incredibly confident with his abilities. And if anything, he may be a little under confident because he is one of the more talented singers I’ve reviewed so far. Judging what I’ve heard so far, I don’t think there is anything he couldn’t sing. As an artist he has seemed to find his niche both musically and lyrically. He falls into the pop genre, which fits his personality a lot. If you attend one of his shows you will notice that Garcia really strips his tracks down to an intimate performance highlighting those lyrics and using the vocals to demonstrate why he deserves to be there. There is a lot of time for this young artists and I would expect to see a lot of growth and discovery from him in the coming years.

Week 15 (04-08-18): Sonia Leigh

How do I start this week’s review with Sonia Leigh? Authentic. Raw. Emotional. So many things come to mind. It was kind of everywhere, but in a good way. But if you ever meet Sonia, it’s kind of fitting of her style. The Basement was a straight Sunday night jam session. I say it was kind of everywhere because her style has a pretty wide range of different categories that it could fall into. As said before, it can be dangerous having such a wide range and not really fixing into a specific sound or genre because an artist may not know who they are and possibly have too many focuses where the sound carries over into too many different genres where the specific sound isn’t as fitting. But the way you can overcome this is by having consistency in the sound and message. It can be okay to stray away a little bit if you are consistent in keeping a few specific elements, and Leigh accomplishes that with her raspy vocals.

I would say Leigh definitely has a very vibe feel to all of her music collectively, which is why I feel she does such a great job in her writing ability. The majority of her sound from this particular show would fall into a more rocky/grungy feel. It really took me back to the late 90’s early 2000’s which, if you know me at all, fits right into my preferred listening genre. This was a CD release show, so it really focused more on her current album “Mad Hatter” than some of her earlier work (which was a little more focused on country). I always listen to an artist before shooting their show just to get an idea of the energy of the music. I listened to a lot of Leigh’s earlier stuff and this show was definitely more her. It felt like she stopped listening to what other people wanted to hear and all the other criticism of what people wanted her to be and she made an album about her. For her. And because of that the authenticity came out in this album. Because of that, I feel like this is some of her best work yet (and she has written some hit songs for Zac Brown Band, so she is no stranger to the industry).

From beginning to end, it was a full and consistent album. Before Leigh played she said how she feels like she has “found her tribe,” and the performance described that perfectly. Everyone was on the same page and I haven’t seen a stage full of more talented women in a very long time. The lead guitarist, Ellen Angelico, would put straight up shame to any guitar player out there with the energy she brought. Everything Angelico did was so authentic and talented and what she brought was so mathematically performed using every fret of the guitar on metronome timing. You couldn’t argue the knowledge and precision she has for lead guitar. This show was straight up girl power. It’s hard to wonder how Leigh had a voice left as she was effortlessly hitting high notes (while screaming at certain moments) throughout the entire set. And this was an album release, so it was a long set. Definitely we’ll be on the look out to see what Sonia Leigh has in the future, there was such a connection with her style of music that I was left wanting more.

Week 14 (04-05-18): Cōvergeist

This was an interesting week. I went to Midtown to Winners for their weekly Whiskey Jam. Winners has a small stage and every Monday and Thursday they host Whisky Jam, which is where they have a list of artists come up and play 3-4 original songs. It’s almost like a showcase of musicians on rotate throughout the night. It’s possibly one of the best places to discover great new talent from multiple artists in a short amount of time. I spoke with Cove AKA Cōvergeist 家庭家族가족 about his upcoming show and what he had planned, and that’s how I quickly learned it was going to be an interesting night. Cover is a unique character in the sense that he doesn’t really care what people think or if he’s well liked or not. Kind of a breath of fresh air to see an artist not care as much for his image verse how much fun he’s having. He has quickly gained internet fame with his youtube covers and scratchy (on the strings) and beats on the shell of his guitar covering everything from Sublime to Eminem. And his crazy antics on his videos was more relevant to his live performance.

Cōvergeist is a solo artist singer/songwriter with the “one man band” sound with how he plays with the percussion on his guitar and when you add his animated charisma to the show you have a much higher level of enjoyment watching. At one point he sang a song called the Robbery where he would play a bit of rhythm while rapping and displaying comical faces and acting out the song as if it was a play using his guitar as a gun adding to the antics. It was a performance, it was a show, it was unique, it had everyone going wild. The lyrics added even more humor as he goes into little gimmicks from childhood memories. It goes back to what he said earlier of just having fun and simply entertaining people and making sure they are having just as much fun.

To conclude the show, and to add to the interesting and unique performance, Cōvergeist added to his theatrical performance by making it rain. Yes, making it rain on stage of Losers. When he told me that before the show I said “Why?!” and his response as he laughed back was “Because! Why not?!” I think he’s the only person I know that’ll pay you to go to his free show! It was hilarious and obvious well received. But I’ve never met such a funny, happy go lucky person as him. A lot of people cover hip hop songs on an acoustic guitar. it can sometimes sound really good, but most of the time it’s terrible and I feel you should probably stay away from that. But if you make it different from the others and make it sound good as Cōvergeist has done, than keep with it. The beating of the guitar in various areas creating different tempos while playing created a more full sound in his performance. He then slides his guitar pick up and down the strings emulating a vinyl scorching which compliments the hip hop sound he achieves. His good friend PM later joined him on stage putting the cherry on the top of this set by engaging the audience’s participation. This was definitely an enjoyable week that I was happy to be a part of. Definitely a unique one for the books.

Week 13 BONUS (03-27-18): Kendell Marvel

When I started this project I said I would not review more than one show in a week. It’s already a lot of work and time doing one a week. But I was invited to come back to Exit/In through Kenell Marvel for a benefit show and Ray Scott was so amazing that I didn’t want to take anything away from him, so I decided to do a “bonus” review. I’ve said many times that there is something authentic about every show. I was originally here to shoot Marvel’s show and not do a review, but after the night came to a close I thought, “It was too good not to do another review.” And this show was exactly why Nashville is such a special place to me. I’ll start with the music and then go into why this was so special.

In my earlier review I explained how looks can be deceiving and how Marvel was one of the nicest and friendliest person I have met in a while. And he proved that yet again at this show. I can safely say that I felt even more welcomed and wanted in the greenroom. His band plays the fast pace honeky tonk, head bobbin, hand clapping music. The talent that’s on that stage was yet again a treat to be able to document. The guitar playing is so technical and flawlessly performed that the trained ear would have a problem finding any mistake. “Cowboy” plays the slide like he has eight fingers with a pick on each one. I was watching him play in a daze and then had to slap myself in the face… “You’re working, keep taking photos!” From the solos to the harmonica, every piece was perfectly in place. But Marvel also shared the stage with close friends again inviting them on stage for a song and sharing the spotlight. He invited talented artists including Alex Williams and Channing Wilson to show off their talents and brought back up Ray Scott for another song.

But it wasn’t just the music and talent on stage that made the show so special, there was another reason why it was so inspiring. I’ve shot multiple shows at Exit/In over the years and have made close relationships with everyone from the door guy Victor, to the security in the greenroom Alex, and everyone in between. I’m typically in the greenroom before/after a show so I talk with Alex a lot and we’ve shared many stories and talk about life and work and the future. I don’t want to get into too much into his past out of respect of his privacy, but I can say that he has gone through some VERY hard times that were full of uncertainty and fear. I’m proud to say that he has concurred the uncertainty and faced the fear and has came out on top. But it’s because of his history that he became so involved with tonights benefit organization “Oasis Center” where they help young (many times homeless) kids and provide any need to help them feel loved and protected and help prepare them as much as they can for their future. That’s what this show was about. Providing awareness for this amazing organization and raising money and clothing for their cause. Between Alex, the amazing bands, Oasis, and Exit/In they were able to raise over $1200 towards making Nashville a better place. And that’s why this week’s show was so special. Nashville is talented, caring, and supportive.

Week 13 (03-27-18): Ray Scott

I was greeted with a nice audible “boooo” as I walked into the greenroom of Exit/In for this weeks review by the one and only Ray Scott! Music and photos aside, you don’t have to even know me a little to know that I’m a huge UK fan, so that’s immediately where the trash talking started as I walked in with my Kentucky jacket on. I said “Who’s your team?” The North Carolina native said that his allegiance lies with UNC, and as much as we argued back and forth over who’s program was better, we ultimately agreed that we had something in common with our hatred towards dUKe. But that’s the kind of guy Ray is. Extremely welcoming and nice, but in a raw edge way and that really translates to his performance. It was one of the more memorable green room experiences going back and forth joking and getting to know each other.

Musically, this is definitely a unique one from past shows. The band is very talented and have that dirty honky tonk fast pace vibe. Scott definitely knows who he is, where he belongs, and is true to himself. I try to cover all aspects of the performance that stick out, and there are things that I may focus on a little more because they are more prominent. The thing that separates Scott from everything else I’ve hear is how DEEP his voice was. Definitely one of the deepest I’ve heard. Having a voice this deep can definitely separate your sound but can also be very difficult to hit the higher ranges and pitches. If you can though, it sounds really good and Scott did an excellent job hitting the higher notes. Even though his music has the fast honky tonk pace feeling, it is still very much country. But more of an older school country. It has a bit of a Johnny Cash feeling with the story telling behind his songs and then exploding during the chorus with catchy notes and lyrics.

His song writing was a fun authentic change adding a more humorous style of writing. It was true story telling with so much detail that you get a mental visual of what’s going on as he sings. I had to stop shooting a few times because I was laughing so hard. Having a full band behind you while telling a story can sometimes be hard since there are so many different focuses during the performance. But to have the levels right and the melody at the level it needs to be, the music enhanced the lyrics verse taking away the focus. Some of the stories he sings were so hilarious you just have to laugh, and the audience definitely supported all of the humor and jokes incorporated into the tracks. That is what I was talking about earlier of how his personality in the greenroom transitioned perfectly to his performance on the stage. This was definitely one of the more fun shows I shot from beginning to end. From the trash talking in the greenroom to the actual show to hanging out and sharing laughs with everyone after the show.

Week 12 (03-22-18): L U T H I

Obviously I’m a live music enthusiast and part of the way you discover new music is through another band opening for the band you came to see (or vise versa). That is exactly how I became a fan of LUTHI. I saw him at a show I went to earlier and was opening for a band I came to see. I was so intrigued with the whole set that I started following their music. I kept up with their local shows and when I started doing this project I knew I would have to include them. That’s how I found myself back at the Basement Nashville where LUTHI was headlining the night. The Basement is a hard place to shoot since it’s very small, and when it gets crowded it’s near impossible. That was to be expected tonight, because LUTHI brings a crowd with him because they know they are going to have a fun night ahead of them.

It’s know wonder his fans are so loyal, the performance is so energetic consisting of multiple different elements of instrumentation. This band, to me, is what really represents Nashville. You have an up and coming band that obviously took a long time to put together and to get on the same page who created great music and puts on fun high energy shows, and they built a great foundation for a fanbase, and now they have a shot. Christian Luthi is the frontman providing all the dancing and lead vocals and colorful wardrobe. His entire body moves with the music very naturally as if he had no control and then that energy goes and fills the audience. He is accompanied with an incredibly talented three piece horn section consisting of a trumpet, trombone, and furthest from the last, the saxophone. Then surrounding them are the keys, guitar, bass, and drums.

Their sound is a very funky and groovy with a little pop kind of feel. There are a lot of compositions mixed in together with the amount of instruments giving the power and building extreme climaxes in the songs. Amber would go on a saxophone solo giving a very distinct and empowering performance which led to an overwhelming applaud from the audience. Amber makes the most flawless sounds come out of that saxophone where I would have to say this was the best and most enjoyable saxophone playing these ears have ever heard. She was one of the reasons I had to include LUTHI in this project since her onstage performance is so memorable. You can always tell how much a band loves what they do through their performance. The contagious energy that spreads through the sold out crowd leaves you no other option but to join the dance party. The show was so well performed and almost theatrical that you couldn’t leave without smiling. From the band hitting everything perfectly on tempo to Christian’s unique voice and dancing with a constant smile would leave you with an experience you’ll remember for a while. He will hit the high notes that seem unachievable, but when he does it freezes you up and listen in pure amazement. This is a band to watch out for, they will have big things in the future.

Week 11 (03-14-18): Lisa Goe

There are a lot of music venues in Nashville. They all have something different about them. Some of them are for larger well known bands, some of them are for solo artists. Some of them are built for a writers round. This is a very common norm in Nashville. It’s something I didn’t really know existed until I moved here. Basically, you have 3-4 musicians (typically on stage in a row) who rotate playing original songs. Some times it’s an upcoming artist who is trying to learn Nashville and share their music while getting a little exposure. Some times it’s the musicians who have publishing deals writing for other artists. This particular writers round was at Blue Bird Cafe, probably one of the most well known venues for hosting writers round. These musicians have a network, they have found some type of success, and have a strong history of writing and collaborating with some big names in the industry.

Blue Bird Cafe’s set up is not like the typical venue. Instead of having a stage that is raised over the audience, they have the artists sit in a close circle in the center of the room with the audience spread all around. This is one of those shows where you do not want to get caught talking or being loud. People come here specifically for the music. There is a lot of talent at these writers rounds so you can expect to walk away a new fan. Lisa Goe was a participant in this particular writers round. She is a Californian transplant singer/songwriter with a heavy focus on pop/county. She has branded out a bit in the pop culture bringing a ‘new vibe’ to Music City. The songs in these rounds are usually newer and have an extremely raw authentic sound. This is how the song is written, typically on an acoustic guitar. That’s why it was interesting to listen to Goe’s music, as there was no production in the stripped down version.

Through this performance, you get a glimpse of Goe’s past and experiences. She does an exceptional job going into details of what she specifically went through in particular points in her life while writing a song, and she doesn’t hold back at all. You hear the good, you feel the bad. She has developed a voice that is ranging melodically in perfect harmonies matching the soft chords of her guitar. Her playing style includes a lot of picking and slapping giving the uncontrollable “head bopping” while listening. You can tell from watching her play that performing is her comfort zone where she feels empowered verse vulnerable. You hear the experience and see the opportunity. When you put all your heart out in a song, you get something real, no matter the theme.

Week 10 (03-09-18): Smooth Hound Smith

There is something unique and special about every show I’ve shot. Whether it’s an album release, a reunion show, or for a benefit, they are all special in some way. And hIN Nashville, it’s always good. This week was particularly special to me personally. I went to the Cowan at Topgolf for Smooth Hound Smith’s performance at this new venue. It was the first show I’ve been here so it was a nice change of scenery. But more so, I’ve shot and filmed numerous shows for Smooth Hound Smith over the past years. They started off as a duo where Zack would be sitting down with a kick bass and kick snare while playing the guitar and the harmonica. At the same time. And Caitlin would provide back up vocals and rhythm percussion. As talked about many times before, chemistry is important and that’s even more important when the set is stripped down to two people. There has to be a click between the two since all eyes are on two people. More recently they added a few other members adding a bass and lead/steel player giving a little more depth and layers.

The energy is unlike anything I’ve seen on stage. You see them playing off each other, feeding off one another’s energy and reactions. It would be hard to categorize one specific genre for Smooth Hound Smith. They really cover a broad range of music where there is too much variety in their music to narrow it down to once specific category. Normally I would say that could be a bad thing; if a band is all over the place and everything sounds completely different, you could make the argument that the band doesn’t really know who they are. This is definitely not the case here. Smooth Hound Smith add subtle elements of specific genres creating a different type of sound and style that is consistent throughout their album and from album to album. I would say they are more in the Americana genre with a strong country(ish)/bluegrass influence with a sound that includes everything from rock all the way to blues. But the reason this is successful is because every song sounds like Smooth Hound Smith. That’s why it works. They have accomplished that distinct sound with that recognizable voice, and when you have that, you can accomplish a much wider variety in your music.

The edgy guitar playing with solos going through every fret along the neck while picking makes it seem like there are two guitars playing at once. Then the next song Zack will pick up the banjo, giving that Americana/country sound, while Caitlin hits those notes that will leave you closing your eyes taking you to another place. This really demonstrates the music diversity and knowledge that they have with such a wide variety of instrumentation, giving them more options for writing and opening doors to all those specific genres. The songwriting tells you stories of the past which are so detailed that you’ll feel like you were right there with them the entire way. It’s always great to see a band find success, especially when you see so much of the hard work that has gone into creating what they create. At this rate, and this style of music, there will be more to come with Smooth Hound Smith.

Week 9 (03-01-18): Ross Cooper

I ventured across the river to the 5 Spot in East Nashville for Ross Cooper’s album release show “I Rode the Wild Horses.” Album release shows are pretty frequent in this town. It’s a special event for both the artists and the fans. You get to see what they’ve been working on and hear new music, and see all the emotions and feelings that they were going through during that period. And the energy and excitement is always maxed out. But Cooper is not just a guy with a cowboy hat and guitar. This Texas native was born into this as his dad danced the night away sporting his cowboy hat as well. The apple doesn’t fall far from the tree. The night was a complete success with a packed out venue of supporters waiting in line to get their album. The overwhelming support is never accidental in this city. It’s always amazing and an honor to be apart of milestones such as this.

Cooper has an “alternative western” style type of sound that really comes out in this album. It has the country tempo mixed in with light distortion and the picking flair that consolidates everything together. Playing the album from beginning to end was definitely a treat for the ears. There is a specific chemistry with creating an album. There has to be a certain flow and theme. You’ll find all of that in this album, and as vinyl is making it’s come back, this limited vinyl recording would be a great addition to your collection. Songwriting is an art form where you have to put all your emotion and heart in to it. You have to feel something at the end, and get the listener to feel something as well, otherwise you may have a “one-hit” track and throwing trash in the rest, filling up the rest with meaningless space. A good album is one that you can put on and play where you don’t move from track to track. That’s why this album was so good to me, it was very full and had volume.

The writing style followed the melody with the lyrics and nothing seemed forced. As mentioned earlier, country isn’t my preferred genre, but this is kind of like the new style country that had a little southern rock accompanied with soft Americana. I think that’s the reason why I gravitated towards it so easily. The biggest challenge an artist has is to separate themselves and have a very distinguishable voice that only sounds like you. Cooper accomplished this by reaching different scratchy levels which fit completely within the genre he was performing. When there was a bridge in the song the lead guitarist would go for measures on unique solos adding that subtle distortion giving a little texture within the genres. The 5 Spot is a smaller stage, it’s more set up for a dive bar atmosphere. It’s harder to shoot shows like this since it’s a little more crowded on stage, but it also makes for great photos seeing how close together the band can be which shows off their vibe.

Week 8 (02-21-18): Cayne

Being in Nashville for over 8 years I have become very close friends with MANY different musicians and artist over that time. It’s “Music City”. Everyone’s a musician. Everyone has something in common. Part of the reason I started this project was to discover new music and share it with as many people I can. But another reason was to share amazing artists that I already enjoyed. I knew it was just going to be a matter of time before I reviewed one of my friends shows. I heard Cayne was playing at the Basement so I reached out to my dear friend and she quickly accepted. To set the venue, the Basement is a very small intimate venue with a 200 cap in a very little space. It’s the best venue for singer/songwriters and the audience is ALL about the music. You will quickly get yelled at if you are talking or not paying attention. And Cayne is a perfect fit for this venue. She really represents Nashville so full heartedly and everything it really is. If you want to experience true Nashville music, you need to go to shows like this. Because shows like this happen every night in (at least) five different venues throughout the city.

Cayne is a singer/songwriter with a publishing deal here in Nashville, traveling back and forth from New York and LA writing with various musicians throughout the county. In order to get that caliber of opportunity you have to know your music and you have to have specific knowledge of proper fundamentals of writing. You have to know the “dos and don’ts” and these opportunities are earned, never handed out. It doesn’t matter who you know, nobody will give you a chance without knowing about your history. But publishing deals aren’t all glamorous as it may seem. It’s a lot of work and a lot of sacrifice. You are always working. You have to pay your dues. Cayne told me she played in New Orleans the night before and drove all night to make this show at 7pm. From what she said, this is pretty typical and it never stops. But it’s the pursuit of the dream and the journey along that is what helps you write and respect the process. Knowing Cayne for many years, you could really see the growth of both her ability and development in her writing. This came out strong in this show.

I’ve been to multiple of Cayne’s shows and this was just as good as any previous I’ve attended. Her shows: Raw. Emotional. Passionate. You see what she’s feeling in her expression while she sings and you feel what she’s feeling with the gravity of of emotion she sings with. Lyrically, you go back to every emotion she’s ever felt. You weren’t there, but you feel like you were. She takes you back to moments of her life and shares some of the vulnerable moments that people can relate to. There is a special relationship between her and her audience. She growls and she roars broadcasting her raspy vocals surprising you throughout the whole show. She leaves you thinking about the performance and the visions she created in your head. Successful songwriting at it’s finest. A true Nashville show that is underground for amazing artists of all levels of success.

Week 7 (02-16-18): Kudzu Kings

If there was ever a theme that stuck out in this review, it would be “Friendship.” I’ve talked a lot about chemistry and collectiveness between the band members in previous reviews. This has never been more the case then with the Kudzu Kings at Exit/In for Week 7. Exit/In is a very historical venue in Nashville and I expect a lot out of the bands that perform because the talent that has been on that stage is beyond talented. As many times as I’ve been in this venue, I’ve never seen a bad show. Obviously the music has to be good, but the performance has to be just as good and the experience has to be memorable to gain the new fan base. Kudzu Kings accomplished just that. This was almost like a reunion show where long time friends from Oxford Mississippi got the original band together for a Nashville show. The greenroom was full of old friends and family members from over the years. A few of them have moved to different areas of the south, but when they all got back together it was apparent that they didn’t let time pass picking up where they last left off. You could really get a feeling of how each member cared and respected one another and the tight bond they kept over the years, and the result is a very fun and enjoyable show.

The Kudzu Kings have been together since the mid 90’s so it’s no wonder their chemistry was so strong. You could feel the love and connection through their performance by the way they interacted and communicated on stage. I’ve honestly never seen a band smile so much on stage as they did. And while I edited their photos and listened to their music, I found myself smiling the entire time. It was obvious to see how much each person loved playing so much. It wasn’t about money or fame or popularity. It was about the love of music and the love of playing with life long friends.

Their style really varies from Honky Tonk jam band to classic rock/country. Their bass player, Dave, played the bass as better as anyone I’ve seen in Nashville by staying away from the “safe” area and scale of the song and really used the full bass guitar opening pandora’s box of bass scales. Tate’s vocals were pitchfully flawless with a bit of unique raspiness accompanied with backup vocals from the rest of the band. Acoustic rhythm, solid lead guitar, extremely talented bass, three sets of keys, and a rock drum kit. It was a full stage all in perfect harmony. It couldn’t have been put together more perfectly. The writing from the lyrics to the composition of the music was exceptionally well done giving the southern rock sound that had a “Black Crows” taste (a band that I have always loved very much, so it’s no wonder I immediately became a Kudzu Kings fan). They had me hooked from the first song to the last. The audience was incredibly engaged, never giving a silent moment or checking their phones or being distracted. Their track “My Guitar” is one they played and I was instantly hooked and looked it up the moment I got home. It gives such a good example of proper writing and story telling. This is the perfect example of why I do what I do. I love discovering amazing new bands that I, most likely, would not have found if it wasn’t for this project.

Week 6 (02-06-18): Kendell Marvel

Last week was such an amazing show I was excited to come back to Exit/In (with high expectations) to experience Kendell Marvel’s 1st annual “Honky Tonk Experience”. I made my way back to greet Kendell to discover a packed out greenroom. First impressions are a thing, it just happens and everyone has them. At first glance, you can take a look at Kendell and his shaved head, huge beard, and rugged “biker” look can be a tad intimidating. But once you shake his hand, you realize we should move past that first impression feeling because he was the nicest and friendliest person I’ve met in a while. He introduced me to his family and his team and it was the most fun and comfortable I’ve been in a full packed out greenroom where I didn’t know a single person. His whole band was amazing and incredibly hospitable, just the type of people you’d love to see success from. We shared stories and laughs and beers all leading up to the show. I felt like a part of the team and was really looking forward to how the energy backstage would transition to the stage, and it did.

If you’ve ever been downtown Nashville, you know of the music scene down there. It’s not uncommon to see a Honky Tonk band from bar to bar. Kendell took the Broadway Honky Tonk experience and brought it to Exit/In. Definitely a treat for the ears for any person who likes great music and phenomenal musicians, but off the touristy Broadway area. Kendell showed off his talents with wide ranges and diverse songs, and it’s no surprise this show was so impressive since the singer/songwriter has written for names like Chris Stapleton, George Strait, Jamey Johnson, and Jake Owen. The stage got pretty full as the night went along as Kendell invited numerous talented musicians to play a small set sharing their talents of crazy guitar solos and belting vocals like a country opera singer.

Kendell’s lead guitarist might as well have three hands from the scales he was displaying and he must have had every tune of harmonica imaginable. They also had “Cowboy” on the steel playing the slide like I’ve never heard before. This was the taste that gave the Honky Tonk sound a more full vibrant sound (a much needed element for that specific sound which must be performed correctly, otherwise takes away you’ll get an overpowering mess). Cowboy has obviously sat in this seat for years as he added the right amount of steel at the perfect moments. When the talented guest musicians came on stage it was almost like a county jam session that had been rehearsed for months, but it was a jam session so it was all improve. The chemistry was unbearably noticeable as they all took the solos to different heights and brought it all back together effortlessly. This was definitely a Nashville experience, and if you missed it, don’t be too sad, three will be a second annual “Honky Tonk Experience,” that I’m sure of. It was too successful for it not to become an annual event!

Week 5 (02-01-18): Mike Ryan

Well, it was just a matter of time before I reviewed and shot a country show. I’ve been in Nashville for over 8 years at this point and as many shows as I go to, the majority of them aren’t country. It’s just not my genre of choice since I grew up on Guns N’ Roses and Nirvana. Living here as long as I have, you definitely grow an appreciation for this popular genre. The genre of music doesn’t really matter if the music is simply good. Because of that, I share a deep appreciation for all music. With that being said, Mike Ryan has definitely broadened my ear horizons! I said, in an earlier review, how I always listen to the band when I’m editing their photos, and this was definitely the case here. I couldn’t get enough and found myself wanting more. I met Mike in the greenroom of Exit/In and got to spend some time talking with the artist from Texas.

When you have a specific genre you are in, there are certain “rules” or “guidelines” that you have that fit you into that area of music. Because of the overwhelming amount of musicians in this industry, it’s near impossible to separate your sound and be different from everyone else, while also following these “rules.” Mike does this with his song writing. The lyrics are very clear and relatable (especially to this genre) and you are engaged and really focused on the lyrics. When the band went off stage they left Mike alone for a piano solo for his track “Sad Song” you could hear the intimacy between him and his fans as they were singing along and in the moment. This moment also showed his range vocally and he demonstrated how he could control it. When you’re isolated on the stage, all the focus is on you, and if there is a mistake, people will hear it. This was a perfectly performed and intimate song. If you are a singer with huge range and are showing off your abilities, it’s going to take away from both the song and performance. This is why the song was performed flawlessly. Mike stayed in his range and knew where to be and you could tell he could do a lot more with it, but chose to stay where the song needed it to be, leaving a perfect final product.

The band came back on stage and continued the show bringing the energy to the audience with the conclusion to “Sad Song” by performing “the Rewrite” further demonstrating the writing skills Mike Ryan brings. I always try to break apart from each person individually on stage to see how they are contributing and how it all fits together. You wouldn’t be able to take any single person off the stage, they all added something very valuable to the show and missing any one of those key pieces would change the sound dramatically. From the catch guitar riffs to the placement of the fiddles, it will leave you wanting more. Mike Ryan, you have a new fan.

Week 4 (01-21-18): The Southern Belles

As I walked backstage to the greenroom for Lightning 100’s Sunday Night Live at 3rd & Lindsley I thought “This is 3rd & Lindsley. It’s gonna be a great show!” I met the Southern Belles while they were hanging out before their set. And from first impressions, their name is perfectly fitting for them. They were awesome guys and the first thing they asked me was, “Hey Mark, you want a beer?” Me: “Yeah!!!” Great hospitality and great conversations in the green room from this fantastic band from Richmond, VA. It’s always fun and interesting to see the chemistry with the band members back stage and then on stage. If you see high energy in the greenroom, most likely that energy is going to transition well to the stage. That definitely happened tonight.

The Southern Belles style is a little old school from the style and genre of their sound. They have a southern rock type vibe mixed in with a “jam band” style performance. Consisting of a four piece band (drums/bass/guitar/keys) with only having one guitar player, Adrian, who played both rhythm and lead. It could be a challenge playing rhythm and lead, but Adrian did it seamlessly with the accompany of the rest of the band keeping the tempo and keys filling that void which might have been there without a lead guitar while Adrian transitioned to the solos. That’s the kind of chemistry you saw in the greenroom that transitioned to the stage. Everyone being on the same page and knowing their job and what to do and when to do it. As much cohesiveness the band shared, they each almost seemed to be in the zone so much where they weren’t looking to one another to take the lead, but rather playing to a metronome knowing when the changes were occurring as in a recording studio or well performed rehearsal.

As a former drummer, I always find myself focusing in on that specific instrument during a show. Aaron did an amazing job timing the double bass pedal to a point where (as a drummer) you would notice, but it wasn’t overpowering. Definitely not a punk/death sound that you think of when hearing “double bass pedal”. Everything here fit perfectly, from the funky bass scales to the flashy keys. Their music could definitely have been on the “Dazed and Confused” soundtrack with that old feeling but with a modern southern rock sound. They would go on a musical funk rant and then collectively come back to the song with the harmonies in the vocals giving a urgency of climax with the chorus. A very enjoyable set worthy of the 3rd & Lindsley stage for Lightning 100’s Sunday Night Live.

Week 3 (01-15-18): Michael McQuaid

I walked into a packed house at the High Watt, which is a smaller 200 cap venue. This night was something that is becoming very popular in Nashville. There are often “theme” nights where bands perform cover songs, such as Tom Petty nights, Katy Perry nights, etc. This particular night was “R&B Throwback” night. I heard a lot of great music but when Michael McQuaid got on stage he brought multiple classic tracks that hit home playing R-Kelly’s remix ignition and Ginuwine’s Pony. The covers were instrumentally flawless and had the entire crowd with their hands up singing along. It was on beat, in tune, and not over performed (like you see a lot of times in this town). I always say you gotta “master the music” before you “master the performance” otherwise people will be less engaged. This was definitely accomplished from the sound and from the crowd’s reaction. But this night wasn’t just covers. Bands would play a few covers, get the crowd going, then play original songs. This is where you could separate the performers from the artists.

McQuaid already had an advantage transitioning to his original music since he had already captured the audience’s undivided attention. He started playing some of his songs and you could really see that this was a perfect fit for the night introducing his stories because the genre is very similar. His music is commercial, which may sound like a bad thing, but not really. By commercial I mean it can reach a very large audience because it’s highly likable and easy to listen to. There is a lot of electronics in the production that gives a pop sound, which has been successful for a while now and trending with the younger listening audience. It also shows the diversity in music in Nashville, going back to the “New Nashville” sound. Whenever I edit photos from a show I ALWAYS listen to the artist that I’m editing so I can edit to what I was listening to when I shot the show. It’s like a refresher for the ears.

When McQuaid’s band started playing the original set, you would listen to the intro with anticipation. McQuaid vocally performed the covers so well, I was waiting to hear what he could come up with on his own. It was not confined to the restrictions of already written songs where the tones and range is already set. This is what I meant by separating the performers from the artist. He wrote his the ranges to go high where it needed to be high which created an upbeat feeling and low where it needed to be low where you are engaged listening to the lyrics and the music puts you in the song. Specifically, his track “26 Miles” is a perfect example of McQuaid controlling his range and knowing where to change the pitch. It completely ties with his overall style in his performance and personality. Definitely looking forward to hearing him release new tracks and seeing his audience base grow.

Week 2 (01-07-18): Republican Hair

I revisited 3rd & Lindsley (a day later) for Week 2 and it’s really an example of the diversity of music Nashville offers. Republican Hair is a great representation of what “New Nashville” stands for. This term came out to let the rest of the country know that Nashville is not just country music, there’s so much more to offer here. And there are a lot of great bands that hold a lot of success that aren’t country related or influenced. As I said in the earlier review, 3rd & Lindsley has extremely high expectations and Republican Hair proudly kept the reputation of the venue going strong with a great night of music and performance. This particular show is a live stream from a local radio station, Lightning 100, who does “Sunday Night Live” every week at 3rd & Lindsley. They bring on very good musicians that are played regularly on their station, so the quality of music they bring is top notch. Republican Hair was a great fit for the ever so popular Sunday Night Live.

When they got on the stage you could feel their presence. They were all in sync with their wardrobe wearing all white and Luke, the lead singer, brought up a huge bag of dum dum suckers to throw into the crowd as the show went on, adding a little flair and interaction with the audience. Their sound is very groovy with some funk sprinkled in. The subtle elements of the tempo in each song really grabs you and keeps you engaged throughout the song. Lyrically, Luke touches on a few controversial topics that make you think on a bit of a deeper level. But it’s extremely subtle and doesn’t take away from the song or show and never went on a tangent forcing political opinions. It’s there to make you think, and that’s all.

It’s always easy to see where a band is at from the reaction to the crowd. Are they just standing and watching? Are they singing along? Are they just now discovering the band? It’s Nashville, Music City. Everyone’s a critic. Everyone has an opinion. There is so much that has to go right to capture a new audience. From the show, everything seemed to be going right. People were dancing all night, singing along, and heavily engaged. You have to have a frontman who is energetic and captivating enough to keep the audience engaged, and Luke did a great job doing that. But more importantly, the music has to be good. This is where the “Nashville Critics” pick apart every piece from the drummer to the tone of the vocalist and how everything is composed. The writing style of Republican Hair stayed in their funky sound, not covering multiple genres, showing me that they know who they are and what they are trying to put out in the world. There are cases where Luke would hit a higher pitch note, but within the range needed and not overcompensating the ability of his range, and sticking to what the song needed. It was a show that you will leave as a new fan if you’ve never heard them, or an extremely satisfied fan if you are already one. They will definitely be here a while and with them separating themselves from the typical genre of music, they have a sound and vibe that makes them different.

Week 1 (01-06-18): Tim Akers & the Smoking Section

My first venture in this project I visited a very lovable music venue of mine, 3rd & Lindsley. As I walked through the entrance I had a lot going through my mind on how this project would grow and the relationships that would be made. I walked through the venue and went to the green room where I met Tim Akers. To start off, the 3rd & Lindsley green room is one of the largest in Nashville, and it was pretty full back there. I spoke with Tim and we talked for a bit about the project and the history of the band. Before they went on stage Tim got everyone in a circle and prayed for a great show and the appreciation of everyone involved. The prayer worked, because this was a very talented show which met the high expectations of the 3rd & Lindsley venue.

The stage is huge and they managed to have every foot occupied. I’ve never seen more musicians consume a stage like that. There was a five piece horn section consisting of two saxophones, two trumpets, and a trombone, as well as your typical drum, guitars, bass, and hand percussions. There were four rotating vocalist, and a keyboard to the side, and finally, Tim on the keys just a bit to the side in the front. It may seem like a little much at first, but everyone collectively produces a powerful sound that resonated to perfection with nobody outplaying over anyone else. With a stage that full, it’s hard to get some closer intimate shots, and it’s even harder when you have a sold out show with everyone up front dancing around. But when you have a full out jazz session from such a full talented band, there will be dancing.

It was an interesting set. Tim Akers is the frontman leading the group. But there were four rotating vocalist, each who would have a few songs while the others would harmonize, and take turns in the spotlight. This experience was like a Saturday night church session, because these musicians brought the passion and soul with them on their stage. It was like a gospel choir with a jazz influenced band. Everyone individually brought the piece of expertise needed to create the sound as a whole. If there was anyone not there, it would be very noticeable. Each person contributed beautifully and in harmony with one another. When you have that many musicians on stage it’s incredibly difficult to be on the same page. You’ll have a saxophone player on one side of the stage who has to be in rhythm with guitar players on the other side. One mistake and it can throw everyone off and be dangerously noticeable. But as far as the ear can hear, it was a flawless show. This was from the leadership of Tim. He sets the tempo and the energy of every single person up there. It’s a difficult job, but he does it with seemingly with ease behind his keyboard. With all the smiles on the stage as a whole, you can’t help but see that energy transfer to the audience. It’s safe to say, Tim Akers & the Smoking Section has set the bar pretty high as I begin this long journey.