Before the out-of-nowhere snowstorm that caused Interpol to be stranded for 50 hours, I had the pleasure of seeing Interpol at Marathon Music Works on the unusually chilly night of November 11. I went over to the venue and was immediately greeted by a large, excited crowd. What came after definitely did not disappoint and made my Tuesday night go from ordinary to extraordinary.
The great metal band Mastodon finally return to Nashville after recording and releasing their sixth studio album, Once More ‘Round the Sun, in nearby Franklin, Tennessee, and this time around they’ve brought some friends, Norwegian metal band Kvelertak and, a band that I’ve really been getting into in the past several months, the French band Gojira. When I was looking at going to the concert, I actually hadn’t heard of Kvelertak, but a friend of mine described them to me as “blackened hard rock” before the show started. However, I was excited just to see Mastodon and Gojira on the same bill, and I was not disappointed in the least.
On Tuesday, October 21st, concert goers at the Exit/In were one of the first to witness GIVERS, with opening act Kind Cousin, perform on their most recent tour. The bands only left their hometown of the wonderful Lafayette, Louisiana earlier this month, and so curiosity for what the indie pop groups had to offer was high. GIVERS has not released anything since their debut album In Light came on the scene in 2011. Having taken a break after their last batch of touring, there was definitely an unspoken expectation from the crowd to see what the quintet had been working on since their last foray in the spotlight. GIVERS did not disappoint, with the show at the Exit/In providing a solid, if not majority, representation of their new songs.
Despite severe weather warnings, on Monday I and a healthy crowd of Nashvillians head over to Marathon Music Works for The War on Drugs’ exclusive brand of heartland rock. Attendees sport beards, boots, flannel, and, many of them, years of life experience. I’m pretty sure this is the same multigenerational group that showed up in place of Vanderbilt students when Quake accidentally booked My Morning Jacket several years ago.
During their 14-song set, The War on Drugs makes it plain that they are a guitar band. Frontman Adam Granduciel is brought a different guitar before each song, and he goes into extended soloing throughout the night. The sound is straightforward and expansive, and upbeat numbers like “Red Eyes” have fans swaying and bobbing their heads. Two young lumberjack types in my vicinity start up an air guitar band.
The remaining instruments play a supporting role. The other band members are a keyboardist, rhythm guitarist, bassist, drummer, and a baritone sax player. At first glance the sax player stands out because of his instrument, but quickly he’s revealed to be a subtle part of the band’s atmosphere instead of a gimmick. The sax never takes the lead, but instead layers into the densely mixed structure. Excluding Granduciel’s harmonica outros and on-the-prairie ballads like “Suffering” and “Lost in the Dream”, War on Drugs could pass respectably as a shoegaze outfit. Though tracks like “An Ocean in Between the Waves” and “Under the Pressure” exceed seven and nine minutes, respectively, the band plays hard throughout.
In the live setting at Marathon the music develops a natural and full quality, and the sound clearly envelops the area. As a relatively new venue, Marathon Music Works strikes an impressive balance between friendly rusticity and a modern sheen. Granted, the former quality can partly be attributed to the style of music of the night since electronic bands I’ve seen here before (Beach House, Passion Pit) had me mostly thinking about the second part. Either way, the versatile atmosphere and open layout makes Marathon an excellent addition to the Nashville scene. The War on Drugs certainly fit right in, and I’d be excited to see them back in this space in the future.
Check out War on Drugs’ great 2014 release, Lost in the Dream:
Her daddy had enough so she put her back into it. She’s is a powerhouse. She’s an unending geyser of consistency. Merrill Garbus knows how to put on a fantastic show. On Thursday the 9th at Marathon Music Works, music fans got their money’s worth.
The first thing that I noticed walking in to Memorial Gym last night for Commodore Quake was the oppressive heat. The second thing that I noticed once I found a seat was the atrocious, garbled acoustics of our re-purposed basketball court. I wish I didn’t feel like I have to include these sour notes as the very first thing in this recap. I wish I hadn’t noticed these things about Quake at all. But most of all, I sincerely wish that these weren’t the most memorable aspects of my entire night at Quake.
Exit/In is one of Nashville’s most famous and beloved venues. One look above the bar at the wall of artists who have performed on its stage is enough to send the tingles of history down your spine. Monday night, though, Exit/In’s legendary stage was devoted to three local acts: Joel Levi, James and the Wild Spirit, and Vanderbilt’s own Kid Freud. The trio of bands, though quite different in genre and style, combined to put on one hell of a show.
On September 18th, virtuosic bass player Victor Wooten premiered his unprecedented electric bass concerto entitled “The Bass Whisperer: Concerto for Electric Bass and Orchestra” with the Nashville Symphony Orchestra. The concert attracted an interesting conglomeration of regular symphony-goers as well as jazz and R&B fans, which for someone like Victor Wooten, who has preached how music is the perfect medium for peace, love, and even diplomacy, must have been the ideal sight to see. However, for us concert attendees watching someone who many believe is the best bassist of our generation, maybe of all time, perform with such soul and passion, that was the ideal sight to see. In the spirit of Wooten’s complete disregard of “genre” for the sake of musical exploration, it is only appropriate to try to learn from him and maybe delve into the orchestral world ourselves for a little bit.