I was justifiably skeptical in my approach Marathon Music Works for Miike Snow’s return to Nashville after their three year hiatus to pursue personal projects. My sentiment was further warped upon waiting in line to receive my ticket and photo pass, when I was eavesdropping on a woman behind me that was ‘desperately in need of a sitter.’ It was in that instant that I was struck with the realization that I was utterly companionless, afloat in a sea of financial-independence. The late-twenty to late-thirty-year old crowd filled up all the space around me and I buckled in to receive whatever was coming my way.
Last summer, a friend and I somewhat spontaneously decided to go to Shaky Knees music festival in Atlanta, partially to avoid the mess of Vanderbilt graduation and partially because of the killer 2015 lineup. We each had our own personal ideas of bands we wanted to see, but as with any music festival (especially a smaller one like Shaky Knees, where there were only at most two bands playing at the same time), we often had a bit of unscheduled time to casually listen to bands that we weren’t familiar with or didn’t know at all. One such band was Dr. Dog.
Last Tuesday marked Yo La Tengo’s triumphant return to Nashville at Exit/In with a concert that was likely one of the biggest genre-rollercoasters of a set I’ve ever seen. Through the band’s decades of genre-bending with their largely varied discography, I couldn’t expect the show to be any different, and it didn’t disappoint.
Omar Moctar, aka Bombino and his band are men of action. No introduction. No witty banter. The band just played, brilliantly.