Content Warning: Please be advised that this article contains explicit content, including strong language and mature themes. Reader discretion is advised. Aussie pub-punkers – The Chats – achieved small-scale virality…
As I stride between 4th and 5th Ave alongside the Ryman’s signature stained glass, I believe for the first time this year that it is undoubtedly fall. A cool and…
Three weeks ago, I had the pleasure of going to the first night of Noah Kahan’s Stick Season tour here in Nashville. I saw Kahan perform at Lollapalooza in Chicago…
The last time Del Water Gap played in Nashville, lead singer Samuel Holden Jaffe was running a 103 fever at the Mercy Lounge – which famously closed last year. He…
Death Grips is online. The elusive experimental hip-hop trio surprised fans with a Sick New World festival announcement in May of 2022, followed by dozens of tour dates after a…
On Friday, October 21st, Marathon Music Works was graced with a sexy and enchanting performance by Billboard-charting and Grammy-nominated R&B artist, Steve Lacy, accompanied by the vibrant rage of Fousheé.…
WRVU gets exclusive opportunity to cover press for UPSAHL’s show at The End on October 8th, 2022. UPSAHL, photo by Amanda Maeglin By the time the doors to UPSAHL’s sold…
WRVU gets exclusive opportunity to cover press for Lizzy McAlpine’s show at Basement East on September 26, 2022. Enraptured, engaged, enamored: three words that describe the reactions Lizzy McAlpine’s performance…
WRVU gets an exclusive opportunity to cover press for Denzel Curry’s show at Marathon Music Works on September 17, 2022. It’s my third semester in Nashville trying to keep up…
WRVU gets an exclusive opportunity to cover press for the Nashville iteration of Manchester Orchestra’s 2021 tour on November 17, 2021. The magic of a venue like the Ryman is…
WRVU gets an exclusive opportunity to cover press for the Nashville iteration of Indigo De Souza’s 2021 tour on November 14, 2021. Blue-eyed Indigo De Souza stunned us all when…
This past weekend, Nashville had the pleasure of hosting BJ The Chicago Kid on his 1123 tour at Exit/In. On his tour, BJ was accompanied by Bryant Taylorr, KAMAUU, and…
The Regrettes, an LA based rock band, unapologetically raised hell at their Nashville show this past Friday. From the moment they stepped on stage, it was clear that their energy…
Last week, King Princess graced us with a stop on her “Pussy is God” tour in Nashville. Debuting in 2018 with her ep, Make My Bed, King Princess is already cementing her reign as one of the premiere rising pop stars. Make My Bed is a masterful blend of catchy hooks, emotional, and self-aware digs, backed by a strong queer identity, and earned her an almost cultish following. Exit/In was a surprising venue given her popularity, and sold out nearly instantly. The intimacy of the venue, this venue was the perfect place to stage her show.
The “one-person-band” known as Tash Sultana rolled through Nashville last Friday as part of their Flow State World Tour, named after their new album released at the end of August. An Australian native, Tash Sultana fuses psychedelic rock and slow, swinging reggae to create an ethereal environment that invites the listener to get lost in the sound. Tash’s captivating music has gained them avid followers worldwide, who have been known to jump the barricade after the show in order to get closer to the artist.
Earlier this year, Ghost released Prequelle, a near-perfect arena rock record dripping with the band’s classic satanic doom-metal aesthetic and dashes of really fun pop glimmer. Every song on the album fits ingeniously and further establishes the band’s repertoire of new rock classics. Even the two instrumental pieces continue the energy of the other songs seamlessly, creating a beautifully cohesive album. Some tracks have lush orchestral intros and outros which act as gorgeous reprises or previews of other melodies on the album and enhance the overall flow. Somehow, amidst our current music climate of the widespread reappropriation of the sounds and textures of the 1980s, the clear 80s influence on Prequelle still feels fresh and exciting, balanced perfectly against 70s hard rock and 21st century dance sensibilities. Thematically, the album perfectly intertwines deliciously cheesy imagery of the Black Death with entertaining and incisive disses on some of the former members of the band who levied a lawsuit against the frontman. At a fairly concise 41 minutes long, Prequelle doesn’t squander a second; every moment on the album feels important. It’s a strong top 5 contender for my AOTY, and so I had very high hopes for the tour.
Called “SXSW’s grungy little sister” by Entertainment Weekly, Savannah Stopover is a hidden gem for festival-goers. In fact, EW perfectly describes this small city fest, as it was conceptualized eight years ago to attract touring artists who were on their way to the colossal South by Southwest Music Festival in Austin, TX. Savannah Stopover brings in a large spectrum of artists, from the local bands to the Grammy-winners, but gives them all the same southern welcome.
Simply put: the Snarky Puppy show was very sold out. With a packed venue, I thought I was facing a rowdy night, and every trip to the bathroom would be like a salmon swimming upstream. But instead of parting the waves, walking around was like crossing a pond—the fans were so enthralled with the musicians on stage that they didn’t move. Normally there are a good number of people walking back and forth in the pass-through to several of the bars surrounding the periphery of the floor, but the bars were nearly empty. Every patron was squeezed as close to the front as possible, eyes glued to the stage.
Lana Del Rey is brilliant. She is the queen of rootless melancholy, an emotion many people seem unable to access fully — except through her. She’s a master of her own persona, and she’s constructed it with such consistency across all platforms that it’s baffling. She remains accessible enough to still convince us of her humanity, but remains removed enough that it’s still a question asked: is she real?
LCD Soundsystem’s show at Nashville Municipal Auditorium on October 20th for their american dream tour was one for the books. They’ve played the festival circuit last year and several shows in Webster Hall and Brooklyn Steel in New York, but haven’t had a formal tour to themselves since their 2016 reunion. The band announced their breakup in 2011 and proceeded to play a legendary string of shows in Madison Square Garden documented by the film “Shut Up and Play the Hits”. Their triumphant return last year was fully brought to full realization with the release of the album american dream on September 1st, put out by DFA Records, the label of LCD’s frontman James Murphy.
To say the situation was “uncomfortably wet” Tuesday night as we pushed through clouds of cigarette smoke into the dark confines of The End would be a bit of an understatement, but for some reason the trudge through the cold rain that plagued most of Valentine’s Day was almost a welcome warmup for the experience that lie ahead.