September 22–28, 2011 I volume 30 I number 34 naShvilleScene.com I free

Justin townes earle leads the charge at the festival formerly known as next Big nashville Justin townes earle leads the charge at the festival formerly known as next Big nashville Photos By eric england Photo assistant: sinclair kelly

or five years, the Next Big Nashville music festival grew exponentially, incorporating more and more venues F and more and more local and national bands. It sprawled from Lower Broad to East Nashville to Germantown and The Gulch. Exciting though it was, NBN’s vastly inclusive, scattershot lineup proved to be somewhat self-defeating. Likeminded bands played in conflicting slots. Some venues were packed to capacity, while others languished emptily. For the festival’s sixth installment, NBN chief Jason Moon Wilkins retooled his formula, reduced the number of venues and bands, and rechristened the whole thing SoundLand. Read on to see what’s changed and why (p. 18), an overview of SoundLand’s inter-venue shuttle system (p. 18) and conference-like, informative “field trip” schedule (p. 20), along with our crit- ics’ choices for the hottest performers and bills, from Justin Townes Earle, Yelawolf, Big K.R.I.T. and Bonobo to locals like Keegan DeWitt, Madi Diaz, Tristen, Natalie Prass, By Lightning!, Uncle Skeleton and more (p. 20).

Justin Townes Earle at the State Fair SoundLand’s Jason Moon Wilkins stresses quality over quantity, Sound Investment and explains why the Next Big Nashville moniker is no more

By D. Patrick roDgers ner. Events, he says, like the ones Next Big and the outdoor 12th Avenue Block Party and the gumption to roll with the punches ow in its sixth year, the Nashville- Nashville co-sponsored at last year’s South by Stage; The Station Inn a few blocks away in and tailor what needs to be tailored. based music festival newly christened Southwest music conference in Austin, Texas. The Gulch; Mercy Lounge and Cannery Ball- But maybe you just don’t like the name SoundLand (née Next Big Nashville) While is the quintes- room on Cannery Row and their neighbors “SoundLand.” If that’s your qualm, I’d like N has undergone an extensive overhaul. sential template for city-based music festivals, and The Basement. The to call your attention to three completely In years past, the fest sprawled to incorporate Wilkins says that SXSW isn’t exactly what less central War Memorial Auditorium and absurd-sounding words that most of us have dozens of local venues — from rock and hip- he’s going for. He instead sees Seattle’s suc- Neuhoff Factory will host a show each, and become disturbingly accustomed to say- hop clubs to honky-tonks and theaters — and cessful Bumbershoot music and arts festival venues including The Belcourt and The Gib- ing: “Lollapalooza,” “Bumbershoot” and hundreds of local bands. This year, festival (now 40 years old) as the ideal — “more of a son Guitar Showroom will host “field trips” — “Bonnaroo.” SoundLand — a moniker that honcho Jason Moon Wilkins has reduced city festival that is multi-genre and reflects the educational component of the fest and this Wilkins says was at least partially inspired the number of participating local venues what the city is into and what the city cre- year’s alternative to single-venue conferences. by the memory of our dearly departed to a much more manageable 11, eliminated ates,” he explains. Wilkins also references the As far as the local-artist submission process Opryland — doesn’t sound so bad now, does the local-artist submission process and re- defunct Nashville Summer Lights festival, goes, Wilkins claims it was something he was it? In three years, you won’t even notice. newed his focus on pulling in national acts. which attracted rock, pop, country, and never a fan of in the first place. Describing the “[The name SoundLand] does So the obvious question: Why children’s performers in the ’80s and ’90s. process as “more dishonest than honest,” he kinda sound like the name of a tape the change, and why now? But if SoundLand is to be as lasting as explains that he would rather trust the tastes and CD store in a mall in, like, 1995,” “When you say ‘Nashville’ — regardless Wilkins hopes — like, say, the 40-year-old and insights of his colleagues — promoters, Wilkins concedes. “Fair enough.” of what I think, and regardless of what we’re Bumbershoot — the festival and its archi- venue owners, bookers and critics — than Email [email protected]. trying to do, and regardless of who’s even tects’ aspirations need to evolve right along continue to utilize a process that requires >> p20 booked — sponsors, consumers, whoever, with the city itself. Wilkins says that one of so much time and resources and inevitably would still think ‘country,’ ” says Wilkins. He’s the most common complaints he received disappoints countless applicants anyhow. an astute businessman with sharp taste and a in previous years was that the event wasn’t So alongside successful non-local pop, keen awareness of the music industry. He has centralized enough. Bands with overlap- hip-hop, rock and folk artists like Yelawolf, artist-management experience, but he mostly ping fan bases were occasionally found Big K.R.I.T., M. Ward, Foster the People stays out of that end of the business these playing opposite one another at separate and Ghostland Observatory, Wilkins & Co. days. Except, that is, to represent local DIY venues — on opposite sides of town. booked the most exemplary artists Music indie-punk Daniel Pujol, whose Wilkins partially attributes the difficulty City’s respective scenes have to offer. project PUJOL will release an EP via indie in booking a centralized music event to what Hard-touring, on-the-rise artists with gatekeepers Saddle Creek Records in October. he calls Nashville’s “facilities issue.” He hopes new releases and critical acclaim, like “[Running a festival called Next Big to incorporate the forthcoming convention JEFF the Brotherhood, , Nashville] was tough, you know, because center into the conference side of the fest in Tristen, Caitlin Rose, Chancellor Warhol, obviously part of it was always to try and the future, but for this year, a major part of Keegan DeWitt, PUJOL and Madi Diaz improve that image to the point that it means making SoundLand work was paring back — not to mention former and sometime country plus all these things,” says Wilkins. the participating venues and eliminating the locals like Justin Townes Earle, Jonny “At some point, you have to realize there’s problematic sprawl. “It was difficult not to Corndawg and Jessica Lea Mayfield. only so much a guy with no budget can do use Exit/In and The End,” says Wilkins. “It It’s clear that Wilkins’ primary goal against millions and millions of dollars that was difficult not to work with people who is to give Nashville a non-country mu- brand [Nashville] that way every year.” have been so cool with us, like The Rut- sic festival that will continue to grow Wilkins explains that Next Big Nashville ledge and Hard Rock Cafe and The 5 Spot. with and benefit the city. And hear- remains the name of the LLC behind Sound- Tough, emotional, personal decisions.” ing him apply the lessons he learned Land, and that he hopes to plan other events The venues that remain are mostly in a from Next Big Nashville’s five-year throughout the year under the NBN ban- tighter cluster: 12th & Porter, the nearby Mai run, you can’t deny he’s got the gall Blasting This year’s SoundLand shuttle Off service sees a significant upgrade he nation’s shuttle program may have blasted off for the last time, but the SoundLand Shuttles are fully operational. The fleet of trolley- style mini-buses (a visual upgrade from previous years, thanks to Gray Line) will be delivering SoundLanders from venue to venue T th th throughout the festival — running from the 12 Avenue area (Mai, 12 & Por- ter and the outdoor stage) to The Station Inn and on to Cannery Row (Mercy Lounge, The Cannery Ballroom). On Saturday only, The Basement will also be part of the circuit. Show-hoppers don’t need to worry about parking for the entire night — or making bad decisions about driving. Shuttles run from 8 p.m. to 2 a.m., and are free for wristband holders and VIPs. —steVe HarUcH

Jason Moon Wilkins

coverstory_9-22-11.indd 18 9/21/11 10:12:48 AM nd everywhere from Vogue to W to Pitchfork. Thursday, 22 And rightly so. Validating the incessant buzz This year’s SoundLand that’s surrounded Cults since day one, their trades conventional eponymous release finally re-casts the oft- Daytripper conferences for “field Mercy Lounge referenced Brill Building sound in a new light, While, say, 90 percent of this year’s lineup distinguishing the band from peers like Vivian trip” sessions features bands we figured we would see sooner Girls and — peers who have mined By Sean L. Maloney rather than later, we never thought Bonobo early ’60s pop with less inspiring results. 8:15 court for a case study with breakout folk duo was coming to town, SoundLand or otherwise. p.m. at the 12th Avenue Block Party Stage —RYAN et’s just say it up front and honest- The Civil Wars (1 p.m.) and music streaming And we’re not going to lie: We did a whole lot BURLESON like: Conferences kinda blow. upstarts Grooveshark (2 p.m.), then over to of jumping and shouting when we found out Uncomfortable seats, awkward the Grammy House to shoot the shit with this UK chill-out champion was on the festival Foster the People L conversations, cold weak coffee, industry attorneys Loeb & Loeb, and then lineup. Hell, we’re still bouncing off the walls. With their reputation preceding them — fluorescent lights and high-traffic carpet up the street and around the corner to the This dude has been one our favorite electronic thanks to the oh-my-God-it’s-everywhere, in a place where nobody would ever hang SoundLand Registration House (at 501 artists for the better part of the decade, bang- shimmering, saccharine single of the summer out if not for professional obligations. Yes, Eighth Ave. S.) for low-key chats with The ing out sophisticated, worldly future jazz. “Pumped Up Kicks” — LA’s indie-poppers useful information is useful, but how useful Low Anthem (3 p.m.) and Justin Townes Bonobo’s music is the intellectual antidote to Foster the People sold out their June 29 show is it if you’re nodding off in an uncomfort- Earle (4 p.m.). Friday we start at CRAFT Stu- the knuckle-dragging, glowstick-clusterfuck- at Mercy Lounge so swiftly that their gig was able auditorium seat? Everyone knows that dio (noon), then head back to The Belcourt (1 ing bro-tastic contemporary dance scene. With moved downstairs to the roughly twice-as- PowerPoint presentations are a natural p.m.) — which reminds us, does anyone know an ear for smooth hooks, deep, soulful bass large Cannery Ballroom. Certainly more pop sedative, and if we learned anything in if the bar is going to be open? — for discus- lines and dynamic, shifting rhythms, Bonobo’s than indie, their debut full-length, Torches, our nine-and-a-half years of college, it’s sions on music supervision and A&R. Finally transcontinental funk is some of the best on isn’t without its moments, sparkling with that sitting in those auditorium-chair- it’s over to the Gibson Guitar Showroom (3 the planet. sophisticated production and occasional desk things is a great cure for insomnia. p.m.) for convos on that fancy new digital mu- But don’t sleep on the Thursday night melodic complexity. Their intermittent re- And the SoundLand-ers know this! This sic the kids are all talking about these days. undercard — Ziggurat and Treekeeper are semblance to just-too-sugary outfits like Ma- year’s fest finds the industry-info sessions So yeah, that totally beats sitting in some of the city’s newest, freshest electronic roon 5, however, didn’t help on the blowback breaking free from the staid professional the same place all day. For a full sched- artists. Experimental hip-hoppers Ziggurat front. That said, the once-too-sugary Phoenix shtick, hittin’ the road and crisscrossing the ule and more details, visit SoundLand’s make what we like to call “smooth glitch,” got much better with time, and FTP play re- city on a rock ’n’ roll adventure. Thursday, website (nbnsoundland.com). landing somewhere in between tweaked-out ally well live. If you like the record (or, more the whole crew will head over to The Bel- Email [email protected]. experimentalism and good, ol’ fashioned funky importantly, the single), you won’t be disap- hip-hop, simultaneously challenging and pointed. 9:15 p.m. at the 12th Avenue Block Party familiar. Treekeeper drops deep, deep electro- Stage —D. PATRICK RODGERS influenced space funk — think Midnight Star swimming through a lake of Xanax, fighting evil How I Became the Bomb Louisville and — from what we’ve heard — out into some pretty daring, diverse territory on robot fish. That gives us hope for the non-bro- It’s been a minute since we’ve heard anything working on their long-awaited follow-up to the its last three LPs. By comparison, Broemel’s solo steppin’ end of our local electronic music scene. from How I Became the Bomb. The band hasn’t ambitious 2009 debut album Deadly Art. The material may be considerably less adventurous, 9:30 p.m. at Mercy Lounge —SEAN L. MALONEY played a local show since opening for Miami Bomb’s new songs are still mostly a mystery, but but the pop sensibilities and pedal-steel sweet- Horror at Mercy Lounge back in June, spending if Deadly Art and Let’s Go are any indication, ness of 2010’s All Birds Say made for a welcome Cults the time since playing for Big Lebowski fans in we’re in for another round of truly rad Devo-in- return to basics. 10:20 p.m. at The Station Inn Given their snappy rise in the fledging “indie spired synth pop. 10:30 p.m. at Mai —LANCE CONZETT —ANDREW CLAYMAN mainstream,” chances are the Manhattan-based Cults have crossed your radar at least once Boss of Nova Ben Sollee since early 2010. Arriving on the national Name sound familiar? It should. His work Shortly into SoundLand, you’ll surely be sick stage just weeks after posting three with Chancellor Warhol is some of the most of guitars. Fortunately, Ben Sollee plays the . songs to their Bandcamp innovative pop Nashville has seen in years — a This is awesome. His skill on the instrument and page, the duo — featuring paradigm-shifting blur of electronica, pop and the way he blends genres and styles into an un- former film students hip-hop on the forefront of the city’s new mu- deniably appealing package always feels fresh. Madeline Fol- sic community. Boss of Nova’s solo work goes His latest full-length, Inclusions, features the lin and Brian further down the rabbit hole, finding deep-pop same wit, soul, subtlety and rich musicality as his Oblivion — have gems at the bottom of a blue electronic sea. 11:35 breakout Learning to Bend. (Do yourself a favor since signed p.m. at Mai —SEAN L. MALONEY and listen to “Bible Belt” now.) Sollee also has a with Colum- sense of humor — a couple years ago, he released bia, released Kyle Andrews “Dear Kanye,” his heartfelt plea to a talented a critically If there’s anyone worthy of repping the Music artist overindulging his more base commercial lauded debut City’s slowly unveiling diversity, it’s the genre- impulses. “You don’t need a light show,” he as- and been featured jumping Kyle Andrews. Andrews turned heads, sures Mr. West, “just good flow.” 11:15 p.m. at The blew minds and ignited ear buds this sum- Station Inn —LEE STABERT mer with Robot Learn Love — a beat-blasting, Uncle Skeleton face-melting, heart-wrenching, Cherub Dropping by Cannery Row to see Uncle toe-tapping concept album Simultaneously silky-smooth and impossibly Skeleton play a rare show upstairs before that pontificates not only on filthy, Cherub’s savant electro-funk is a spiritual RJD2’s headlining set in Cannery proved modern life through the eyes descendent of late, lamented locals Spring Hill to be one of my best decisions of last year’s of technology, but Spider Party — except without the jokes. We’re Next Big Nashville. Armed with practically the summation not sure when and how it happened, but an a full orchestra, Uncle Skeleton plays music of everything unironic love of Hall & Oates and ’80s disco funk unlike anything I’ve ever heard. Equal pop has come has crept its way into the local scene, and it looks parts progressive and familiar, the band’s to mean in the last 40 like it’s here to stay. Of all of the bands professing style regularly defies music critics’ built-in years. 10:30 p.m. at 12th & their love for Prince’s freakiest R&B tunes, Cher- genre-assignment software. Electro-soul Porter —SETH GRAVES ub’s variant is about as sincere as it is on point. jazz? Ambient summer pop? Something- We guarantee it: This is where the dance party something-dance-something? Whatever it will be, and as far as we’re concerned, Cherub is is, it blew hundreds of awed onlookers away The rise of Louisville’s much more interesting than unctuous electro- when they opened Bonnaroo this year, and funk headliners Ghostland Observatory. 10 p.m. Uncle Skeleton is poised to become your from alt-country cult fa- at Cannery Ballroom —LANCE CONZETT th Uncle new favorite band. 11:35 p.m. at 12 & Porter Skeleton’s vorites to festival-rock titans —LANCE CONZETT Ross can be traced back, in no small part, Jasmin Kaset Wariner to the addition of lead guitarist and Nashville While we were all fawning over (admittedly native Carl Broemel back in 2004. While Jim excellent) records by local singer- James has always been MMJ’s creative engine, like Caitlin Rose and Elizabeth Cook for the last Broemel was integral in helping the band branch year’s annual “Best of” poll, one song- >> p22

coverstory_9-22-11.indd 20 9/21/11 10:14:17 AM stress in particular was criminally overlooked. quickly escaping that shadow and his own in- Jasmin Kaset’s Hell and Half of Jordan is only 20 ner demons to become one of America’s most minutes long, but it’s 20 of the strongest minutes acclaimed young singer-songwriters. If you we’ve heard in a long time from a local artist. Ka- know someone still ignorantly bemoaning the set’s songs have significant charm on their own death of “real ” and the genera- merit, but the depth of production on the record tion that supposedly killed it, please do us all gives them an irresistible quality that can only a favor and drag them to Cannery for this one. come from incredibly strong songwriting and ar- 7:20 p.m. at Cannery Ballroom —ANDREW CLAYMAN rangement. 9 p.m. at The Basement —LANCE CONZETT The BAsemenT The Low AnThem As a discerning festivalgoer, you demand qual- Like the Minnesota band that shares the word ity. Well, Friday night at The Basement has got “Low” in its name, The Low Anthem does not your quality rock ’n’ roll. First! The two-piece make music for the easily distracted. Theirs is a Action!, starring husband-and-wife team Dan By Lightning! slow unfurling — a deal with the listener to hang and Robyn Burns. Their engaging, anticipa- at the Tennessee in there for the entire, glacial sweep of a song. It’s tory harmonies evoke the rising … well, action State Fairgrounds a gradual and ultimately rewarding accrual of of dramatic structure, and climax heft assembled from the sparest arrangements without devolving into melodrama. and impossibly delicate vocals. And it’s a deal With evocative melodies that avoid worth making. 10:40 p.m. at The Basement —STEVE spilling into cloying territory, it’s longs for the days of mid- to late-’70s FM HARUCH hard not to wonder which song By LighTning! radio — echoes of everyone from Fleet- you want playing during a mon- The phrase “supergroup” is often wood Mac and Hall & Oates to ELO and tage in the short film of your life. used pejoratively in modern rock circles Boz Scaggs can be heard on 2010’s Cha- Next! We’ve got newish band Tiger — consider how most of us feel about teau Revenge. They’re fresh off some well- Friday, 23rd High. Did you know Tiger High is Audioslave. But it carries a very differ- received dates in the U.K., so they should Memphis-based? In fact, urbandic- ent connotation when it comes to By be firing on all cylinders. 10 p.m. at Mercy tionary.com informs us that “tiger Lightning!, a promising new ensemble Lounge —JACK SILVERMAN 12Th Avenue BLock PArTy high” is in fact a derisive nickname featuring seven seasoned members of Sorry, but we will never ever believe that a for the University of Memphis. Such sass. The Nashville’s rock and com- keegAn dewiTT & mAdi diAz block party featuring a bunch of indie-rock group, comprised of brothers Jake and Toby munities. Mostly pulled from Dixie Dirt People are always trying to convince acts can actually be considered a block “party.” Vest, Greg Faison and former Reigning Sound (R.I.P.), De Novo Dahl (kinda R.I.P.?) and the world that Nashville’s rock scene can Now, hip-hop — founded on the block and in drummer Greg Roberson, have the solid ’60s Hands Down Eugene, the vets in By Light- compete with the Country Music Indus- the parks — is the perfect music for a block rock numbers on lock. Then! After that is Ri¢hie, ning! marry porch-perfect Americana, trial Complex, but many ignore the city’s party, and oh man, what a party this one is (rather-difficult-to-Google-unless-you’re- scuzzy, J Mascis-ian rock and the type of burgeoning underground pop scene. gonna be! Headliners Big K.R.I.T. and Yelawolf looking-up-Macaulay Culkin-films), the new no-nonsense attitude you would expect Touring buddies and collaborators Kee- were both in the running for best-rap-show- project from Richie Kirkpatrick of Ghostfinger from a group that’s collectively seen it gan DeWitt and Madi Diaz both produce of-the-year for their respective sold-out gigs renown. The Stonesy and cock-rocky moments all industry-wise. Indeed, their excellent bright, catchy tunes with an assist from earlier in the one-one, but now that they’re on remain, but with a newfound, streamlined vigor. debut, Sand Down the Edges, feels at once layered, thoughtful production. Diaz the same bill, we might as well just call it now: Finally! Ending the evening are The Ettes, just a effortlessly constructed and devoid of the hews a little closer to traditional singer- best show of the year. few weeks off the release of their latest, Wicked try-hard motif that many in Nashville can’t songwriter territory with love songs K.R.I.T. and Yela are two sides of the same Will. Fuzzy, kinda menacing garage-surf tunes help but embrace. 8 p.m. at Mercy Lounge and pretty, emotive vocals. DeWitt, on Southern Rap coin — one classicist, one futurist coupled with self-assured, world-class perfor- —RYAN BURLESON the other hand, is more likely to get you — and when you get them together in one spot — mances pretty damn well guarantee a stompin’ moving, as on the sparkly, danceable like on the recent “Happy Birthday Hip Hop” or end to your oh-so-quality evening. 9 p.m. at The The siLver seAs “Say La La” or the moody, insistent Rittz’s “Full of Shit” — there is nothing finer. And Basement —ASHLEY SPURGEON Co-founded by frontman-guitarist Dan- “Hearts Beat Loud.” Keegan DeWitt when you get these dudes on stage? Pure fuck- iel Tashian and engineer to the stars (and 8:50 p.m. at Mercy Lounge; Madi ing fire — each takes the art of performance to Third mAn records one helluva keyboardist) Jason Lehning, Diaz 11:30 p.m. at Mercy Lounge hitherto unforeseen levels of quality. And then, Of those punctual enough to have gotten in, The Silver Seas craft airy, pulsing pop —LEE STABERT because it ain’t no fun if the local homies don’t who could ever forget last year’s raucous Next songs that should appeal to anyone who get none, we’ve got the cream of the Nashville Big Nashville shindigs at Third Man Records? hip-hop community filling out a night of bangin’ Turbo Fruits frontman Jonas Stein crowd-surfed beats and big-time fun. Sam & Tre and Chan- across the Blue Room mid-guitar solo, Cheap cellor Warhol — both supporting killer new Time made a rare appearance and JEFF the releases — are on the Block Party Stage, while Brotherhood cut a killer live record. inside at Mai you’ll find Scene favorites Call It The packed-out pair of shows — hosted Dope!, Dee Goodz, Openmic and Stix Izza. 9 in conjunction with popular local punk blog p.m. at the 12th Avenue Block Party Stage —SEAN L. Nashville’s Dead — was a local coronation for MALONEY ’s downtown record store and venue, marking the first time White and his Third Man cAnnery BALLroom cohorts involved themselves directly in such a I’d dare not nominate this fine lineup for Music City-centric event. And just as Next Big something as hokey and misguided as “The Nashville’s metamorphosis into SoundLand is a Highwaymen: The Next Generation,” but move to the center — between local love and na- the storyline does kind of write itself. Here tional exposure — so is the year’s festival’s show you’ve got a marriage of indie rock’s foremost at Third Man. Americana labels — New West and Blood- Three-parts regional and two-parts national, shot — showcasing three torch-carrying but the local tip on this five-act bill will feature the refreshingly original voices in a dilapidated retro soul grooves and laid-back instrumenta- “alt-country” universe. Former Drive-By tion of Athens, Ala., foursome The Alabama Trucker plays the rebellious Shakes, the bedraggled, rampageous garage- rocker, broken free of his old gang and on the punk of Hans Condor and rapid-fire, sneer- run with a new bunch of bandits out of Ala- ing pop-hockery of PUJOL — the latter of bama called the 400 Unit. Out of Houston, we whom also appeared at last year’s Third Man have the wide-eyed 22-year-old Robert Ellis throw-down. In the time since, the budding — already a walking encyclopedia of classic songwriter, Daniel Pujol, has switched backing C&W music, but equally at ease with a sparse, bands, crisscrossed the country on tour with -ish folk ballad as a lushly Ted Leo and inked a deal with top-dog indie produced George Jones number. And speaking label Saddle Creek Records. His first release for of Townes, there’s his partial namesake Justin the label, an EP titled Nasty, Brutish, and Short, Townes Earle, son of the legendary Steve, but is set to drop in October. >> p24 Madi Diaz and Keegan DeWitt 22 Nashville sceNe / September 22–September 28, 2011 / nashvillescene.com at the Tennessee State Fairgrounds

coverstory_9-22-11.indd 22 9/21/11 10:16:28 AM Their Oh Tall Tree in the Ear, back in 2010. Local all-’90s cover outfit My These former American Bang-ers are throwing released in 2009, features So-Called Band will close out the night with a down lightning bolts of no-nonsense Southern the sort of bold, diverse top-to-bottom performance of Nirvana’s semi- rock punctuated with karate kicks to your wig instrumentation, anthemic nal 1991 release, Nevermind.Will drummer Sam dome, dude. Heavy as all get out, freaked out, verve and folk-rooted exper- Smith channel the good-natured goofiness of fuzzed out, these dudes traded in their polish imentation that just might Dave Grohl? Will singer Dave Paulson shoot up for some red clay and a sound that, frankly, we make you think of Wilco’s heroin prior to performing? Will the crowd take always knew they had in them — The Cadillac late ’90s and early Aughts asmoke break during “Territorial Pissings”? Black pummels country, and all their bas- output. Way better than The Only one way to find out! 9 p.m. at Mercy Lounge tard progeny into hurricane-force hipster-billy Partridge Family. 10:20 p.m. —ASHLEY SPURGEON rawk. 10:30 p.m. at 12th & Porter —SEAN L. MALONEY at The Station Inn —D. PATRICK RODGERS snowden CaiTlin Rose Six years between albums might as well be Nashville songstress Caitlin Rose recently ColoRfeels alifetime — have gone on and announced the latest feather in her cap: a deal It’s been awhile since returned from hiatus in less time —but here with ATO Records, home to My Morning we’ve heard anyone try comes Snowden again. Last seen opening for ev- Jacket, Drive-By Truckers and Patty Griffin, to take aswing at the or- eryone from Clap Your Hands Say Yeah to Kings among others. It’s a partnership that makes chestral folk that Sufjan of Leon, the most-blogged-about band of 2006 a lot of sense, and on Tuesday, ATO will re- Stevens did so well —until finally has new material. The Slow Soft Syrup release her arresting, artful full-length debut, he started writing scores for E P, released earlier this year as apreview of a Own Side Now. The album has an undeniable, multimedia explorations of new album, features the same languid affect and dreamy charm, whether Rose is describing her expressways and generally shimmering guitar-tronics that made Anti-Anti adventures on the streets of or being apretentious jerkoff. an auspicious debut way back when. 8 p.m. at 12th the carnage of a bad breakup. Given its pitch- Thankfully, Colorfeels sound & Porter —STEVE HARUCH perfect lilt and modern twang, it’s no wonder like they’ve taken the Sufjan ATO snatched this one up. 11:10 p.m. at The Natalie Prass earnestness and left behind The CadillaC BlaCk Basement the Sufjan dickishness. It’s no coincidence their initials are TCB. —LEE STABERT Their debut, Syzygy,is full of multi-instrumental heart and promises to be asurprising culture clash for the hip-hop heavyweights playing at Mai and on the Block Party stage naTalie PRass at the same time. 11:10 at 12th A frequent traveler along the line & Porter —LANCE CONZETT between indie pop and spectral folk melancholy, Natalie Prass has gotten The non- pretty good at knowing when to let Commissioned offiCeRs a song drift toward one, and when to Have we mentioned lately how thrilled we drift back toward the other. She’s got are that The Non-Commissioned Officers an ear for melody and makes good decided not to break up after the premiere of use of a restrained, airy style. Make-Out With Violence — the locally shot In May, Prass raised enough money zombie movie that brought the band together online via Kickstarter to record a in the first place — at Next Big Nashville way new full-length album, and we look back in 2008? Though many of the original forward to the results. 8:45 p.m. at The members have moved on, The Non-Comms are Station Inn —STEVE HARUCH still one of Nashville’s best rock bands. There’s a good reason why they easily won their round of Road to Bonnaroo last year — their Eno-in- spired synth rock manages to blend catchiness And on the national tip, the bill will see the with the horror-film darkness that character- Tristen at the Nashville Zoo Nashville debut of deconstructionist, experi- ized their first efforts. 12:40 a.m. at 12th & Porter mental Detroit garage rockers Human Eye, —LANCE CONZETT featuring volatile former Clone Defects singer Tim Vulgar, who are known for their stage- neuhoff faCToRy ouTdooR PaRTy ravaging, ear-splitting live shows. If there’s one SoundLand show sure to embody the festival’s Rounding this onslaught of harum-scarum Saturday, 24th musical-amusement-park motif as well as capture a time-stamped rock ’n’ roll and adding insult to deafening in- snapshot of Nashville rock circa-now, it’s this all-day Saturday soi- jury is yet another (not to complain) Nashville ree at Neuhoff Factory — a gaping gravel-and-concrete industrial appearance from relentlessly confrontational meRCy lounge enclave in Germantown. comedic persona Neil Hamburger, whose There are great shows all over town today, At last year’s Next Big Nashville, promoters test-drove the facility poor-man’s-Don-Rickles-goes-to-Williams- but Mercy Lounge is shutting it down on Sat- with aVIP day party featuring free elixirs, gaming stations and a burgh-2011-instead-of-The-Copa one-liners, urday with local rock bands of all stripes and a performance courtesy of The Features. Judging by the fun had by pop-cultural and societal indictments are, late-night rendition of an album you almost cer- the thousand-plus mass that turned out to indulge, the result was the again, sure to offend as many as they inspire. tainly own(ed). Dance rock, post-punk, power single most festive, South by Southwest-worthy event in the festival’s initial Such is the case with comb-overs. 7:45 p.m. at pop. They’ve got it all, and that’s how it’s kicking five-year run —its success seemingly setting the stage for the makeover that is Third Man Records —ADAM GOLD off with Cheer Up Charlie Daniels, Evan P. SoundLand. Donohue and The Pink Spiders,respectively. Set to appear at this, essentially SoundLand 2011’s main event, are Music Roman Candle In fact, the recently reconvened Spiders have City flagship stoner-punk duo JEFF the Brotherhood,barn-burnin’ Nashville- When Nashville-by-way-of-North Carolina been hawking their sonic wares on tour bursts by-way-of-Murfreesboro jezebels (and bro) Those Darlins,garage-goth family band Roman Candle loaned brother east-ish of the Mississippi for aminute —and newcomers and Jack White protégés The Black Belles,trad-pop-rock Logan Matheny to The Rosebuds (who were so has electro/rock band Paper Route,who, ac- savant Tristen,local indie-Americana troupe The Apache Relay,part-time touring in support of Bon Iver this summer), cording to their Twitter account, should have a Nashville indweller Jessica Lea Mayfield and Knoxville neo-psych rockers husband-and-wife duo and central members new album out soon. They’ve got performances Royal Bangs.In other words —for Music City detractors who hate us for our Skip and Timshel Matheny hit the road. With with Paramore and quite afew soundtrack freewheelin’ capacity to kick out the jams —between both the and their three children in tow, the duo played numbers under their belt at this point, which the inevitable orbit of local luminaries onsite, there’s no better theoretical time living rooms across the country, road-testing should add up to afine, tight-as-tight show. This to rid the rock scene of its key members. tunes for a forthcoming record. It’s a story that particular writer is looking forward to Paper To distract such potential threats to Nash-onal security, the event will boast might make for a good sitcom, except that Ro- Route because, hell, we haven’t seen them since a30-foot waterslide, agiant inflatable dragon (not kidding!) and an armada of man Candle’s songs are probably just too good. the “Rebuild This City” flood benefit show way local food trucks. 2 p.m. at Neuhoff Factory —ADAM GOLD

24 Nashville sceNe / September 22–September 28, 2011 / nashvillescene.com

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