Mother always said “save the best for last,” and I’m certainly happy, for her sake, that she wasn’t present at tonight’s final ASCAP writers' night.

The evening was kicked off by a giant, walking, rectangular square from Belmont’s favorite PRO. He reminded the eager crowd of the heavy importance of lyrics in songwriting. Just in case some of you forgot to listen for those witty and creative, verbal images, created by tonight’s modern day William Blakes, we will be taking a recap of the showdown.

Brent Wilson “kicked” off the night with more of a slow crawl. A dragging ballad containing the terms “message in a bottle,” “daemons,” and “veins.” Such dark terms for such a jolly looking man. However, I did hear the words “dark” and “smooth” thrown into the mix, and the reference became more clear. I turned towards the bar, only to remember that Belmont only allows that sort of lifestyle in cachette. Mr. Wilson excused himself from pre-judgment, as “the first is always the hardest.” Come on, even from where I was sitting, I could tell that the first one is the softest. Set was rather spongy also.

First words out of Hailey Steele’s “Four minutes, I’m not done.” I’m not sure if this was a time marker, or an indication to stop yawning; but I’m quite sure that the tune was about forty minutes long. “I’m here” was an equally recurring lyric. No need to remind us – we could tell from the racket – even the guitar wasn’t happy about it.
Cody Fry added some color to the night. A booming voice, which surpassed the mic, and a roaring enthusiasm made his tunes stand out from the previous droners. But the flat, blank and white lyrics about the “girl that got away”, “wish she would have stayed” clichés were far from interesting. Come on, we all know why the girl left – she heard that falsetto then just took off running.

Wrapping up the soiree, Lindley Wolfgram busted out some medieval/Irish sailor-esque tunes. I appreciated the antique feel of her style, and the plucking of the guitar strings – after all, not every chord needs to have its strings beaten like a snare drum. But again, the lyrics, the imagery, the colors were so surface and transparent. Lines such as “Eyes as green as the money she made” provide for a bland ingredient in an ultimately tasteless dish.

Overall, this night was unproductive. I would rather spend a romantic evening with Charles Manson than sit through another one of these. What happened to the punch? What happened to the surprise and uniqueness that is supposed to be a prime part of the musician’s toolbox? Tonight was about songwriting, mostly in the country genre – a style that focuses on celebrating the simplicity in life. There’s no need to unearth deep soil in search of construed meanings and deep symbolism and significance – the further you dig the more ¬the song becomes soiled. With such slow progressions and dull language, the songs become depressing rather than heart touching. If I was seeking the soundtrack to my own demise, I would simply take a ride in Tracy Chapman’s fast car, and drive it straight of a cliff.

All four musicians tonight are fantastically talented. However, the feel and words of their music does not match up to the potential. I look forward to following these artists as they polish their skills, sharpen their wits, and hopefully lean to speak from the soul, and not from a fortune cookie.

-M Hz

Great show at the 5 Spot-east Nashville’s hub for indie music. I was ready to see Gabe Vitek--but it seemed not to work out for some reason. Sorry to see that.  This was a club filled with long term fans of music--would have been a great exposure for them.

Chattanooga’s The Bohanon’s started with some rousing rock reminiscent of the 70’s. Good melodies, strong singing and amazing fireworks on lead guitar. At times, they elevated the venue to an arena like atmosphere, the crowd was transfixed as the lead guitar took control and showed everyone how it was to be done. Hailing from Chattanooga music veterans, The Bohannon's were solid and took control of the stage. They deserve a larger venue and greater crowds—this is what live music should be. Look for a video later this week on this site.

Jonathan Sexton and the Big Love Choir came in next. They were solid as usual. He night before they were at their sold out CD release party in Knoxville venue at 300. It is a shame that Nashville has yet to discover this band, but they will. They performed solidly with Jonathan as an able front man and communicator. He sings and plays with a youthful playfulness that connects with his audience. He performed for the crowd with an urgency that balances his positive message of love. Not a Christian band—although he would be great in that market, (wholesome looks, not too threatening, etc) However, this is a seasoned band that has a good message, a nice change from the usual college bands that are either disdainful, or ambivalent to the audience (Interesting way to build a fan base).

Last was Matt Urmy. Perhaps one of the most fascinating artists I have seen in years. At the set up, I saw a steel guitar unpacked, (What is the difference between a banjo and a steel guitar—a banjo burns longer). So I thought, OH MY GOD—A country band. But Matt was not that at all. It was hard to describe. Perhaps an ALT country, pop alt rock singer songwriter with a Kafkaesque spin on the word (is there a radio format for this?). And that is the problem with the industry in general—no room for break out artists or music—unless they are not too unique.

Sadly, here is an artist in the true sense of the word—He spent several years in New Zealand—studying with various tribes studying tribal medicine/spiritism. Came back to the US, got a master’s degree in literature/english and now teaches Poetry literature at a local college. He recites Gabriel Garcia Marquez before the set, then kicks into his opener. He is a cross between a post modern Bob Dylan, but far more interesting, combined with a strong, unshaven, tattooed, rebellious Charisma, he is ready to go. I mean—the guy even cuts his own hair—how cool can anybody be?

Matt Urmy is a great performer and mesmerizing singer that travels between basic rock vocals to a sort of Alt Rock Rap recitation that reminds me of a poetry reading in NY lower east side. He needs intense listening and is worth every moment. There should be a video this week on this site.

All an all, these are the sort of bands that other local college bands will grow up to be—if they last long enough. If they can survive the moment of graduation when all your fans go on to jobs and suddenly you and your band scatter to the wind and you start over—in the real world of clubs. Self motivating, hungry, love of music and performing, and more concerned with the slow ebb of building there fans base with solid performances

IBH

Ten Out of Tenn closed down the Cannery Ballroom on the opening night of Next Big Nashville and left, I can only assume everyone present, in awe. They’ve been called “the biggest band you’ve probably never heard of.” But once you’ve heard them, you’re hooked. This is the most difficult review for me to write in that I want to spend pages acknowledging the talent each artist hold. Ten out of Tenn is made up of Trent Dabbs, K. S. Rhodes, Kyle Andrews, Madi Diaz, Andrew Belle, Mikky Ekko, Joy Williams, Ashley Monroe, Sarah Siskind and Jedd Hughes.

All of these artists made their way into my heart at this show but I haven’t been able to stop listening to Mikky, Joy and Sarah. When Madi Diaz introduced Mikky Ekko she said “Every time we all play together something comes out of his mouth that just amazes us.” And he lived up to that introduction. Singing “I Love You (I Always Have),” Mikky impressed me with the combination of a rough and pure sound. After he sang, Sara Siskind took the stage with just her guitar and Mikky, Madi, and Andrew to sing “Lovin’s for Fools.” With heart-turning lyrics, borrowed from “You Are My Sunshine,” they sang “you’ll never know dear, how much I love you.” It was charged with emotion and everyone was listening in silent awe.  It was a feeling that seems cheapened by trying to describe it.

From the sweet, sacred silence that flooded the room during Sarah’s performance to the high energy buzz that came during Trent Dabbs and Joy Williams’ performances, this show was a grand way to kick off NBN. 

(This event was sponsored by Brite Revolution www.briterevolution.com)

 Well, I went to see the world famous Mariachi Vargas at TPAC here in Nashville. They are considered the best "Mariachi Band in the world." I initially thought this would be the same as seeing the best "polka band" in the world. I was surprised at the level of technical expertise and showmanship the group displayed. They were well rehearsed, flashy, technically excellent, and worked the crowd like an old rock band.

With a synchronized string section, showing the "chops" worthy of the Nashville Symphony, they played with a fiery excellence that left me redefining what mariachi music can be. I had typically thought this was the annoying type of band that rambled from table to table in my favorite Mexican restaurant, but I soon discovered the music is more than that. The trumpets were excellent, the singers were magnificent, and all in all, I actually enjoyed the event tremendously.

A large group of professionals, they showed everyone else "how it is to be done." Formed in 1897, from1937 until now, the Mariachi Vargas has produced over 50 recordings and appeared in countless movies. If you ever get a chance to see any group that defines a genre--do so. It will reframe your mind. Now, I will have a difficult time listening to anything less than this group. I am sorry to say the crowd was not as large as it could have been. Likely, due to the perception of this type of music and perhaps a less than aggressive marketing plan locally. If they return—check them out. I was glad I was there--
DH

 The Next Big Nashville has come and gone.  If you would like to review any of the shows or bands you saw--bring it on!