I kicked off this year’s Next Big Nashville by dropping by the Belcourt Theater last night to watch the premier of the new Brooke Waggoner live concert documentary, “And the World Opened Up.” Filmed and produced by Charlie Peacock, the film included live footage and highlights from Brooke’s performance at ArtHouse in Nashville, as well as interviews with the artist and some super cute animation.

The performance at ArtHouse was rather notable because it featured Brooke playing all the hits (i.e. “Go Easy Little Doves,” “Femmes,” “Godwin,” and “Find Her Floods”)—but with a chamber orchestra as a backing band. As if Brooke Waggoner’s music isn’t gorgeous enough, who doesn’t get shhhiiiverrrs from hearing a full string section? Plus, some of Nashville’s other local artists participated in the performance or film footage, such as Natalie Prass and Kelsey Kopecky singing background vocals, Zach Casebolt playing violin, and Kai Welch playing trumpet.

The live interviews with Brooke revealed some very interesting insights into her musical background, including her huge influences by Romantic composers Debussy and Rachmaninov, to her fascination with and belief of Mozart as being the true King of Pop. Audience members also learned that she is very passionate about film scores, and would like to eventually compose music for films herself. Her artistic and songwriting processes were examined, showing how she makes her own orchestral arrangements, where she draws lyrical influences from, and how she began forging her career from age 9.

And may I just mention that she sat right in front of me at the theater? So for some reason, that made the experience even more satisfying for me. I guess because it’s so refreshing to see an artist keepin’ it real…? Anyway, the film was riveting and beautiful on an aesthetic AND musical level, so go here to purchase a copy, or to find out how you can see it.—Erin Manning

Heidi Feek’s debut EP, “Eden,” is a refreshing approach to country music, gracefully blending Americana, folk, bluegrass, and pop to create an impressively strong first release for the Nashville singer/songwriter. The album consists of 5 original songs, and features some very tasteful instrumentation by several of Nashville’s other young, up-and-coming artists, including Andrew Combs, Luke Herbert (The Deep Vibration), La’akea Presley (Holmes & Presley), Austin Manuel, and Markus Midkiff (Kopecky Family Band). Even after hearing the variety of musical styles that went into the recordings, one cannot help but suspect that Feek’s songwriting skills are more than capable of keeping her listeners engaged and interested—with or without such an appealing group of collaborators.

Heidi has admitted that she has numerous musical influences—including Don McClean, Marty Robbins, Jackson Browne, and Joni Mitchell—yet her music only subtly reflects these varied inspirations, creating a sound that is unique and more authentic than most of her female contemporaries. A major factor in this is her tone—a mezzo blend of Roseanne Cash and Neko Case, combined with her own distinctive vocal scoop. Outward simplicity and straight-forwardness make tracks like, “Blue Tonight,” “Jane,” and “Eden,” curiously reminiscent of Gillian Welch or Emmylou Harris, while also exemplifying Feek’s relaxed style and approach to her lyrics and songwriting.

The other two tracks, “Let You Back In,” and “Sylvia,” are noticeably catchy and were probably written with a more crossover “popular” style in mind. For those who favor more pop and less bluegrass, “Let You Back In” offers a chorus that could give Sheryl Crow a run for her money, whilst “letting listeners in” to Feek’s inner angst with the lyrics, “I’m alone—now wasn’t that the point of you comin’ over? No one’s home, ‘cept for this conscience on my shoulder, sayin’, ‘I was wrong, for makin’ a mistake again…After so long…after so long.’”

For bluegrass and country fans, the woeful wailing and perfect harmonies of the Heidi Feek/La’akea Presley duo on, “Blue Tonight,” are gradually beguiling, as well as the illusory title track, “Eden.” Feek’s ability to healthily balance traditional country styles, while simultaneously adding her own contemporary flare qualifies her solid conception of “Eden” as a rather notable accomplishment. As an album, it is simply lovely.—Erin Manning

P.S. If the text on the picture isn’t enough of a hint, Heidi Feek’s EP release party will be taking place on October 4th. Go here for more information. See ya then!