So here’s a taster from Heypenny’s upcoming and much anticipated A Jillion Kicks (due out Feb. 22). It’s called “Purple Street” and it’s more of the danceable, frenzied pop candy we’ve come to expect from the Nashville group. Download the track here and look out for Heypenny’s next hometown show Feb. 26 at Mercy Lounge. – Jessica Pace

 

Saturday night proved to be a toughie when it came to choosing which show to go to, given the options of Mercy Lounge’s 8th anniversary soiree, Chris Pureka at The Basement, or Matthew Perryman Jones. In the end, I opted to go see the homecoming of indie folk singer/songwriter, Sharon Van Etten. She used to live in nearby Murfreesboro before she moved to Brooklyn to begin performing her material, and eventually record two albums, so there was quite the crowd that was eager to see her finally perform in Nashville again.

I arrived to catch the very end of Jasmin Kaset’s set, which was a bummer because I’ve heard such good things about her recently, but have yet to see a full live performance. Her voice can best be described as a more blessed descendant of Deb Talan’s (lead singer of The Weepies), put into a similar musical context but with some electronic and indie-pop influences, and a greater use of harmonies. Songs like “Food,” and “Window Shopping,” demonstrate Kaset’s ability to create catchy folk/pop songs that transform into deeply layered valleys of sound. She recently released an album, “Hell and Half of Jordan,” which can be listened to and purchased here.

Next was Julianna Barwick, who has been opening for Sharon on the tour, and added some nice variety to the lineup, but was, unfortunately, ill-suited for the racket that was created at the 5 Spot. I couldn’t really hear the majority of her set, which consisted of her doing a lot of potentially cool tricks with looping her voice, but I think it was probably supposed to sound like a girlier, less-experimental Sigur Ros or Animal Collective. Collectively, the drunkies on Saturday night could’ve probably just done with one opener, and seemed more than ready for Sharon to perform by the time she actually took the stage. She probably only played 7 or 8 tunes, and they were mostly more “up-tempo” ones from her most recent album, “Epic”–up-tempo at least for Sharon Van Etten, that is. Even in a live setting, she sounded just like she does in recordings: effortlessly emitting her unusual lines with a lilting breathlessness that makes me think of her as having perfected the art of doing tasteful runs in an indie capacity, (which is something that sets her apart from comparable artists); these runs were also nicely complemented by the band.

Thank goodness she brought that harmonium along with her too, because it created the perfect foundation for her melodies to meander over. She made use of it on the especially gorgeous closer, “Love More,” which was another fine example of her atypically-poetic lyrical tendencies. Van Etten’s music managed to offer the same glimpses of beauty that her recordings have, and Nashville is happy to claim her as a past resident–even though she technically lived in Murfreesboro. Good luck to her on the rest of her tour.–Erin Manning

What with the snowflakes flying and people going about 12 on the interstate, there was no reason to expect much of a turnout for the fourth night of celebrating Mercy Lounge’s existence, but a good-sized crowd showed up to see Washington state transplants The Lonely H open the show. There was a plethora of skilled musicians performing that night, but The Lonely H blew me away just with sheer enthusiasm and vigor alone. Nashville’s music venues have heard enough down-home roots rock, both good and bad, to last a lifetime, but this band held my attention between blazing guitar parts, Tom Petty and the Heartbreakers-like pounding on the keys, the thrash of a tambourine and a perpetually smiling bassist.

The legendary and aging Bobby Keys went on second, alternating an intense, hot jazz fusion on the saxophone with anecdotes about recording with the greats and referring to the crowd’s young folk as piss ants. I was flattered. After a drawn-out jam session, English Dogs took the stage for their first gig ever, previously unaware of the British punk/metal band of the same moniker. They weren’t without talent; it was feisty pop rock with touches of jazz, but I remain distrustful of men who perform with half-unbuttoned shirts. The Rouge and the Captain Midnight Band closed the show, but I think the real show was happening on the floor in front of the stage, where a Stevie Nicks sort of woman from northern California was exuberantly dancing. – Jessica Pace

3rd & Lindsley’s Sunday night show is worth a mention; not only is local singer/songwriter Megan McCormick playing, but Nashville’s also being neighborly with its East Tennessee musical counterpart. Johnson City native Jill Andrews will be there with her soft and southern folk pop (and will hopefully play her beautiful cover of Fleetwood Mac’s “Dreams”). Crystal Bowersox is on the bill as well, tickets are ten bucks and the show starts at 7:30. – Jessica Pace

This week is the 8-year Anniversary of Nashville’s beloved Mercy Lounge. Happy Birthday! Happy Anniversary! Happy free show week! A bunch of Nashville’s best local bands and artists will be playing each night, and the fact that they’re all playing for free is reason enough to celebrate. Below is a schedule of everything, but go here if you need some extra details:

Monday, 1/17/11: 8 off 8th Special Anniversary Edition

Featuring: Hanzelle, Action!, Isaac Hayden, Tallest Trees, Vinyl Thief, Yoseph y La Zilla, Technikiller, Forrest Bride

Tuesday, 1/18/11: Mercy Lounge 8 Year Anniversary Party

Featuring: Majestico, Matt Friction and The Cheap Shots, Brandon Jazz and His Armed Forces, Bad Cop, Honeymoon Thrillers

Wednesday, 1/19/11: Mercy Lounge 8 Year Anniversary Party, hosted by Naked Without Us

Featuring: American Bang, Liz Sharpe, Wess Floyd, Starlume, Hans Condor, Kink Ador, The Wailin’ Canes

Thursday, 1/20/11: Mercy Lounge 8 Year Anniversary Party

Featuring: Lonely H, English Dogs, Bobby Keys, The Rouge, Captain Midnight Band

Friday, 1/21/11: Mercy Lounge 8 Year Anniversary Party

Featuring: Thad Cockrell, Courtney Jaye, Keegan Dewitt, Matthew Ryan, Tyler James, Brian Ritchey, Kopecky Family Band

Saturday, 1/22/11: Mercy Lounge 8 Year Anniversary Party

Featuring: The Worsties, Evan P. Donohue, Heypenny, Kingston Springs, Sleeper/Agent

Did I mention they’re all FREE?!–Erin Manning

 

 

 

Do yourself a favor tomorrow night and go to an early show at The Basement. At 7 pm sharp, two of Nashville’s most talented superstars, Bryn Davies and Gibb Droll, will be performing in their new project, "The Screeching Eels." I’d say this little ensemble can be deemed, "A real musician’s kinda band," especially since you pretty much never see a frontwoman/upright bass-player. Whaaaaat?! I know, right? Go here for a little video to suck you in, and then be sure to go to the show to see it in real life and not just on the interwebs. It’s Free!–Erin Manning

“Tame that nasty shrew cause she knows what you’re up to/you gotta keep her thin and hungry so she’s eager for your love.” So begins folk pop songstress Tristen’s first full-length, Charlatans at the Garden Gate (through American Myth Recordings), which plays out like a modern fairy tale as she references dark jungles, court jesters and tadpoles. As a synthesizer blares prettily, she sings the opener “Eager for Your Love” (which you can download for free here) in poignant, honeyed vocals that set the stage for the entire LP.

Traditionalist in melody and original in lyrics that have a poetic appeal, the album unfolds 11 tracks in an illustrative, story-like manner amidst folky acoustic strumming, plucky keys (“Matchstick Murder”) and sporadic suggestions of country influence (“Heart and Hope to Die”). Though Charlatans has indie darling appeal, the soaring, bell-like vocals have a maturity and a powerful quality that would mainstream well. And while there is no shortage of finesse – from beautiful background harmonies to the use of strings, like on “Wicked Heart” – one of the album’s best qualities is the sense of humor that quietly creeps into the instrumentation. It comes out occasionally with a flamboyancy and fullness in the vocals and instrumentation that is reminiscent of The Pretenders, or when she channels Nancy Sinatra with cooing sweet talk, like in “Baby Drug,” or the country-influenced bounce in the percussion.
 

Charlatans simply proves that Tristen knows how to do what she does, and she does it well, making a retro style fresh and satisfying both the desire for lyrical depth and beautifully-crafted melodies. The playful speculations about love, even when on the rocks, aren’t heavy or literal, but artfully masked in metaphors, and as a result, the album is expressive and meaningful without being too weighed down.

*Tristen’s CD release show is Jan. 21 at The Basement. – Jessica Pace

The stage looked like a small music store at Mercy Lounge Wednesday night, every square inch lined with cellos, violins, guitar amps, drums, xylophones and tubas. With an inch of elbowroom to spare, Kopecky Family Band took the stage to an eager crowd of heat-seeking Nashvillains; although the weather was bitter cold, the vibes were warm enough. Kopecky has garnered a lot of notable accolades over the past few years, including spotlights at SXSW and their critically acclaimed album “The Disaster.” The ambition in their sprawling compositions justifies the praise; the band members don’t look much older than their mid-twenties and are producing music most wouldn’t even attempt. It’s difficult to find the balance between harmony, discord, surrealism and authenticity, but Kopecky made it a cakewalk.

During the show, there was a lack of attention from the audience. When you write songs that feature long sections of droney strings, bass, and guitar with little to no percussion, it comes with a territory. While their music is brilliant on record, the songs that contain more upbeat rhythms and lyrics are the ones that translate better live. One great example is “God & Me,” highlighting intense fist-pumping rhythms and amazing vocal performances from lead singers Gabe and Kelsey. Their display of songwriting and musicianship was impressive, but it appears those merits don’t carry the weight of their audience’s attention in concert. – Marc Chirico

Arriving at Exit/In just in time to catch the last song of their set, I missed out on Ian Ferguson’s Brett Dennen-like vocals and the garage-roots rock of the Kingston Springs. Tesla Rossa was up next, channeling a plethora of influences from Ryan Adams to the Strokes in their explosive and vaguely glamorous rock product. Frontman Jason Denton is a small package, but he has a swagger and strong stage presence that commands attention. The songs had anthem appeal and were guitar-heavy, though very distinct bass parts competed with the guitars. Bassist Aaron Wahlman got further validation from a girl standing next to me who said, “I think we know this guy’s a badass” to a friend whose response was, “Uh yeah, he’s wearing moccasins.”

After Tesla Rossa, the Jompson Brothers were up, a motley and very talented crew that includes both a backwoods Buddy Holly bassist (J.T. Cure) and a bear of a lead singer (Chris Stapleton formerly of the Steeldrivers) who looks like he stumbled out of a Broadway honky tonk. They didn’t mess around, playing a forceful and Southern-fried set of hard-driving rock n roll. Show attendance had peaked at this point, and the house was pretty packed with indie onlookers in the back and boozy dancers up front. But by the time The Hollywood Ten went on, things had simmered down, though the band held their own with warbling keys, tambourine shakes and tight guitars to close the show. – Jessica Pace

Last month Oh No No released new EP, Tren Del Sexo, which translates to Sex Train, an ironic choice for a title considering the four tracks’ PG-content. The band’s indie rock-Americana fusion is pretty tame as the quintet suggests by singing of getting tipsy – but not drunk – while the parents are sleeping.

The four songs are extremely individual and interesting though they seem to have little connection with each other. “You Could Be My Lover” features lyrics about growing a beard and never leaving the house amidst a sparkly xylophone ring and a steady drum tap, finishing with a more and more insistent repetition of “you could be my lover.” “Bedframe” introduces a banjo pluck and harmonic combination over the inquiry, “why’d you sell my bed frame for drugs?” The best part is probably what sounds like a kazoo towards the end.

“Futures All We See” with its simple bass line and rush of up-tempo drum rolls is probably the most polished and mold-fitting of the tracks on the EP, bearing traces of other local act Overzealous in the guitars. Oh No No show their teeth only once through the heated, provocative riff in “(Shake) Shake Your Hips.” They have potential though, they just need to identify and settle into their sound. You can hear all four tracks here. – Jessica Pace

It’s David Bowie’s birthday in two days! In honor of that blessed occasion, there shall be a David Bowie tribute show on January 10th at Mercy Lounge. Performing ALLLLL DAVID BOWIE COVERS will be some of Nashville’s kookiest local bands and artists, wowing the audience with special renditions of songs like "Dance Magic Dance," "Cat People," "China Girl," "Suffragette City," and many many more. If you have other plans that evening, you’d better ch-ch-ch-ch-ch-CHANGE them so you can make it out! Doors are at 8 pm, and it’s FREE! Go here for more details.–Erin Manning

As you may know, this is only the initial stage of our poll, as about 50 other Nashville artists were selected by a jury of local promoters, music bloggers and other scene makers. (We’ll publish that list soon, along with our Sonic Bids selections).

Kink Ador received the most votes out of the Nashville-based artists that submitted in the "Open Submissions" category to be considered for our Best of Nashville Poll 2010. They will move on to the next stage of our poll!

Their music reminds us of the B-52’s, Sleater-Kinney, and some of the older Yeah Yeah Yeah’s stuff. Good mix huh? Check out their stuff, and if you like it, be a friend and fan them on Facebook. Apparently their band page was recently deleted on accident/hacked, thus causing them to lose over 3,000 fans. That’s a bummer. Help’em out!–Erin Manning

TOP 10 ARTISTS FROM OPEN SUBMISSIONS CATEGORY

Jurors: Deli Los Angeles and Deli New England Editors

1) Kink Ador

2) Young Hines

3) Field Days

4) The Grayces

5) The Great Collide

6) The Pursuits

7) Blackfoot Gypsies

8) Rene Breton

9) The Auto Defiance

10) CB Tucker Band