The End was filled with holiday spirit last night as crowd surfers swept over showgoers’ heads in waves and opened cans of beer rocketed through the air. People either just felt like spending Friday night at The End or Big Surr has a sizeable and loyal fanbase, or both, because the band opened the show to an already-packed crowd. From the fuzzy guitars of their opener, “Alright,” to the end of their set, the band’s revving noise pop was infectious – though the vocals were almost completely drowned out – and perfect for pumping up the crowd for Powerbrrrd.

Watching this trio-turned-quartet is like seeing a band from a cartoon (does anyone remember The Beets from Doug?). Powerbrrrd has a comic appearance and triumphant-nerd demeanor that made the set not just fun, but funny – in a good way. They assaulted the crowd with ’90s garage and punk-infused slop-rock, pierced by Seth Graves’ pinched, nasal vocals that befit their sound.

It would have been impossible to squeeze any more onstage during Casa Castile’s experimental pop set with seven musicians plus a clutter of guitars, keys and a Mac. Andrew Nabuco is the main man behind the group, but his live band is comprised of some very talented vocalists and instrumentalists who delivered each song with a finesse and precision that contrasted with the rest of the night’s lineup. The end of their set was a turning point in the night; once indie sophisticate Evan P. Donahue took the stage, clad in a jacket and tie, things began to escalate.

Donahue commands attention by himself just from his vocal and playing styles, appearance and sheer stage presence. As he blazed through a set of part punk, part minimalist oldies rock n roll, he launched himself several times into the receptive hands of the audience as more alcohol was arching across the room than going down the hatch. By the time Diarrhea Planet closed the show with some raucous, deafening noise rock, people in the crowd were catapulting themselves off the stage and from the rails near the table area, ending with a large portion of the audience singing onstage with the band as the last empty can of PBR hit the ground. – Jessica Pace

So we’re gonna give the Nashville Bass/DnB/Dubstep thing another shot, because the last huge show we got so pumped about ended up being strangely underattended–(we blame the funky weather and stuff that night)–but the show tomorrow night will be like an addendum to the STRICTLY DUBSTEP series that has taken place, which is suppoed to be the bejeweled crown for dubstep shows in Nashville.

The first headliner will be Skrillex, who is best known for his remixes of some Lady Gaga singles, The Black Eyed Peas, and even a song for the Twilight movie. WoW!!! He’s a big deal. And then there will be the local openers, Wick-It, Mike Allison, Melee, SkekTek, Brandon Wahl, and various others badazz dj’s and producers. Mercy Lounge is even opening up the back room so that there will be two staggered shows going on simultaneously for DUB-ble the fun! It’s supposed to sell out, so go here to get discounted pre-sale tickets, and here to read a little more about Skrillex.–Deli Staff

Photo by Steve Cross for the Nashville Scene

“I like parties, I like fun. I want to live in a hamburger bun.” Don’t we all? Comedy duo and stars of the Comedy Central TV show, “Tim & Eric’s Awesome Show, Great Job!” invaded Nashville last weekend with their live Christmas (Chrimbus) spectacular show, which has been touring the United States this winter.

The show took place at the Cannery Ballroom on Friday night, but a few lucky Nashvillians were pleasantly surprised to catch a secret performance at Third Man the evening before. This consisted of Tim Heidecker doing a “fake” set where he pretended to be a really terrible standup comedian who only did impressions of presidents.

Friday evening brought us one of the more wildly inappropriate shows we’ve ever witnessed—(the only comparable ones that immediately come to mind are Peelander Z at Exit/In and the Totally Snake show at The Basement where the lead singer wore a diaper and continuously exposed himself to the audience). It wasn’t until the very end that anyone could actually determine who had performed and when—(most people thought the entire thing was actually over at 11 pm)—and it’s doubtful that anyone could comprehend what the hell had just taken place, given the random nature of the show and how there were “so many things,” as Cy Barkley put it, so the general sense of confusion was pretty awesome to witness.

The Chrimbus spectacular incorporated pre-filmed, supplementary skits that were shown on a projection screen, in combination with the live acting by the participants, who lit up the stage with their portrayals of our favorite Tim & Eric characters. A variety of props and costumes were used to really make the show come alive; (cue Eric making jazz hands and a sparkly smile). They even had many of the show’s original cast members on tour with them, including everyone’s favorite bumbling health expert, Dr. Steve Brule, played by John C. Reilly. Some audience participation was used as well, and generally made everyone feel pleasantly uncomfortable.

The audience participation was especially prevalent in the set of the third act, Pusswhip Banggang, a four-man band featuring Tim & Eric. Surprise, surprise. They were just as absurd as the nonsense that occurred before their performance, playing all original, classic rock and hair metal tunes about strange things like jambalaya and crude sexual subjects. But they both actually played instruments—Tim on guitar and Eric on percussion—which was so impressive amiright?! They opened with a song called “Pussy Whipped,” that ended with Eric shrieking, “I’m leaving,” before he pranced off the stage because the audience wasn’t screaming “pusswhipped” loud enough. At one point, Tim uttered, “Thank you very much ‘Nishville’,” in a most debonair manner, before making everyone in the audience scream their uncle’s name. Despite the excessive amount of bathroom humor, the show left us feeling privileged to live in Nishville. —Erin Manning

P.S. Check out a slideshow of the night here, compliments of Nishville Scene 😉

Photo by JT Sumner

The flood was a death sentence for many Nashville bands in the process of recording, and was almost the case for We Were the States. Two feet of water in Coat of Arms studio wrecked the progress of an album that was two years in the making, but after some quick recording sessions at Club Roar, the band finally released Rasa last month. The 12-track LP is a blatant step up from their first album with more complex arrangements and instrumentation and a sound that has generally matured. In their sophomore album, We Were the States prove themselves as riff enthusiasts and percussion connoisseurs as guitarists Benjamin Moore and J Stoyanov and drummer Tyler Coppage experiment with their instruments.

Intense, percussive pounding counters grandiose melodies driven by riffs that range from gritty and fast to spacey and meandering. The scratchy, persistent melodia of the first single “Gold” is cut with the harsh, acidic vocals of Justin Webb, and the album grows more ambitious as it progresses. Amidst the drill of crunchy guitars, a tambourine timidly jingles over a hollow drum beat in “Daft Since 77.” “I’m Not My 808” is a revving, minute-long blurb followed by angry, abrupt riffs in “Don’t Ask Why.” Things slow down in songs like “Paris Green” and “Hot Waves,” whose full, lulling chords are almost reminiscent of Pinback and Radiohead (Kid A).
 

It’s fortunate that We Were the States persevered with Rasa as it simultaneously displays the finesse of a maturing band and runs the gamut of influences including traces of punk, ’70s and ’80s rock and ’90s garage while still remaining cohesive. – Jessica Pace

Alt-pop band The Young International will be playing their first show ever Friday, Dec. 3 at The Rutledge.  They’ve got cause to celebrate, since their first single “Ruckus” comes out the following Tuesday, but you can listen to it here. “Ruckus” will be on the band’s five-song, self-titled EP, which is set for a February 2011 release. The dreamy melodies and synth-pop sensibility they have going on compares to local favorites like Vinyl Thief, so if that’s your cup of tea and you want to come see them lose their live-show virginity, it starts at 8:30. – Jessica Pace

We’re not sure what to think about this, but a Vince Guarldi-inspired electronic show is such a peculiar notion that we can’t resist. Go here for a better idea of what’s going to be going on….–Deli Staff

For those of you who frequent Nashville’s delicious gourmet burger establishment, Burger Up, you’re probably aware of how all of their servers are extremely hip and good-looking. That’s because they’re all local musicians who are just choosing to volunteer their free time as servers. Wait a sec… :/ Friday night will be the opportunity of a lifetime because you can catch many of those same employees out of their element and in their…er…real element? Yeah–they’ll be playing a show at The Basement. More specifically, the bands that will be featured include Alvin Love, The Bridges, Lilly Lomein, and The Stoney Lonesomes. Maybe you could grab a burger at Burger Up, and then go to the show? Or go here for more information while you’re deciding.–Deli Staff

Wednesday night at 12th and Porter was definitely one for the old school rock fans. There were no synthesizers, fog machines or any other new-age distractions. In lieu of the bravado of the glam rock scene were electric guitars, Americana music and a crowd that was socially lubricated and ready to dance. The show was scheduled to start at 8 p.m., but after sound checks and waiting for the venue to slowly fill, the music didn’t start until a little before 9 p.m. After Tesla Rossa finished their set, The Grand Magnolias, an East Nashville-based band, rocked the house, sounding like a cross between Ryan Adams and Old Crow Medicine Show.

Around 10:30 A Thousand Horses took the stage to an appreciative crowd and got right down to it. They played all five of the songs off their EP, which seemed to please the crowd – many of whom had come to see them specifically, the evidence being that several people in the audience were singing along (with one girl loudly and drunkenly screaming) the words to the catchy stand-out track, “A Thousand Horses.” Front man Michael Hobby doesn’t play an instrument on stage, which works for the dynamic of the band because it makes the sound have a Guns ‘N Roses theatrical quality about it. Having already listened to their album, it was impressive that they sounded just as good live, although a little more impromptu and easygoing. Guitarist Graham De Loach played in seamless harmony with bassist Bill Satcher, especially on the bluesy and guitar-heavy “Suicide Eyes.”

While some of the music they played was simple and traditional rock and roll, like the rockabilly tune “Travelin’ Man,” other songs had a funkier, modern vibe like “Kiss Your Photograph.” Part of any good show is having a crowd that doesn’t just sway back and forth, but gets a little out of control. While there were no broken beer bottles or bar fights, there was a contagious energy to being in a room with fellow rock enthusiasts watching a kickass rock show. – Krystal Wallace

There are very few things in life that can persuade me to 1) drag myself down to Broadway on a Friday night (or downtown Nashville in general), 2) pay for parking, and 3) subject myself to the tourists and colorful individuals who frequent places like the Hard Rock Cafe. But a B.ET.A. show is one of them. The fifth act in a rather bizarre Friday night lineup of singer/songwriters and indie rock bands, B.ET.A. stood out with her electro-infused dance pop, persuading all of the stragglers and early arrivals to actually stay for her set, despite having sat through four other performers. These included John Flanagan, The Dirty Holidays, Amanda Price, and Dom Liberati. We were actually kind of disappointed we didn’t get to catch John Flanagan, who played first, because he sounds like Mika, and he’s equally as pretty.

Once B.ET.A.’s set rolled around, we were thoroughly entertained. Bottles were poppin’, Cristal was flowin’, and everyone was waiting to dance to the infectious songs that B.ET.A. has rapidly become known for, including “This Beat Is My Bitch,” “Welcome to Queendom,” and “Superfabulous.” Friday night was probably only B.ET.A.’s fourth “real” show in Nashville, but it was evident that she’s gained some fans with every performance, because you could see a number of people singing along and exhibiting the all-too-familiar, skanky behavior that her music seems to provoke. This is understandable, however, because she blends the best of all that is mainstream dance pop.

Obvious influences include Lady Gaga, Gwen Stefani, Fergie, and even a little Leona Lewis. B.ET.A. is a standout, however, because her talent and creativity extend far beyond the stereotypical dance pop diva, as well as the image she has created for herself. She writes her own songs, she plays the piano quite well, and her vocal capabilities are enviable by any female singer/songwriter–most certainly by female pop vocalists, who are typically recognized for everything except their singing voices. If you know what I mean 😉 It’ll do Nashville some good to have the added variety and flavor that B.ET.A. brings to an over-saturated scene of country, indie folk, and indie rock.

While B.ET.A. doesn’t have any live shows coming up, she will be coming out with a new single later this month, and is tentatively releasing her debut EP in January. In the meantime, download a free single of the song, “Welcome to Queendom.”–Erin Manning

Thursday night turned into a minor show-hopping adventure, when we showed up at 12th and Porter much too early to hear the Brooklyn-based band, Hank & Cupcakes, open up for Garrison Starr’s CD Release Show. To kill some time in a productive, yet entertaining way, we decided to saunter over to Mercy Lounge, where Tallest Trees, Kopecky Family Band, and Kyle Andrews were playing. Much to our dismay, we arrived to hear that Tallest Trees would no longer be performing–something about the lead singer falling over the side of an escalator…? That’s a lie. We heard the poor guy just had bronchitis, but we didn’t care too much because that just meant that we cut to the chase with hearing Nashville’s darling little indie group, Kopecky Family Band, who were just delightful.

They played mostly songs from “The Disaster” EP, and chose to open up the show with the jangly pop tune “Howlin’ at the Moon,” which is from their brand new collection of B-sides “(Of Epic Proportions).”  The always-energetic group then launched into several of their most CMJ/NPR buzzworthy songs “Birds,” and “Lucky,” where their classical influences shined alongside Kelsey Kopecky and Gabe Simon’s floating harmonies.  Towards the end of “God & Me,” the entire band (all seven of them) proved that they are deserving of the attention they’ve been receiving as of late, with a climactic choir of “woah’s” and the usual Kopecky on-stage antics, i.e. dancing and tambourines being thrown haphazardly in all directions.

Afterwards, we skedaddled back to 12th and Porter, hoping to catch Garrison Starr. Unfortunately, we were only able to hear the DnB dance duo, Hank & Cupcakes. When we say “unfortunately,” we actually mean fortunately, because they sweetly shocked our systems more than a boom box in a library and left us wanting to go out booty-dancin’ into the wee hours at Graham Central Station. Too bad they won’t be playing in Nashville again sooner. They were the perfect end to our Thursday night.--Erin Manning

Tuesday night at 12th & Porter turned out to be one of the more peculiar, yet solidly entertaining lineups I’ve witnessed in Nashville. We arrived for the last two songs of female-fronted pop/rock band, Baby Daggers. What was heard could best be described as an industrial-tinged reminder of that 90’s pop hit done by All Saints, “Never Ever,” but after doing some online investigating a few minutes ago, I’ve decided I need to watch them play again before I say anything else. And that’s a good thing. Next up was blues/folk acoustic-guitar-playing singer/songwriter boy that we’ve all seen a thousand times, Marc Scibilia. The main difference was that instead of only singing about girls and being broken-hearted, he seemed strangely wise beyond his years. His lyrics were genuinely clever, relatively thought-provoking, and pretty profound for a boy in his early twenties. Hearing him was like hearing Bill Withers deliver a Bob Dylan song, which made for an interesting sound.

I’d have to say the same for the following act—Sarah Silva—a piano-playing singer/songstress with a powerful belt and some over-the-top pop tunes. Her performances have been witnessed a number of times in the past several months, each time proving to be worthwhile, because she consistently dishes out new material, with some inevitably catchy and snarky lyrics about all of her skeezy ex-boyfriends. It’s almost worth going to hear her play just to listen to her testimonials. Girl has pizzazz. She also recently released her first full-length album, which I would recommend spending some time with. (Check out the song, “Boys.” It only seems fitting).

Finallyyyyyyy…came the artist that everyone had been waiting to see what all the fuss was about….Ferras. Oh, Ferras. Granted he was the only non-local artist playing that night, he held his own in a crowd with obviously high expectations, given that (previously) Nashville-based artist/EMI songwriter, Brett McLaughlin, organized the show and brought out the audience for the evening. It was rather surreal witnessing a supporting ensemble of only local artists and musicians as Ferras’ backing band, but it made the show seem much more intimate, and almost kind of like just watching another one of your musician friends shake his/her ass on stage and make you dance while you’re slammin’ down vodka tonics as 12th and Porter.

Ferras performed all of the crowd favorites—i.e. the acoustic encore of “Hollywood’s Not America,” in addition to some extra sassy numbers, such as “Neon Butterflies,” and, “Love Shot.” This was particularly enjoyable because it featured local electro-pop diva, B.ET.A., as Ferras’ duet partner, which was quite a sight. Really the whole thing was quite a sight. Nashville doesn’t have the pleasure of witnessing talent of Ferras’ genre and equal caliber on a regular basis, so I’d have to say the show was certainly a memorable one.–Erin Manning

There are no words to describe the type of entertaining show that Belty Betty puts on – you just have to see one. The alter-ego comedienne of local musician Erin Manning, Belty Betty’s pseudo-concerts are full of humor, satire, and surprises – and last night was no exception (with TWO opening acts! ). Supporting Betty were openers B.ET.A as well as Lea Marie – past American Idol contestant and rabid YouTube user (check it out here).

The End was a perfect venue for the mischief/ debauchery that followed… I had only heard one song by B.ET.A (Brianne Angarole) before Sunday night’s performance, so I had no idea what to expect, but B.ET.A is truly an entertainer. Her set was so high-energy, so outrageous, and so good. The electronic/pop mix was really clever – but not too electronic heavy, and B.ET.A’s vocals were effortless. Although it was an opening set for a comedy-based show, it was a great performance. Lea Marie was…indescribable. But I’ll try. The self-proclaimed "teen singing sensation" didn’t actually sing one note on stage. She was a huge hit, however. Her two male back-up dancers didn’t help the cause – clad in Nike Airs and black pleather pants, the entire performance seemed like a joke. Her last song, “Your Brother’s Girl,” was definitely the crowd favorite – echoes of the song could be heard out on the patio after her performance was over. Bottom line: it was a great experience.

The majestic Belty Betty took the stage with a bang – a medley of classic patriotic songs. The ensemble was very diverse – Indians, pilgrims, a turkey and even Lady Liberty. What ensued was nothing short of a hilarious party on the stage. Choreographed dances, an oversize stage prop pot for “Melting Pot,” burning sparklers, Thanksgiving Day ingredients being thrown down on the stage… it was epic. Even the interludes – a turkey being chased by a pilgrim, an African dance to “Whip My Hair,” were as strange and entertaining as the show. The audience was glued to the stage during the entire performance – laughing, dancing, singing and worshiping Belty Betty. My personal favorite was the “Native American Struggles” medley, which ranged from “Indian Outlaw” to Pocahontas themes. The set ended with Betty’s version of the Star- Spangled Banner, which absolutely stole the show. You are truly missing out if you haven’t caught Belty Betty live – make that your 2011 New Year’s Resolution.–Lindsay Hayes