The Nashville Rock Block Showcase makes its debut this Saturday to show off some of the city’s much younger aspiring musicians. Organized by Youth Empowerment through Arts and Humanities (YEAH), the showcase features four bands who’ve formed, practiced and prepared for this show over the course of eight weeks, and a guest performance by Scale Model. The show is open to all ages. Who knows; something might strike your fancy. – Jessica Pace

Go check out some new local artists at Hard Rock Cafe, this Friday night, including my new personal favorite, B.et.a. She does dance/electro-pop kinda in the style of Gwen Stefani or Lady Gaga. Super dramatic, super catchy, super different, super entertaining, super danceable. Her dancers/backing band are called "The Neon Panthers." They have only played a handful of shows in Nashville but they’re incredible to watch and get better every time. Other artists that evening include Amanda Price, John Flanagan–(this feller here was recently made the spokesman/face for the Foxwood Casino! HEYOH!)–The Dirty Holidays, and Dom Liberati. You can check here for more details, and here to watch this kooky little stop-animation video just for fun.–Erin Manning

There was enough synth, reverb and effects-induced haze in The End Friday night to cloud the glasses of any camera-toting hipster in the venue. I was only able to catch the first half of a lineup that included Nashville’s Calvin, Vinyl Thief and The Pursuits, as well as Birmingham’s To Light a Fire, but I was there long enough to witness two of the local acts pay homage to the spacey, key-stroking alt-rockers who’ve paved the way before them.

Calvin’s sound possessed all the brio of indie pop, even as it wandered into dark, synthy corners to brood. Guitar pick in mouth, bearded frontman Cory Johnson pelted out bell-like synth melodies when he wasn’t on the guitar, with the occasional ghostly Radiohead-like wail from keyboardist Kurt Whitehill  and prolonged, instrumental fog to finish a song. Though each instrument’s part was highly individualized and meticulous, the band still had an impressive unity as they put the audience in a melodic trance which was promptly shattered by the gyrations and gusto of Vinyl Thief’s ginger-haired frontman Grayson Proctor.

Dressed like a hipster Sherlock Holmes, Proctor moved tirelessly around the stage, his grandiose, stadium vocal style, reminiscent of Bono, projecting across the room to the delight of a particular group of dancing showgoers. Just for the sake of trying something new, the vocalist announced that their seven-song set would be played as one continuous song, which included a cover of Gorillaz’s “Kids with Guns” amidst the pound of a kick drum. It’s rare to see a small band make such use of the stage with confidence, but Vinyl Thief held little back, working their way around a clutter of keys and drums as they textured rock, pop, dance and just plain noise with sometimes not so much finesse, but enough exuberance and stage presence to compensate. – Jessica Pace

You know that feeling you get when you’ve gradually gained 10-15 pounds without realizing it, until the moment you wake up one morning and you think to yourself, “I gained 10 pounds overnight?!” Well that’s probably how Nashville is going to feel soon because local singer/songstress/darling, Tristen, seems to have gained quite a bit of music career momentum in recent months. In preparation for the release of her first full-length album on American Myth Recordings, Tristen has come up with a new band and a revamped set of already-impressive strong material. This was all too apparent last night when she opened for Montreal-based bands, Land of Talk, and SUUNS (pronounced “soons”) at The End.

Tristen started the night off right with an eight song set of her delectably catchy indie pop songs. Like retro-1950’s-throwback meets a lot of badass bitch and va-va-VOOM. Her voice had the growl of a more capable Wanda Jackson and the distinctness of Stevie Nicks. (But unlike Stevie Nicks of course or else it wouldn’t be distinct 😉 She exhibited a clarity in tone that is very rare, and also suggests a good deal of vocal control. (Not to get too technical and nerdy, but any singer who can sustain higher notes with a straight tone has a precious gift or they’ve worked their ass off to achieve that capability). The good times and tunes, paired with her witty banter in between songs was a true delight.

Several new songs were performed–two in particular that seemed to be INSTANT CLASSICS–which were called, “Ringer,” and “Queen.” And of course all the hits and crowd favorites were performed, including “Eager for Your Love,”–we may or may not have known all the words and sung along–along with “Matchstick Murder,” and a rousing finale of “Heart and Hope to Die” that left the audience kind of forgetting that she was only the opener. We’ll save the rest of our gushing until February 1, 2011, which is when er full length album, “Charlatans at The Garden Gate,” will be released. Until then, we suggest grabbing a copy of her new 7” “Eager For Your Love.” It’s a real appe-teaser 😉

Admittedly, we skipped outside for a little breather after all the singing and dancing during Tristen’s set, so we didn’t really hear much of SUUNS. They were probably great though, considering that they were the backing band for Elizabeth Powell aka Land of Talk. Once their set finally rolled around, it was pretty damn late, but the devoted fans were still packed around the stage, waiting to hear all the LOT favorites, such as, “Some Are Lakes,” “Yuppy Flu,” and, “It’s Okay.” The majority of their set was comprised of material from the more recent “Cloak and Cipher” album, with a couple numbers from their lesser-known EP, “Applause Cheer Boo Hiss.” Lizzie had extremely toned arms and such an honest, humble nature about her that her performance and singing were nothing less than captivating. We shuffled out of The End in a deliriously dreamy trance, satisfied with what we had seen.–Erin Manning

For those of you who haven’t noticed, Nashville doesn’t have a massive dubstep/DnB/house music scene, BUT for the few artists and DJ’s who are involved in it, they are top notch and high quality. This Friday at Mercy Lounge is going to be a kickass show featuring DJ’s CALVERTRON from the UK and MAYHEM (Atlanta), with  local openers DJ Wick-iT, G-lux, TX300, JusJoshua, and Eric MasQ. I’m most excited about DJ Wick-iT because he’ll be layin’ down the DUUUUBBB portion of the night, but this is going to be a spectacle. Just watch the promo video, and go here to check out more details. Shows like this don’t happen in Nashville too often, and if you’re not familiar with house, jungle, DrumsnBass, or dubstep, you should begin your familiarization by stopping by Mercy Lounge on Friday night. Check here for more details.–Deli Staff

After a disappointing turnout the last time I was at the End, it seemed like a completely different venue for Sunday night’s Bad Cop show. Hipsters and a few people who really wanted to be hipsters crowded around the stage to see the dynamic performance of rock trio Bad Cop. The band was charismatic and high-energy as frontman Adam Moult played off guitarist Mikey Owen and drummer Michael Frazier throughout the show, and had the audience captivated with his Iggy Pop-like engagement of the crowd. They opened with “Sail Away,” and kept it heavy on the guitar and drums from then on.

Bad Cop’s frontman just looks like he’s going to be famous. I don’t know if it’s the Julian Casablancas (The Strokes) energy he gives off, or just that he has a stellar stage presence, but he’s got the charisma that belongs in rock music. His voice was malleable to each song they played, and was even enough that you could actually make out the lyrics.

The crowd was upbeat throughout the show and the sunglasses-clad drummer seemed to be having as much fun as they were as he played the band’s single, “Daylight”. This is the song where they sound strikingly similar to the aforementioned Strokes. The most notable difference is Bad Cop has a harder sound, while still keeping the danceable riffs and vocals.

Bad Cop has changed two of the three members in the past few weeks, leaving only the frontman the same. That made for a disappointingly short set of only six songs, during which the band meshed well, considering they had to adapt to each other’s styles so quickly.

I’m not saying I don’t appreciate a good singer-songwriter’s tear-fest or a new-age punk revival band, but there’s nothing that beats a good rock show. One where the musicians actually perform instead of just mimicking a bad music video on VH1. Bad Cop definitely delivers the former of the two extremes with a presence and energy like early Rolling Stones sans the heroin addictions. – Krystal Wallace

Indie pop outfit, Land of Talk, will be returning to Nashville to play at The End this Thursday, November 14th. Opening will be local fav singer/songstress, Tristen, along with Montreal-based dark electro rockers, SUUNS. I’d give you some more information about SUUNS right now if my work computer wasn’t misbehaving, but until then, just trust that this will be a stupendous show for anyone who enjoys relatively sombre, yet sometimes uplifting, and always catchy-as-hell, indie pop/rock. And Tristen will be like the rainbow-patterned umbrella in a howling tempest. Go here for more info, and check out this video of Land of Talk when they performed in Nashville last year.–Deli Editor

Remember your roots and mark Nov. 19 down for a rowdy good time at 3rd and Lindsley. Some of Nashville’s finest folk, soul and Americana artists will be working their pedal steels and shaking their tambourines with renowned producer/singer/songwriter Jack Clement, as well as a few others from the outer reaches of Tennessee, like roots-rockers Scott Miller and RB Morris. This American variety show will also include the bluesy licks of Sam Lewis, soulful voice of Jonell Mosser, saloon jukebox songs of Derek Hoke and Eric Brace & Peter Cooper, and rambling, gypsy style of Jacob Jones. Plan to drink and dance. – Deli Editor

For anyone still under the impression that Nashville’s music scene is a boys-only club, then Monday night’s show at The End would be the cue for a collective, “like hell it is.” By the time the members of the neo-pop trio Nite Nite took the stage, the all-female group Hot Cha Cha and female fronted Yumi and the System proved that chicks can rock (and not in the Taylor Swift, teardrops-on-a-guitar way).

After an extended sound check, it was a little before midnight when Nite Nite actually began. Blame it on the fact that it was Monday, or that the weather was becoming increasingly appropriate for the season, but the crowd was sparse. However, in the grand tradition of Southern musician hospitality, all of the opening bands were front and center cheering on the headliner.

Looking like a less homeless Mary-Kate Olsen and a more attractive Lady Gaga, lead vocalist Davis started the set with a gothic-inspired dreamy pop sound that was evident throughout the show. Her voice is completely unexpected, yet impressive in its Debbie Harry-esque tone. Bassist Matthew Brown and keyboardist/vocalist Sarah-Brooks Levine were not to be outshined by the charismatic Davis as they too looked like they could be extras on the set of “Gossip Girl” (albeit ones who are damn good at playing their instruments). Just by watching them perform, one can tell that there’s nothing accidental about Nite Nite. From the tailored rock chic to the Euro-pop-infused sound, they’ve found the formula for attracting a cult following.

There’s a theatric and campy quality to a Nite Nite show that makes Blondie and The Cure references seem completely fitting. However, they are unique enough to establish their own sound – one that will either alienate or convert fans of the genre. The whole uber-hipster thing may be off-putting to some, but it’s refreshing to see something not yielding an acoustic guitar get some attention in this town. Whether you love them, hate them or just want to throw your iPhone at them, Nite Nite’s eerie blend of gothic-pop is the perfect excuse to try acid. You know, hypothetically. – Krystal Wallace

While a plethora of music journalism in Nashville revolves around well documented and overly attended events that seem to occur repeatedly throughout the year to an almost detrimental extent, most of the mainstays emerged quickly from a period of either non existence or relative obscurity. Deep under the radar of Nashville’s utility musicians-turned-journalists and/or bloggers community lies an assortment of abrasive musical acts whose shows are attended by a crowd who, while sporadic in number, are most assuredly devoted to the challenging nature of these musicians.

Grandmother’s "Invade/Sublet" release, the first on experimental music label Destined For Increase, is a shining example of said abrasion. Functioning as a sort of earmark for any individual’s field of musical tolerance, this three piece conducts a sonic assault of whirrs, clicks, feedback, and guttural bursts via specifically manipulated electronics and carefully orchestrated chains of every effect imaginable. Anyone looking for standard structure to bop your head to will no doubt experience the losing side of a violent altercation in their ears. The subtlety of musical application throughout this release should, however, appeal greatly to those open to experimentation, progression, and new interpretations of theory. It’s quite rewarding to discern the extreme use of dynamic herein through the harsh and amoebic flow of "Invade/Sublet" while also picking out the use of these seemingly improvised noises as pseudo-sources of rhythm and melody. Repeated occurrences of particular relationships between the distorted vocals, over-active drum loops, and feedback inducing squelches make these tracks function better on the whole than individually. Traits such as these render the workings of Grandmother quite similar to traditional orchestral releases.

While the release can be a challenging listen to unwilling ears, a little imagination can lead to some severe moments of joy from an unexpected place. Grandmother’s live shows are also exemplary of this statement, and are somewhat like watching a group of men battle their instruments to an epic soundtrack while clamoring for victory over something they have themselves created. In short, a must-see and a must-listen. The "Invade/Sublet" cassette (which is limited to only 100 copies) is available to order now, and to get yourself a copy and more information on Grandmother and experimental label Destined For Increase, visit destinedforincrease.blogspot.com. – Jesse Baker

I was first introduced to Alvin Love’s live show in early September at an 8 off 8th – and I was blown away. Being in Nashville for several years, I’ve seen a lot of mediocrity in showmanship – but Alvin’s set was fresh and interesting, and I wanted to know more. Sitting at Portland Brew with Alvin was more than an interview. We talked about everything from a Detroit music scene comeback to his travels to Australia…and finally his just-released EP, The Strawberry Project.

Co-produced by Love and friend Dwan Hill, the five-song EP (technically seven with intros and outtros) is his “first everything.” “I’m excited about it…Given that you can’t fully express yourself on a five-song record, I’m happy with it,” he says. The record showcases his talents, and presents a new face of pop-influenced, upbeat music – one with depth and creativity.

Love’s fusion of rock’n’roll and old school, feel-good soul is nothing short of revolutionary – his surprises on stage and on The Strawberry Project are new to the Nashville music scene. But Love doesn’t want to be limited to one genre: “I want my music to open up people’s horizons, to the idea of being creative and eclectic. People listen to different kinds of music, but mainstream music doesn’t reflect that. I’m just really in support of being out-of-the-box; there should be no boundaries on creativity.” His words come from experience – after feeling pressure to limit his sound to one niche, Love decided that hindering his creativity “wasn’t worth it” to cater to the mainstream world, and that now, “what you’re hearing is exactly what I want to do.” And people respond to it – attend any one of Love’s live shows, watch him tear up the stage and watch the reactions in the crowd. I will be the first to admit that it’s nearly impossible to stand still while Love is performing.

Although his entertainment ability is winning, Love’s songs are more than just a show and dance. Writing is “something that just happens,” according to Love. “Strawberries,” the title song on The Strawberry Project and winner of a songwriting contest, was written in the car (on Hillsboro Pike, specifically). Others, he says, have been written in the shower, in class…and even church. “I’m lucky to have such a gift,” he says, “but I feel kind of guilty- like I can’t even take credit most of the time.”

Not having an EP until now has “put some limits on what I want to do,” says Alvin. His current plans include touring and getting back in the studio. And while he realizes “[he’s] very green right now,” his outlook is positive: “I’m writing songs that I like, and I’m crazy enough to think that other people will like them, too.” 

Catch Alvin Love live this Wednesday, November 3 at Imogene + Willie and at the Basement on December 3.–Lindsay Hayes

Just in case you don’t already have enough shows and parties lined up to attend this Halloween weekend, you might want to consider making your way to 7th Avenue to see The Black Belles play their first gig at Third Man Records. This Nashville quartet of sleek, raven-haired ladies was discovered by Jack White and, like the White Stripes, The Black Belles belt their lyrics in the style of ’60s soul, while the crash of the snare and the bluesy guitar-squealing add some grit. Be sure to listen for the song “What Can I Do,” which is noisy garage rock at its finest and one of their first recordings. And don’t forget to catch The Greenhornes set and pick up a copy of their new LP, “★ ★ ★ ★,” since this is their release show, after all. Doors are at 8 p.m. – Deli Editor