The Nashville Feed

If you're looking for a nice reprieve from the thick country fog that has settled on the city this week (nothing against the CMA Music Festival. It's just not my thing.), consider spending Friday night with the koo.

the koo is a local up and coming rock band, with gigs at local venues like The Rutledge, Mercy Lounge, and 12th and Porter under their belts. They were also recently featured as a Local Buzz band on 102.9 The Buzz.

Never heard of the koo? Don't want to go because you can't sing along? No problem. Just go to be entertained. Marvel at Jesse's crazy guitar riffs. Or Tucker's mad bass lines. Or Joel's hard-core drum beats. Or, just sit in amazement as the sometimes barefoot front man, Josh Harper, leads the whole rock chorus.

It's sure to be a fun show. If you can't make it out this week, keep an eye on their MySpace page. They tend to have a pretty steady stream of dates.

What: a rock show
Who: the koo, the throws
Where: The Pond, Franklin
When: Friday, June 8, 10:00 PM
Cost: five bucks!

Technorati Tags: live music, nashville, the koo, the pond

Christopher Williams (MySpace) is one of my favorite Nashville musicians. Unfortunately, he does not play out very often around town. I think, in three years, this is the fourth time I have seen him play.

I forgot what a great show Christopher puts on. After seeing him in a couple of coffee house environments, I have to say that I enjoyed him much more in a venue like The Rutledge. He had room to open up, and because of that, he played and excellent show.

He jumped right into the show with a haunting a capella version of "Gotta Serve Somebody." I am a die hard Dylan fan, but this was probably one of the best versions of that song I have ever heard. After opening it up with just his voice, he came in on his drum, and he played with such skill that it sounded like he had at least two other percussionists playing with him.

In between songs, he plays more songs. Rather than just talking, he keeps the music going. He talks over his guitar, or he makes up a little song on the spot to tell you that he's glad to be playing for you that night.

When he's not channeling Shawn Mullins and telling stories in between songs, he's just playing good music - and he keeps it flowing. He switches quickly and effortlessly between guitars and his drum, and he plays all of the instruments well. At one point he busted out a drum solo that rivaled some Rusted Root action. And - you guessed it - I am a die hard Rusted Root fan.

By the end of his set, Christopher Williams had owned the stage. It's not just because he sang a song completely a Capella and mic free. No, that would have been just a "wow." But when he was playing his last song, he broke a string early on. He kept singing, knelt down into his guitar case and found a new string, changed his string, tuned the guitar while he played the harmonica. He never missed a beat or a note. The crowd started going crazy as he showcased his deftness, but he was just doing his thing, acting like it was all part of the show.

It worked, because the applause, whistles, and yells when he finally finished were louder than the typical applause for the singer-songwriter show in Nashville.

Oh, and Christopher - Just so you know, that one time, early on in the night, that only one person screamed, and you said, "Thanks, Mom" - that was actually me.

P.S. Katie Herzig (MySpace) and Matthew Perryman Jones (MySpace) were playing that night as well, but I had to leave early. I did get to see a bit of Katie and her band (including Ruby Amanfu and Clarie Indie, a couple of personal favorites). Katie's voice is dreamy and contemplative, and I love listening to her songs. They could be the soundtrack to a world made entirely out of candy. OK, that's enough. I'm trying to squeeze a mini-review in here, but she deserves more than that. As for Matthew Perryman Jones, I can never seem to get to one of his shows, but I hear it's worth it.

Technorati Tags: live music, Nashville, christopher williams, songwriters, the rutledge

Photo by Carie Thompson
The new album from Chip Greene (MySpace), "Exactly and Approximately," is aptly named.

As soon as I thought I knew approximately where a song was going to go, it didn't exactly go there. For instance, The Art of Abandon was taking a nice dark dive down into a serious spiral, when suddenly it got caught on a smooth net made of a softening beat and some sing song repetitions that pulled it back up - but not all the way. It still stayed haunting, but the melody wouldn't let it cross into hopelessness.

The whole album works much like this. I had to listen to it a few times to figure out what I liked about it. It reminds me of the best parts of some late 90's pop and rock all rolled into one glorious album. At times the melodies are tender, thoughtful, deep, introspective - and at times it's pop to the core or racing along as fast as a good old rock song.

Chip has smooth, sometimes haunting vocals that waft tenderly but firmly over and around his melodies. They do a good job of bringing his stories into union with the music. Every song tells a story, and even if it's not easy to figure out exactly what they all mean, they are still easy to listen to.

The album is well-produced, and I'm eager to see a live performance. The vocals have lots of nice effects, but I can still catch a hint of the passion under there somewhere, and I'd like to watch it live.

The electronic goodies on this record are just icing on the cake. They add so much fun and even some substance to the solid framework that has already been laid down by some exacting songwriting.

Overall, "Exactly and Approximately" is a carefully written and blended album that resists a genre label. I've heard comparisons to Coldplay, but I don't think that's quite right. Chip brings his own unique flavor to the music and presents the listener with songs worth listening to again and again.
You purchase Exactly and Approximately along with previous albums in almost every way via his website: ChipGreene.com
Technorati Tags: albums, chip greene, reviews

Want to hear some great music tonight? Of course you do. Well, you're in luck. Nathan Lee (MySpace) will be hosting Writers at the Rutledge again this week.

I hear that Nathan usually plays with a full band at these shows, but the night that I went it was just him and the piano - and it was a real treat. I've lived in Nashville long enough to know that if the whole place is clapping and a few people even scream at a writer's night... something is going terribly right.

Something went terribly right last week, as I watched Nathan jump into his set with seemingly everything in his heart, soul, and gut.

The first writer's night series got off to a bumpy start back in January, but the audience quickly grew once word started to spread. By the time the current series started, Nathan Lee's management company was getting up to 70 calls a week from different artists who were hoping to get in on the Wednesday night action.

If you come, come ready to strap in for the ride, because this man plays with passion.

What: Writers at The Rutledge
Where: uh... The Rutledge
Cost: 5 bucks
When: Tonight! Wednesday, April 18, 7:30 pm (Nathan Lee at 8:30)
Treats for you: The Rutledge has pretty big drinks for $5.50, no smoking, a cool patio, and lots of seating.

PS: This week's other writers are Matthew Perryman Jones (MySpace) and Billy Cerveny (MySpace).

Technorati Tags: live music, nathan lee, songwriters, the rutledge

Shane Alexander (MySpace) sent me (and a few of my friends, as it turns out) a message on MySpace regarding his upcoming show at the Lipstick Lounge this Sunday. Somehow, in the blur of messages that ensued, I agreed to give his newest album, "Stargazer," a listen. If I deemed it worthy, I would plug his show.

After all, it will be his very first time in Nashville. I felt bad for him. There are a lot of good shows that night.

After listening to the album, I would like to announce that Shane Alexander is totally plug-worthy.

Alexander has some great session musicians on the record, and the very name-dropping of the stars they've worked with would make my sense of decency crumple under the weight. You can read all about it if you click on the links I gave you.

Alexander didn't waste any time recording the album, sealing the deal in four days. Maybe this is why the album itself doesn't waste any time getting started. The first track, "Spaces in Between," starts out with a tight beat and a sweet melody. This sets the precedent for the rest of the album, save for folky treats like "Big Red Love" and "Front Porch Serenade."

Almost immediately, I thought, "wow, he reminds me of Jack Johnson." It's not that he relies on a Jack Johnson brand of sound, but he does have that same rich and sweet vocal quality. There are also a lot of references to the ocean on this album, but they are right where they belong. The album itself rolls in and out, and it will carry you away if you'll let it.

Lyrically, Alexander has a few stories to tell. He's not so much in the raw emotion business as he is in the story-weaving business.

At first listen, not all of the stories provide an easy access point.

This is where the music and the genius comes in. It slinks around until it finds an entry point, usually right around the heart somewhere. Once you, the listener, let the music wear you down, you'll find that it bridges the gaps between Alexander and you. It's a lifeline, and it pulls you in to listening range, to a place where you're ready to hear what must be said.

So, Shane, Welcome to Nashville. "Stargazer" has passed the test. It's a good album. At times it's folky, at times it's poppy, at times it has organ, and at times it's straight dreamy. It's a great driving album, a great napping album, and even a great "sunny day in Nashville" album.

Anyway, on to the plug. You know you can't get into the sold out James Morrison show like me, so why not hit this one?

What: Shane Alexander and Rachel Pearl (MySpace) (looks like she will be a treat, too... just heard of her tonight)
When: Sunday, April 15, 8:00 pm
Where: The Lipstick Lounge, East Nashville
Cost: $6.00

P.S. Shane told me that the songs on the album are licensed for television. I'm gonna go ahead and claim "Shipwrecked" for Grey's Anatomy.

Oh yeah. It's like that.

Technorati Tags: albums, lipstick lounge, live music, Nashville, shane alexander, reviews, songwriters

The day that Michael Logen (MySpace) dropped off his new album for me to review, I got home from work at 5:30. By 7:30, I had already listened to it three times.
Michael's new album is titled "Things I Failed to Mention" - but I can't think of one thing he failed to mention here. Logen is a true poet, not only lyrically, but musically. There is something that he and his songs understand about sound and silence and the way that they can meet, embrace, and pull apart again to convey meaning - not only with music and words, but with the empty spaces of breath and silence.
If there is such a thing as a thoughtful melody, Logen has created it. He opens with one in the first track, and from there entices the listener down a path of true things - true emotions, true questions, and any other true thing that happens to be on the way.

Even though it's a thoughtful and poetic album, don't think it's any kind of wus. It still knows how to carry a beat, and even how to rock a little. Tracks like "Should I," "Yesterday Today Again," and "Waiting for It" are nicely assertive, and almost edgy.
The record, in general, lacks pretension. It's a balanced blend of quiet, pop, and rock, love, hope, and brooding. It doesn't ask you to take it for anything other than it is - exposed heart and mind, exposed lyrics and melodies. It shows up at your front door at three a.m., soaking wet, and asks once, nicely, to be let in.
Personally, I couldn't resist.
The CD is available now at CDBaby and iTunes. The CD Release party is this Thursday, April 12, at 12th and Porter.
What: Michael Logen CD Release PartyWhere: 12th and PorterWhen: Thursday, April 12, 8:30 p.m. (how convenient! you can go after the Nashville Feed Acoustic Live show!)
Cost: 5 bucksTreats for you: a special guest! matchbox twenty (MySpace) guitarist Kyle Cook will be joining the party
Technorati Tags: 12th and Porter, albums, live music, michael logen, Nashville, songwriters, reviews

My Sunday night wasn't just any Sunday night... it was a Lightning 100 "Nashville Sunday Night" at 3rd and Lindsley with Sam and Ruby and Lynden (MySpace).
The last one of those I attended was when Paolo Nutini (MySpace) came to town. So, to be fair, I should just say right now that nothing will ever hold a candle to that show.
Here is the breakdown, in order of appearance.
Sam and Ruby
Sam Brooker: acoustic guitar, vocalsRuby Amanfu: vocals, tambourine
Sam and Ruby were the opening act. Unfortunately, because I was having so much fun at Tea Dance, I missed most of their set. I've seen them play before, though, and it was, as last time, amazing. This time they were backed by a full band, including cello and violin. I wasn't quick enough to get the names of the band members. I was able to catch "Chillin'" and "Heaven is My Home." What strikes me about Sam and Ruby is their utter professionalism and ease on the stage. The vocals are smooth - flawless, even - but still, they refuse to take themselves too seriously or smack the audience with an air of pretension. They really opened up on "Chillin," with Ruby on tambourine and Sam letting out a grin here and there. It was jangly and fun, and for a minute, I thought, "If this were a country song I would have to say that I liked country music."
After a break, lynden took the stage, fresh from a stint at SXSW.
lynden
Matt Butler: cello, keys, vocals Coury Palermo: vocals Chris Brush: drumsEvan Weatherford: guitarsJono Brymer: bass
I was really excited about seeing these guys live, because I have heard an inordinate amount of hype about them from my friends. Mostly, I've heard, "you're not even ready." Trust me, I was ready. I was so ready. I was ready to leave halfway through the set.
Here's the set list, to the best of my ability. I only stayed for the amount of time that Lightning 100 was broadcasting, and I know that the guys played at least one more song after this.

• This is All I Know
• I'm on Fire
• First Time
• In Disguise
• Killing Me
• (I think I missed one here)
• Again
• Back Together
• Gone
• Busy Signal
• Over You

Here are some general impressions of lynden live. The guys were talented. The rhythm section was great. Jono and Chris were having a blast together, and they were like their own little band over on the side. Evan was shredding it up in his own little world (as lead guitar players often are). And Matt? Matt was phenomenal, and he was like his own band. He was having fun. His vocals were great, his harmonies were confident and precise, his key-playing left nothing lacking. And his cello skills. Good-ness. The man should go on tour with himself, and be his own lead singer. It would be great. I was absolutely moved to near-tears and chills, and it was only partially because I was sitting under the most powerful A/C vent at 3rd and lindsley.
All of that, though, doesn't change the fact that I had a headache and I was already restless by "In Disguise." Coury is the front man, but he doesn't seem too sure of himself. His stage presence is a little awkward. At times he's passionate and intense, maybe hoping that the intensity of his facial expressions can keep his vocals afloat over the drowning rock beneath him. At times he's staring into space as if his stage presence will magically appear. And, at times, it's almost as if he's channelling Adam Sandler and I'm just waiting for the music to stop and for him to say, "Live, from New York, it's Saturday night!"
Except it was Sunday night, in Nashville.
I don't know if the mix was off. I don't know if the guy was off. But for some reason, without fail, at exactly the point where a song started to rock, it also started to eat Coury's voice and blur into a rock oblivion. I took complete notes on the process during "First Time": "Opens with a haunting cello line that melts into a classic rat-a-tat and then unfolds into a full and robust ballad with a smooth melody and vocals." After a brief amount of white space, I wrote, "...only to explode into more driving rock that, again, buries Coury's vocals."
I was holding out hope for the guy though, because he actually had a great voice. With each song I kept waiting for him to blow me away. Finally, on "Killing Me," it happened. It was slower. It was more soulful. He sang the business out of that song. He didn't really sing it, so much as he prayed it.
"Again" was another good call for these guys. Coury introduced it as his favorite song he's ever written, and I think it was mine as well. That song begs to be put on a soundtrack, and they simply killed it. It was so dreamy that Evan had to take a seat. Jono was focused on his bass like a laserbeam, and Coury, with confidence, knocked out the vocals.
When Coury introduced "Back Together," he said something like, "we're gonna go out on a limb here... I hope we don't jack it up." I think he said that because the song was more soulful than the rest of their set. Well, as Coury said himself, he's a white guy who likes soul music. And like it he did. He liked it a whole lot, to the point where he was brand new to me on that song, and his vocals were FINALLY showcased the way they should have been all night.
I have complete notes for every song in the set, but I'll spare you the poetry. Here are some bottom lines: The band can shred, and they are musically tight, as well as consistent. They play well individually, and they all play well together. The songs are okay, but they all blend into one after a while. As my friend said, "I think I would have been good with about 30 minutes of lynden."
Coury's voice (not to mention his stage presence) really shines on the ballads and slow tunes as well as the soul-ish ones. Maybe, instead of worrying about jacking it up, he should go ahead and turn it up and turn it loose with the soul songs. Technorati Tags: live music, sam & ruby, Lightning 100, lynden, reviews, 3rd & lindsley