Bonnaroo 2025 boasted an eclectic mix of artists on the lineup that was meant to run over four nights on the Farm in Manchester, Tennessee. It had a really great lineup that mostly never came to fruition. Fans could enter the grounds and begin camping starting on Tuesday, but the music didn’t start until Thursday. That evening, Marcus King’s soulful, raspy voice and guitar riffs filled the night air on the main stage during the first sunset of Bonnaroo 2025.
Thursday also boasted a headline set by Luke Combs, Bonnaroo’s first ever country headliner on the main stage. He had an unforgettable set, including starting the performance by shotgunning a beer and sharing stories of how he wrote his songs. He brought out legendary country singer Miranda Lambert as a surprise guest and she sang “Kerosene” as well as Marcus King for his last song, “No Rain in Oklahoma.”
This year, Bonnaroo also debuted the Infinity Stage, an open-air dome designed stage with spacial sound and a 360 experience. Of The Trees B2B Tape B and Rebecca Black DJ’d there on the first night of the festival, with lasers and totems surrounding the entire area. There were mixed reviews for the stage – fans inside the audio experience said it was great, but fans outside couldn’t hear as much and it didn’t provide great visuals from farther away.
The Who stage, located at Outeroo’s Plaza 7, highlighted up-and-coming artists and rising stars. And of course, the iconic Other stage hosted Dom Dolla, who mixed songs together for a two-hour headlining set on Thursday as part of their new After Hours lineup with late night live performances lasting well into the early morning.
Friday morning started strong with hundreds of people doing Yoga in Centeroo and enjoying their High Five Friday on the Farm. Things only got worse from there. Early in the afternoon, before the festival had even opened to music, rain storms with lightning and thunder passed over the festival, causing the campground to be completely flooded and many campsites to be destroyed. After an entire day of delays, Bonnaroo announced that they were forced to cancel the rest of the festival and that fans were encouraged to leave on Saturday. Fans will also receive a 75% refund on their tickets and camping passes since there were no sets from Friday to Sunday.
Sets that never came to fruition included Friday’s John Summit headlining and Infinity stage takeover sets, Avril Lavigne and Olivia Rodrigo on Saturday night, Remi Wolf’s Superjam on Sunday, and Hozier closing out the weekend. This was a disappointing end for this year’s Bonnaroo. They were forced to cancel in 2020 due to Covid-19 and again in 2021 due to inclement weather, so to have to cancel again in 2025 is especially unfortunate. Next year, the festival organizers might have to reconsider when they host the festival, due to the large amounts of rainfall in Tennessee in the summer.
When two musical worlds collide with this much heart, you don’t just listen—you feel it in your bones. Who Believes In Angels?, the unexpected but deeply resonant collaboration between Elton John and Brandi Carlile, is more than just an album; it’s a conversation between generations, genres, and spirits. With a title that sounds like a hymn and a dare, the project arrives steeped in the sacred and the searching, bridging John’s decades-long legacy of glam, grief, and grandiosity with Carlile’s raw, rootsy truth-telling. This isn’t just about two powerhouse voices—it’s about the emotional weight they carry, the stories they tell, and the healing they offer along the way. Whether you’re a lifelong fan or stepping into their orbits for the first time, this album asks a tender, timely question: What do we believe in now?
Right away, one of John and Carlile’s most intriguing choices with Who Believes In Angels? is splitting the album into two discs—a rare move in today’s streaming-heavy world, but one that signals intention. This isn’t just a playlist of songs tossed together; it’s a structured, almost cinematic experience. Each disc seems to tell its own story while remaining part of a greater, emotional arc. That decision sets the tone for an album meant to be absorbed, not just consumed.
Musically, it’s a well-paced journey—an ebb and flow between slow-burning ballads and upbeat, sometimes defiant anthems. The tracklist has an emotional rhythm that keeps the listener on their toes without ever feeling disjointed. It leans into both artists’ strengths: John’s piano-driven drama and Carlile’s folk-rock grit.
Two songs in particular made an immediate impression. The title track, “Who Believes In Angels?,” feels like the heart of the album—an aching, gospel-tinged meditation that sounds like it was pulled straight from a stained-glass memory. It’s reflective, searching, and delivered with a vulnerability that lingers long after the final note. In contrast, “Swing For The Fences” bursts with life. It’s bold, fiery, and charged with a hopeful urgency—a rallying cry for anyone who’s ever dared to dream big or love hard.
Those first listens hint at the emotional range and intentional craftsmanship behind the album. It’s clear from the outset that this is not just a cross-generational collaboration; it’s a work of art.
Lyrically, Who Believes In Angels? is rich with emotional weight and thematic depth. It wrestles with big, timeless questions—about faith, legacy, resilience, and the fragility of hope—without ever tipping into melodrama. What’s most striking is how the album feels both deeply personal and universally resonant, like a letter to the past and a prayer for the future.
The title track sets the tone thematically: a gentle reckoning with belief in a world that often feels broken. Without demanding an answer, it asks whether holding on to something spiritual—or even just optimistic—is still possible. That same spiritual thread weaves through the entire project, not in overt religious language, but through subtle invocations of light, grace, and redemption. The lyrics don’t preach; they plead—gently, beautifully, and sometimes desperately.
One of the most powerful lyrical through-lines is the idea of survival, not just in the face of hardship, but despite it. On songs like “Swing For The Fences,” there’s a fiery insistence on pushing forward, even when the odds aren’t in your favor. The chorus, full of grit and swagger, becomes an anthem for anyone who’s ever felt underestimated.
There are moments of tenderness too—songs where love is shown not as a grand gesture, but as quiet presence. The lyrics lean into vulnerability, nostalgia, and longing, often pulling from both artists’ life experiences without ever feeling self-indulgent. Whether they’re singing about queer identity, chosen family, or simply the ache of growing older, John and Carlile write like they’re sharing secrets with the listener.
Together, their pens carve out space for reflection, rebellion, and radical hope. It’s the kind of writing that doesn’t just speak—it listens.
Vocally, Who Believes In Angels? is nothing short of mesmerizing. John and Carlile don’t just trade verses—they intertwine, elevate, and challenge each other in ways that feel both organic and electric. It’s a duet in spirit, even when they’re not singing together, because their voices haunt each other’s melodies, like echoes from different lifetimes converging in the same space.
John, as ever, brings that unmistakable warmth and theatricality to the table—his voice a little more weathered, but still powerful, especially on the album’s more introspective moments. His delivery’s a lived-in beauty, especially when he leans into lower registers, where pain and wisdom seem to settle. Carlile, on the other hand, brings fire. Her vocals are raw, textured, and unrelentingly human. Whether she’s soaring through a chorus or cracking just slightly on a fragile note, there’s nothing polished about her performance—and that’s exactly what makes it gripping.
Together, they find a balance that feels sacred. On tracks like “Who Believes In Angels?,” their harmonies feel reverent, like a prayer whispered between two pews. But on more upbeat numbers like “Swing For The Fences,” they let loose, their voices colliding in a way that feels joyful and rebellious. It’s less about perfection and more about presence; both artists show up fully.
Instrumentally, the album is a tapestry of John’s signature piano work, Carlile’s acoustic sensibilities, and thoughtful production that never overshadows the storytelling. There are sweeping string arrangements, gritty guitar lines, and moments of quiet stillness where a single instrument is all that’s needed. The spacious, soulful, and often cinematic production lets every song breathe. No sound feels accidental, but nothing feels overproduced either.
This isn’t an album trying to impress with complexity. It’s confident in its simplicity, letting the strength of the performances and the weight of the lyrics carry the emotional load.
Who Believes In Angels? isn’t just a collaboration—it’s a cultural moment. It’s rare by accident that legends like John choose their creative partners late in their careers. In Carlile, he’s found more than a kindred spirit; he’s found a torchbearer who shares his commitment to storytelling, emotional honesty, and defying expectations. This album feels like a passing of the baton and a standing ovation.
For John, this record expands his legacy beyond pop stardom into something even more profound: mentorship, reflection, and reinvention. He’s no longer the rocket man charging ahead—he’s the lighthouse, guiding others home. And yet, he’s not retreating into nostalgia. His work here is vital, present, and deeply felt.
For Carlile, Who Believes In Angels? cements her role as a generational voice—one who can walk alongside giants without ever shrinking herself. She doesn’t fade into John’s shadow; she stands beside him, fully lit, bringing her own lived experience, grit, and grace to the table. Her continued advocacy for LGBTQ+ voices, women in music, and emotional vulnerability finds an even broader audience through this partnership.
Together, they bridge gaps between generations, genres, and identities. The album doesn’t just appeal to longtime John fans or Carlile’s Americana base; it reaches into multiple communities and invites them to connect through something universal: the search for meaning, for belief, for belonging. There’s also something quietly radical about two openly queer artists making an album steeped in spirituality, not as a performance but as a reclaiming of faith on their own terms. In a time when so much music feels fleeting, Who Believes In Angels? dares to be lasting. It doesn’t chase trends—it creates space. Space to reflect, to remember, and maybe even to heal.
Following many successes, such as releasing their 2023 debut single, Seventies, playing a variety of music festivals within Charlotte, North Carolina, and teasing new music, alt-rock band Modern Alibi is ecstatic to release their debut album, American Radio. The up-and-coming Charlotte band announced that the release of their new album will be on April 4th. The album speaks volumes of the band as they leap into a new era of music.
Lead singer and guitarist of Modern Alibi, Holden Scott met with Crowdsurfer Magazine, where he spoke passionately about the band, and expressed his excitement on the release of the band’s debut album and what’s to come later in the year. During our conversation, he expressed his unique take on the album, and the plans he and the band have for their upcoming album release concert at Amos Southend in Charlotte.
Crowdsurfer Magazine: I wanted to congratulate you on the release of your debut album, American Radio! First off, how excited are you and the boys?
Holden Scott: We’re beyond excited! We’re focused so much on this album release show because it’s the first time that people are going to hear these songs live. We’ve been teasing some of them at our live shows, but this is the first time that all the music’s going to be out.
CM: Can you tell me a little bit about American Radio? What was the inspiration behind the album? Was there something specific that you and the band wanted to express or pinpoint when writing the album?
HS: So, American Radio has a lot of songs that have been in existence for a very long time. I want to put my best foot forward, and what I feel represents the band the best. There’s a song called Boy You Better, which represented a time where I didn’t know what I was doing with songwriting, and I felt a little insecure about what a song is supposed to sound like. I never imagined when I wrote that song that we’d have this many people listening to it.
[The record] is full of old and brand new songs where I see it like a time capsule of this era of Modern Alibi of the past few years. I remember exactly where I was when I wrote the song, and playing them live in front of people for the first time. It represents us at this period of time. I’m sure in a few years I’ll look back at it and think about all the things I could have done differently, but I think that I’m going to feel very proud of where this is at, and I’m very proud of it.
CM: Kind of circling back or elaborating on what you said about American Radio being a time capsule of Modern Alibi, what would you say is the most unique thing about the debut record?
HS: The record is unique compared to what else we’ve released because of how old some of the songs are. If you would’ve told me three years ago that [Boy You Better] is going to be on a debut record, I would probably be like, ‘No bad idea. Don’t put it on there!’ Now, it’s something I’m proud of.
It’s unique in comparison to everything else that we’ve done. I touch on some different emotions and feelings that I haven’t before. We have a few songs on there that kind of branch out of that happy, style song with some more emotional tracks. I’ve been through a lot actually, but there’s probably like nine or ten tracks that I’m like, ‘okay, I really want to slip into this new feeling or mindset that’s isn’t the happiest, but yet still has a lot of emotion and passion.’ There’s a couple tracks on there that really play that role well that I’m finally happy with. It took a year, but especially with the ending track of American Radio, which is also the title track of the song, really plays that role.
CM: Before the release of your album, you have released two singles, Is Everybody In? and Scarlet, which for me, is my favorite song. I started listening to it at work and I thought to myself, ‘This is new!” I was just very surprised. Can you tell me a little bit about both of the songs?
HS: Definitely! So Is Everybody In?, and Scarlett have always been sibling songs, and were written around the same time. Is Everybody In? is more playful and not to be taken too seriously. It’s a fun song with a little fun storyline that you can interpret however you want. Scarlett is more of the opposite. It’s about jealousy, loss, and feelings of betrayal. It’s deeper. I love both songs. I’m so glad that you like Scarlett!
CM: And you said these songs will be on the album?
HS: Yes! They’re both gonna be on the album.
CM: You also mentioned that there will be an album release concert at Amos Southend. How excited is everyone?
HS: We are very excited! We’re practicing at the moment and we’re making sure we’re prepared, comfortable and confident. We’ve been playing these songs for a while, but this is the first time that some people are gonna know them, or some people are gonna know all of these songs. It’s a little bit of pressure because we wanna make sure we do the songs justice. However, it’s also taking off pressure because the crowd knows what to expect. For a show like this, where our hometown crowd is, and people who’ve been listening to our music, know who we are, who have come however long they have traveled to come see the show, they’re there for us. It feels like they’ve got our backs no matter what. We want to make sure that we do the songs justice, and give people a good memorable, fun experience.
CM: For the release concert, would you say that there could be any surprises in store for fans? Any tricks up the band’s sleeve? Maybe a few covers?
HS: Yeah! We have a couple covers in the works. We have our stage antics that we always love to do. I love being in the crowd, and I love jumping off things. We want to have an arc. We want it to be a whole experience, rather than here’s this song now now this song.
CM: For the album overall, what do you want people to take away from the lyrics and the overall vibe?
HS: I definitely want it to be something for everybody. There’s elements of punk rock, a little bit more killer style, emotional rock. There’s also some funk, elements of hip hop, experimental tracks, and even indie pop songs. I want somebody to find something that they resonate with the most. Lyrically, I want people to be able to take the lyrics of a specific song and figure out how to make that connection with themselves. And, maybe that helps them.
CM: You and the band have accomplished so much in the past few years, such as releasing your first single Seventies in 2023, releasing your first EP in 2024, and playing the Lovin Life Festival and the Charlotte Pride Festival. While we are still in the earlier months of 2025, there’s definitely so much to look forward to within the year. So personally and musically, what are you looking forward to throughout the year?
HS: I’m looking forward to seeing what happens with this record., I’m also excited to play these songs live and in as many cities as possible. If that means a tour, it’s a tour! If there were enough hours in the day and enough days in the year, we would literally make it to every city in the U.S.
CM: My last question is, is there anything that you would like to add overall?
HS: I’m just excited for everybody to hear the record. It’s interesting to me because as a songwriter, I know how the songs make me feel, but I don’t know how it’s gonna make other people feel. For the show, I want this to be a sold out show. It’s looking like it’s gonna be a fun packed full show. I’m very excited about that!
Be sure to stream American Radio on Spotify and other streaming services. To attend their upcoming release album concert at Amos Southend in Charlotte, click here. For more updates on Modern Alibi, follow them on Instagram, TikTok, and subscribe to their YouTube Channel!
Fans of the pop rock space may know the name Hardcastle from a few of their well-known hits. In 2019, the Nashville-based band was gaining heavy traction, joining The Band Camino on a sold-out national tour. Unfortunately, COVID impacted the world shortly after the tour concluded, and subsequently, the band. With the group going their separate ways, singer and guitarist Graham Laderman decided to realign with his artistic vision and set his sights on beginning anew in Los Angeles.
Since then, Graham has assembled a surrounding team, including managers, producers, and new bandmates, to venture into new musical territory. With a few upcoming shows and new music locked and loaded, Hardcastle is gearing up for a righteous return to the stage (and headphones). I got a chance to interview Graham at his recent Los Angeles show at Paramount LA and asked him a few questions about his musical journey.
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So before we get into it, you have to tell me what happened with your hand here.
Without going into too much detail, a car hit another car at an intersection, and I was sort of caught in the mess. I looked up, and there was just a car flying at me, and then everything went black. I didn’t lose consciousness, but I closed my eyes and sort of tensed up–when I opened my eyes the world slowly came back into focus and there was a ringing in my ear. I started checking my head after and was just thinking “Oh my god, I’m alive,” and I looked down at my hand and just saw a lot of blood. I had to get 11 stitches in my thumb and it kind of looks like Frankenstein. It’s very visceral when I talk about it, to be honest.
Wow, that’s insane. I’m happy that you’re okay cause that sounds like it could have been a lot worse for you. Obviously, you were dealing with a lot of shock, and then went to the hospital I assume, but how long after the initial hit did you think “Oh shit, I have shows coming up?”
Immediately. It was the next thing I thought about after realizing I was alive and that my head wasn’t bleeding. Still, despite the stitches and the arm brace, I’m just happy to be here.
How is it affecting the string of shows you have coming up?
Well, I definitely can’t play guitar, which is going to feel so different. I’ve played since middle school and I’ve always been so connected to it ever since I started. I’ve been building out my pedal board and started getting into a lot of capabilities for live shows, and it was feeling like a big culmination of a lot of years, especially now working with a five-piece band and really getting close to how things sound on the record. Now, it’s opened my perception to “Who am I without a guitar?” I have to really tap into a new area as a singer. A week ago I was thinking that I’d never put my guitar down, but I’m excited to get in touch with my power as a frontman and see where it goes. It’s a growing experience, for sure.
Right, I like your optimism there. Let’s hope that your next artistic change doesn’t come at the hands of an accident like this again though, yeah?
Haha, definitely. I like to think of it this way– you have this energy, and you can spend it in a lot of different ways. I’ve just been trying to spend that energy looking into what the opportunity is here.
I want to hear about being raised up in the Nashville music scene from a stylistic influence perspective, how does that experience carry on with you still?
So I moved to Nashville from Atlanta in 2016. In high school [in Atlanta] I was kind of playing this ‘Foo Fighters meets southern rock’, and I was just having fun and didn’t know anything about anything. I’d write half a song, and book shows and just make up the rest onstage, because I just wanted to play so badly.
When I made it to Nashville, I got into the songwriting program at Belmont for a year and a half before I dropped out, but I realized that writing lyrics was amazing, and that songwriting could be the center of gravity for the things that I wanted to do. I just started collaborating with a lot of people and co-writing with my bandmates at the time [Val Hoyt, Noah Christian, and Miles Laderman, Graham’s brother], and some early stuff with Old Sea Brigade [Ben Cramer]. I was such a hardcore The 1975 fan and got exposed to more pop music, whereas back in Atlanta I was kind of more anti-pop in a way haha. It just really helped to expand my sound and led to songs like “Back To You” and “Mundane.” We started to work with The Band Camino on those tours and show trades, and they’ve always been great at making those anthemic pop-rock songs, so getting to tour with them was a big influence. Somewhere in there though, I started to lose myself a bit, because I was trying to be so many things.
Yeah, being in a big music market like Nashville, there are so many different avenues a person can go. With Nashville especially, it goes a lot further than just country music, which is where people often stop at. I liked your term of anthemic pop rock to describe it, but there’s a lot going on over there. On to your LA move, how do you carry that experience over here?
The first thing that comes to mind is the power and process of collaboration and co-writing. When it came to writing the songs on the new record, I had some great help in my corner and narrowed the album down from a ton of songs. I also was just able to find myself again, which has been great. I was always the kid daydreaming in class about being out here in LA.
Is it what you thought it would be?
So far, it feels like I’m living that dream I’d think about when I should have been paying attention in class. A few months ago, I was in the studio recording a song that’s on the new record called “Down,” and I got to work with Rob Cavallo who’s produced for some of my favorite albums of all time, and I’m holding his guitar–if you listen to “Iris” or “Wake Me Up When September Ends,” it’s THAT guitar. We mic’d the guitar and muted the placeholder electric we had on the track, and I was literally living what I would be daydreaming about. I’m getting chills talking about it right now! It’s just all unreal.
Bring me up to speed with yourself, and with Hardcastle now– what are you excited about, and what has changed/felt new?
Over a year ago, I connected with Rob and Lisa Cavallo with Done Deal Management. Lisa has just been truly a life-changing mentor, and from the first moment I sat across from her at the table, I felt seen and encouraged to be myself wherever that takes me. I would start having A&R meetings with Rob which was crazy, and HE encouraged me to be myself too, even if it’s left of center. I was also in a place where I was ready and open to receive that kind of advice. Then I got back into the songwriting part and reconnected with the stuff that first turned me on to music, like back when I was a kid in the back of my dad’s car. I guess for a while, I had lost the connection to that ‘spark’–but fast forward to now after being in the studio, I have this record that’s everything I’ve ever wanted and that represents me and all of the people I’ve worked with for Hardcastle, whatever that entity is. I feel completely represented.
What would you like to tell Hardcastle fans about this new phase?
Overall I think it will be different, but it’s a return to center for me. You’ll hear it when you hear it!
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Through this band transition, Graham has kept busy under the Hardcastle moniker. He released the track ‘Malibu’ in 2023. Before that, Hardcastle collaborated with LA-based singer/songwriter Lorelei Marcell on a single called “Flashbacks,” releasing both a studio-recorded version, as well as a stripped-down acoustic version. 2022 brought fans 2 EPs– Hundred Million Seconds released in October, as well as One More in June. In between the EP releases, September 2022 brought listeners two additional singles “Holding on to You” and “Murphy’s Law”. While Graham’s strong songwriting and instrumental arrangement is present in all of his work, he leans heavier into the bedroom pop/pop rock genres.
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Currently, ‘Mundane’ and ‘Back To You’ are both around 5M plays on Spotify. Did either of those songs feel different during creation, and what are your thoughts on them now being a few years out?
When I wrote those songs, they both came as ideas while I was writing in my room on this $50 piano that I was borrowing from Val. Mikey Reaves, Val Hoyt, and Ben Cramer were collaborators that helped me fully realize ‘Mundane’. Owen Lewis, too, was a big part of the production. And then Madelyne Morris was my co-writer on ‘Back To You’. Although, it initially felt like those melodies just started coming out of me, kind of spiritually.
So you felt it right off the bat that they were special?
Yeah, and when all of those were popping off, it was everything. I just kept thinking about how lucky I was. After a while during that ‘lost’ period for me, the meaning and impact of those songs were sort of lost on me, too, but now that I got this going I look back on those songs with the same fondness and admiration.
I mean, that’s how I’m here right now! I remember I was put onto “Mundane” around 2020, and then have been sort of following you guys from then on. When I saw the show billing for Hardcastle @ Paramount LA I knew I could have an opportunity to do this chat here. It’s cool that those songs are part of the reason we’re talking now.
Exactly! That’s why those songs are amazing. I’m glad that they had an impact on people.
If you could tell past Graham anything, what would it be?
It’s clichè for a reason, but just keep going. Open your mind to new possibilities and give yourself some grace, and that’s really it. It’s a long journey, and you really don’t know how it’s all going to go. Earlier on, I thought I knew how it would all go, and that kind of poisoned the well a bit for me.
What about future Graham? What would you say to him?
Probably just to stay connected to joy. Trust that that’s a worthy investment, even if it’s something you can’t quantify or qualify.
Just to wrap it up here, and kind of a fun one to end on–who was your first concert, and best concert?
Oh, man! My first concert was Wilco with my family in Atlanta. I was raised on that band, and we saw them a couple of times in Atlanta. Every second of every day was Wilco, haha.
The one that jumped out at me when you said “best concert”–I remember Val and I camped out early in the morning to see Foo Fighters at Centennial Olympic Park. I remember the doors opened and we sprinted up to the barricade and got way up close. Actually, we tried to throw our demo CD at [Dave Grohl.]
That’s hilarious! How old were you?
I think I was a sophomore in high school. I remember thinking this could be our moment, like “Put us on stage right now!”
Amazing. Any other thoughts you had before we call it a wrap?
If anyone wants to bring us on tour, we’re looking to do that!
You heard it here first, everyone! Hardcastle is ready! Thank you for your time, Graham.
This was so fun, thank you!
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Hardcastle gave fans incredible onstage energy, thanks to Noah Christian (bass), Raul “Perro” Murillo (guitar), Aram Behshid (drums), Zeph Park (keys, guitar), and frontman/singer and interview guest Graham Laderman. Hardcastle has always had their roots in rock, but opts for an edgier sound that feels like it fits in your favorite 2000s alternative rock playlist on your iPod. The band performed fan-favorite “Mundane,” but left the rest of the setlist for their new and unreleased tracks, in addition to Perro surprising fans with a cover of the popular Spanish pop rock song “Lamento Boliviano.” Fans can expect Hardcastle’s new sound slated for release in May of this year, with the full record expected in early Fall 2024.
Is there anyone else you’d rather be singing about going to hell with than The Pretty Reckless? We didn’t think so. The band opened for Shinedown on The Revolution’s Live Tour, following Diamante and stepping onstage to a warmed up crowd. The Pretty Reckless had previously had to cancel their own headlining tour twice due to the pandemic, so it was a long-awaited sight for all to see them performing live.
The Pretty Reckless kicked off their set with a bang and a cover of Soundgarden’s “Loud Love” before moving into their own “Since You’re Gone” followed by their most recent single “Only Love Can Save Me Now.” Frontwoman Taylor Momsen had the crowd sing along with the call and response in “Heaven Knows,” while also asking for audience help singing “Going to Hell,” where everyone enthusiastically screamed the lyrics. “Going to Hell” featured a guitar solo by Ben Phillips, where he walked the length the runway and treated us to a couple of minutes of pure guitar goodness.
With a truly stacked setlist, they fit as many fan-favorites as they could in the 8 song set, which only left the audience wanting more.
Shinedown stopped by Nashville with only a few shows left on the Revolution’s Live Tour. Shinedown formed in the early 2000’s, so they’re no strangers to the stage, and they certainly gave us all a show. With an opening to the set that celebrated getting back out to tour after shutting down for the pandemic, the members walked proudly out on stage to the deafening cheers of the audience. That would be the last time for the night that anything as slow as walking would be done on the stage.
Starting us off with “The Saints of Violence and Innuendo,” the energy in the arena could not reach a higher peak. Lead vocalist Brent Smith had the arena with their hands in the air while guitarist Zach Meyers and bassist Eric Bass ran up and down the runway, giving their all into their instruments, and drummer Barry Kerch kept up the headbanging at the back of the stage. Towards the end of the song, the stage was lit up with pillars of flames, making the audience roar along with Smith.
The energy, of course, did not dim throughout the night. Shinedown played old favorites and new, including the title track off of their upcoming seventh studio album Planet Zero which comes out July 1st.
Nashville celebrated the night of Mardi Gras by attending the co-headlined Dream Tour at Nashville Municipal Auditorium, and alt-J was the final band to play. alt-J opened up their set with “Something Good,” and revealed to the audience the screened-in box that made up their stage. Projected images danced across those screens, resulting in visuals that were ethereal, abstract, and mesmerizing.
alt-J played songs off of their latest album The Dream, including “Bane” and “U&ME.” The screens around the stage lifted for the duration of “Matilda,” in which the audience was invited to sing along to the more intimate song, and then the screens came back down for the rest of the night. Along with the new music, alt-J played all of our old favorites, closing out the show with “Left Hand Free” and “Breezeblocks.”
Take a look at our gallery for photos of the night!
Nashville celebrated the night of Mardi Gras by attending the co-headlined Dream Tour at Nashville Municipal Auditorium. Portugal. The Man took the stage before alt-J, playing fan-favorite singles such as “Live in the Moment” and “Feel It Still,” along with their latest “What, Me Worry?” The audience raved for the wild light show that accompanied the set, and sang their hearts out as Portugal. The Man ended their portion of the show with “Purple Yellow Red and Blue.”
And the most meaningful part of the night was just before Portugal. The Man took the stage, where they acknowledged and honored the Indigenous people whose land they were performing on. In this case, the Cherokee and Shawnee tribes, among others. The moment was much appreciated by all in attendance.
Take a look at our gallery for images from the night!
I’m a few days late to this review, but Miley Cyrus’s new album requires some time to sit with to take in the full effect. Plastic Hearts is one surprise after another: with a ballad taking the #3 slot, absolute icons joining for features, live covers, and a whopping 15 tracks. Buckle up, let’s go!
The first song, “WTF Do I Know,” kicks off the album with an anthemic start. Only a few seconds in I was begging that the rest of the album be exactly the same. Miley has already proven she can remake herself and jump between genres time and time again, but I was hoping one day she would bring more rock influence into her music. And she delivered.
Timeless is a word that comes to mind when listening to this LP, and I can surely see us jamming to some of these tracks for years to come. It’s a rare day when I suggest songs for my dad to listen to, but I know we will both be playing the air drums in the car to “Night Crawling” featuring Billy Idol.
The latter half of the album really slows down though, and that was initially a little disappointing to me. I still like the songs, but I wanted more rock ’n roll, more angst, more songs that feature Miley’s incredible vocals that you can hear in her live cover of The Cranberries’s “Zombie.” Am I the only one who was expecting something a little more exciting out of “Prisoner,” her song with Dua Lipa?
But guess what? Miley does what she wants, and her music is primarily for her. And I applaud that. And I will scream from the mountaintops in support of topics she covers: about sexist double standards, about how being LGBTQ+ is normal, and about being unapologetically herself and loving it.
You’ll find me later learning to play “High” on the guitar and being thankful that Miley was able to salvage the music that was lost in the fire that burned down her home in LA.
Here’s a duo to pay attention to. Sound Of Kalima is made of up Pete and Sal, two young musicians from Vancouver. They captured the USA’s attention with their single “Wild Trash,” an urgent commentary on the destruction of our planet. Self-described as having “no respect for the limitations of genre,” Sound Of Kalima is here to give us electronic music that holds a human element. Today, the duo released their latest, “6789ten.”
“6789ten” is a song filled with variety. The electric guitar and percussion make you want to jam, there’s prevalent anger, and yet some element makes you want to dance. The refrain of “6789ten” is easy to get stuck in your head, but my favorite part of this song are the verses. The melodic contrast with the chorus grabs your attention and the lyrics run deep.
In this world I’m not an equal / that’s not heartbreak to you, why should I bother?
“Wild Trash” showed us that SOK isn’t afraid to write about controversial topics, and “6789ten” is no different. The lyrics address prejudice based on skin color, racial injustice, and lack of faith in the system, and the siren that seemed like a fun sound effect on first listen takes on a new meaning as you pay attention to the words.
I’ll be keeping tabs on SOK, eagerly awaiting to see what they have to say next. Until then, take a listen to “6789ten.”
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