Nico Vega and Oh No Fiasco Deliver Hard-Hitting Rock at Nashville’s Exit/In

August 25, 2013

Nashville’s the Exit/In, a classic yet almost easy to miss venue, recently played host to Los Angeles band Nico Vega, an up-and-coming powerhouse of a band known for their mix of musical elegance and gritty energy.  The opening band, Oh No Fiasco, with whom  Nico Vega share a label, combine alternative rock roots with a sometimes cutesy punk flair.

Oh No Fiasco opens, immediately setting the bar for showmanship. The band’s lead singer, Lindsey Stamey, is a complete fireball on stage, melting faces right off the crowd as the band plows full force through the first song of their set. The stage is completely electric as the five members of the band bounce, dance, and enjoy what they obviously love to do. Theatrics are integral to the band’s performance, exemplified in moments where the band’s drummer spits water onto the drums while playing, showering himself and the stage, or when the keyboardist places a small keyboard on another member’s feet and plays through the remainder of the song.

Oh No Fiasco ends their unfortunately short set with Stamey singing from the balcony seating of the venue. The group is an obvious crowd-pleaser as fans on the floor show their affection and admiration as she swaggers on through.

Following Oh No Fiasco, Nico Vega takes the stage. Lead singer Aja Volkman approaches the mic, looping vocals in harmony as the band forms onstage. The performance is very personal, humble even. For a band that’s known for exemplifying a rebel spirit, they’re all terribly mild-mannered.

Not to say they can’t kick out a jam like no other.

Volkman’s vocals are high-flying, soulful, and smooth as silk one minute, then growling and full of all the raw passion you’d expect from someone who stands on a steel barrel and sings while beating the sides like a drum. Her showmanship onstage is energetic, swaying and dancing from side to side, hands raised or slapping cymbals of the band’s drum set. Her passion and feeling for the music itself is soul-touching on a real level.

Not surprising coming from a band that considers itself more a way of life than just an expression of musical talent.

The set features songs from the band’s self-titled album of 2009 and their recently released EP, Fury Oh Fury. The band opens with “Lead To Light,” leading into “Fury Oh Fury” and “Lightning,” all songs from their current EP.

In the midst of the fury and passion comes the song “Wooden Dolls,” a slow, expressive tune about the unity of people and also the barriers we create, all sung from atop the aforementioned steel barrel onstage. Volkman’s sincerity is clearly visible in her presentation of the lyrics. It’s pleading, hopeful, and beautiful in every way.


One of the band’s more easily recognizable songs, “Gravity” begins slow with floating guitar and ethereal vocalization, but suddenly exploding into life as the song picks up pace, delivering hammering drum beats alongside Volkman’s vocal power as she sings about the oppression of conformity.

The set closes with the band’s powerhouse anthem: “Beast.” Featured in the trailer for the video game Bioshock Infinite and also a trailer for film Pacific Rim, this song alone is at least partly responsible for the band’s recent success, and it’s very clear why.

The song begins with a pounding, militant drum and heavily distorted guitar. The guys and girls of Nico Vega know what this song means for listeners, fan or otherwise, and they deliver on every level. It’s everything the band is about, rejection of oppression and a demand for unity amongst all people against the “beast of America.” That passion is palpable, almost a lusting passion for defiance against whatever it is that holds us down and forces its will on us.

It’s the perfect note to end on for a band with their level of conviction and proof that Nico Vega is everything that’s still right with rock and roll today. –Jordan D. Frye, Contributing Editor

David Wimbish: Life, Death, Fundraising, & Festivals

July 23, 2013

At the 2012 Wild Goose, for an afternoon set at a tent tucked away on the backwoods of the festival site, a young North Carolina band blew minds and won fans. More than just a band, more like a multicolored movement of sonic jubilee, David Wimbish and the Collection carry the celebratory consciousness, lyrical significance, and live energy that have made bands like Mumford & Sons or Edward Sharpe & the Magnetic Zeros the darlings of the current folk-pop moment.

In August 2013, the Collection will open this year’s festival on the main stage with a Thursday night-set sure to thrill us. Then, they will support Phil Madeira’s Friday night set. In the meantime, the Collection are furiously raising funds on Kickstarter for their next album, a surprisingly hopeful take on death called Ares Moriendi. I recently caught up with David Wimbish and convinced him to take a break from writing, recording, fundraising, and preparing for Wild Goose to answer a few questions.

Q. What is special about playing a festival? What makes WGF special among special?

A. Festivals are places people are willing to get dirty, stinky, messy, and crazy together to a degree they normally wouldn’t otherwise—just for the sake of connection, whether it be a connection through music, spirituality, art, or just fun. Everyone is out of their element at the same time, which makes everyone in the same element—the element of each other. So playing festivals lets people focus solely on connecting with each other; we get to talk and hang and laugh and have fun with people in a way, without the normal distractions a city or jobs or phones have. Wild Goose Festival especially is a ton of fun because there are people searching and listening, a very diverse culture and very diverse belief systems. Last year’s Wild Goose was one of the best musical and relational experiences we’ve ever had as a band, and it’s really a gift to get to be here again this year.

Q. Why do we need to get there early for the opening set of WGF 2013?

A. We’ve got some fun surprises for this year. No spoilers yet, but the fest is about community, about connecting, about new and old ideas coming together, about seeking and experiencing, and we want to kick of the festival doing just that. Our band always has at least a few people rotating in and out; I think every show there’s at least one new person playing with us, and it gives us a new energy to see the dynamics change in this. This year will be some new faces, some new instruments, and new energy.

Q. What will be the mix in the set from your first album, your second album, your forthcoming album?


A. We’re at that awkward stage where we know it’ll still be a bit till the new album is out, yet, we want to share the songs. I’m sure there’ll be a couple of new ones, whichever ones we’re feeling the most, but we’ll be playing a lot of our favorites from previous releases. We’ve been pumped to be playing “Lazarus” a lot lately, so I’m sure you’ll at least hear that. We like to play things loosely until close to a show, so that we can feel the vibe from the folks there and do a set that feels right for the environment and band family. The way sets usually come together is a bit like a puzzle. I go to the closet, we look and pull them out together beforehand and say “I want to do this one, I like this picture”. We spread out all the pieces on the table, and we get little sections of it together, we start to see what it’ll look like, and then, after awhile of moving things around, we put it completely together for others to see as a picture. So we have elements together, songs and special things we definitely we definitely have planned for wild goose, now it’s a matter of finding the in between pieces and making it look like a picture. That being said, sometimes the pieces you think go in a certain spot were wrong, and you switch them out for others. So, don’t want to give away too many spoilers, but we’ll play some new, and some old, and have some good celebration shoes. Bring your dancin’ shoes!

Q. Everyone has a Kickstarter anymore—why should we support yours?

A. Kickstarter, unfortunately, has seen quite a bit of abuse in the last year, from super rich actors using it to raise money for a film, to someone’s younger brother trying to raise 10000 for new socks. When I FIRST heard of Kickstarter, I was excited, because it basically runs the way our band runs. Instead of charging set rates for albums and concerts, we like to let folks experience the music and then decide if they want to give or not, and how much they want or can give. Kickstarter, in some ways, does this in a little backwards way: it allows people to say “Hey, I support this, and I’ll be a part of it happening. I’ll be a part of this startup, or album, or project, whatever.”

Specifically with ours, we have our good friend Luke creating a documentary of the album process. Luke is an incredible filmmaker, and seeing that documentary happen just to see Luke’s work I think would be worth it. On top of that, with the money, we want to get big string and brass ensembles, a big group of extra musicians with crazy instruments, record in incredible sounding locations across the south, and get the thing professionally mastered and publicized, all to hopefully get to people the best musical and visual experience possible. Without reaching our Kickstarter goal, most of those things won’t be able to happen with the new album. We also have tons of gifts for donations that are a lot of fun, including a lot of original artwork and things for ya!

Q. Explain the concepts behind the new album. What’s with the facepaint? Are you in part by the Mexican Day of the Dead tradition? Is that the vibe you are going for? Why?

A. I’ve been writing some of these songs for a few years, and started seeing themes of death in them; death to myself, death of beliefs or habits, and actual physical death. My good friend killed himself a few months ago: it was so random and crazy, and several people in the band knew him. I realized, when it happened, I’ve never worked through or questioned death that much. It’s felt far away, and this time it slammed me in the face.

So what happens afterwards? I hope it’s resurrection, in the physical and spiritual sense. At least in life, when I die to myself or things that have previously been myself, I resurrect into something new. But the crazy thing is, it’s a mystery. Every religion thinks it knows; everyone has experiences they think makes them sure, but none of us know what happens. We live with it hanging over our heads, this great mystery. Mystery is so beautiful though! But really, I needed a place to work through my friends suicide, and my grandpa dying of a brain tumor, and these songs starting coming.

And I realized, though all cultures have a time of mourning, the American culture seems to be one of the biggest ones that stops at mourning. So I was finding out more about the Mexican holiday, the Day of the Dead. There’s something beautiful about celebrating the deceased’s life instead of just mourning. They paint these Skulls, and it’s awesome, it takes something that we normally think of as morbid and sad, and it makes it beautiful again.

I need that to happen with my grandpa. I need that to happen with my friend. I need that to happen for myself! So, that’s what’s with the Sugar Skull facepaint, and what you’ll see with the art and themes that will be coming up in the new album, trying to take dead things and figure out what it means for them to be alive again. Hopefully, we can connect through death, and bring each other to life!

The paint is inspired by the Day of the Dead tradition. It is similar to the paint that is on the sugar skulls for the tradition and really represents both a recognition of death and a celebration of life and redemption at the same time. We want to communicate both those things simultaneously instead of separately as our culture normally does.

Interview by Andrew William Smith, Editor
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Headlight On A Northbound Train: McCartney, AmericanaramA, Deadheads, and Me

July 10, 2013

My music fandom began sitting on the carpeted floor of a middle-class house in the suburbs of Cleveland, Ohio. My parents owned a record player and a handful of albums, among them The Beatles’ Revolver and The Freewheelin’ Bob Dylan. Much like the scene in Almost Famous when the protagonist’s sister turned her younger brother onto her tunes, the needle touched vinyl, and pretty much everything changed. By junior high, the music of The Beatles and Dylan saturated my psyche and shaped my identity.

At the time, the likes of Simon & Garfunkel, The Rolling Stones, and Led Zeppelin also seared my ears and soothed my soul. Rock ‘n’ roll inspired all-night adolescent airband artistry and class presentations on the poetics of the Don McLean song “American Pie.” Tragedies like the respective deaths of John Bonham and John Lennon jolted our reality. We discovered that Bonham died when we went to school one day and had to ask, “Why are all the burnouts crying?” But of course when Lennon died, everybody cried. Like the McLean song prophesied, we had many, many days when the music died.

In my high school years, punk, new wave, and of course the jubilant jangles of REM and the angelic anthems of U2 put some distance between me and 60s-70s classic rock, but I grew up in close enough proximity to the actual hippies and stoners that I would always suffer an epic kinship to these transformative periods of American popular music that still impact us today.


With all the burning-out and fading-away and ultimate fatality, it’s no short miracle than any of the greats that all but danced down the apocalypse still survive this far into the 21st century, to this post-2012 period of popular musical renaissance and revival. With all this in mind, I feel such gargantuan eardrum-obliterating gratitude in relishing the immediate memories of the fantastic fact that in June 2013, in a span that stretched 16 days between two amazing weekends in Tennessee, I would see Paul McCartney at Bonnaroo and Bob Dylan on the Nashville riverfront. I’m likewise blown-away by some of the other bands we’ve been able to hear, the peers for my ears, who along with the headliners create bookends of beauty and blessing, of soggy singalong eyes and goosebump-inducing bliss.

Frankly, I cannot hype enough hyperbole to express the hopeful holiness, mix enough metaphors to convey the meaning, or raise high too many mocktails to celebrate the recently passed occasions. Frankly, I would feel too selfish to savor this if I didn’t have the chance to suggest you catch Dylan or McCartney who are both still on tour, if the other peers-for-the-ears were not still hitting up festival-after-festival for the rest of the summer. As endless rains fall on my 4th of July holiday weekend, I scribble this testimony in hopes that someone might get a nibble of the goodness I’ve already experienced and perhaps seek out some of these shows the rest of the summer. As I ponder some of the more painful and plainly ludicrous prices that others have paid for the privileges I enjoy, I admit that I am most patriotic when it comes to our popular common culture, from sport to movies, but I am a patriot when it comes to music most particularly.

Since The Beatles official touring ended in 1966 and since Lennon died in 1980, I don’t think I’ve ever really wrapped my mind around the sheer significance of a Paul McCartney tour. Sure, we hear snippets of his later work and lots from the Wings period, but at root, we’re not hearing McCartney cover The Beatles; McCartney is a Beatle. Here in my mid-40s, more than a decade into the new century, I am watching a man in his 70s, looking and sounding sharp and charismatic do nothing shy of reclaiming and reviving with sonic groove and grace the greatness of The Beatles.

We hear love songs that kindle every feeling of passion I have for my partner dancing beside me and our world living and dying around us. We hear a song of letting-go like “Let It Be,” and for those few minutes we actually obey and let go; we let, it, be! Psychedelic moments surge forth from the tunnel of memory into the sober mess of the present, and we get crazy happy hearing “Helter Skelter” or “Being for the Benefit of Mr. Kite!” Throughout McCartney’s set at Bonnaroo, I had several delightful moments where disorientation met déjà vu, and I felt myself wonder, “Is this even happening?” Similar sensibilities of timely and timeless wonder would return in a little over two weeks at the Nashville riverfront.

Most people benefit from an extracurricular passion or hobby or two—or in my case several. As much as I have hoped to enhance and enjoy the avocation of music fandom, at times, I almost abandoned it or even worse sabotaged it. At one point, I almost lost track of the best tracks from sheer necessity and lack of time or lack of money. But then it gets worse, at the very time my fandom had rekindled with verve and passion. Like too many before me and too many after me, I tried to spice up the musical listening and dancing experience with drugs and alcohol. This resulted in bad trips, drunken mistakes, and general stupidity—all in pursuit of a quicker fix and higher high. The Americanarama festival that’s now on tour brings together artists for whom, all at different times, I have an acute recollection of almost wrecking the cosmic connection that their music brings for me.

Spanning the years from 1988 to 2008, from the days of youthful entheogenic  experimentation to the seemingly endless nights of excessive intoxication, I occasionally overestimated my abilities and my tolerance and seriously compromised my boundaries and my values. Let’s just say I’d undermined otherwise potentially perfect nights with The Grateful Dead, My Morning Jacket, and Bob Dylan, ruined not so much for anyone else, but trashed for myself. Yet on the last day of June, I had an opportunity for musical redemption, getting high on the songs and on life, on enjoying the modesty and the clarity of not being “that guy” at the show.

Former Dead and current Furthur guitarist Bob Weir performing solo begins the itinerary, and we got to the show early enough to catch his set. In fact, we could hear Weir’s soundcheck as we lined-up outside the venue and were satisfied to get a spot up-close by the stage—even if the ground, instead of a carpet of grass, was merely a fresh layer of mulch, the kind that smells just a little too fragrant, too much like, well, mulch. Other reports have it that the sound quality suffered towards the middle and back of the field, but we were glad to be so close and not need earplugs to enjoy the show.


After opening with a Ratdog track that I enjoyed but didn’t recognize on electric guitar, Weir followed on the acoustic with the Dead standards “Loose Lucy” and “Friend of the Devil.” The pearls of rock wisdom that lit up his lips and fell from Weir’s lyrics were simple yet prophetic and paradoxical in the opening song: “If we don’t believe together, we might just cease to be”; and the final refrain “Dreams are lies, it’s the dreaming that’s real.” Of course this rings authentic to me, for whom the drunken dream was a lie, but dreaming a sober psychedelic experience suddenly became real!

My rekindled Dead interest has increased over the last few years as I have rediscovered their music without the aid of any of my former chemical crutches. Music that I once presumed required a listener to be intoxicated has opened itself up to me in new and magical ways completely clean. Last summer, I missed a Furthur show that I’d planned for—in order to attend a funeral; I still have hopes to catch one before too long. I cannot help but admitting that learning Bob Weir would be part of this AmericanaramA event felt like some beatific cosmic payback for doing the right thing last year.

After covering the Bob Dylan track “Most of the Time,” mentioning that we wouldn’t hear it later, Weir closed his too short set with a track he co-wrote called “Cassidy.” The lines invoke endless youth: “Ah, child of countless trees. Ah, child of boundless seas.” The stories behind the song are both a charge of hope for a young child born to the Dead tribe back-in-the-day and a tribute to the late Neal Cassady, the reckless and impetuous idol of Ginsberg, Kerouac, and the Beat Generation. The old me was like Neal Cassady, one who sought a false boundlessness of hedonistic debauchery, but the new me might be more like a reborn child who sees countless blessings in a sea of hopeful faith and fidelity, an inner freedom to which the many wildly-winding and rocky-rocking roads finally led me.


I must say that the time between sets at shows can grind down my serenity and patience. Whether out at the food lines and bathroom lines or standing or sitting simply waiting, the minutes that usually fly by just drag on. This time we brought a deck of cards to pass the time as we sat on our now mulch-soiled blanket. But we could barely finish one hand of rummy before My Morning Jacket stormed the stage to open with a campfire anthem that more often closes a show, “Wonderful (The Way I Feel).” The ensuing 75 minutes flew by, with many of our absolute favorite Jacket songs and some surprise back-catalog nuggets. The whole band was tight, animated, on. Something about seeing them in daylight from so close to the stage, especially before the people around us were totally trashed and pushing past us, made this a perfect set for me.

In the midst of all this gloriousness, Bob Weir joined the group on stage to perform two Dead numbers. The first song they chose was “Brown Eyed Women,” the lyrics for which I could not get out of my head for days following the show, and these filled me with wicked irony. Here I am cold sober singing in my head the sloppy refrain, “Brown eyed women and red grenadine/the bottle was dusty but the liquor was clean.”

It’s a great comfort to me that another Dead song called “Wharf Rat” is about a down-and-out drunk and that this tag has become the moniker for the Wharf Rats, the seminal clean-and-sober fan community that’s created a far-flung fellowship and meeting support structure for Deadheads who voluntarily abstain from alcohol or drugs.

All this said, the Grateful Jacket ranks as one of my greatest concert experiences ever, just those two songs, almost like it was destined to happen since before our MMJ boys were even born. During some of the jammier moments, the way the rest of the Jacket members focused their attentions and intuitions on Weir was just mindblowing. The almost acapella harmonies at the end of “I Know You Rider” with Bob, Carl, and Jim singing to the center of my gut, that was so phenomenal that I just want to cry thinking I actually got to see it! Ever since I first heard it some 25 years ago, the line towards the end of the song—“I wish I was a headlight on a northbound train”—has conveyed such hope for me; others have been that light for me, and we can be that light for others.


At this point, AmericanaramA could be called AmericanaJamma if you ask me. Smiling, I went from “wow” to just more—wow wow wow! The collaborative synchronicity and spontaneity continued during the Wilco set when Weir returned for two more songs, first the Dead’s “Bird Song” followed by a face-melting and sheer shredding rendition of “Tomorrow Never Knows” by the Beatles. For all their musical and lyrical inspections, to all the setlist-shapeshifting with each night a different confection, My Morning Jacket and Wilco are wonderful heirs to what the likes of Dylan and the Dead have done for American music.

This life has been a journey between polarities, from the desperation found in “Friend of the Devil” to the grace of Jeff Tweedy opening with “Blood of the Lamb,” Woody Guthrie lyrics set to Wilco music. My past experiences of Wilco live had been daytime sets at Bonnaroo where they were a bit woozy for me, even sleepy, but not that night, that last Sunday in June.


Neither Wilco nor My Morning Jacket needs to take the opening spot on a tour, but AmericanaramA conceives itself more as a concept roadshow, of which Dylan has participated in many, like the fabled Rolling Thunder Revue. The crowd at Nashville spanned the generations. Rather than a crew dominated only by old Deadheads and Dylanologists, the field was filled with lots of younger folks, including those who seemed to know most every Wilco or Jacket song.

By the time Dylan took the stage, we were already full to overflowing from the first four hours of the night. To see Dylan in his proper context is to approach him as everything we’ve heard and read and nothing at the same time. Dylan destroyed expectations when he went electric, when he went for Jesus, when he refused to be a spokesman for whatever generation and instead let his song-poems speak for themselves.


Dressed in a big white hat and impressive white jacket, growling and spitting his verses, Dylan was just another white MC dressed-in white and laying his vision of the world down on the greasy backing track of the white man’s blues.

Newer tracks like “Early Roman Kings” could either invigorate or indict the image of power that Dylan undermines even as he takes advantage of it. Looking around the audience, we are all benefactors of that vision, where we’re both critic and cynic and innocent psalmist all at the same darn time. Seeing his swagger sinks deep, because by recalling the badass he once was he also reminds us that this elegant grizzly elder is more badass than many of his contemporaries could ever be.

The opening track of the main set is “Things Have Changed,” as if to rub-in and reiterate that this isn’t our freewheelin’ folk singer that I first discovered on vinyl. He closed that set with “All Along The Watchtower,” and we danced near the back of the field, having moved just two songs ago from our spot up close, savoring the view and lights. The lyrics of “Watchtower” walk to the center of me, for this speaks a story from which I am now at a fragile but triumphant distance. There was a time when I could “get no relief” not even from drinking wine, when everything seemed false, when I felt trapped by fate, when the hour most definitely was getting late!

Speaking of late hours, it was now just past 11, and we left before the encore, to follow our own headlights on an eastbound itinerary for a morning that would get here too soon. In the car, I played a version of “Blowin’ In The Wind” from the Rolling Thunder Revue, with Joan Baez joining Dylan on vocals. My sweet wife said, “I wish he had played this song,” suggesting the emotional power would have brought the whole place to tears. “He never plays this song live,” I retorted, with an explanation of his refusal to be “that Dylan” just for us fans. Little did I know then that his gospel friends from his born-again period, the McCrary Sisters, had just joined him onstage for the rare rendition of “Blowin’ In The Wind.”


I can’t undo leaving early or deny that Dylan will probably always remain just beyond our grasp of who we think Dylan is. Americanarama is still on tour as of this writing, and I imagine that something freewheeling and rolling and thunderous in the spirit of American music awaits every fan with tickets to catch this show, sober or not, with a surprise encore like Nashville or with the “Ballad of a Thin Man” that most crowds get.

Something is happening. And we don’t know what it is. But we’re going to check it out anyway. And keep checking it out as long as our ears and hearts cooperate. –Andrew William Smith, Editor

Pictures by Andrew William Smith

For AmericanaramA tour dates, go here:

For Paul McCartney tour dates, go here:

Listen to Bob Weir with My Morning Jacket from the Atlanta show:




Bonnaroo: Adventure in Our Own Backyard

June 7, 2013

Click here to hear the playlist:

It’s past time to plan and almost time to roll from the annual axis of anxiety and anticipation, past preparation and into celebration. It’s the sensational and sweaty secular summer holiday of the midsouth. It’s the perennial June jubilee known as the Bonnaroo Music and Arts Festival in Manchester, Tennessee.


Featuring a tantalizing top bill of Tom Petty, Mumford & Sons, and Paul McCartney, Bonnaroo doesn’t stop with big gigs, as those with the most name-recognition are matched by the mass diversity of talent down the poster from there. Each spring, curious and determined fans can study the schedule and its array of stages to discover nuggets they didn’t expect and new acts that could change their listening experiences for the better and forever.

The linked playlist contains all my favorites from the upcoming festival, from people I have been excited about seeing since the lineup dropped, from artists who are rock-solid pop pillars to those recently-discovered rising thrillers. The songs coincide with the chronology of the weekend, synced to a hypothetical itinerary, granted that no fan could see this many shows easily and that some must-see sets are inevitably booked against other must-see sets. After a brief intro from me, tap the buttons to play and kick back with two hours about an upcoming adventure in our own backyard. –Andrew William Smith, Editor

[Photo of Jim James from the Nashville show at the Cannery Ballroom. Post originally shared at]

Nicki Bluhm – Jetplane (Thursday 6.13.13, 3-4pm That Tent)
Milo Greene – Don’t You Give Up On Me (Thursday 6.13.13, 430-530pm That Tent)
JD McPherson – Signs & Signifiers (Thursday 6.13.13, 6-7pm That Tent)
Maps & Atlases – Fever (Thursday 6.13.13, 1130pm -1230am NMOT Lounge)
Allen Stone – Celebrate Tonight (Thursday 6.13.13, 12-1am That Tent)
Trixie Whitley – Pieces (Friday 6.14.13, 12-1pm Which Stage)
Calexico – Splitter (Friday 6.14.13, 1:45pm This Tent)
Glen Hansard – Races (Friday 6.14.13, 330-445 This Tent)
Of Monsters and Men – King And Lionheart (Friday 6.14.13, 330-445 Which Stage)
Passion Pit – Where We Belong (Friday 6.14.13, 430-530 What Stage)
Wilco – What Light (Friday 6.14.13, 630-8 What Stage)
Jim James – Dear One (Friday 6.14.13, 7-830 This Tent)
The Beatles – The Long and Winding Road (Paul McCartney-Friday 6.14.13, 9-1130pm What Stage)
Patrick Watson – Adventures In Your Own Backyard (Saturday 6.15.13, This Tent 1230-130pm)
Lord Huron – We Went Wild (Saturday 6.15.13, 2-3pm This Tent)
The Tallest Man On Earth – There’s No Leaving Now (Saturday 6.15.13, 330-445pm This Tent)
Frank Turner – The Way I Tend To Be (Saturday 6.15.13, 330-445 That Tent)
Drew Holcomb & The Neighbors – Good Light (Saturday 6.15.13, 515-630 That Tent)
Beach House – Holy Dances (Saturday 6.15.13, 7-830pm This Tent)
The Lumineers – Morning Song (Saturday 6.15.13, 815-930 Which Stage)
Mumford & Sons – Hopeless Wanderer (Saturday 6.15.13, 930-1130pm What Stage)
Delta Rae – Hey, Hey, Hey (Sunday 6.15.13, 145-245pm Which Stage)
Macklemore – Neon Cathedral (feat. Allen Stone) (Sunday 6.15.13, 230-330pm What Stage)
Black Prairie – What You Gave (Sunday 6.15.13, 245-345pm That Tent)
The Sheepdogs – How Late, How Long (Sunday 6.15.13, 330-445pm Which Stage)
Edward Sharpe & The Magnetic Zeros – Mayla (Sunday 6.15.13, 530-645pm Which Stage)
The National – I Should Live in Salt (Sunday 6.15.13, 630-8pm What Stage)
Tom Petty – House In The Woods (Sunday 6.15.13, 9-11pm What Stage)

Click here to hear the playlist:

The Vibrating Emotions of Dinner and a Suit, live in Nashville

March 14, 2013

Nashville continues to remake its music reputation for the better. Nashville’s talent pool remains enormous, and we witnessed this again as local four-piece rock/pop outfit Dinner and a Suit recently performed at the Cannery Ballroom in Nashville.

The simple-looking band launched immediately into a high flying, high energy performance that literally shook the floor beneath our feet. The upbeat set made us want to move, dance, and sway with the crowd. Powerful emotions pack the songs: the longing, the hope, the confusion. Put plainly, they’re just really good.

Vocalist Jonathan Capeci, guitarist Joey Beretta, bassist Anthony Genca, and drummer Drew Scheuer settled into a groove with the floodgates open and the sound pouring into the room, covering everything and everyone. Too often, intensity and energy mean sacrificing quality in the songs, but for Dinner and a Suit no such loss transpires. Each song in their set revealed a truly respectable amount of dexterity in their performance.


The performance was just so great overall, but every show does have its moments of sublime beauty. The fourth song in their set, “Where We Started,” deals heavily with hope and forgiveness, combining the beauty of a Coldplay-esque piano ballad with jazzy drum flairs, interjected by moments of heavy beats and rumbling guitars. The combination doesn’t feel forced in any sense, and the emotion in Jonathan Capeci’s voice shines through.

So much of Dinner and a Suit’s music brings messages of hope in the face of change. Their songs are both tempered and embellished by the emotion that inspires creation, and the emotion  drives the band in their live performance. The evidence is never clearer than in their performance of a song titled “It’s Not Over.”

The song began with the high-ringing sounds of Joey’s guitar as Jonathan came in on the piano. Soon enough, the crash of the drums and thump of the bass made tables and chairs vibrate across the floor as Jonathan bounced up and down, his hands crashing on the keys of his piano while he wailed into the microphone. It’s really not often that you see any artist rock out as much as Jonathan does on a piano, and again, the skill with which they all come together on the song is just incredible. Flawless isn’t a safe word to use for anyone, but these guys certainly come close.

Just as soon as they start, they are finished, and again, the humility that can so take you by surprise steps in again, as Jonathan finishes the set by approaching the mic, delivering a quick, “God bless you, have a good night,” and stepping out of the spotlight. For a group with so much talent and reasons to be cocky, the openness with which they approach their audience is welcome. Besides, there isn’t enough space in the room for a big ego with a sound as big as theirs. – Jordan Frye, Contributing Writer

Dinner and a Suit are currently on tour, so if they come through your neck of the woods, drop in and give them a listen, or check them out online at

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