Last night Smallpools played Exit/In for the second time in the past six months, this time promoting their new album LOVETAP!
*Note: DJ Blumy will still be contributing occasional music commentary and reviews to The VU Backstage because he is an unemployed philosophy major and has nothing better to do.
At 3pm yesterday, I turned in the final assignment of my college career. Partially to celebrate and partially to distract myself from the terror of facing the adult world, I headed over to Exit/In with my friend Sparling to see Smallpools rock the joint. My sister loves the band and had turned me on to their music, so making her jealous was another great reason to go to the show.
We arrived at 7:30 to find the half-full floor dominated by people without the over-21 hand stamps. Any illusion I had of being able to escape feeling old vanished immediately. Pitying the venue for what promised to be a slow night of alcohol sales, I grabbed a Shiner Bock and snagged a spot in the crowd just behind a couple of girls taking selfies. Naturally, Sparling and I photobombed as many as we could.
Stevie Wonder kept Bridgestone rocking past midnight last night.
When my mom found out Stevie Wonder was coming to Nashville, she wanted me to go so badly that she helped me pay for the tickets. Not that I wouldn’t have tried to go anyways. Stevie is 64 years old, so who knows how long he’ll be touring? And word was that he would be playing his seminal 1976 album Songs in the Key of Life in full.
From the moment I found my seat at Bridgestone Arena I knew the show was going to be an extravagant production. On the stage sat two drum kits, two percussion arrays, seats for a ten-piece string ensemble and six-piece brass section, risers for a horde of backing vocalists, several keyboards and guitars waiting to be played, and of course Stevie’s setup front and center: his signature Hohner Clavinet and a Yamaha electric grand piano.
Joel Levi headlined Soundstamp’s local music showcase at Exit/In on Monday night.
Exit/In is one of Nashville’s most famous and beloved venues. One look above the bar at the wall of artists who have performed on its stage is enough to send the tingles of history down your spine. Last night, though, Exit/In’s legendary stage was devoted to three local acts: Joel Levi, James and the Wild Spirit, and Vanderbilt’s own Kid Freud. The trio of bands, though quite different in genre and style, combined to put on one hell of a show.
Periphery will be melting faces at Exit/In (not Rand) tonight. Doors open at 7pm.
For those of you there on that fateful afternoon in Rand almost two years ago, you remember it as one of the oddest sensory juxtapositions in your Vanderbilt career.
It was, at first, an ordinary lunch hour for the students in our campus dining hall. Some were studying, their laptops and notebooks strewn about, taking up four-person tables all by themselves. Others were casually munching on their Randwiches and “gourmet” Chef James meals and chatting with friends. Many were multitasking.
Then, the music started. At first, it was just a rush of distortion in the background, barely registering in ears so unaccustomed to hearing it. But it soon became clear that this was no mere technical accident. The speakers in Rand were playing metal–replete with screams and growls of vocals and guitars and lacking any consistent melody or rhythm.