The Spin

Monday, December 28, 2015

Kesha Levels Springwater With Her Yeast Infection

Posted By on Mon, Dec 28, 2015 at 9:00 AM

click to enlarge PHOTO: D. PATRICK RODGERS
  • Photo: D. Patrick Rodgers
As if — thanks to the blare of tornado sirens and temperatures in the upper 60s — there weren’t enough ingredients in place for a surreal Christmas Eve Eve already, we got the call on Wednesday that Kesha and her new band, The Yeast Infection, would be playing a last-minute show in a small Nashville club. The club, as it turned out, was Springwater, where Kesha had hosted a show featuring locals Party Cannon and Ghostfinger back in 2011.

But since that appearance at Springwater, a lot has changed for Kesha. For one, she went to rehab for an eating disorder and dropped the dollar sign in her name that long vexed copy editors. What’s more, she’s become embroiled in a legal battle with her longtime producer, famed star-maker Dr. Luke — against whom she’s leveled allegations of abuse and sexual assault — as well as Sony Music. With Kesha stuck in her contract with Dr. Luke and Sony, we haven’t heard from the Nashville-rooted singer-songwriter in some time.

And that’s where The Yeast Infection comes in.

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Monday, December 21, 2015

The Arcs Make Music City Debut With a Little Help From John Prine

Posted By on Mon, Dec 21, 2015 at 4:46 PM

click to enlarge The Arcs - PHOTO: JAMIE HERNANDEZ
  • Photo: Jamie Hernandez
  • The Arcs
The Black Keys have headlined Bridgestone Arena twice since moving to Nashville in 2010. At both shows — and even at a Mercy Lounge club gig between them — the band hardly acknowledged its adopted hometown, essentially turning in the same show it did in Portland, Ore., or Portland, Maine. That wasn’t the case Sunday night, when Keys frontman Dan Auerbach’s new band The Arcs boldly made its Music City debut at the Ryman. 



Not only did Auerbach thank the near-capacity hometown crowd for being a hometown crowd at this, the last stop on the band’s first full-fledged tour — he and his cohorts (drummer/multi-instrumentalist Richard Swift, drummer/bassist Homer Steinweiss, bassist/guitarist Nick Movshon and organist/multi-instrumentalist Leon Michaels) tailor-made a show for the Mother Church. Near main-set’s end, Auerbach & Co. tapped pedal-steel session guru Russ Pahl to slather sonic teardrops on a faithfully, wistfully bluesy cover Bob Dylan’s Nashville Skyline closer “Tonight I’ll Be Staying Here With You” and one other song. But that wasn’t the only parochial highlight of the 90-or-so-minute-long set.

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Thursday, December 17, 2015

Art-Rock Slideshow: Cage the Elephant Inspires at Studio 615

Posted By on Thu, Dec 17, 2015 at 5:27 PM

click to enlarge Cage the Elephant - PHOTO: LANCE CONZETT
  • Photo: Lance Conzett
  • Cage the Elephant

Merry Cage-mas, everybody! With the release of its latest record imminent, Cage the Elephant is playing trio of promo shows in Nashville this week. The Bowling Green alt-rockers kicked off the run Wednesday night with a Tumblr-sponsored art party at an East Nashville photo studio.

Tumblr IRL, which posits the question: “What if your Tumblr dashboard were real life,” hosted an art show based around lyrics from Cage's Dan Auerbach-produced fourth LP Tell Me I’m Pretty (out tomorrow) at Studio 615, featuring performances by Chrome Pony, Cage (natch) and a projector screening The Holy Mountain on a wall. Didn’t expect to be confronted by so many butts that night, did you, Cage fans?

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Monday, December 14, 2015

Birdcloud and Quichenight Ruin Christmas at The Beast

Posted By on Mon, Dec 14, 2015 at 4:56 PM

click to enlarge Birdcloud - PHOTO: MICK LEONARDY
  • Photo: Mick Leonardy
  • Birdcloud

Let it be known that The Spin was present at one of the worst things to happen to Christmas on Friday night. Don’t get us wrong, Birdcloud and Quichenight rocked The Basement East, along with a strange combination of other magical musical guests (like Santa Claus and Simba from The Lion King), but they rocked at the total cost of yuletide pride. If you have any die-hard respect for the holiday season (or the Big Man upstairs), we suggest reading this merry recap with a bottle of Dramamine on hand, or at least some milk and cookies.

Starting off on a tame note, Quichenight’s Brett Rosenberg — accompanied by Tristen — sang “Silent Night” to a not-so-sober crowded house while some revelers waited in line for Santa, who posted up mall-style across from the bar posing for $5 Polaroids. In true drunk Christmas fashion, Birdcloud’s Jasmin Kaset and Makenzie Green perched on either knee with shirt buttons undone and beers in hand.

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Chris Stapleton Ties Gregg Allman to the Whipping Post at Skyville Live Taping

Posted By on Mon, Dec 14, 2015 at 2:30 PM

click to enlarge Chris Stapleton - PHOTO: RICK DIAMOND/GETTY IMAGES FOR SKYVILLE LIVE
  • Photo: Rick Diamond/Getty Images for Skyville Live
  • Chris Stapleton
Southern Rock icon Gregg Allman may have been the honoree at a star-studded tribute concert in Berry Hil Friday night, but to the surprise of absolutely no one, country music's latest red-hot burly breakout star Chris Stapleton stole the show, a taping for the Emmy-nominated Web series Skyville Live. Camera phones popped up like LCD prairie dogs when the recent CMA Awards Seabiscuit and current multi-Grammy nominee joined Allman and blues legend Taj Mahal for a take on the Blind Willie McTell classic “Statesboro Blues," which Mahal and The Allman Brothers Band both cut their own classic versions of in 1968 and 1971 respectively. 

“He has a lot of energy, this young man,” Mahal told the Scene of Stapleton at a pre-show press call. “He’s ready to go and it’s nice to see. Because sometimes you wonder what’s going to happen in Nashville. You put up with the milquetoast for a while, then somebody comes along and says, ‘Enough of this!’ And boom! He’s that guy.”

Mahal's own memorable version of “Statesboro Blues” appeared on his 1968 self-titled debut. But it was Gregg Allman’s late brother Duane who turned the song into a cranked-up slide-guitar spellbinder when it opened up the Allmans' game-changing double-live LP At Fillmore East three years later.

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Tuesday, December 8, 2015

Those Darlins Start Waving Goodbye at Mercy Lounge

Posted By on Tue, Dec 8, 2015 at 4:03 PM

click to enlarge Those Darlins - PHOTO: STEPHEN TRAGESER
  • Photo: Stephen Trageser
  • Those Darlins


As is frequently the case in Music City, when it came to deciding which Southern-tinged indie-rock act The Spin would see Friday night, we had a tough choice to make. But while The Weeks apparently packed the house across the river at The Basement East, two factors drew us to Those Darlins' hometown performance at Mercy Lounge: a strong undercard, and whispers that the Darlins may soon call it quits. Regrettably, the band confirmed those rumors on Tuesday. This wasn't the last Darlins show, but it was one of 'em, and it still ruled.

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Friday, December 4, 2015

Margo Price Tames The Beast While Rolling Out a New Single

Posted By on Fri, Dec 4, 2015 at 4:19 PM

click to enlarge Margo Price - PHOTO: ANGELINA CASTILLO
  • Photo: Angelina Castillo
  • Margo Price

What a difference a few months — and signing a deal with Jack White’s Third Man Records — can make. In June, East Nashville’s Margo Price headlined a show to a half-full crowd at the newly opened Basement East. At Thursday night's reportedly sold-out show, she powered through her set for a wall-to-wall crowd that managed to make the roomy Beast feel small.

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Tuesday, November 24, 2015

Slideshow: Savoy Motel and Ornament Kick out Jams at New Life Record Shop

Posted By on Tue, Nov 24, 2015 at 12:45 PM

click to enlarge Savoy Motel - PHOTO: JAMIE HERNANDEZ
  • Photo: Jamie Hernandez
  • Savoy Motel

On Friday night — amid racks of Bread and Go-Gos records and shelves full of Grateful Dead tapestries and magnificent glass bongs — a few dozen members of Music City's young rock 'n' roll set gathered at New Life Record Shop on Charlotte Avenue to watch performances from Savoy Motel and Ornament. Between cigarette-and-Solo-cup trips out back to the fire pit, the crowd watched newcomer trio Ornament churn out rubbery, melodic, Southern-skewing throwback rock in a vein similar to that of fellow locals Promised Land Sound, and quartet Savoy Motel bust out their funky, Gang of Four-indebted post-punk bass lines and beats. Good stuff, and it was all wrapped up by 11 p.m.

The Spin was there, beneath New Life's fluorescent lights, as was freelance photog Jamie Hernandez. After the jump, see some photos from Friday night's funky, punky West Side soiree, which was put on by Nashville's Dead. 

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Friday, November 20, 2015

Dead & Company Steal More Hearts Than Faces at Bridgestone Arena

Posted By on Fri, Nov 20, 2015 at 4:50 PM

click to enlarge Dead & Company - PHOTO: STEPHEN TRAGESER
  • Photo: Stephen Trageser
  • Dead & Company

One thing that’s still true of the Grateful Dead concert experience — and was definitely true when the jam band’s current posthumous incarnation, Dead & Company, trucked into Bridgestone Arena Wednesday night — is that the performance, the jams, the set list, the noodle dancing and everything else that happens in the venue is only part of the picture. One thing that’s true about Nashville is that this city has more street names than streets. Both things were abundantly true when a parking lot at the corner of Fifth Avenue and Korean Veterans Boulevard, one long block from the arena, became “Shakedown Street” — the tailgate hangout for Deadheads, lot rats, DIY vendors, drug dealers, drug revelers, people with dogs, buskers crooning like Jerry and hippie chicks with dreadlocks and double-sided baby bjorns (not kidding!) who traveled Music City way in VW vans and painted school buses. Concertgoers who made a beeline to Bridgestone probably missed it, which is a shame, as this scene provided the most Dead-authentic backdrop we’d see all night.

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Tuesday, November 17, 2015

Webb Wilder Rocks Exit/In Once Again

Posted By on Tue, Nov 17, 2015 at 1:31 PM

click to enlarge Webb Wilder - PHOTO: JAMIE HERNANDEZ
  • Photo: Jamie Hernandez
  • Webb Wilder

Onstage at Exit/In Saturday night for the eponymous Webb Fest X, Webb Wilder peered out from beneath his perfectly placed hat, squinted through his glasses and mused: "We used to have crowds so big here, we'd have to hire our own security."

Significant parts of Wilder's first album It Came From Nashville were recorded in this very room nearly 30 years ago, and the crowds have thinned from the heyday of Webb Wilder and the Beatnecks in the ’80s, when cow punks, Gen X-tonkers, the curious-looking and the curious onlookers would cram into Exit/In and The Sutler and other staple clubs in Nashville's bubbling Reagan-era alt-country scene.

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