R.LUM.R and Phangs at ROOTED
In this week’s Scene cover story, I report on Nashville’s emerging pop scene, discussing how a community of electronic-leaning songwriters are finding success in a guitar town. As I note in the story, the artists in this scene are all pushing pop music in different directions, which makes it a little tough to get your arms around.
Whether it’s the operatic House of Yes vibes of Benjamin Poss, the crunchy Robyn-worship of Stasney Mav or the modern R&B of Milly Roze, Nashville pop’s landscape of electronic bop purveyors can be surprisingly daunting. To make diving into this scene a little easier, I’ve put together a Spotify sampler platter of local pop artists that are worth your time.
But if you don't have two hours to devote to starting a dance party in your office, I've pulled out seven choice artists from the scene, representing a tiny sliver of the constantly expanding pop environment in Music City.
R.LUM.R, “Right Here”
R.LUM.R has been the local pop scene’s clearest breakout star (and, one of our two cover models for this week’s Scene). Earlier this year, he entranced hundreds of folks at Bonnaroo’s This Tent with emotionally resonant, experimental R&B. “Frustrated” is his hit, but “Right Here,” his first single since dropping Afterimage last year (and its stripped-down companion record Alterimage this spring), neatly expresses R.LUM.R’s talent for making the most out of minimalism.
See also: Peter Manos, Saaneah, Milly Roze
Daniella Mason, “Human”
Since the release of her self-titled album last year, Daniella Mason has gone in interesting new directions to push the boundaries of her music. “Human” is the first single from her forthcoming EP, Emotional State (due out Oct. 5). Stripped down to its essentials, “Human” tells a story under fluttering guitar plucks and muted beats, provided by producer Jon Santana. (More on Santana below.) The video, directed by filmmaker Motke Dapp and filmed in Fort Houston, is a charmer as well.
See also: EZA, Fleurie, Jessie Early
Trevor James Tillery, “Numb.”
The entirety of Trevor James Tillery’s debut album, Together. Alone, is an absolute triumph. Tillery takes inspiration from unlikely rock sources like Radiohead and Arcade Fire to shoulder a weightiness that never feels overbearing. “Numb.,” the third song on that record, builds and builds and builds until it explodes with trance electricity.
See also: Whissell, James Droll, Brineaboy
Whoa Dakota, “Patterns”
Whoa Dakota throws back to an earlier aesthetic, taking cues from disco and Northern soul, but merging those sounds into the mainstream of pop. Singer Jessica Ott’s voice has a timeless appeal that's as effective atop ukulele folk as it is woven through four-on-the-floor beats. If you dug Natalie Prass’ latest record, you’ll find a lot to love about Whoa Dakota’s Patterns (and, in particular, the album's title track).
See also: Sinclair, Amy Stroup, Erin McCarley
Jon Santana, “Holy Water" (feat. Jake McMullen)
Regrettably, I didn’t get much of an opportunity in the cover story to highlight the producers in Nashville who are just as much of the fabric of local pop as the artists they partner with. Jon Santana has worked with local folks like Peter Manos, Ashley Leone, and Cappa (whose Santana-produced cover of “No Scrubs” is a hell of a lot of fun), but don’t sleep on his solo production work. Santana’s sound is warm and vibey, perfect both lo-fi beat livestreams and the club.
See also: Super Duper, Jonie, 26CARAT
Brasko, “Take Me”
It’s clear from the opening strains of “Take Me” that the heads on Brasko’s personal Mt. Rushmore belong to artists like David Bowie, Prince and Madonna. Singer Jordan Gable confidently upends hegemonic masculinity with blocky ’80s disco-pop synths, delivering electric intimacy and earworm choruses. If you prefer the four-minute single version of “Let’s Dance” to the eight-minute album version, Brasko is for you.
See also: Myzica, Andreas Moss, Phangs
Bantug, “Our Apartment”
In the days before Nashville’s pop scene flourished, artists like Amanda Bantug may have found themselves pulled toward writer’s rounds rather than dance clubs. Blue, Bantug’s 2017 debut EP, is full of indie pop haze and modern production quirks, but its content is unmistakably from the singer-songwriter playbook. Her 2018 follow-up EP Red pushes in a clear pop direction that embraces the genre while never losing her individual perspective.
See also: Liza Anne, Biyo, Bien
