Venus & the Flytraps, Many More Rock Out for 615 Indie Live

The second annual 615 Indie Live spread out over some 15 venues on Saturday, bringing Nashville fans a feast of local music (or at least music with strong local connections) and highlighting the key roles that independent venues play in our diverse ecosystem all year long. While we could’ve focused on R&B, country or even dance music, we chose to turn our attention to two much-loved clubs hosting a heap of rock bands.

The inside of Drkmttr was a welcome sight, especially after a weeklong power outage amid the ice storm threatened the all-ages nonprofit venue’s continued existence. There's no guarantee that the things or the people we love will be here tomorrow, but they were here on Saturday, and the club slowly filled up during Ol Blue's set. The band members — who played mostly shoegaze-friendly offset guitars plus one luscious chocolate Stratocaster and a Danelectro Longhorn bass — slithered their way through clockwork post-punk ostinatos and one slick funk ostinato. Meanwhile, the two vocalists chanted in unison and a multi-instrumentalist wizard conjured weird sounds via a synth and a slide whistle. Other bands, take note: There's no shame in playing a sick riff over and over. The set was the perfect apéritif.

Next up, Hussy Fit quickly sprang to life, determined to have a good time. The self-described “bubblegrunge synthpop riot band” roared through stadium-worthy rockers full of dynamite hooks and sing-along choruses that yielded plenty of audience participation. (The bubble machine didn’t hurt, either.) Singer Cordie Nicole introduced set highlight "Sick," saying, "The message of the next song is simple: You can't grab pussy if you got no hands." This aphorism is prominently featured on their merch, which the band offered up via Instagram.

Following a brief intermission, Metro Councilmember Sean Parker took the stage proclaiming his support. "I've been to more shows at Drkmttr than any elected official in history — about 150 or 200," he said, encouraging everyone to support the venue on Patreon. He introduced staunch powergazers Total Wife, who left us all buzzing in sympathetic vibrations anchored to their excellent 2025 LP Come Back Down. Their set ended, as it typically does, with a cacophonous thrashout for the ages.

Venus & the Flytraps, currently in the middle of their first tour as headliners, closed out the Drkmttr festivities. The sprightly core duo of Ceci Tomé and Brenna Kassis, on the road with a second guitarist and a drummer, harmonized through their oughta-be-hits, from the chunky fuzz bass of "Swiss Army Girl" to the flip-a-cop-car confidence of "Daphne Janes" to their love letter to Nashville, "Debbie Downsville" — all from last year's full-length debut Demonette. Clearly delighted to be on home turf, Tomé proclaimed: "I didn't even clock Philly. Philly didn't clock us. Go Birds, fuck ICE, free Palestine." When they wrapped, the crowd hustled out to make way for the second show of the night.

A couple of hours later, down on Elliston Place’s storied Rock Block, fans filed into venerable club The End — itself recently threatened by tough financial times — for even more Nashville rock. Amid the names of artists of yore who’ve graced the tiny stage (spelled out on the walls in glow-in-the-dark paint) and multiple decades of band stickers, Boy Orbison warmed up the crowd at 8 p.m. Led by singer-songwriter Benjamin Ringel, the group of “damn good friends” jump-started their set with last year’s hooky, gritty, power-pop-indebted “Heartbreaker,” their most-streamed single on Spotify. Ringel reminisced about life before fatherhood before dipping into a string of songs from his 2023 EP Dad Rock for Lovers.

About 8:45, punk-girl trio massie99 met the audience with a juxtaposition of luxurious harmonies and righteous screams, singer-bassist Grace Christian getting out in the crowd — and even a cheer stunt. Effervescent and enthusiastic, the group’s set drew heavily on their 2024 LP Alpha Beta Omegle, with the bittersweet closer “Omegle” ending the set. 

A new wave of energy rolled through the room as New Translations took over. Approaching the one-year anniversary of their full-length Vacation, the group spread their infectious, head-bobbing energy, showing up and out in dark sunglasses that didn’t interrupt their very intentional eye contact with the audience. Like several of the groups on this bill, New Translations have worked at Polychrome Ranch with musician-producer Jared Corder, who’s helped them polish up their blend of ’80s synthpop and contemporary indie rock (as heard on their chilled-out cover of A-Ha’s “Take on Me”). 

Throughout the night, artists took the opportunity to pay homage to the venue, noting that mom-and-pop clubs like The End, which are so vital to musicians establishing themselves, aren’t possible without the crowd. “Thank you to The End,” said New Translations frontman Oliver Pierce. “Please support your independent venues, please, God.”

Last up for the night were shoegaze-leaning bedroom rockers The Sewing Club. Trading around instruments throughout their performance, the five-person ensemble fronted by Hannah McElroy blazed through songs like live favorite “Alright OK” and “Strange,” which opens their 2024 EP Care. In December, the group announced a CD compilation (including both Care and their previous self-titled EP) in advance of new music. It was a fitting cap to an evening of musicians showcasing the venues that have given them so much support.

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