Pop can sometimes feel like an afterthought in the rock and country-saturated musical landscape of Nashville, but Thursday night’s show at the East Room made it clear that Nashville’s pop scene is anything but marginal. POP MONSTER (a dual release party for local artists Whoa Dakota and Athena, hosted by Popsquad) showed that pop in Nashville is as varied and exciting as the people involved can imagine it to be. Four artists with unique takes on the different shapes pop can take proved what the Nashville pop scene is truly capable of: churning out emotionally nuanced and stylistically ambitious bangers.
Meaux opened the evening strong with her sensual electro-pop, a fusion of soulful and experimental sounds that provided an effortlessly changing landscape for her rich voice to traverse. Her powerful pipes and impressive dance moves energized the room as she stalked the stage in a split length red cape. Color-shifting gauzy lights set the tone in the room, a cozy dream cave that looked as if it had been styled by the collective efforts of Prince and the Little Prince. Between sets the alchemy in the room was maintained through a mixture of 90’s throwbacks and electro-pop, the dreamy vibes in the room conducted by the cotton candy stellariums (made by Athena) hovering moodily above the crowd.
Next was Soren Bryce, a Brooklyn local who’s no stranger to the Nashville music scene. Soren’s writing and performance seems to transform to keep up with the rapid pace of her own ever-expanding taste. It’s a testament to how talented Soren is that she can take a left turn away from the fantastic music on her last unreleased EP (largely synth-based) to the more guitar-centric rock we heard on Thursday—and accomplish it so effortlessly. Clearly there’s no genre of music that Soren can’t master, as demonstrated by her fantastic set: a grungy pop punk watercolor that borrowed from Kurt Cobain, Lorde, Joe Jackson, Elliot Smith and Fiona Apple without ever losing its own distinctive style. Soren’s varied influences find her a sound all her own, as well as a gravity at the mike that holds the center of any room she’s playing for. The thread that weaves through her stylistic choices is always her voice, melodic with an expansive range that she wielded precisely like a scalpel to cut through the colorful fog in the venue.
Soren Bryce by Rhea Foote
Athena played third in a powerhouse performance that you’d never know was her debut effort. She was right at home in front of an audience, prowling the stage in silver spandex like a modern day Xenon, an early 2000s fever dream kicking through pink fog clouds in Adidas stripes. Athena approached her performance with a fierce vulnerability, swinging from charm to rage to melancholy in a way that always felt authentic. She brought the crowd into her circle of trust and pulled them along for her journey—and despite (or because of) the emotional depth each song was catchier than the next, equal parts Paramore and Nelly Furtado, Athena bopping around the stage with her heart in her hands. If this was only her first show, I’d recommend showing up for Athena’s second show.
When Jesse Ott aka Whoa Dakota took the stage, she wasn’t afraid to own the space, immediately splaying herself out on the attached runway while the crowd encircled her. The show also served as a release party for the new single “Right Now” off of her upcoming album “Patterns,” but she saved that for the end of the show, satisfying the audience in the lead-up with her electrifying and adventurous performance. Her bold, anthemic sound imbued all of her songs with an epic energy, getting the crowd dancing and hollering along with her as she navigated the room in her floral bodysuit. It had the feel of a good block party—the raucous happiness, variety, community energy. Whoa Dakota delivered with their surprise guests, hauling Alanna Royalle and Jung Youth out of the crowd to sing and rap respectively alongside her, with Robert Gay joining on trumpet and Anthony Jorissen on sax. During “Patterns,” the hit for which a music video recently came out, it seemed like the whole room was bellowing all the words alongside her. The show’s joyful climax was a surprise birthday celebration for Ott’s 28th birthday, including a rendition of the birthday song led by friends from Pet Envy and Molly Rocket, and punctuated by an amazing display of cupcakes this reviewer found to be delicious.
by brandon de la cruz
Whoa Dakota’s ambitious, ecstatic performance was the perfect series of exclamation points on which to end the evening. Each performer showcased a different side of pop music and played to the infinite potential within Nashville’s nuanced pop scene. It was especially heartening to see a fantastic, well-executed show that just happened to be led both in front of and behind the scenes by female talent. Without billing itself as a girl power show, POP MONSTER reminded us that there’s a surplus of talented women with vision leaving their marks on the Nashville music scene—and with shows this collaborative and joyful, we should definitely be supporting that.
The beauty of a great song for me has always been when a slow dark song or an underground uptempo dance song can move me the exact same way. One moment I can dance or run to it, the other just lay in bed & let the song take me away. When that feeling occur the song haunts me forever.
Song List:
Chris isaak – Wicked games
Portishead – Glory box
Portishead – Roads
Massive attack – Angel
Banks – Alibi
Banks – Poltergeist
Sevdaliza – The language of limbo
David lynch – Dark night of the soul
Nina Simone – Strange fruit
Cat Power – Satisfaction
Thievery Corporation – Depth of my soul (feat. Shana Halligan)
Nightmares on wax – You wish
Cigarettes after sex – Apocalypse
S.Maharba – Girls in pearls
Savages – You’re my chocolate
Tycho, Heathered Pearls – Division remix
TOKiMONSTA – Smoke & Mirrors
Are you an aspiring spinster? Are humans letting you down left and right? Are cats slowly becoming the only company you can depend on? Then, look no further (for anyone),this playlist is for you: Music to Dine Alone To.
I’m releasing this playlist on May 1, which I affectionately refer to as, “Mei-Day,” when I celebrate being an independent person and give my self some self-love, self-care and self-deprecation. In other words, this playlist is for those lonely times. They can get pretty frequent as an adult in this modern age, especially if you aren’t fond of texting, social media and dating apps as the sole tools for human connection.
Feel free to dance in the mirror, bang your head, or cry into you gallon of ice cream to these tunes. Enjoy yourself!
Brooklyn-based indie funk/rock act Cosmonaut Radio – consisting of Austin Deyo (drums, back up vocals), Russell Castiglione (lead guitar, back up vocals), and Freddy Millan Jr (lead vocals) –
Austin:
Peg-Steely Dan – Could’ve chosen any of their songs honestly. And although we don’t sound like them (I don’t think anyone ever will), the way they wrote music, and found success with strange vocal melodies and crazy jazz chords is inspiring.
The Chicken-Jaco Pastorius – Arguably the best ever, this song paved the way for fusion music and bands like Snarky Puppy. It’s so catchy and the band is so top notch.
Thing of Gold-Snarky Puppy – Some of the best music I’ve ever heard, and the Moog solo will change your life.
Sharon Jones and the Dap Kings-100 Days, 100 Nights – Brooklyn based, funk revival, powerful vocals, groovy horns. It’s the best of like 5 different kind of musical genres combined. They’re one of the biggest reasons that funk and funk based music is popular again.
And I’m Telling You I’m Not Going-Jennifer Holliday – Jennifer hudson’s version is also impressive. This song is so epic. Musically, it’s interesting, and complex, vocally, it’s out of this world.
Love On The Rocks-Sara Bareilles – I love everything Sara Bareilles does.
Miss You-The Rolling Stones – This is one of my favorite songs, and we used to cover it. I put it on this list because it also symbolizes the end of “The Cosmonauts” and the beginning of Cosmonaut Radio. Although rock, and more specifically, blues, will always influence our music, this new record is an evolution and graduation to the next level for us. And I know you can’t graduate from the stones, but this song specifically signifies the next chapter for me and and for the band.
Another Kind of Green-John Mayer Trio – Steve Jordan, Pino Palladino, and John Mayer. Come on. The pocket is as solid as solid gets. And everything else about this song is fantastic.
Freddy:
1. “Daylight” by Failure
“Daylight” is a weird but great song to jam out to while pondering life and the universe, and it serves as the final song (and bookend) to my favorite album of all time.
2. “Dance, Dance” by Fall Out Boy
The song that originally made me want to join a rock band, the appeal of “Dance, Dance” is right there in the title, with an energy and style that always makes me want to get up and move.
3. “Ogre Battle” by Queen
One of the best songs by one of the best bands of all time, “Ogre Battle” is a microcosm of everything that made Queen great: experimental yet catchy songwriting, intensity and energy bred from tight and layered musicianship, and the inimitable vocal stylings of Freddie Mercury.
4. “Emotions” by Mariah Carey
What else can be said about Mariah Carey? Her insane range and riffing abilities were big inspirations to me as a vocalist growing up, and this song is a showcase of those talents at their peak.
5. “Greedy” by Ariana Grande
Ariana Grande is one of very few A-list pop artists right now who I think is bringing anything interesting to the table, and this song combines her pop, R&B, and theater sensibilities, powerhouse voice, and knack for insanely catchy hooks and key changes into something that’s arguably better than any radio single she’s ever released.
6. “Run Away With Me” by Carly Rae Jepsen
Carly Rae Jepsen is what I wish more radio-friendly pop sounded like, and “Run Away With Me” perfectly tinges her overt sentimentality with slightly more melancholic tones to produce a song that’s somehow both romantically fleeting and timelessly grounded.
7. “Dorothy Dandridge Eyes” by Janelle Monae
As far as I’m concerned, Janelle Monae is almost single-handedly carrying on the musical legacies of Prince and David Bowie in the mainstream, and she’s doing justice to both of them. I debated between a lot of songs to put here, but few songs demonstrate Monae’s effortless cool and subtle sensuality as well as this one.
8. “Starship Trooper” by Yes
Yes is one of my favorite bands to put on and just chill out to, and “Starship Trooper” puts their unusually long song runtimes to good use by constantly changing while remaining consistently catchy and engaging from start to finish.
9. “Glory Box” by Portishead
I love Portishead because they are a seemingly very sad band with certain songs that speak to an inner torment that I never knew I had, but I decided to go with the vaguely more upbeat closer to their stellar first album.
10. “Fortress” by Queens of the Stone Age
I’ve always liked Queens of the Stone Age, but I was not expecting to love their newest album as much as I did, and this song about vulnerability and getting back up when life knocks you down is definitely one of its many highlights.
Russell:
1. People Get Up and Drive Your Funky Soul – James Brown
This song has definitely influenced me as a funk guitar player. It was one of the first James Brown songs that I fell in love with instantly.
2. What A Fool Believes – Doobie Brothers
I love this song because Michael McDonald has a hauntingly amazing voice, the harmonies are killer, the key change into the chorus is a lovely change, and the song itself is so happy! I could have the worst day, listen to this song, and instantly feel better.
3. Reckoner – Radiohead
This is my favorite song from Radiohead at the moment (it changes). Thom Yorke is a huge inspiration for me because of his high falsetto range and the melodies he chooses over the band’s interesting chord progressions.
4. Skate U – Snarky Puppy
This song has an incredible build up with great breakdowns and solos, one of the best by this band in my opinion.
5. No Quarter – Led Zeppelin
This is my favorite band of all time so I had to include this. This song in particular captures the expertise of each member so well and is just really a beautiful/powerful song.
I’ve been touring for a number of years now, and recently have really begun to find the joy in having nothing but hours to drive, a hot cup of coffee and a whole bunch of songs to listen to. I relish these hours on the open road because it is when my day dreams come to life. I can let my mind travel at high speed along with me and create the stories of songs yet to be sung. Songs that make me feel nostalgic for the places I’ve just left and excited to discover the places I am moving towards. A playlist like this has become my soundtrack for all this life that’s lived out in my head and across all of the miles I have travelled.
Punk is a genre that has always been known for its simplicity and raw, primitive sound. Many music fans write off the genre entirely because they believe that music must be complex and polished to be great. But this couldn’t be further from the truth. In the 70’s a bunch of kids who grew up on a steady diet of classic rockabilly, pop, soul, British invasion, Motown, and ska took a look at the vapid and self-important hippies burning out on the radio and said fuck this. They cut their hair, put on the jeans and leather jackets of their early-rock-and-roll heroes, went into their garages, turned up the tempos, pushed their amps into overdrive, and invented the potent form of fundamentalist rock and roll we now know as punk rock. The following songs showcase just how much depth can be captured in a few minutes with a few chords and with some cheap equipment.
The Buzzcocks: I Don’t Mind
The unusual chord progression and surreal message makes this song the “Strawberry Fields Forever” of punk rock. Beginning with the beautiful phrase, “Reality’s a Dream” the verse starts out square but quickly gets mired in a swirling series of out-of-key chords and a disjointed melody that and builds and blossoms into short, simple, and joyful chorus about not caring. It perfectly captures the message of escaping the emotional torment of uncertainty and chaos by just not giving a fuck. During the bridge the song shifts to a minor tonality as Pete Shelley reflects on past insecurity and rejection, emerging at the end in a higher key to once-and-for-all assert his triumphant nihilism.
Stiff Little Fingers: Alternative Ulster
This song about kids caught up in ‘The Troubles’ in Northern Ireland begins with a plaintive guitar melody drenched in reverb raw and almost in-tune. The lonely major-key drone expresses a combination of sadness and optimism that Stiff Little Fingers does so well. The song explodes into short punchy phrases in the verse over a restless 4 chord vamp in which Jake Burns lays out the frustration of scraping by under a repressive regime with throaty angst. Then it stretches out into the prechorus in which he explains that nothing’s going to change because nobody in power has any reason to change it. An usual extra measure builds anticipation before the assertive chorus chords in which he gives the solution to the problem: Do it yourself. Create an alternative of your own. “Ignore the bores, their laws…grab it change it’s yours.” After a powerful bridge rapidly dispensing with the naysayers, the original guitar melody returns over a shuffle drum beat. The meandering line returning with purpose and power before delivering the listener to a satisfying final chorus.
The Clash: Death or Glory
One of the many gems on London Calling, “Death or Glory” explores how high-minded ideals and righteous conquests are corrupted by time and routine. The song starts with a round and melodic bass line and syncopated high hat accents building into a grade-A punk rock groove underneath Mick Jones channeling Mick Ronson’s brand of channeling Chuck Berry via the English Channel. Paul Simon’s baseline walks under guitar stabs as Strummer howls his verse with great lines such as “love and hate tattooed across the knuckles of his hands, hands that slap his kids around ‘cuz they don’t understand” finally breaking into one of the catchiest choruses ever penned. During the bridge Topper Headon lays down a restless funky beat that is complemented by Jones’ rhythmic octaves and Simonon’s sequenced bass line. Creating the perfect musical backdrop for Strummer to quietly but insistently express the the will to fight and raise hell. After a final chorus the band ends the song on a slightly out-of-time, and out-of-tune final hit. Just in case you thought they were getting too refined.
Dead Boys: Sonic Reducer
Whereas the Buzzcocks found release in not caring, Stiff Little Fingers found salvation in not caring, and The Clash believed we were sadly destined to not care, The Dead Boys just didn’t care. Two bold chords at the outset fade into a swirl of flanged cymbals and feedback overtop a foreboding minor-key guitar line which finally explodes into power chords and Cheetah Chrome’s brash guitar solo. The verse pummels forward as Stiv Bators lists all the things he doesn’t need including family, beauty, and the human race. It builds towards a chorus that tells you why he doesn’t need any of that stuff. Because he’s a god damn rock and roller and one day he’ll be a ten foot tall Pharaoh and you won’t be shit. The song barrels forward all the way to the end with Ohio’s trademark street-walking-cheetah-with-a-heart-full-of-napalm raw power and swagger.
The Jam: The Eton Rifles
This fantastic tune begins with an intro of crashing minor chords, splashy drums, and a catchy repeated bass figure. Then breaks in to a double verse based on a two chord vamp of clanging guitar stabs and punctuated by a two chord turnaround contained in an unusual extra measure as bassist Bruce Foxton proves that drums, guitar, and a Rickenbacker bass is all you need to fill up the sonic palette. Buried in the mix, Paul Weller cleverly tells the story of a street fight between working class protest marchers and students from the prestigious UK prep school Eton in his unpretentiously accented baritone. During the chorus his vocal line climbs and the chord changes accelerate climaxing with a repeated “Eton Rifles” hook based on a melodic figure made memorable by its widely spaced intervals. The tonality darkens to minor for the unbalanced-feeling 9 measure bridge, perfectly framing the lyrics in which Weller describes his feelings of shame and disappointment with his comrades who were more interested in posturing than repelling the attacks of the future ruling elite. An instrumental section sandwiched between repetitions of the bridge that includes organ and reggae-influenced guitar delay showcases the band’s versatility. A vitriolic final verse and extended final chorus decays into cacophony before it is tied together by several restatements of the main theme mirrored by palm muted guitar before a definitive final hit. As strong a song as was ever written.
Generation X: Kiss Me Deadly
Pre-White-Wedding Billy Idol and company turned out this masterpiece of a song which is built on a verse, prechorus, and chorus that flow into each other so naturally and evolve so organically through the song that they create a nearly inseparable musical unit. This brilliant structure provides the backdrop over which Idol paints a picture of rebellious youth in the UK in the late 70’s characterized by love, sex, fights, flights, drugs, and old-school rock and roll. It begins with delicate guitar arpeggios venturing through a chord progression that is more reminiscent of The Zombies than The Ramones. Bold drums enter during the second verse foreshadowing the huge guitar onslaught that picks up and carries the song through to its end. After a melodic guitar solo, the chorus is extended during the final musical unit repeating the memorable title, “Kiss Me Deadly.” Exploited may have gotten right to the point with “Sex and Violence” but Generation X was able to translate the eros/thanatos theme into a brilliant work of punk rock art.
We wanted to pick a theme that relates to the type of music we played, the music that influenced our sound, and the music that speaks to each of us personally. A couple suggestions came out that had the words glitter, psychonautic and rock, but we eventually settled on Sonic Glitter Bomb. Once we each started picking songs, we realized that not all of the songs were very glittery… Someone said, okay this is like anarchy on the playlist and thats what we ended up with! It makes perfect sense for this playlist. What you get is anarchy on any given theme. We all come from different musical backgrounds and have different influences, whether its’s metal, punk, grunge, garage or americana…but all of us unite under the umbrella of rock and roll!
I’ve been traveling around the world as a touring musician for most of my adult life. In recent years, I’ve compiled an eclectic list of songs that I occasionally turn to. Whether I’m on a plane, getting ready for a show, or simply hanging in my hotel room, these songs have become my go-to touring tunes. There’s no complex reason behind the song selection other than these specific songs make me feel good. Touring can sometimes be tough on the body and mind. When I’m homesick or feeling tired, good vibes are essential to surviving life on the road.
We listen to countless songs on tour, but these are the real standout rippers. The ones all four of us love with equal enthusiasm. The cream. The real heaters. The club bangers. The upper echelon type jams. The burner herzogs. Basically 11/10 hot fire cuts. THE TRACKS.
Keep your eyes peeled for their new album, due out May 11th and keep up with Brother Hawk here.
