Dally with Dali At the Frist
International Surrealism from Tate: Fifty Years of Dreams is the new exhibition at the Frist Art Museum. There’s lots to see and learn at this exhibit, and the focus is on the broad reach of surrealism as a state of mind through a selection of over 125 works including film, paintings, photographs, and sculpture. The curator, Matthew Gale, writes, “in an era of violent nationalism, the recognition of a global association of like-minded creators was a lifeline, at different times connecting artists and writers in New York and Santiago de Chile, Paris and Prague, Mexico City, and Tokyo.” Because surrealism is made up of individual responses instead of a specific style, this exhibit has been divided into six broad thematic sections: Automatism: Angel Images, Politics: Public Thirst, Dreams: The Reckless Sleeper, Desires: Sleeping Venus, Uncanny Nature: The Invisibles, and Objects: The Future of Statues.
The surrealists were inspired by the theories of Sigmund Freud, the founder of psychoanalysis, who proposed the existence of the unconscious, a part of mind containing emotions and impulses that are censored by the conscious mind. André Breton published Surrealist Manifesto in 1924 in which he defines surrealism as “Psychic automatism in its pure state, by which one proposes to express—verbally, by means of the written word, or in any other manner—the actual functioning of thought. Dictated by thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.” Breton, along with Louis Aragon and Philippe Soupault, founded the surrealist review Littérature. Thus, the first surrealists were authors and poets, but the ideas were soon embraced by visual artists.
In Les Champs Magnétiques (The Magnetic Fields), a collaboration between Breton and Soupault, the principle of automatic writing was introduced. In automatic writing, the author puts pen to paper and allows himself to write without stopping to think. This leads to automatic drawing, where the artist puts pen to paper and allows himself to draw without stopping to think. The section “Automatism: Angel Images” includes works from artists that all developed their own automatic processes, such as improvised drawing, gestural brushwork, dripping, spilling, or scraping paint across rough surfaces to stimulate new images or reveal hidden forms that emerged from chance marks. This includes Yellow Islands by Jackson Pollock. Pollock has stated, “when I am in my painting, I’m not aware of what I’m doing.”
Works in the section “Politics: Public Thirst” focus on social and political liberty as essential for personal and creative freedom. Surrealists aligned themselves with leftist politics in opposition to growing totalitarianism in Europe between the world wars. However, Dalí insisted that Surrealism could exist in an apolitical context and refused to explicitly denounce fascism. The Surrealists were invested in exploring the unconscious and challenging societal norms, whereas Dalí seemed to prioritize his individual success. This led to his expulsion from the surrealism movement in 1934. His 1936 painting, Autumnal Cannibalism is in this section. A response to the outbreak of the Spanish Civil War, this work depicts a couple locked in a cannibalistic embrace, forks, spoons, and knives at the ready.
Along with the fascination of the unconscious came the fascination with dreams. You are probably familiar with The Interpretation of Dreams, an 1899 book by Sigmund Freud in which the author introduces his theory of the unconscious with respect to dream interpretation. The section of the exhibition titled “Dreams: The Reckless Sleeper” explores how arts were interested in the unrestrained creativity of the unconscious mind. The Protector by Paul Klee depicts a person and dog-like creature on a leash in some sort of struggle. Klee was independent of the surrealist movement, yet he wrote in 1920, “Formerly we used to represent things which were visible on earth…Today we reveal the reality that is behind visible things.” He also has a brilliant quote about drawing: “A drawing is simply a line going for a walk.”
Along with personal liberty and social/political liberty, the surrealists valued sexual freedom. The section “Desires: Sleeping Venus” explores surrealist works with themes of love and sexuality. Of course, many of these works show us the male gaze, like Max Ernst’s painting Men Shall Know Nothing of This. The details of this composition were suggested by Freud’s study of repressed sexual desires. However, there are also works by women in this section. Leonor Fini’s Untitled (Praying Mantis) subverts the male gaze by depicting a couple post-coitus, the woman posed over the man with a knife in her hand. She’s not looking at him, but instead at the viewer, challenging them to see femininity as something powerful, even dangerous.
“Uncanny Nature: The Invisibles” explores how nature as something beautiful and also terrifying. The term “uncanny” in this context refers to a term that Freud used to describe a sense of anxiety caused by something recognizable yet weirdly unexpected or eerie, unsettling in a way that feels oddly familiar. Freud specifically relates an aspect of the Uncanny derived from German etymology. By contrasting the German adjective unheimlich with its base word heimlich (meaning “concealed, hidden, in secret”) he proposes that which is hidden from the public eye and considered taboo must be a dangerous or grotesque. Gordon Onslow-Ford identified a “Dark Queen” and “Knight” after the completion of his painting A Present for the Past. This may relate to Breton’s proposition of the existence of being beyond the realm of human senses, “The Great Invisibles.”
The last section is “Objects: The Future of Statues” which contains some statues and other three dimensional objects that defy classification. One piece, which is fairly direct, is René Magritte’s The Future of Statues. Magritte painted this cast of the death mask of Napoleon I with sky and clouds. A work in this section that’s more nebulous is Bomblet by Julian Trevelyan. It’s a baking tray filled clay forms that vaguely resemble body parts. It’s framed in an ornate frame like you might see around an impressionist painting. It’s certainly not something I would want hanging in my living room, but I can see it in Hannibal Lector’s psychiatry office, if that gives you an indication of how peculiar this piece is. I can’t deny that it has a strange appeal.
You wont want to miss Anila Quayyum Agha: Interwoven, the amazing exhibit in the Gordon Contemporary Artist’s Project Gallery, although it’s in a different space this time to accommodate the artist’s work. This exhibit spans two decades of Agha’s work, including earlier pieces that are much smaller (like her 2008 works Speak 1, 2, and 3) because she was limited at the time by space and money, like most artist when they start their career. “I do not have a single story,” Agha says. “I have multiple stories that become interwoven to create a tapestry that is colorful, that is varied, that has pattern, that has beauty and light.” My favorite work in this exhibit is All the Flowers are for Me (Red) which takes up an entire room. It’s a lightbox that Agha carved which casts light and shadows around the whole room. Art Curator-at-Large Trinita Kennedy states, “its dappled light effects recall jalis, the carved and pierced screens with ornamental patterns used in Indo-Islamic architecture. But, where jalis serve to divide women from men, Agha instead creates an inclusive space.” As the viewer steps into the room, they become part of the art, and when multiple viewers are in the room together, it becomes a shared experience.
Before seeing this exhibit I truly wouldn’t have been able to give a good definition of surrealism. I wouldn’t even have been able to name a surrealist artist besides Salvador Dalí. If, like me, you feel as though you know very little about surrealism and you aren’t sure if you would enjoy it, give it a try. I particularly enjoyed the range of emotions I felt as I went through the six sections. I was at times, awed, disgusted, intrigued, and even amused. Go see what emotions the works bring up for you. These exhibits will be up at the Frist until August 30.
Coming to Rudy's
Vance Thompson’s New Voice
For most musicians, losing the ability to play their instrument would be unthinkable. For Grammy-nominated trumpeter, composer, educator, and bandleader Vance Thompson, it became reality.
When Thompson appears at Rudy’s Jazz Room on Friday, June 26, Nashville audiences will encounter an artist whose latest chapter is defined not by loss, but by reinvention. Best known as the founder and longtime music director of the Knoxville Jazz Orchestra, Thompson has spent decades building a reputation as one of Tennessee’s most respected jazz figures. Yet the music he brings to Rudy’s emerges from one of the most challenging periods of his life.
In late 2017, Thompson began experiencing symptoms of focal dystonia, a neurological disorder that affects muscle control and coordination. For brass players, the condition can be devastating, disrupting the highly specialized muscle movements required to perform. Over the next several years, Thompson pursued treatments and therapies while continuing to perform and teach. By 2022, however, he had come to a difficult conclusion: his career as a trumpet player had effectively come to an end.
“It had become increasingly obvious that no amount of practice or physical therapy would overcome the impairments,” Thompson recalled in materials accompanying his latest recording, Lost and Found.
For an artist whose identity had long been intertwined with the trumpet, the loss was profound. “Being a trumpeter was a big part of my identity by the time I was in my early teens, and as I started to build a career around it, that feeling only grew,” Thompson says. “I started to equate my self-worth to the quality of my performances, which can become an emotional roller coaster and deeply unhealthy. When I lost the ability to play in 2017, it was devastating.”
Yet even as performing became impossible, music remained central to his life. Thompson continued teaching at the University of Tennessee and leading the Knoxville Jazz Orchestra. Those roles were complicated, he says. “Staying engaged in those activities was painful because they reminded me of what I’d lost. But they were also therapeutic in that I was surrounded by people who still saw me as a musician. That allowed me to see it myself.”
Over time, he realized that his musical voice had not disappeared. “I could still hear the melodies very clearly that I wanted to play,” he explains. “I just no longer had the means to get them out into the world. So, I started to wonder if a fresh start on a totally different type of instrument might be a viable path forward.”
That path led unexpectedly to the vibraphone.
A longtime admirer of vibraphone masters such as Gary Burton, Stefon Harris, and Milt Jackson, Thompson saw the instrument as both a challenge and an opportunity. While the mechanics of performance were entirely different, he believed his instincts as an improviser and composer might transfer. What began as an experiment quickly evolved into something much more substantial.
Only weeks after borrowing a pair of mallets, Thompson was already calling friends together for informal jam sessions. Soon he was developing a personal voice on the instrument that surprised even him.
“It didn’t take too long before I sounded like myself,” he has said.
That familiarity came with unexpected freedoms. While he acknowledges missing some of the trumpet’s expressive possibilities—”bending notes, shading notes, crescendos and decrescendos on a sustained note”—he says the vibraphone has opened creative doors that outweigh those losses.
“The freedom that I feel playing the vibes outweighs those things by a lot,” Thompson says. “The fact that the vibraphone makes such a wonderful sound on its own makes improvising feel much more low stakes. The trumpet is a physically taxing and physically demanding instrument to play in a way that the vibraphone just isn’t.”
After decades of worrying about endurance and physical limitations, he says, “it’s very liberating to play an instrument that doesn’t come with that same sort of baggage.”
That change in perspective has also transformed his relationship with practice. “There’s not much comparison between my obsessive-compulsive practice habits on the trumpet versus my approach to practicing the vibraphone,” he says with a laugh. “I’ve learned to be easier on myself. My practice sessions on vibes are fun, and if I’m not having fun, I know it’s time to take a break.”
The results can be heard on Lost and Found, Thompson’s first album as a leader in more than a decade and his debut recording as a vibraphonist. Released earlier this year on Moondo Records, the album serves as both a personal statement and a testament to artistic resilience.
Backed by a quartet of longtime collaborators—pianist Taber Gable, guitarist Steve Kovalcheck, bassist Tommy Sauter, and drummer Marcus Finnie—Thompson presents a collection of original compositions that balance lyricism, swing, and emotional depth.
The title track carries particular significance. Thompson began writing “Lost and Found” shortly before the onset of his dystonia but left it unfinished during years of uncertainty. Returning to the composition as a vibraphonist, he completed a work that mirrors his own journey, moving from introspection toward confidence and renewal.
Elsewhere, inspiration arrives from a variety of sources. “The Thread of All Sorrows” draws its title from a poem by Naomi Shihab Nye, while “Mixed Feelings” reflects on the emotional complexity of a daughter’s wedding. A dedication to family appears in “The Ladies at Rose Cottage,” and a playful sense of humor emerges in “Sleight of Hand,” inspired by an inside joke with his wife.
The project also includes inventive interpretations of familiar material, from Harold Arlen’s “Over the Rainbow” to Chick Corea’s “Bud Powell,” along with a contribution from former Art Blakey Jazz Messenger Donald Brown.
Stepping onto a stage again as a performer after decades of recognition as a trumpeter required its own adjustment. Thompson chose to meet the challenge head-on.
“The first time that I played vibes on a Knoxville Jazz Orchestra concert—a group that I founded and performed with as a trumpeter for 18 years before having to stop—I introduced myself as ‘the world’s oldest beginner vibraphonist,'” he recalls. “It got a laugh and helped dispel some of the nerves.”
Today, his priorities are markedly different from those that guided much of his earlier career. “I often remind myself that the reason I’m doing this is to reconnect with the joy of making music with other people,” he says. “I’m not trying to prove my worth to myself anymore. That makes everything easier.”
That spirit of transformation has resonated throughout the jazz community. Thompson’s accomplishments already include a Grammy-nominated performance with the Jerry Douglas Band, arranging work for the Grammy-winning Count Basie Orchestra recording Basie Swings the Blues, and more than twenty-five years as a jazz educator at the University of Tennessee.
For audiences at Rudy’s Jazz Room, the performance offers more than an opportunity to hear a celebrated musician. It is a chance to witness an artist who refused to allow circumstance to define the limits of his creativity.
“The band that I’m performing with at Rudy’s is an absolute dream team,” Thompson says. “Every single player is a high-caliber virtuoso who is in demand around the world.”
The group will perform music from Lost and Found, but Thompson says the live setting brings a different energy than the studio. “The energy that they bring to the live performance setting simply can’t be captured in the studio,” he says. “People can expect an energetic set of music that expresses a wide range of feelings and emotions. They can also expect to have a great time.”
When he takes the stage on June 26, Vance Thompson will not be returning to music. He never truly left it. Instead, he arrives having discovered a new voice—one forged through perseverance, self-discovery, and an enduring commitment to artistic expression.
pARTisan to return to David Lusk Gallery
Top 3: Vadis Turner, “Seam Grid”, Natalie Harrison, “Rainbow Square Quilt 2”, Madison Thorn, “Downtown Nashville, TN. 2023. 3:58pm.”
Middle 3: Shepard Fairey, “Raise the level (peace)”, Alfredo Gonzales, “Aún Así, 2025”, Jodi Hays, “Homage to ACT UP”
Bottom 3: Elisheba Israel Mrozik, “Iya Mimọ Ekun (Weeping Holy Mother)”, Donna Woodley, “Cast Irons and Collards”, Lindsy Davis, “Topple”
Following a landmark debut that raised more than $31,000 for advocacy and artistic support, David Lusk Gallery is set to host the return of pARTisan, an exhibition examining the intersections of art and politics in Tennessee. Running August 18–23, 2026, the second annual collaboration between the gallery and Tennessee Rise seeks to expand upon what organizer Sarah Baer describes as a successful “proof of concept”—evidence that Tennessee audiences are eager for spaces that encourage meaningful civic dialogue.
A Legacy of Creative Resistance
The idea for pARTisan emerged from a desire to move beyond the exhaustion of contemporary political polarization. Baer argues that many people have disengaged from activism amid the relentless noise of modern discourse, while art offers a more humane and emotionally accessible point of reentry. The exhibition draws inspiration from Tennessee’s long history of democracy work, from the nonviolent leadership training of the Highlander Folk School to the organizing efforts behind the Nashville Sit-Ins. By bringing together artists, organizers, and community leaders, pARTisan situates itself within a broader Southern tradition of cultural resistance and social change.
Its inaugural 2025 edition featured work by artists including Shepard Fairey, Herb Williams, and Donna Woodley. The 2026 exhibition aims to broaden that reach further. While the physical exhibition remains in Nashville, organizers are making a deliberate effort to include more Memphis-based artists, uniting Tennessee’s “Grand Divisions” through shared creative expression.
The Artist x Activist Model
What distinguishes pARTisan from a traditional thematic exhibition is its emphasis on active civic engagement. The 2025 program was anchored by a series of Artist x Activist panels pairing creators with movement leaders to discuss the overlapping motivations behind their work. The conversations revealed how deeply intertwined artistic practice and community organizing can be, prompting many attendees to return multiple times during the exhibition’s five-day run.
The 2026 edition will continue that dialogue while responding directly to the current political climate. Following a legislative session marked by both contentious proposals and a surge in grassroots organizing, Baer hopes this year’s participating artists will create work that “amplifies the people doing meaningful work on the ground” while encouraging broader statewide voter engagement.
Direct Impact: Auction and Advocacy
At the center of pARTisan is a funding model designed to support both artists and activism in tangible ways. Every artwork included in the exhibition will be available through a live online auction, with proceeds divided evenly between participating artists and Tennessee Rise. Half of all sales go directly to the artists, ensuring creators are compensated for their labor rather than simply being asked to contribute work philanthropically. The remaining fifty percent supports Tennessee Rise’s grassroots advocacy and democracy initiatives across the state.
For supporters, the model transforms political giving into something deeply personal and enduring. Rather than making a purely transactional campaign donation, collectors are able to support organizing efforts while also bringing home artwork that continues to inspire conversation long after the exhibition concludes.
Galleries as Civic Hubs
The return of pARTisan also reflects the evolving role of galleries within contemporary public life. At a moment when much political discourse feels reactive, fragmented, and performative online, spaces like David Lusk Gallery offer an opportunity to pause, gather collectively, and engage with complexity face to face.
“Galleries have the ability to make civic engagement feel more accessible,” Baer explains. “Not everyone is going to attend a political meeting, but many people will walk into an exhibit, connect emotionally to a piece of work, and leave thinking differently than when they arrived.”
As the 2026 exhibition approaches, organizers hope pARTisan will continue imagining what civic participation in Tennessee can look like when culture and community work in tandem. By supporting artists willing to grapple with questions of justice, identity, and democracy, the exhibition positions the gallery not simply as a place of observation, but as an active site of public engagement and change.
Exhibition Information
Dates: August 18–23, 2026
Location: David Lusk Gallery
Hours: Wednesday–Thursday (10 AM–5 PM), Friday (10 AM–7 PM), Saturday (10 AM–5 PM), Sunday (10 AM–2 PM)
Broadway at TPAC
The Book of Mormon
The Book of Mormon is a famously controversial musical comedy, featuring the repeated punchline “I have maggots in my scrotum” and a villain named “General Butt-F**king-Naked.” This show from the creators of South Park and a co-composer of Frozen premiered in 2011 and is still on Broadway. The show is a deliberately problematic depiction of Mormonism and Africa. The satirical comedy is about two young Mormon missionaries who are sent out on their two-year mission. Hoping to be sent to Orlando, Florida, Elder Price is disappointed to find that he and his nerdy partner, Elder Cunningham, have been assigned to Uganda instead. They arrive and immediately get their luggage stolen and are treated to the welcome song “Hasa Diga Eebowai,” which means (in fake Swahili) “Fuck you, God.” Their white-savior/Lion King expectations are dashed. The local Ugandans struggle with threats of female genital mutilation from a nearby warlord, while Elder Price feels doubt about his mission. Elder Cunningham’s predilection for lying gets his conversion attempts surprising results.
This show is 15 years old, but there have been some updates to it. In 2021 there were changes to make the portrayal of the Ugandans less racist, and the 15 Year Anniversary Performance earlier this year saw an alteration to “Spooky Mormon Hell Dream,” where Jeffery Dahmer has been changed to Jeffery Epstein. When I saw the show, the audience laughed during the entire show, but it laughed so hard during each Jeffery Epstein joke that the next verses were inaudible.
I attended the Broadway Tour’s opening night, June 2nd, which started twenty minutes late. The doors to the hall weren’t opened to the full audience until after 7:30, when the show was supposed to have begun. We weren’t told what the holdup was, but the audio that night was surprisingly rough, with imbalances between the orchestra and singers and between singers on stage. We couldn’t hear the delivery of several lines because the timing of the mics was off.
The music is bright and quick-paced, and it’s all comedy. A few of the songs are real earworms. The first act had two of my favorite songs from the show, “Turn it Off,” and “All-American Prophet,” but the second act had a faster-moving plot with more comedic moments (as well as the wonderfully hilarious song “I Believe”). The show’s greatest moments of cleverness and hilarity for me were when dealing with Mormon teachings and the history of the Mormon church. The grandness of their claims and their incongruity with North American history, the posturing of Joseph Smith, Mormon and Moroni made me laugh every time they appeared.
The choreography is quirkily ridiculous, using square, energetic rigidity for the Mormons, and some of them add an incongruent layer of stereotypical gay flair to this: Craig Franke as the repressed Elder McKinley is hilarious when singing “Turn it Off” and every other moment he is on stage. The costumes are either Mormon missionary outfits or impoverished people’s attire. I had wondered if there would be any difficulty for the audience to tell the Mormon’s apart (white guys with the same haircut in matching outfits), but this doesn’t turn out to be an issue. The three named Mormon characters are easily distinguishable by their build and demeanor.
The show makes fun use of backdrops, and it has many, sometimes using a specific background for very brief periods of time. This adds literal layers to the scenery, feels more classic than a projection, and adds a corny element that works perfectly with the nature of the show. The sets themselves are simple, mainly walls and doorways, and the props are mostly minimal.
The cast is great, especially understudy Rayna J. who played Nabulungi on June 2nd, her strong beautiful voice working perfectly in the goofy ballads given to her (especially “Sal Tlay Ka Siti”), balancing sincerity and satire to give her jokes the perfect landing. Ethan Davenport has a capable voice and makes Elder Price’s self-obsorbed naivete comically obnoxious, and in excellent contrast with Jacob Aune’s Elder Cunningham, who bumbles around as a crystallization of the 2000’s teen loser.
A personal caveat: I will admit that I’ve never watched South Park, and I went into the show blind with possibly over-hyped expectations (I went with people who have seen the show on Broadway and absolutely love it). Don’t get me wrong, the show is very funny, but my subjective sense of humor is slightly different than The Book of Mormon’s. Shock humor just isn’t my particular type. I find it loses its power to make me laugh the more it’s repeated, and sometimes feels flatly edgy, like a middle-schooler’s sex jokes. The show is certainly a very successful comedy, but perhaps less mind-blowing than newcomers like me might expect. Nevertheless, it is certainly worth a watch, and I recommend seizing this opportunity to watch it live here in Nashville!
The Book of Mormon will be at TPAC’s Jackson Hall through June 7th, see their website for tickets and more information.
The Outlaw’s Aria: Fanny Ray and the Sinners Symphonic Build a Musical World
A Nashville-based ensemble is looking to bridge the gap between commercial music and classical music through deep storytelling. Fanny Ray and the Sinners Symphonic recently released their first single, “You Can’t Pray a Lie,” and are planning to release their debut album in stages, treating the rollout less like a traditional one and more like a serialized narrative. Each single adds another fragment to a fictional storyline, ranging from folk-influenced arrangements to pop-punk-oriented material supported by full orchestral instrumentation.
Fanny Ray and the Sinners Symphonic operates under Umbrella Philharmonic and is structured as a nine-piece ensemble featuring flute, clarinet, violin, viola, cello, guitar, bass, drums, and vocals. The project integrates orchestral writing directly into its compositional process rather than using strings and winds as secondary embellishment.
The music follows a fictional storyline centered on Fanny Ray, a “naturally gifted” outlaw who has spent her criminal career evading officers and crusaders, all while longing to tell the story of her tragic life and express her hidden desires through song and performance. Now, Fanny Ray has decided to risk her freedom, trading it for a chance to be heard.
“All she wants is to put on one last show. To give herself a fair trial, to tell her story, sing some of her favorite songs, and then… to turn herself in.”
Alongside her is a group called “The Sinners,” a collective of companions chosen for their musical talents who appear throughout the project’s narrative arc.
The storyline is planned to unfold incrementally via individual songs which reveals fragments of character development, events, and perspectives. Unlike a traditional linear concept album, which is often presented through spoken dialogue or explicit exposition, Fanny Ray’s story unfolds through lyrics, musical motifs, and recurring characters that appear across multiple tracks. Themes within the narrative frequently include displacement, loyalty, survival, and conflict with authority structures. Their most recent single, You Can’t Pray A Lie, Fanny Ray laments on a crime of passion, recollecting a crime scene where she’d murdered a man – a crime where she couldn’t simply “pray away”. In it Fanny sings:
“Remember there’s a price, a price for everything; The price for pardon is a price I can’t afford… I got on my knees, I bent my will; I prayed for forgiveness, for the man I killed; I prayed forgiveness, ’cause I didn’t want to die; But you can’t pray a lie.”
The ensemble is currently engaged in a structured release schedule leading up to a full-length album expected in August. Two upcoming tracks, Requited Love and Sunset Bullets, are set to be released in June and July, respectively. These two tracks, along with the second part of the album, lean more heavily into pop-punk influences, whereas the first half of the album is more rooted in folk-based arrangements and acoustic textures.
Fanny Ray and the Sinners Symphonic is the flagship orchestra of the Umbrella Philharmonic, self-described as a manufacturer of chamber orchestras. The Symphonic’s debut album will be the first commissioned record. Additional projects are in development over the next two years. One of these is The Petraske Chamber Orchestra, a traditional chamber ensemble featuring flute, clarinet, violin, violoncello, guitar, and percussion. The project is rooted in classical chamber music traditions, with influences cited from composers such as Antonín Dvořák and Aaron Copland. The aim of the project is to create contemporary chamber music accessible and easy to listen to, reaching a wider audience beyond complex classical music, which can often be intimidating and difficult to follow.
Another upcoming project, titled Black Lung, will be focused on the history of coal mining strikes in the United States during the early twentieth century. This ensemble will consist of three vocalists, guitar, bass, and drums. It will incorporate influences from both pop-punk and twentieth-century classical composition. Composers referenced in relation to the project include Igor Stravinsky, Aaron Copland, and Arnold Schoenberg, potentially blending modern rock structures with more experimental or early modernist classical techniques.
While these projects differ in instrumentation and focus, they share an emphasis on structured composition and narrative framing. Umbrella Philharmonic serves as the overarching system that links them, with each ensemble representing a distinct exploration of style and concept rather than variations on a single band identity.
Fanny Ray and the Sinners Symphonic is currently the most publicly active project of Umbrella Philharmonic, with its ongoing single releases forming the foundation for its first full-length album rollout. The project will continue to develop as additional material is released in the coming months. The group has also indicated plans for live performances following the album release. A potential summer tour is expected to include material from the album, as well as additional compositions written specifically for live performance. Follow the gang’s journey on their website, https://www.sinnerssymphonic.com, and across their various socials. You can listen to Fanny Ray’s debut single You Can’t Pray A Lie on Spotify, Apple Music, and YouTube.
America's 250th at the Schermerhorn:
JoAnn Falletta on American Music, Memory, and the Stories We Tell
Few conductors have championed American orchestral music as passionately or as consistently as JoAnn Falletta. Across a career spanning decades and continents, Falletta has built a reputation not only as one of the world’s leading conductors, but also as an advocate for the breadth and diversity of the American musical tradition. Ahead of her appearance with the Nashville Symphony conducting America the Beautiful, Falletta spoke with Music City Review about the composers featured on the program, the evolving American canon, and the ways orchestral music can illuminate history, identity, and collective memory. From the mythic West of Morton Gould and Aaron Copland to the urban energy of George Gershwin and the deeply personal Tennessee reflections of Samuel Barber’s Knoxville: Summer of 1915, Falletta offers insight into a concert that celebrates both the richness and complexity of the American experience.
Music City Review [MCR]:The June 11 program is titled America the Beautiful. What attracted you to this particular collection of works, and what story do you hope audiences hear across the evening?
JoAnn Falletta [JAF]: This wonderful program, celebrating America’s semiquincentennial, was indeed a collaborative endeavor between myself and the Nashville Symphony artistic administrative personnel. It presents a cross section of the vast repository of American music, one that I believe will be particularly appealing to concertgoers.
“…a dynamic visionary institution giving voice to the music of today.”
MCR: The concert brings together music by Morton Gould, Aaron Copland, Samuel Barber, and George Gershwin—four composers who each express a different vision of America. How do you see these works speaking to one another?
JAF: The Gould celebrates the great American west. We are most familiar with Copland’s picturesque suite of the west from his ballet, Rodeo, but Gould’s Cowboy Rhapsody is a wonderful compliment to this genre. Originating in Mexico in the 1500s, cowboys played an important role during the era of U.S. westward expansion. By the late 1800s, the American cowboy had created a reputation and iconic lifestyle that was glamorized in countless books, followed in the 20th century by Western movies and television shows. While the number of working cowboys has declined, the culture lives on throughout the West in attractions, museums, ranches, entertainment and rodeos such as the Buffalo Bill Center of the West in Cody Wyoming, the National Historic Trails Interpretive Center in Casper Wyoming and the Pro-Rodeo Hall of Fame & Museum of the American Cowboy in Colorado Spring. And many of us like to watch the 21st century cowboys featured on the Yellowstone series.
Few works of American classical music evoke an idealized vision of the United States as powerfully as Copland’s Appalachian Spring. Premiered in 1944 as a ballet choreographed by Martha Graham, the work has become one of the most recognizable musical portraits of American life. Its spacious melodies, folk-inspired themes, and famous use of the Shaker tune Simple Gifts create a sound world associated with rural simplicity, hope, and the American frontier. To many Americans, Appalachia became a symbol of an earlier America—self-reliant, rural, religious, and closely tied to the land. The region has culturally been shaped by Indigenous peoples, African Americans, and immigrants from Scotland, Ireland, Germany, and England. Their traditions blended to create a rich and distinctive mountain culture.
The Brooklyn born George Gershwin began his musical career as a song-plugger on Tin Pan Alley. It was after his string of extraordinary Broadway musical successes, and his dramatic concert success of “Rhapsody in Blue” In the famed Paul Whiteman concert, where Gershwin turned his musical intentions to the social issues of the time including in the musicals “Strike Up The Band”, “Let ‘Em Eat Cake”, and “Of Thee I Sing”, and ultimately in the 1935 premiere of “Porgy and Bess”, based on a play by DuBose Heyward, who produced the libretto in collaboration with Ira Gershwin. Gershwin’s Porgy and Bess was unlike anything that had appeared on the American stage. Combining elements of opera, jazz, blues, spirituals, and popular song, the work tells the story of African American residents of Catfish Row, a fictional community in Charleston, South Carolina. Today it is regarded as one of the seminal American operas. Gershwin insisted that the opera be performed by an all-Black cast. This provided opportunities for Black classical singers who were often excluded from major opera companies and concert stages. The work also placed Black characters at the center of a serious, large-scale musical drama. Unlike the minstrel traditions that had dominated earlier American entertainment, Porgy and Bess attempted to portray African Americans as complex human beings with emotional depth and agency. But while some regard Porgy and Bess as a masterpiece that humanized Black characters in a period of widespread racism; others see it as a product of its era that reflects paternalistic attitudes and racial assumptions.
Samuel Barber in his Knoxville: Summer of 1915 immortalized the words of the great American writer and Pulitzer Prize winner, James Agee in possibly the pre-eminent American composition for voice and orchestra. Barber’s work is a setting of excerpts from a 1938 prose poem by James Agee that would later serve as a preface for the author’s Pulitzer Prize novel – A Death in the Family.
MCR: You have long been one of the foremost advocates for American orchestral music. How has your perspective on the American canon evolved over the course of your career?
JAF: It has been my pleasure to continue my exploration of American music. My first major foray into American compositions, mostly contemporary, occurred in the 80s when I became Music Director of the Bay Area Women’s Philharmonic. Since that time, I have conducted over 170 works by women, by over 70 women composers, most of which were American. My associations with the Denver Chamber Orchestra, Long Beach Symphony and the Virginia Symphony all included numerous performances and premieres by American composers. The Buffalo Philharmonic, during my tenure, has commissioned works by American composers Richard Danielpour, Adolphus Hailstork, Ellen Taaffe Zwilich, Jessie Montgomery, Kenneth Fuchs, Miguel del Aguila, Daron Hagen, Michael Daugherty, Paul Moravec, Eric Ewazen, Jonathan Leshnoff, Rob Deemer, Caroline Mallonee, José Lezcano, Russell Platt, Randall Svane, Wang Jie, Chris Rogerson, and Paul Frucht.
MCR: Samuel Barber’s Knoxville: Summer of 1915 is deeply rooted in the culture and landscape of Tennessee. Does conducting the work in Nashville add another layer of meaning for you?
JAF: It is very inspiring and powerful for me to conduct Barber’s ‘Knoxville: Summer of 1915’ here in Nashville. James Agee was born in Knoxville, Tennessee. When Agee was six, his father was killed in an automobile accident. From the age of seven, Agee and his younger sister, Emma, were educated in several boarding schools, the most prominent of these was in Sewanee, Tennessee. Saint Andrews School for Mountain Boys. I spent several summers guest conducting at the Sewanee Music Festival including the honor of being awarded an honorary doctorate from the University of the South in Sewanee, Tennessee, I attended many concerts at the Saint Andrews School and often thought of James Agee.
James Agee graduated from Harvard, worked for Time, The Nation and Fortune Magazine and was regarded as one of the most influential film critics in the U.S. During his lifetime, Agee enjoyed only modest public recognition. Since his death, his literary reputation has grown. In 1957, his novel A Death in the Family (based on the events surrounding his father’s death) was published posthumously and in 1958 won the Pulitzer Prize for fiction. The work by Barber is this extraordinary coalescing of two great American artists.
The poetry recalls a summer evening in Knoxville, Tennessee, as seen through the eyes of a child. The work is often viewed as a nostalgic portrait of the American South, but its emotional power comes from something deeper than simple regional sentiment. It evokes not only a place, but also a lost world, a vanished moment in time, and the universal experience of childhood memory.
MCR: George Gershwin’s music occupies a fascinating space between classical music, jazz, popular song, and opera. What do you think makes his music feel so distinctly American nearly a century after it was written?
JAF: Perhaps more than any other composer of the early twentieth century, George Gershwin captured the sound of a rapidly changing America. His music blends classical traditions with jazz, popular song, urban energy, and cultural diversity in a way that feels unmistakably American. Europe had long maintained a distinction between “serious” classical music and popular entertainment. Gershwin largely ignored that boundary combining concert-hall forms with the rhythms and harmonies of jazz and Broadway. Unlike Copland’s musical portraits of rural America, Gershwin’s America was urban and cosmopolitan. Gershwin works embody the confidence of the United States at that time. There is often a sense of forward motion and possibility in his music. Even when his melodies are melancholy, they tend to retain warmth and vitality. This optimism aligns with a broader American narrative of innovation, opportunity, and reinvention.
MCR: This performance arrives as many cultural institutions begin reflecting on the approaching 250th anniversary of the United States. What role can orchestral music play in helping audiences think about American history and identity?
JAF: The orchestra is both a magnificent repository of glorious music written over four centuries as well as a dynamic visionary institution giving voice to the music of today. When we hear a work by Dvorak, we are transported back to the rolling meadows of Bohemia in the late 1900th century, in Ravel we hear the urban sophistication of Paris in the early 20th century. Music can be a time capsule transporting us back to a previous era. We hear the fervor of the American revolution in the hymns of William Billing and in its orchestral garb compliments of William Schumann, we hear a European influenced America in the music of the Boston Five of John Knowles Paine, George Whitefield Chadwick, Amy Beach, Edward MacDowell, and Horatio Parker, we hear the New England town hall gatherings and brass band of Charles Ives, the capturing of American vistas in works of Copland, Bernstein, Gould, Grofe, Daugherty, the mid-century symphonies of Mennin, Piston, Harris, Creston, Hanson, to name just a few examples. We have works capturing seminal events in American history such as Paul Moravec’s Sanctuary Road or Kenneth Fuch’s Falling Man or while not the original intent, Samuel Barber’s “Adagio for Strings.”
“Nashville has a magnificent and dynamic musical culture”
MCR: You have conducted orchestras around the world, yet Nashville has emerged as one of America’s most dynamic musical centers. How have you seen the city’s musical culture evolve over the years?
JAF: Nashville has a magnificent and dynamic musical culture. Of course the world over knows of Nashville for its glorious history of Country Music, but the orchestra has one of the most beautiful concert halls in the country, and the Nashville Symphony is in the forefront of American orchestras, especially in its performance and recording of American music. I am truly excited and honored to be giving this Americana salute concert here in Nashville with the Nashville Symphony.
MCR: For someone attending this concert who may be new to orchestral music—or perhaps knows Nashville primarily through its popular music traditions—what would you most like them to listen for during America the Beautiful?
JAF: For the newer classical music concertgoer this is a “must go to” concert. Each of these pieces, each with a different emotional palette, will speak to and touch audiences for whom there may be little to no background in classical music. One will be charmed by the nostalgic innocence of the Gould, by the southern ambience of the Gershwin, the poignancy of the Barber and the deep-rooted simplicity of spirit of the Copland.
Throughout our conversation, Falletta returned repeatedly to the idea of music as a living archive—one capable of preserving landscapes, communities, histories, and emotions long after they have passed. Whether discussing the frontier imagery of Gould and Copland, the cultural significance of Gershwin’s Porgy and Bess, or the profound Tennessee connections embedded within Barber’s Knoxville: Summer of 1915, she emphasized the power of orchestral music to connect audiences with both the past and the present. As America approaches its 250th anniversary, America the Beautiful promises not only a celebration of American music, but also an opportunity to reflect on the many voices and stories that have shaped the nation. JoAnn Falletta conducts the Nashville Symphony in America the Beautiful on Thursday, June 11, at 7:30 p.m. in Schermerhorn Symphony Center.
Hamilton is Coming to TPAC!
Hamilton is coming to Nashville! The epic saga that follows the rise of Founding Father Alexander Hamilton as he fights for honor, love, and a legacy that would shape the course of a nation. Based on Ron Chernow’s acclaimed biography and set to a score that blends hip-hop, jazz, R&B, and Broadway, Hamilton has had a profound impact on culture, politics, and education. In addition to its 11 Tony Awards, it has won a Grammy®, Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.
Although the Broadway show will be at TPAC June 17-28, at time of posting this preview only 50 tickets remain available; if you want tickets, you need to move fast! See TPAC’s website for tickets and more information.
Jazz Beat – June
Hello, all, and welcome back to this regular column here at Music City Review. Here, we will update you with the most can’t-miss jazz events happening in Music City, so you can be sure to catch all your favorites, as well as discover new ones along the way. Get out there and support your local musicians and keep Music City thriving! We are always looking to promote great music that may not get the attention it deserves. Have an event you think should be included in the next issue? Email me at: [email protected]
If you wish to subscribe to this guide, click here! Links to specific venues below:
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This Month’s Highlights
Hello, all, and welcome back to this regular column here at Music City Review. Here, we will update you with the most can’t-miss jazz events happening in Music City, so you can be sure to catch all your favorites, as well as discover new ones along the way. Get out there and support your local musicians and keep Music City thriving! We are always looking to promote great music that may not get the attention it deserves. Have an event you think should be included in the next issue? Email me at: [email protected]
Here are the performances this month that I have picked out as really special, ones you won’t be able to catch any day of the week. They span across Nashville’s many great jazz venues and offer something of interest for everyone.
Nashville Symphony at Musicians Corner – Friday, June 5 – 8:00 PM (Centennial Park)
This free Spring/Summer concert series held in Centennial Park returns. Every year, organizers offer a great selection of artists spanning a wide array of genres. On this particular date, our very own Nashville Symphony will headline the set.
Songs You Thought You Knew w/ Roger Spencer – Sunday, June 7 – 3:00 PM (NJW)
Acclaimed long-time Nashville bassist and NJW co-founder Roger Spencer celebrates the release of his new book, Songs You Thought You Knew: Examining Transmutations in Standard and Jazz Compositions, with a free performance and talk in the Cave. Drawn on more than fifty years of performing and studying deeply the compositions of the jazz tradition, the book examines how jazz tunes have evolved over the years. As anyone who plays jazz knows, sometimes what comes to be accepted as the “standard” way of performing a song can be drastically different from how the song was originally written and performed. Spencer will talk about how the book came to be, as well as offer demonstrations.
Brazilian Jazz Tudo Bem & Guests – Monday, June 15 – 6:00 PM (Rudy’s)
If you love Latin jazz as much as I do, you won’t want to miss this set. Led by guitarist Jerome Degey, who is known for his extensive background and expertise in a wide array of world genres and styles, and backed by some of Nashville’s best, this group is sure to pay proper tribute to this beautiful music. Degey will be joined on bass by Giovanni Rodriguez, another recognized expert in Latin music, who hosts the weekly Monday Latin nights at Rudy’s with his band 12 Manos, as well as serves as director of the Music City Latin Orchestra. Rounding out the ensemble will be Will Barrow on piano and Chris Brown on drums, who each have extensive recording and performing credits to their names.
Tim Gartland Trio – Tuesday, June 16 – 6:00 PM (Tennessee Brew Works)
Blues singer, songwriter, and harmonic player Tim Gartland performs with his trio over at Tennessee Brew Works. Gartland’s harmonic work has been described as able to “send shivers down your spine,” and that there is “as much distinction in his vocals and songwriting, too.” (DownBeat Magazine) He’s released six albums under his own name, including his most recent, The Right Amount of Funky, released last year, which received wide critical praise and climbed as high as 9th on the Top 40 Blues Charts. He’s known for the deep emotion he is able to portray in his songs, both through his voice and his harmonica.
Sound as Liberation Sessions: Juneteenth Edition ft. Rod McGaha – Friday, June 19 – 7:30 PM (NJW)
This Juneteenth, as we celebrate the end of slavery and Black culture and history in general, renowned and celebrated trumpeter, visual artists, and storyteller Rod McGaha presents the inaugural Sound as Liberation Sessions at the Workshop. The band for this evening’s performance will embrace the spirit of Miles Davis in his centennial year. Not by direct performances of his works, but by embracing his spontaneity and commitment to reinvention. In fact, the entire performance will be improvised, created in the moment through listening and collective interaction. The evening will also feature original video projections created by McGaha, as well as artwork displayed throughout the venue and opportunities for the audience to engage directly with the artists.
Sound as Liberation Sessions: Regeneration w/ Rod McGaha & Mike Floss – Saturday, June 20 – 7:30 PM (NJW)
Continuing on this theme, McGaha presents a second evening of music on Juneteenth weekend, this time with his son, Mike Floss. Together, they will present a deeply personal father and son collaboration exploring the importance of multigenerational dialogue, and how music and creative expression play a role in healing in the Black community. Through music, improvisation, and spoken word, the pair will bridge generations, exploring how wisdom, struggle, hope, and artistic vision are passed forward through time.
Jazz on the Cumberland – Sunday, June 21 – 5:30 PM (Wasioto Park)
Nashville’s free, family-friendly outdoor jazz concert series returns. Held in Wasioto Park right off the river, these concerts are a great way to get out with the family and enjoy the beauty of Nashville. The artists for these shows have yet to be announced, but the organizers always feature some of the city’s top performers, so you really can’t go wrong.
Logan Metz – Tuesday, June 23 – 6:30 PM (The Basement)
Logan Metz is an eclectic songwriter and multi-instrumentalist from Wisconsin. His music spans a wide range of genres, from jazz and rock to folk and country, and he is known for his love of stories and telling them through music, with a passion for adapting literature into music. In fact, he earned his Master’s Degree from the University of Chicago with his thesis, a full-length 1960’s rock opera adaptation of Shakespeare’s Othello. Since then, he has toured and recorded with a number of bands, and collaborated with artists like Neil Young, Joe Walsh, Mike McCready, Bob Weir, and many others.
Fisk Food & Jazz Festival – Saturday, June 27 – 4:00 PM (Fisk University)
Fisk University’s annual Food & Jazz Festival returns this year, with free admission to the public. Originally created by Nashville’s first and only jazz radio station WFSK during Fisk’s 150th anniversary celebration, this festival has brought incredible food and top jazz performers to the University for ten years. This year’s lineup includes smooth jazz guitarist Adam Hawley, soul jazz flutist Ragan Whiteside, gospel and jazz pianist Ben Tankard, saxophonist Paula Atherton, and smooth jazz flugelhorn and trumpet artist Michael Fair and his band.
Kevin Oliver Jr. & Alex Murphy Quartet (2 shows) – Saturday, June 27 – 5:30 PM & Sunday, June 28 – 6:00 PM (Rudy’s)
Quickly becoming a mainstay Nashville pianist, Alex Murphy now teams with NYC-based saxophonist Kevin Oliver Jr. for two back-to-back weekend shows at Rudy’s. A Juilliard graduate, Oliver has shared the stage with industry leaders like Jon Batiste and the Roy Hargrove Big Band, among others. He leads his own quartet, and released his debut album, OLIVER, last year. His second album, Love and Freedom, is currently in development. The two will be joined by Jack Aylor on bass and Willie Barthel on drums.
KeiyaA – Sunday, June 28 – 7:00 PM (The Blue Room)
KeiyaA is a multi-instrumentalist and singer-songwriter originally from Chicago, where she grew up singing in the Chicago Children’s Choir until she switched to alto saxophone in the seventh grade. Although her music is definitely more in the neo-soul category, KeiyaA’s has a background in jazz studies, and cites jazz artists like Miles Davis and John Coltrane as major influences, so there is certainly something here for jazz fans who listen closely. Her first album, Forever, Ya Girl, was released independently in 2020, and she released her followup, Hooke’s Law, in October of last year.
Analog at Hutton Hotel
The Analog is a cozy and intimate venue at the heart of Nashville’s Hutton Hotel. Here you will find music of all types, from jazz and blues to folk to pop.
Analog Soul – Sunday, June 7 – 7:00 PM (Free GA / $20 reserved seating)
The Analog continues its Analog Soul series, featuring some of the city’s most promising emerging talent who are redefining soul music. This will as usual feature Will Davenport, and this month will also feature DJ artist TIKAAFTERDARK.
Adam McPhail Quartet – Thursday, June 11 – 8:00 PM ($15 GA)
A seasoned side-man and session musician now performing under his own name, Adam McPhail has performed or recorded with a wide range of artists and groups over the years, including B.B. King, PJ Morton, Kirk Whalum, and Victor Wooten, among many others. His style mixes elements of blues, funk, jazz, R&B, gospel, and rock.
Sarah Aili – Friday, June 12 – 8:00 PM ($15 GA / $25 reserved seating)
Artist Sarah Aili excels in many mediums, and is known for her work in music, theater, and storytelling. She was recognized by the Nashville Scene as one of the city’s top actors for her roles in Waitress and Innocent with Nashville Rep. She continues to delve into new and different creative projects, and this month at the Analog she presents a night of original songs, timeless American Songbook classics, and unexpected covers.
Arrington Vineyards
As temperatures heat and we head into summer, Arrington Vineyards continues its weekend musical offerings. Every weekend you’ll be able to catch live jazz here, at both the Hillside Stage and on the Lawn. You can always find some of Nashville’s top jazz talent here, and this month is no exception. I’ve listed the acts appearing below.
Jazz on the Hillside
Saturday, June 6 – 3:00-7:00 PM – The Lilliston Effect
Sunday, June 7 – 2:00-6:00 PM – Miles Damaso Group
Saturday, June 13 – 3:00-7:00 PM – The Lilliston Effect
Sunday, June 14 – 2:00-6:00 PM – 9 Volt Romeo Band
Saturday, June 20 – 3:00-7:00 PM – Andrew Carney Quartet
Sunday, June 21 – 2:00-6:00 PM – Andrew Carney Quartet
Saturday, June 27 – 3:00-7:00 PM – 9 Volt Romeo Band
Sunday, June 28 – 3:00-7:00 PM – Josh Karas Trio
City Winery Nashville
Nashville’s City Winery is a beautiful venue that consistently features top-talent acts that span genres from Jazz to Americana to Hip Hop. The below performances showcase a mix of several genres, but will certainly be of interest to any jazz audience. Enjoy these concerts accompanied by a stellar selection of wine and delicious bites.
Main Stage
Spyro Gyra – Tuesday, June 16 – 7:30 PM ($54+)
Having recently celebrated their fiftieth anniversary, legendary jazz fusion band Spyro Gyra show no signs of slowing down. With thirty-five albums and ten thousand shows under their belt, the band has become internationally recognized for their top-notch musicianship and their unique blend of jazz, funk, R&B, and pop, keeping them at the forefront of modern jazz for a generation.
Boney James (2 sets) – Sunday, June 28 – 5:00 PM & 8:00 PM ($100+)
Saxophonist, composer, and producer Boney James comes back to City Winery for two back-to-back sets. Last time he was here, he was supporting his album Slow Burn, released in 2024. Since then, he has released two more records, ‘Tis the Season and Sax in the Afternoon. James is one of the most successful contemporary jazz artists of his generation. Among his many accolades over his career are four Grammy nominations, three NAACP Image Award nominations, and four RIAA Gold Record certifications, among others.
The Lounge
Chris Cain – Thursday, June 11 – 7:00 PM ($30)
Chris Cain is a masterful guitarist and vocalist who has spent decades honing his craft and style, renowned for his smooth phrasing and stellar musicianship. Inspired early on by legends like B.B. King, Cain blends these blues influences with jazz, funk, and soul for a style that is both traditional and modern. He has earned widespread acclaim for albums like Raisin’ Cain, earning him multiple Blues Music Award nominations. He is widely considered by critics and fellow musicians alike to be one of the finest blues guitarists on the scene today.
Selwyn Birchwood – Sunday, June 14 – 7:00 PM ($26)
More for fans of blues and funk than straight-ahead jazz, guitarist and singer Selwyn Birchwood blends traditional blues with psychedelic rock and funk for a sound which fuses the deep-rooted traditions of blues with a modern edge. Birchwood is a Blues Music Award winner and an International Blues Challenge champion, and continues to push the genre forward into the modern era with his latest project, Electric Swamp Funkin’ Blues, a very personal project which showcases his evolution as an artist. He will as always be joined by a tight, high-energy band to round out his signature live experience.
The Nashville Jazz Workshop
Moving on to Music City’s premier jazz venue, the Jazz Cave at the NJW is a venue with world-class acoustics, which consistently ranks in Downbeat Magazine’s list of Great Jazz Venues in the world. The Cave is packed with great performances this month, including many performances celebrating Black History Month, so get your tickets now!
Jazz Cave
Nicholas Krolak Past Lives Album Release Show – Friday, June 5 – 7:30 PM ($35)
Veteran Philadelphia bassist Nicholas Krolak has spent a decade cutting his teeth as a sideman in that city. Now, he’s shaping what he’s learned into his own original music. Krolak has been praised for his original writing, with many critics commenting on how it spans the entire lineage of jazz while still offering something new. Krolak’s music mixes inspiration from two seemingly competing landscapes: his love for the urban life of the city but also for the peaceful escape of the natural world.
Jazz AM: Nat King Cole – Saturday, June 6 – 10:00 AM (FREE)
The NJW’s free family-friendly Saturday morning series continues, this time focusing on the music of trumpeter Nat King Cole, one of the most important songwriters in the history of jazz.
Songs You Thought You Knew w/ Roger Spencer – detailed above
Wayne Bergeron with the Ryan Middagh Jazz Orchestra – Thursday, June 11 – 7:30 PM ($40)
Grammy-nominated trumpeter Wayne Bergeron performs with a Nashville staple, the Ryan Middagh Jazz Orchestra. First coming to prominence as lead trumpeter for Maynard Ferguson in the 80’s, Bergeron has since become one of the most recorded lead trumpet players in the world, featured on more than five hundred film and television soundtracks, as well as countless recording sessions for artists from Ray Charles to Beyoncé.
Broadway Reimagined: An Evening with Piper Jones – Friday, June 12 – 7:30 PM ($35)
Nashville vocalist Piper Jones comes to the Cave with a reinterpretation of Broadway classics. Joined on piano by mainstay pianist Alex Murphy, Jones will offer a new version of these timeless tunes, reinventing harmonies and making familiar melodies feel new.
Jeff Hamilton Trio – Wednesday, June 17 – 7:30 PM ($50)
Highly sought-after drummer Jeff Hamilton brings his trio to the Cave. Known for his versatility and originality, Hamilton has had a long and successful career which includes playing with the late great pianist Oscar Peterson, and forming the Clayton-Hamilton Jazz Orchestra. With over 200 recordings credits to his name, Hamilton has collaborated with a wide array of artists, including Natalie Cole and Diana Krall.
Sound as Liberation Sessions: Juneteenth Edition ft. Rod McGaha – detailed above
Sound as Liberation Sessions: Regeneration w/ Rod McGaha & Mike Floss – detailed above
Blossom’s Blues: Monica Ramey Sings the Songs of Blossom Dearie – Friday, June 26 – 7:30 PM ($35)
In the second installment of her year-long residency at the Workshop, beloved Nashville vocalist Monica Ramey presents a tribute to the singular jazz vocalist, pianist, and composer Blossom Dearie. A sort of quiet brilliance, Blossom Dearie isn’t a household name when it comes to jazz, but her work influenced everyone from Miles Davis to Bill Evans, so her influence on the history of this music is unquestionable.
Rudy’s Jazz Room
Now we move on to Nashville’s premier jazz club, with its cozy, intimate setting. I’ll start with some of the unique highlights for this month, then follow up with the great regular acts performing. Please note that some shows are one dollar cheaper if you purchase advance tickets. I have listed the door price for all shows.
Rudy’s Highlights
Below are the performances for this month that I’ve picked out as the real can’t-miss shows, some featuring touring artists from out of state, others featuring local artists giving specialized, unique performances.
Nashville Trio w/ Barbash, Picker & Raudabaugh – Monday, June 1 – 6:00 PM ($12)
Three of Nashville’s best join together again for an evening of genre-spanning music. Jeff Picker is an in-demand bassist who has worked with some of the biggest names in Country and Bluegrass, including stints with Ricky Skaggs’ band Kentucky Thunder, and he is currently a touring member of Nickel Creek. Saxophonist Eddie Barbash was a founding member of the house band for the Late Show with Stephen Colbert, and currently tours the world with Cory Wong, one of the biggest names in contemporary jazz and fusion music. And drummer Mark Raudabaugh keeps himself busy touring and recording with big industry names like Jeff Coffin, Sierra Hull, Grant Green Jr., and many more. The combination of this wide array of influences and experiences promises an incredibly unique performance.
Abigail Flowers & Haley Schattschneider: Over the Moon – Wednesday, June 3 – 6:00 PM ($15)
Two of Nashville’s most talented young vocalists come together for an evening of both classic jazz and original music. Abigail Flowers is known for her precise vocal style honoring figures like Chet Baker and Ella Fitzgerald, her ability to sing in multiple languages, and for her vocal arrangements, which have collectively garnered over 7 million streams on Spotify alone. Her album, Only a Dream, released at the end of last year, has already gained over one million streams. Haley Schattschneider released her debut album, Over the Moon, the inspiration for this particular performance, last year. The album has enjoyed significant success, including hundreds of thousands of streams worldwide, as well as singles that reached top positions on the iTunes Jazz charts. Together, these two women will offer a mix of their unique original music and timeless jazz standards.
Rougarou 6-Piece New Orleans Brass Band – Thursdays, June 4 & 18 – 9:00 PM ($17)
Continuing its running “SINdustry night” series on the first Thursday of the month, this New Orleans-style brass band returns to Rudy’s to showcase the club’s Cajun roots. Led by New Orleans native Chris Walters on piano, this band offers as authentic a brass band experience you can find without traveling to the French Quarter. Service industry workers with some form of proof of their employment will receive half off the door price and half price draft beer. You’ll also be able to catch this band a second time two weeks later.
Jerome Degey & Friends – Friday, June 5 – 11:00 PM ($10)
Guitarist Jerome Degey returns to Rudy’s. Originally from Paris, France, Degey has a family history that is both French and Afro-Caribbean, and his wide geographical influences come out in his unique style of playing. He has collaborated with a wide array of artists, including Jonathan Edwards, Duffy Jackson, Daniel Levy, and many more.
Shaun Munday – Saturday, June 6 – 5:30 PM ($12)
Bassist Shaun Munday returns to the Rudy’s stage with his full band. Munday has studied and performed with some of the industry’s greats, including John Mayer, Esperanza Spalding, and Antonio Sanchez, among others.
Legend Meets Brilliance w/ Don Aliquo & Marc Payne – Saturday, June 6 – 11:00 PM ($10)
Two of Nashville’s best unite to offer their “no holds barred” approach to music, promising to bring an evening of raw energy and spontaneous music, fusing the classic traditions of jazz with contemporary styles. Don Aliquo is a celebrated saxophonist who has been active as performer, composer, educator, and recording artist for more than two decades, while Marc Payne is a young artist who has already made quite the reputation for himself as one of the most promising up-and-coming pianists in the area.
Sofia Goodman Trio (2 shows) – Wednesday, June 10 & Monday, June 29 – 6:00 PM ($15)
Internationally recognized drummer and composer Sofia Goodman leads her trio, performing originals and arrangements of her favorite standards. Goodman’s arrangements and compositions have been described as “mesmerizing and compositionally rich” (DownBeat) and she has been called a “splendid composer and drummer” (All About Jazz). As a group, the Goodman Trio has toured the US and Canada, and appeared at many notable venues and festivals. Her trio features Matt Twaddle on piano and Leland Nelson on bass.
Bob Harsen Quintet – Friday, June 12 – 8:00 PM ($21)
Drummer Bob Harsen returns to Rudy’s, this time leading a quintet. A graduate of Berklee College of Music, Harsen has recorded or performed with names like Tiger Okoshi, the Paul Butterfield Blues Band, Randy Brecker, and others.
Bruce Dudley
Bruce Dudley is an accomplished and acclaimed jazz pianist who is a Steinway Concert Artist and has been performing jazz for over forty years with many recording credits to his name, both as sideman and bandleader. This month he will lead groups twice, in trio and quartet format. His groups will feature Brian Allen on bass and Larry Aberman on drums, with guest vibraphonist Rusty Burge joining for his quartet.
Bruce Dudley Trio – Saturday, June 13 – 5:30 PM ($16)
Bruce Dudley Quartet ft. Rusty Burge – Saturday, June 20 – 8:00 PM ($21)
Soul & Swing: A Late Night Jazz Experience – Saturday, June 13 – 11:00 PM ($10)
Trumpeter Nigel Cathey returns to Rudy’s with his current quartet, the same lineup behind his recent release Evolution, featuring Matt Twaddle on piano, Leland Nelson on bass, and Daniel Ferreira on drums. The band will offer music by Lee Morgan, Thelonious Monk, and Roy Hargrove, as well as original music Cathey. Because this band has been working together with the same lineup for some time, their performances offer a trust and interplay that you don’t always see in a world where band lineups change every day.
Wendy Burns – For the Love of Jazz – Sunday, June 14 – 6:00 PM ($20)
Celebrated Nashville jazz vocalist and flutist, and creator of the multi-year running “Ladies of Jazz” show at Rudy’s, Wendy Burns now leads an evening of music. Known for her commitment to staying true to the original melodies, Burns’ set will feature many classics from the Great American Songbook and other jazz standards, as well as some of her original music. Burns lists towering figures like Doris Day, Frank Sinatra, and Judy Garland as influences. She will be joined by Melvin Macias on piano, Walter Rodriguez on drums, and Todd Parks on bass.
Brazilian Jazz Tudo Bem & Guests – detailed above
Aaron Lessard Group – Friday, June 19 – 11:00 PM ($10)
Jazz and fusion guitarist Aaron Lessard returns to Rudy’s. His wide array of influences produce a unique style influenced by guitar greats like Pat Metheny, Mike Stern, John Scofield, and Robben Ford. He will be joined by a trio to back him.
Daniel Kuk Trio – Saturday, June 20 – 11:00 PM ($10)
Daniel Kuk is a young up-and-coming pianist who, as you can tell from other lineups listed in this newsletter, is already making waves in the scene and proving himself in-demand. He has lived in Nashville most of his life, and started studying music at a very early age. His major influences include Bill Evans, McCoy Tyner, and Bud Powell. His trio will feature Baily Johnstone on bass and Marlon Patton on drums.
Miguel Alvarado “State of the Saxophone: Sonny Stitt” – Thursday, June 25 – 9:00 PM ($15)
Saxophonist Miguel Alvarado presents another installment in his “State of the Saxophone” series, this time paying homage to Sonny Stitt, one of the few saxophonists equally influential on alto and tenor. The show will pay tribute to classic Stitt recordings like Saxophone Supremacy, Boss Tenors, and more. You can rest assured that this tribute is in good hands, as Alvarado has been praised as “an incendiary soloist of the highest order” (Huffington Post).
Vance Thompson Quintet (2 sets) – Friday, June 26 – 5:30 PM ($18) & 8:00 PM ($25)
Vibraphonist Vance Thompson performs with his quintet, featuring music from his latest album, Lost and Found, which the Times of London described as “a joyous, jubilant portrait of musical rebirth.” Thompson is the founder and director of the Knoxville Jazz Orchestra, and actually enjoyed a successful career as a trumpeter before a medical issue forced him to change course. He will be joined by a killer band featuring guitarist Steve Kovalcheck, pianist Taber Gable, bassist Tommy Sauter, and drummer Marcus Finnie.
Jason Johnson Quartet – Friday, June 26 – 11:00 PM ($10)
A rare Nashville native, saxophonist and woodwindist Jason Johnson is quickly becoming one of the most promising players in the city’s jazz scene. He has studied with towering figures like Evan Cobb and Jeff Coffin, and brushed paths with names like Sean Jones and Brian Blade. He was also named a semi-finalist in this year’s Yamaha Young Artists Competition.
Kevin Oliver Jr. & Alex Murphy Quartet (2 shows) – detailed above
Rudy’s Regulars
Pat Coil
All-star Nashville pianist Pat Coil returns twice this month, in trio and quintet format. As you all probably know by now, Coil is a highly in-demand pianist in Nashville and just about everywhere else, having toured extensively both nationally and internationally. He first appears with his special “Music for Humans” project, which will feature Evan Cobb on woodwinds, Adam Nitti on bass, Wes Little on drums, and Hunter Strasser on guitar. His trio will feature Jacob Jezioro on bass and Danny Gottlieb on drums, with special guest guitarist Pat Bergeson.
Pat Coil’s “Music for Humans” – Friday, June 5 – 8:00 PM ($21)
Pat Coil Trio w/ Pat Bergeson – Friday, June 19 – 5:30 PM ($15)
Dana Robbins Quintet (2 shows) – Friday, June 6 – 5:30 PM ($16) & Wednesday, June 24 – 9:00 PM ($15)
GRAMMY-winning saxophonist Dana Robbins pays tribute to the Soul Jazz sound of the late 60’s and early 70’s, celebrating artists such as Les McCann, Eddie Harris, Jimmy Smith, and more. Robbins has either recorded or performed with many artists, including Keb’ Mo’, Aretha Franklin, Taj Mahal, Keith Urban, and more. Her band features David Santos (bass), Wes Little (drums), Phil Hughley (guitar), and Darius Mines (piano/B3 organ).
Jody Nardone Trio (2 shows) – Saturdays, June 6 – 8:00 PM ($22) & June 20 – 5:30 PM ($17)
Prominent Nashville pianist Jody Nardone brings his trio to Rudy’s for a classic jazz set. With a growing national reputation, Nardone seamlessly shifts from the “whispered beauty of Bill Evans to the percussive flights of McCoy Tyner.” (Michael McCall, Nashville Scene)
Sarah Jane Nelson – Sunday, June 7 – 6:00 PM ($20)
Vocalist Sarah Jane Nelson combines influences from country, jazz, blues, and musical theater for a unique voice that has earned her descriptions as a “knock-‘em dead singer,” “sultry jazz goddess,” and “a first rate singer”.
Joshua Constantine Quartet (3 shows) – Mondays, June 8 & 22 – 6:00 PM ($12) & Saturday, June 27 – 11:00 PM ($10)
Saxophonist Constantine is a former member of Grammy-nominated UNT One O’Clock Lab Band, and student of world-renowned saxophonist Brad Leali. Currently an active performer and educator in Nashville, Constantine tends to pay homage to the classic giants of jazz, honoring composers and performers like John Coltrane, Thelonius Monk, Wayne Shorter, and more. His quartet will feature Sam Smith on bass, Danny McGonegle on drums, and Daniel Mandrychenko on guitar.
Jonathan Wires Quartet (2 shows) – Thursday, June 11 – 9:00 PM ($14) & Sunday, June 21 – 6:00 PM ($15)
Nashville bassist Jonathan Wires returns as bandleader in a quartet setting. These shows will feature Steve Pardo (sax), Adam Davis (guitar), Matt Endahl (piano), and Mark Raudabaugh (drums).
Cliff Richmond & the CliffNotes – Friday, June 12 – 5:30 PM ($14)
Guitarist and vocalist Cliff Richmond’s band always features some of Nashville’s top talent, and presents a great blend of soulful, swinging, and funky jazz.
Miles Damaso Trio – Friday, June 12 – 11:00 PM ($10)
Award-winning percussionist, educator, and composer-arranger Miles Damaso leads a trio at Rudy’s. Damaso has performed with a wide range of artists throughout the South and Midwest, and graced the stages of iconic venues like the Grand Ole Opry and the Lincoln Center, appearing alongside greats like Joel Frahm, pat Coil, John Raymond, and many more.
Stephanie Adlington – Friday, June 19 – 8:00 PM ($23)
Award-winning vocalist, songwriter and vocal coach Stephanie Adlington is known as the “Siren of the South,” with an “unrivaled” take on the Great American Songbook.
Bizz Bigsby – Wednesday, June 24 – 6:00 PM ($17)
Nashville native Bizz Bigsby shares his very personal music which tells the story of his life, influenced by everyone from Bill Withers to George Jones to James Taylor.
Don Aliquo Quartet – Saturday, June 27 – 8:00 PM ($21)
One of Nashville’s most active and accomplished saxophonists appears with his quartet, this time featuring Marc Payne on piano, Jack Aylor on bass, and Josh Cook on drums.
Regi Wooten & Friends – Every Wednesday (except June 24) – 9:00 PM ($15)
Coming from a distinctly talented musical family, Regi Wooten is one of the most innovative and dynamic musicians on the scene today, pushing the boundaries of the traditional genres. Equally at home playing Hendrix as Wes Montgomery, Wooten assembles a group of some of Nashville’s best musicians to offer a night steeped in funk, jazz, soul, blues and rock.
Giovanni Rodriguez & 12 Manos – Every Monday – 9:00 PM ($15)
A favorite on the Nashville Latin and jazz scene, multi-instrumentalist Giovanni Rodriguez presents an electric night of salsa, along with his band consisting of Rodriguez (timbales/vocals), Melvin Macias (piano/vocals), Yosvany Cordero (congo/bongo), Michael S. Morton (flute/vocals), and Isoel Villarrubia (bass).
Hot Club Gypsy Jazz – Every Thursday – 6:00 PM ($12)
Every Thursday night, Rudy’s honors its New Orleans and French roots by celebrating the vibrant music of Gypsy Jazz. These nights feature a variety of small groups either led or curated by New Orleans native Brook Sutton, all performing music in the style of the great Django Reinhardt and Stephane Grapelli. The bar will feature French Quarter-inspired cocktails as well as gumbo and beignets. Come out for as authentic a night as you can get without a trip to the French Quarter.
Rudy’s Jazz Jam – Every Sunday – 9:00 PM ($10)
I couldn’t make a list of Rudy’s events without including a shout-out for the regular weekly Jazz Jam the club hosts every Sunday night. Whether you are a jazz musician and you want to jam with your fellow artists, or you just want to come and enjoy what the local talent has to offer, the Jazz Jam is a great way to end your weekend.
The Underdog Nashville
The Underdog is another great local venue located in East Nashville, where it hosts musical performances of all types, ranging from rock and punk to jazz.
The Broomestix – Tuesday, June 2 – 9:00 PM ($10)
The Broomestix are a nine-piece band based right here in Nashville. The band channels the many influences of all its members into a unique form of R&B, featuring a powerful horn section, catchy R&B hooks, and attention-grabbing grooves. Their full-length album, Y’all Need Anything, was released in 2019.
Cam G & the Tasty Soul – Thursday, June 4 – 7:00 PM ($10)
Led by saxophonist Gallagher and comprised of young and energetic musicians, this is one of Nashville’s premier funk bands. Great songwriting along with killer performance chops make these shows a ton of fun.
Adam Miller – Sunday, June 21 – 8:00 PM ($10)
Australian guitarist Adam Miller returns to Nashville. Miller, who has been compared to Julian Lage and Tommy Emmanuel, is a masterful musician who seamlessly weaves jazz harmony into instrumental songs that might otherwise be considered almost pop. From his playing it is obvious Miller has mastered many different types of music, and spins all of them together for a unique sound.
Regular Nashville Hangs
Bohemia After Dark: Live Jazz Band with Andrew Golden – Every Monday – 8:00 PM (Old Glory)
Tuesday Bluesday w/ Shantelle & The Juke Joint Band – Every Tuesday – 6:30 PM (Rawhides)
Weekly blues night with a different special guest each week.
Dinner & A Show – Live Jazz Band – Every Friday – 7:00 PM (Flamingo Cocktail Club)
Living Room Sessions – Every Friday & Saturday – 8:00 PM (W Nashville Hotel)
Regular weekly showcase featuring local indie, jazz, funk, and R&B bands.
Eastside Jam – Every Sunday – 9:00 PM (Inglewood Lounge)
This is not a traditional jazz jam playing standards, but rather an improv jam, but any jazz player or listener will still be interested!
Live Jazz at Wilburn St. Tavern – Tuesday Evenings
Nightly Jazz at Skull’s Rainbow Room
Nightly Jazz at Sinatra Bar & Lounge
Live Jazz at Skye Lounge – Every Friday & Saturday – 7:30 PM
NJW at Char Steakhouse – Evenings and Sunday Brunch
Monday Night Jazz – Every Monday – 7:00 PM (Kingdom Café & Grill)
Nashville Opera Shines at Cheekwood
Golden Hour and Grand Opera
It had rained every day for the five days previous to Nashville Opera’s appearance on the Cheekwood grounds. Thankfully, on the beautiful evening of May 28th, we were treated to a wonderful performance of classic opera, and classic hits from both Broadways, as the sun slowly set into a beautiful golden hour over the manor. Artistic Director John Hoomes kicked off the evening looking Jimmy Buffett cool—clad in a Hawaiian shirt, bucket hat, and sunglasses—setting a relaxed, inviting tone for the night.
Perhaps most remarkable, and somehow typical, for most of Nashville Opera’s singers is their ability to perform a diversity of styles and genres in an authentic and enchanting way. Soprano Alysha Nesbitt opened with a blues influenced “Summertime” from George Gershwin’s Porgy and Bess but then returned later in the set with an astonishing rendition of Giacomo Puccini’s “O mio babbino caro” from Gianni Schicchi. Her breath control through Puccini’s long, floating phrases was wonderful, and she absolutely nailed the final crescendo.
Speaking of dynamics, Nashville Opera’s Chief Strategy & Operations Officer Keri Alkema and veteran soprano (she performed the title character of Puccini’s Tosca as recently as 2022 in Toulon) gave us a stunning version of Richard Rogers’ “Some Enchanted Evening.” Although the number was written for a Broadway show, South Pacific (1958), the character to first perform (create) it and for whom Rogers wrote it, was Ezio Pinza, a Met Opera baritone. (Jose Carreras’ version, while perhaps not as famous, was my mother’s favorite.) Alkema’s instrument brought a beautiful warmth with a careful, restrained use of her lower register and a magical pianississimo—especially in the final phrase with those giant half notes ascending into the heavens “…nev-er let her go! ___” It was breathtaking.
Speaking of endings, Sarah Antell’s high B-flat at the end of her “O don fatale” rang large and clear across Cheekwood’s grounds, and yet her lower chest voice was remarkably strong and relaxed, particularly at “Ti maledico.” Her marvelous squillo was gentle and calculated to complement Stephen Carey’s well performed accompaniment. It took me a moment to get adjusted to the dramatic opening in Cheekwood’s sunset (the character opens by cursing her own beauty and pride), but the resolve of the conclusion was undeniable.
What perhaps was most remarkable is that she sang this after a wonderful duet with Steven McCoy, singing Stephen Sondheim’s “No One is Alone.” Their exquisite diction, seamless blending, and above all, a precise intonation that created an amazing, dramatic and beautiful number.
As a foil to all of this, Miles Aubrey’s performance of Johnny Cash’s “I’ve Been Everywhere” was just enough Nashville to remind us of where we were, and his performance of “You’ve Got a Friend in Me” demonstrated that there is important and rich artistic expression in popular music. In all, the evening was a triumphant showcase of Nashville Opera’s versatility, seamlessly blending the worlds of grand opera, Broadway, and popular music on one of the city’s most treasured grounds. Speaking of treasures, one can only hope that Nashville Opera at Cheekwood will become an annual, treasured, Music City tradition!
Summertime in Music City
A Rambling about Will Hoge
There’s a particular kind of confidence that only comes from an artist still growing decades into their career. Not confidence rooted in nostalgia or legacy, but in curiosity. In momentum. In the belief that the next great thing might still be ahead of you. Watching Will Hoge over the last two years has felt like watching exactly that kind of artist at work.
So let me take you back to December 2024 to talk about July 25th and 26th of this summer.
At 3rd & Lindsley, Hoge celebrated Carousel, the record he self-released in 2001, with a full-band hometown performance that felt less like an anniversary show and more like a reminder of just how alive rock and roll can still feel in the right hands. And then, because Hoge seemingly understands that live music should occasionally flirt with impossibility, he brought out rock legend Dan Baird.
For at least one more night, Baird played like his hands were born on fire.
The chemistry between Hoge and Baird was palpable—not simply mutual admiration, but a kind of musical kinship that became its own force onstage. Their energy transformed into another member of the band entirely, pushing songs into that rare territory where performance starts feeling larger than rehearsal or preparation. The evening felt magical in the way truly unrepeatable concerts often do, and afterward I told Hoge that I was certain it was the best show I would ever see him play.
Months later, he proved me wrong.
On the Cayamo cruise, Hoge assembled a once-in-a-lifetime lineup featuring Brady Blade on drums, Steve Fishell on pedal steel, Scottish Craig on
guitar, with Bill Payne and Mimi Naja sitting in. Blade literally climbed onto the stage from the audience, landing behind the kit exactly as the drums came into the first song, which somehow perfectly captured the looseness and trust defining the set.
What followed was a masterclass in bandleading. Hoge understood that for one fleeting hour this extraordinary collection of musicians was his band, and every player committed fully to that reality. Despite the staggering individual talent onstage, no one overplayed. No one fought for space. Instead, each musician leaned into the collective possibility of the moment. The result was less a concert than a rock-and-roll reverie.
Then came December 2025.
Back again at 3rd & Lindsley for the release show of his fifteenth studio album, Sweet Misery, Hoge arrived with an almost entirely new lineup, save for longtime bassist Christopher Griffiths. And somehow, impossibly, the show felt even stronger than the year before.
Or maybe “stronger” is the wrong word.
Different, certainly. Looser in places. More adventurous. More emotionally elastic. At some point comparisons stop mattering because what Hoge is really demonstrating at this stage of his career is evolution itself. Here is a musician in his fifties who is still progressing—not just as a songwriter, but as a performer, arranger, producer, and bandleader. There is no sense of someone coasting on craft or reputation. If anything, Hoge seems increasingly energized by risk and collaboration.
That collaborative instinct has quietly expanded beyond his own records over the last several years. Alongside continuing to make deeply personal albums, Hoge has steadily become a trusted producer for other artists, helping shape records with the same care and musical intuition that define his live shows. He’s currently finishing another album with Red Wanting Blue, continuing a body of production work that feels driven less by ego than by genuine investment in other musicians.
Which is exactly why it makes sense that Hoge’s next move is producing a festival.
This July 25th and 26th, Hoge will curate and host a festival at Eastside Bowl, and the deeper you think about it, the more inevitable it feels. Over the last decade, one thing has become clear about Hoge: he will use whatever leverage he has to help other musicians and artists. That instinct is baked into how he builds bands, how he collaborates, how he produces records, and now, how he’s envisioning this festival.
Rather than simply stacking the lineup with familiar names or safe bets, Hoge says he is intentionally pairing artists across generations. Bands in their fifties alongside bands in their twenties. His hope is that something gets exchanged in the process: hard-earned road wisdom and musicianship traded alongside youthful curiosity, fearlessness, and joy. It’s a lineup philosophy rooted less in nostalgia than in continuity—a belief that scenes survive when generations remain in conversation with each other.
And true to form, Hoge is also trying to keep ticket prices as affordable as possible. After thirty years of touring and playing festivals himself, he’s approaching this event from the perspective of both artist and fan, trying to preserve the best parts of festival culture while avoiding some of its increasingly inaccessible realities. The goal, it seems, is not exclusivity or spectacle for spectacle’s sake, but community.
Which feels increasingly rare.
At a moment when so much of the music industry feels algorithmic, overpriced, or transactional, Hoge’s festival already sounds like an extension of the qualities that make his best performances resonate in the first place: trust, generosity, risk, and genuine love for live music as a shared experience.
And maybe that’s the real story here. Not simply that Will Hoge is still making great records and playing great shows after three decades. Plenty of artists endure. What feels rarer is watching someone continue expanding this far into their career while pulling other people forward with them.
If the last few years are any indication, July 25th and 26th at Eastside Bowl won’t just be another festival weekend in Nashville. Will Hoge’s Eastside Ramble will be a reflection of the kind of artistic ecosystem Hoge has spent years quietly building—one where experience and curiosity still have something to teach each other.
