Next Big Nashville: The Music Fête That Started It All

I would like to offer an apology to you, my dear readers, for withholding valuable information in 2007.  As penance for my misdeed, I will make this pledge for 2008: never to keep from you any worthy experience, so help me sentience, regular income, and free wireless internet.  Amen.

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Last summer, I happened upon the chance to attend the second annual Next Big Nashville (www.nextbignashville.net), a glorious time of year when, in only five days, over one hundred local acts, and a few guests from around n’ about the region, are allowed the opportunity to showcase their musical wares at the numerous venues around town.  It is only right that I share with you some of my reflections...    

My introduction to AutoVaughn was simply magical.  Their “One More Time” immediately hooked me.  The crowd was ablaze!  I felt goose bumps stand on my arms, wonderful adrenaline rushed through me, and tears welled in my eyes. 

The Parlour Boys, some personal acquaintances of mine from Lexington, channeled the sweet ephemerality of life’s pleasures through their invigoratingly youth, rhythm, and tempo-driven sound. 

The tattooed ensemble that is Ligion played a set I found too Stone Temple Pilots meets Gwar revisited for my taste.  The lead singer did cut a strangely alluring figure, but theirs was not a sound I could appreciate—I like discernable lyrics, melody, and harmony far too much.

Butterfly Boucher (BOW-cher not BOO-shay) was another disappointment.  For all the grace and skill with which her bassist played, I couldn’t help but to think that the early 1990's had already well-conveyed the musical statements she sought to make.  Charming accent, though. 

Then, along came the uneven Sprechstimme of the indelibly winsome Tyler James and his “Don't Leave”.  When that melancholy plea first met my ears I, like Ms. Effie White, declared to God and country that I would remain indefinitely.

I also had the pleasure of hearing Parachute Musical, a band I am sure will be added to karaoke reels across the globe in just a few short years.  Not only were their songs appealing and appeasing, but their Wiggles–inspired costume and matching lights provided a precious visual spectacle as well. 

Speaking of costume (see photos), De Novo Dahl, much like their name suggests, laid out a refreshingly labelless brand of entertainment best summed up by their Super Mario Bros. and Parliament-inspired song, “The Funk”.

Promising solo songwriter/singer/keyboardist, Darnell Levine, performed his most successful song without the use of instruments or amplifiers.  And, it was the best account of simplistic frivolity that I have ever heard a capella.

The finale of my Next Big Nashville adventure appeared in the music of Brandi Sellerz.  I was elated to finally hear some soul ringing in the festival’s spirit.  Additionally, I was pleased to witness such a high caliber of musicianship and stage presence coming from a band of predominantly brown faces.  In Nashville, that’s not something I had come upon before.
 
Lo I say unto you that Next Big Nashville will count as one of the more remarkable experiences of my life.  Not only had I arrived back in a city for which I feel a great affinity, but I was introduced to a veritable smorgasbord of great bands that had apparently decided to materialize only after I had departed Tennessee for my three-year stint in Kentucky.  Fortunately, most of those bands were now in my own proverbial back yard and had become regularly available to my unyielding admiration.