Suburban Roads Magazine

The rest of the night on The 615 Stage stayed at the same level. Singer-songwriter Savannah Conley wooed the crowd with her laid-back vibe, focusing on songs from her recently released EP. “Never Be Ourselves” and “All I Wanted” exhibited her smooth, airy yet warm vocals and was a mellow change of pace from the other acts playing the fest. Meanwhile, Roots of a Rebellion put us on island time with their rock-infused reggae. These Belmont alums got the crowd bobbing their heads through songs like “Peace and Love,” and I swear with every note, I could see the stresses of the day being lifted off everyone’s shoulders. It takes a special band to make people forget about the weight of the world, and these guys have fine-tuned it.

Over on the Main Stage, Rival Sons jolted fans to life with the sounds of straight up rock n’ roll. Grungy guitars, heavy beats, wailing vocals – this group had it all as they shredded through eleven songs, including “Electric Man,” “Keep on Swimming,” and “Open My Eyes.” Following them were LOTG veterans The Wild Feathers, who just released their 3rd full length, Greetings from the Neon Frontier, earlier in the summer. Their set sent me down a nostalgic path, remembering their performances from LOTGs past with songs like “Backwoods Company” and “Left My Woman,” but they still had plenty of new tunes sprinkled in the set as well. “Quittin’ Time” rang true to the sound of the Feathers’ country/Americana spirit, and their songs made me feel like I was on a road trip through Route 66.

Unfortunately, by the time headliners Dr. Dog took the stage, many people had left the fest due to Nashville’s infamous late summer rains. This didn’t stop Dr. Dog, who rewarded those who stuck around with an 18-song setlist, spanning their nearly 20 years of music making across 10 records. Their performance was dynamic, as they jangled and rocked through feel-good melodies containing contrasting, not quite as optimistic lyrics, like “Heart Killer” and “That Old Black Hole.” They even included a cover of Architecture in Helsinki’s “Heart It Races,” a personal favorite of mine that I (and it seemed, everyone else in the audience) was happy to dance along to in a live setting. Since the induction of the fest, Dr. Dog has always been a natural fit for the Live on the Green stage, and I was happy to see them return after a seven year absence.

The end of the summer always has a sense of drowsiness to it – routines return as vacations come to and end, students return to school, etc. And while many of us look forward to fall (#basic and I don’t even care), there’s still a level of bummer that comes with the summer fun coming to an end. Live on the Green’s arrival has and will always be a late season welcome, a brief reprieve as we slip back into our schedules to let us dip out periodically for some fun. It’s the perfect transitional event for this time of year, and it’s changed Nashville for the better.

It’s probably my own personal lack of knowledge about the band, but Parquet Courts was way more punk rock than I was expecting, and in the best way possible.  They’re the kind of punk rock that makes you want to dance around with a smile on your face in the mosh pit, unlike pits I’ve seen at metal shows.  Highlights included “Before the Water Gets Too High” where lead singer A. Savage picked up an omnichord to add that ominous drone that carried through in the background.  The title track from their latest release Wide Awake was a big hit as well.  Fans danced along to the somewhat sarcastic cowbells, funky guitar and bass lines, and the whole band shouting together “I’m wide awake!”  

Rainbow Kitten Surprise’s set was really a surprising thing to witness.  Again, maybe I’m just oblivious, but it seemed like they came out of nowhere and are now commanding big slots at festivals all over the country.  People love these guys, and even if you weren’t able to have your Instagram comment made solely of emojis, these North Carolina natives would still be a massive hit.  They pulled out “Seven” from their debut 2013 release early on in the set, and the sing-along began.  And man, Nashville sung along like no other crowd I’ve seen.  A combination of one of the biggest LOTG crowds I’ve seen, paired with an unwavering love of RKS, resulted in the crowd literally drowning out lead singer Sam Melo on the song “First Class.”  I wonder if Beyonce heard RKS’s crowd?  I also wonder if Beyonce is jealous of Melo’s salsa-esque dance moves?  All together, RKS was one of the most well received shows I’ve seen at Public Square Park.  

From dancing to singing along, and then, to clapping along, Trampled By Turtles brought the bluegrass.  With the absence of a drummer on stage, the crowd willingly volunteered to fill the percussion role as they clapped along immediately.  The absence of a drummer also made for a visually exciting show as well.  The six string players all stood in a line harmonizing flawlessly, and then all together stepped back from their respective mics in unison.  But of course, they were all the best at their instruments.  As solos and harmonies poured out over Public Square Park, music fans danced along with never-wavering smiles.

What I love about Live on the Green is it feels like a month-long homecoming.  It’s a constant this time of year that I don’t foresee ending anytime soon, and every year I run in to friends I only see once a year.  It’s a beautiful thing whenever a community gets together to see music, even a better thing when it’s free, and literally the best thing when you get to reconnect with friends, don’t have to buy a ticket, and get to see bands that everyone else in the world has to pay for.  

I’ll be honest, I didn’t know Colony House before their show.  It’s fun going in to a show not knowing what to expect, and even more fun when the show is great.  When you walk out to “The Boys Are Back in Town” and start your show with tasteful vocal effects/autotune (not exactly sure what they used, but it did sound a bit like Bon Iver, if that gives you an idea) over a down-tempo, driving groove, I’m hooked.  Colony House is a captivating bunch.  The band is very energetic on stage, and even if they weren’t singing in to a mic, everyone on stage was still singing along.  They’re also great at making big moments.  Exhibit A, their song “Moving Forward.”  Lead singer Caleb Chapman played the first verse and chorus alone on stage.  The rest of the band walked on stage during the second verse, and by the time the second chorus hit, brother Will Chapman came in on the drums and the remaining members harmonized.  Colony House was an incredible 45 min of singing, clapping, and jumping along.

It’s possibly (probably) my personal bias, but Car Seat Headrest stole the show.  Their music lives in this weird space where, listening alone, it can feel a bit melancholy, but when you’re in a crowd of people all singing, “Hangovers feel good when I know it’s the last one, Then I feel so good that I have another one” it’s a beautiful thing to know you’re not the only one who’s been there.  Cheesy, I know, but isn’t this why we all go see live music…to be a part of something bigger than ourselves?  And aside from Will Toledo’s brilliant ability to connect with us millennials, the band was incredible live.  I knew that percussion was a part of their sound (did Christopher Walken have a hand in producing “Destroyed By Hippie Powers”??), but I didn’t know how much of an effect percussionist Andrew Katz would have on their live sound.  Playing everything from bongos to cowbell the entire night, this unexpected element was something new to keep your ears on.  Later in set, Toledo handed his guitar off to Katz, moved over to the keyboard, and the newly organized band launched in to “Drunk Drivers/Killer Whales.”  Public Square Park exploded as thousands of people screamed, “It doesn’t have to be like this!”  

Live on the Green veterans Cold War Kids closed out the night.  They were in this same position a few years ago, and made a triumphant and welcomed return.  These guys are such a great rock band for Nashville - they know how to write catchy sing-alongs and put on a true rock ‘n roll show.  Speaking as a photographer, it’s tough to shoot a show with little-to-no front lighting on the band members, but I have to appreciate it as every aspect of their live show brings you back to seeing shows at dirty dive bars where the music is always more important than image.  And Cold War Kids knows how to play music.  As their carefree rock ‘n roll spirit poured out from the stage, Nashville danced along from start to finish.

Week two was over, and the only thing better than thinking back on singing along with thousands of strangers is thinking ahead to the two weeks left of Live on the Green.  Lightning 100 has really created something special.  For 10 years now, Thursdays in August/September have brought Nashville together.