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Six Gun Lullaby Farewell Show: Feb. 28th


Sunday night at The 5 Spot should have been titled "Night of the Female-Fronted 3-Piece Bands," rather than the Six Gun Lullaby Farewell Show, accompanied by Thelma & The Sleaze and New York band Tigerpiss. The evening was special for a variety of reasons, including, but not limited to, the following:

Grunge girls Thelma & The Sleaze - (formerly known as The Trampskirts) - opened up the evening with a skuzzy set of rock tunes, entertaining the crowd with lead singer/guitarist/Taco Party owner Lauren Gilbert's bikini-clad body and bluesy Janis Joplin groans. (They were, might we add, officially voted as Nashville Deli's Artist of the Month once the clock struck twelve).

New Paltz, NY band Tigerpiss graced us with their clever crassness on their fourth visit to Nashville. In between whiskey shots chased with gin and tonics, lead singer/bassist Lara Hope took everyone on a trip to "Vaginatown," animatedly hollering weird punk/rock songs about partying, good sex, bad sex and ... well, vaginas! (Audience favorite). The Tigerpiss sound was like old No Doubt meets Velvet Revolver (except actually good). They also had an odd sense of humor. They're currently on tour promoting their most recent EP "Shake It, Don't Fake It."

Six Gun Lullaby closed the night out with their most enjoyable performance as of yet. The wistful chords and melodies blared by lead singer/guitarist Claire Adams and guitarist/vocalist Martin Schneider seeped into one another, creating a wall of sound that made you want to melt your face off, and maybe cry a little at the same time. The most obvious comparison to Six Gun would be Sleater Kinney, but their newer songs - some of which were almost heart wrenching - were surprisingly reminiscent of the Yeah Yeah Yeah's and Weezer, even. The genuine emotion that was devoted to the music by the trio members was evident in their playing and their stage dynamic. This might have been because it was their last show together as Six Gun Lullaby. Regardless, their stage performance was intensely inspiring. Claire's vocals were passionately screeched, sometimes mumbled, other times uttered so convincingly that it made us wonder if she was going to have a breakdown right there on stage. The girl is a poet, and her insightful lyrics showed it. (And everybody knowed it). The close relationship between Martin, Tiffany and Claire was enviable, and made witnessing their final performance truly brilliant. While the band stated that there is a possibility of working together again in the future, they will be sorely missed until then, and we will anticipate their reappearance. - Erin Manning


Kiddo and Others at Rocketown's 7th Anniversary show: Saturday, Feb. 27th

The Seventh Anniversary Party at Rocketown was definitely a cultural eye opener, especially for a 20-something who doesn't know much about teens, skateboarding or Nashville's metal community. All of the kids were dressed way cooler than the kids most of us remember from our middle/high school days, and they also seemed unusually comfortable around violent dancing/moshing/diving, and listening to music they weren't familiar with, or that wasn't "cool" to be listening to.

As far as the music was concerned, Social Jetlag, Gnarwal and some other big name metal bands seemed to get the most hype for the evening shows, but the two standout performances were from Kiddo (above photo - formerly known as Out of Order) and Coloroado band Flashbulb Fires. Kiddo is a punk trio that put on an unexpectedly awesome show, considering, as you could probably deduce, all the boys are in middle school. Their setup was extremely tight, blending sounds from the likes of The Ramones, Alice Cooper and The Clash. It was obvious that they had been playing together for a few years. Kiddo was a double whammy. Frontman (boy?)/guitarist Greyson Anderson looked like a mix between the prepubescent Scotty Farkus from "A Christmas Story" and Sid Vicious, what with his coon-skin cap and erratic stage energy. The bassist, Jimmy Grogan, was the doppelganger of Wailin' Canes' member Kyle Whalum. This performance also served as the release show of their first EP "Roadkill Whiskey," and while they don't have any upcoming performances, Kiddo is definitely a band to be on the lookout for in the next few years. Unless they all get fake IDs and start playing shows at The End. - Erin Manning


Selected artists for Music Tech Mashup Party.

The organizers of the Tech Mashup Party have selected the 3 artists that will play at their show in Austin during SXSW. The lucky ones are LA alt rock band Voxhaul Broadcast (in the picture), Austin indie rockers Red Leaves, and NYC singer Songwriter Dion Roy - congrats to them and thanks to all the bands that submitted through The Deli!

Not the Gray Seas, The Grayces!


Everyone was singing, "LAWD ALMIGHTY!!!" at the Temptation Club in Murfreesboro on Saturday night, joining Nashville band The Grayces on their catchy-as-hell song "Yep." (For the record the song was such a hit that it continued to be requested even after it had already been played). Alongside The Grayces were Murfreesboro bands Oliver Fist and +Friends.

Oliver Fist offered a very intriguing performance of New Wave/Grunge, paired with singer Eric King's indecent but clever lyrics, and his nervously uttered David Byrne/Mick Jagger growl. +Friends was quite the contrast from the other bands, consisting of several members from Murfreesboro group Hanzelle. The +Friends performance was worthy of being listened to by the most elite group of sound nerds, given that they devoted more time to adjusting the levels and sound system in the room than to actually playing. The group's experimental "smart rock" featured complicated time signatures and a natural groove, admirably building up the anticipation for the long-awaited set by headliner The Grayces.

After seeing the Graces play it wasn't hard to see why the garage-punk trio has been taking the local dives by storm, what with their fuzzy power chords and grinding rhythms. The band - comprised of lead singer/guitarist Murielle Rae, drummer Gaelen Mitchell and bassist Patrick Blackwell - churned their way through a whole set of garage punk rock tunes, characterized by the moans and wails of their moody singer. With the cranked distortion, lo-fi crunch and so much personality in Rae's voice and delivery, The Grayces sounded sort of like The Kills, but with less pop; or The Stooges if they were stranded in Tennessee for most of their career. At one point they halted their raunchiness with a laid-back, trippy, spoken number (although this may have been an improvisational exercise) where Rae's vocal wanderings trailed along behind the band's vamping. It was difficult to tell if she was bored or merely feeling creative, but regardless, this chick had Grace Slick written all over her. 

If you haven't been able to catch The Grayces yet, you should definitely go see them at their CD release show on March 13th at The End. See Flyer Above. - Erin Manning


Sarah Silva: 12th & Porter - 2/11/10


"My name is Sarah Silva, and if you don't know me now, you will by the end of this set," were the words that followed a sassy blurb about being done with an ex boyfriend, and also the words that introduced dramatic pop-diva Sarah Silva to her 12th & Porter audience last Thursday night. She was joined by pop/RnB singer Alvin Love and indie-folk group Kopecky Family Band, making for an odd but interesting lineup.

Silva's music was almost as unconventional as said lineup, drawing characteristics from artists as varied as Queen, KT Tunstall and Cyndi Lauper. While the majority of her material consisted of lack-of-love songs outlining her failed romantic endeavors and the shortcomings of men, the subject didn't get old. Her lyrics and delivery were presented with enough bite that the spunky bitch/angry girl shtick continued to work for her. It was only fitting that on the song "Screamer" Silva practically screamed the hook, "You give me something to scream about!" Despite all of the man-hating going on, all of the men in the front row bobbed their heads while Silva bounced around behind her keyboard as she played with skillful precision. The delectably catchy "I Don't Believe You" summoned the spirit of Freddy Mercury with its unpredictable chord changes, Silva's classically trained belt (not the one around her waist), and her ability to flawlessly hold her high notes for lengthy periods of time.

The idiosyncrasies in all of Sarah Silva's songs prevented her from simply being tossed into the pop artist category. Not too many people can say they've witnessed the archetypal female, piano-playing singer/songwriter murmuring a sexy, Pussycat Dolls style, spoken interlude in their music - which is what Silva did with her song "Foolish." And while the songwriting style of very few artists is as eccentric as Kate Bush's, that is exactly what Silva's tune "Numb" channeled, with its retro feel, erratic high notes and beguiling melody. When the Tori Amos-meets-80s-power-ballad finale "Burn" was played a drunken boy in the front row roared, "I LOVE THIS SONG!" and it seemed to be the perfect end to the evening. (You can hear Burn for free on Silva's myspace: see above link).

Sarah Silva's impeccable voice, style, rantin and ravings are worth witnessing firsthand. Catch her playing an acoustic set on March 4th at the Listening Room, or try for the whole shebang (pun intended) by going to her CD release show at 12th & Porter on April 3rd. - Erin Manning


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