By Luke Brogden, Jennifer Duncan-Rankin, John Flannagan, Matt Miller, Rusty Odom and Matt Rankin
Photos by Bill Foster unless noted otherwise
Day two of the 10th installment of Rhythm N’ Blooms wasn’t nearly as packed as it was on Friday, but the energy was nonetheless evident, as both bands and the crowd alike were feeding off the positive vibes that were flowing down Jackson Avenue and throughout the Old City. Even a late-afternoon rain shower did little to dampen spirits, as RnB simply pushed everything back 45 minutes and soldiered through. Notifications of festival happenings, whether it be secret shows or delays, has been effectively conveyed through social-media postings. It’s easy to say Rhythm N’ Blooms has been run like a finely tuned machine, as Garrett Thomson, Chyna Brackeen and countless others behind the scenes have worked tirelessly, making sure everything goes off without a hitch and allowing the masses to thoroughly enjoy themselves. The Kid Curry Stage and the street-fair aspect have been excellent additions, as well, allowing everyone, even those who didn’t purchase tickets, to take in a piece of the festival. Suffice it to say that Rhythm N’ Blooms has really pulled the community together, and we couldn’t be happier to be part of it. – John Flannagan
Peak Physique
Before Wil Wright and Matt Honkonen’s Cripple Creek performance, I have to admit that I didn’t quite get what the project was all about. I had seen them on a couple of prior occasions, but – for whatever reason – the material just didn’t take. (Perhaps my reluctance to embrace the music stems from Wright’s stubborn insistence on using Oxford commas in his contributions to BLANK, but I’m just speculating.) That changed in short order, however, when the duo delivered a powerful afternoon set that was absolutely entertaining, occasionally mesmerizing and completely professionally rendered.
Owning the stage like a group at least twice its size, Peak Physique commanded the spacious environs with ease, churning out one enticing electronic jam after another. Wright’s guitar work was minimal yet excellent and hugely influential to the overall sound when utilized, and Honkonen traversed the platform like a boss, alternating between singing, rapping, programming earth-shattering beats and striking a cymbal. Every song was enjoyable, but “I Get Caught” was a definite standout.
Maybe the best thing one could say about a show is that he/she didn’t want it to end. Such was the case with Peak Physique on Saturday afternoon. The hour flew by way too quickly, but luckily for me and a fair number of festivalgoers willing to stay up to attend a late-night set at the Pilot Light, there was more magic to be experienced, While it didn’t quite reach the lofty heights the band achieved earlier in the day (understandable, given the change of venues), the second set was just as engrossing. I was far too slow in coming around to what these guys have been doing, but count me among the recent converts to their music. – Matt Rankin
Brian Paddock and the American Gentlemen
Still steamy after an AC issue resulting from a tripped breaker on Friday, Paddock and his crack team of players heated up the Pilot Light even more on Saturday afternoon, performing tracks from last year’s “Under New Management” and his sophomore album, “Love is Weird,” released just yesterday. Sweet as pie despite his gruff exterior, the singer-songwriter reveals his lovable demeanor through honest and moving lyricism, and the excellent rocking Americana he and his bandmates craft is the perfect vehicle for his words.
As tight as a group can be, Paddock and the American Gentlemen breezed through their hour onstage, producing some wonderful, life-affirming material along the way. As my esteemed colleague Luke Brogden wrote in his piece about the group in this month’s issue of BLANK, the music at times can sound like a combination of Tom Petty and the Heartbreakers and Neil Young with Crazy Horse; Paddock is a singular artist with a distinct voice, but that’s still pretty good company to keep. I unfortunately missed the band’s late-night set at the Jig & Reel, which I imagine was great, as well, but I’m very much looking forward to seeing the local artist’s next show. – MR
Daje Morris
Daje Morris is becoming a household name in Knoxville by virtue of her magnificent voice and a variety of talents. Her songs are beautiful, flowing seamlessly from soulful ballads to upbeat foot-tappers to spoken-word poetry. She’s an incredible lyricist, too, with a humble stage presence that is captivating. Joining Morris was Knoxville favorite Will Carter, who, as Morris mentioned with great admiration, was live-mixing and playing bass simultaneously for this performance. She truly is a complete talent, excelling in both writing and performance, and once again, authenticity sets her apart from many. Rhythm N’ Blooms held nothing back in bringing together some of the most powerful female artists around, and that includes those changing the game here in our hometown. – Matt Miller
Cutthroat Shamrock
I think it’s probably been six or seven years since I last saw this band perform, and my remembrance of past shows is a bit hazy. That tends to happen with a group whose music lends itself to good times saturated with libations. On this occasion, however, I was able to clearly discern the talent that was on full display at Cripple Creek. Yes, the material relies heavily on a traditional Irish style, but I don’t recall hearing the patently Appalachian influences shaping the group’s sound quite like they did on Saturday afternoon.
Seamlessly blending the two distinct yet similar genres, Shamrock blazed through a stellar hour-long set at the main stage. In spite of the heat, which the band acknowledged but combatted with plenty of water and Yee-Haw dunkel, the majority of attendees weren’t afraid to break a sweat, swaying, tapping their toes or flat-out dancing to the upbeat fare. Perhaps the best moment arrived after the official conclusion of the set when three of the band members descended from the stage to the front of the crowd to play an acoustic song surrounded by their adoring fans. Given the number of folks filming the encore with their phones, the clip should have made its way to social media by now. – MR
The Black Lillies (private show)
The Black Lilies played an intimate private show for Kickstarter contributors to their latest effort “Stranger to Me” on Saturday afternoon at Pretentious Beer Co. Although the set was not open to the public, the Lillies poured the same energy they always bring into this set before a packed house. The foursome was relaxed and sitting for this show, which showcased beautiful harmonies and cerebral guitar-picking throughout. We stumbled upon this show by accident and we’re surely glad we did, making the second time in as many days we caught the troupe at their hometown festival. – JF
Adeem the Artist
On Saturday afternoon at Jig & Reel, Adeem the Artist got the type of Knoxville show he’s worked for years for and richly deserves. The Charlotte native dropped in on our fair hamlet a little over five years ago after stints spent entertaining tropical vacationers on Carnival cruises and later getting his singer-songwriter bona fides by honing his chops on the Syracuse punk bar and coffeehouse circuit.
The local scene has grown all the richer for his presence. Adeem had released multiple albums before arriving in town, but he has been prolific musically since touching down in East Tennessee, releasing a full-length album “Kyle Adem is Dead” (2016) and multiple conceptual-narrative EPs (“The Owl,” “The Flamingo” in 2017 and 2018, respectively) and is previewing his new “Forgotten Songs and American Dreams” here at the festival.
Adeem the Artist balances two dueling personas housed in the same shell: a temperamental, whimsical and sensitive classic bohemian starving-artist type, quick to wear his heart on his sleeve, laugh out loud, embrace, cry, say something inappropriate onstage, in a song or online, speak his mind on social-justice issues, even, drawing ire or discomfort from some casual passers-by yet allowing him to connect quickly and deeply with his audience and fellow scenesters; and then there’s the other Adeem, the quiet, steady workaholic who shows up multiple times a week at venues and restaurants all over town for his Captain Redbeard gigs, sometimes after long days working construction, to play human jukebox-style gigs for crowds exhibiting varying degrees of enthusiasm, collecting that musical paycheck to support his family and fund the next creative project.
Adeem has been incredibly supportive of other artists in the scene over the years, hosting his own Sound and Silence series and the Tune Boys podcast (disclaimer: I do that one with him). He constantly plays benefits for WOZO and other community causes, also, so it was no surprise a crack team of ace players like Jason Hanna (Dixie Ghost, Colonel Williams House Band) and Brock Henderson (Brockefellers, Sam Quinn, and more) were willing to join in front of a packed house to help him play one of his rowdiest, most rocking sets to date, replete with spot-on covers of The Mountain Goats and John Prine to end. Adeem was on fire and got all but a standing ovation from the hometown crowd, and the twinkle in his eye the whole set hinted at the unabashed joy for what he does when everything is working exactly according to plan. Saturday afternoon doesn’t seem like it could have gone any better. – Luke Brogden
The Foxies
Nashville’s The Foxies put on one of the harder sets of the weekend, playing the Kid Curry Stage Saturday afternoon just ahead of the brief rain shower that rolled through. Frontwoman Julia Bullock has all the moves and stage presence, as she prowled the stage and flashed smiles throughout their hard-rock set that included elements of pop. The Foxies’ set had a little bit of everything, including catchy hooks and rocking melodies, as evidenced by the tune “Be Afraid Boy.” They have been making a steady climb out of the crowded Nashville landscape, and as yesterday’s performance proves, the attention is well warranted. – JF
Kyshona
Kyshona wowed the Saturday afternoon audience at the Pilot Light, showcasing the most powerful voice of Rhythm N’ Blooms thus far. Mixing blues with thought-provoking and socially conscious lyrics, Kyshona kept smiles on the faces of all in attendance throughout her set. One of her songs included a singalong of “Sit back and enjoy the ride/Don’t worry ’bout what’s passing by,” which set the tone and embodied the attitude of the fest so far. At one point in her set, she mentioned a recent trip to the U.K where she says her “mission was to find a British husband but came back with social wisdom instead,” which she eagerly shared with us during her performance. As she finished her set to thunderous roars, she made the comment that “we all bleed the same blood,” which really hit home, as everyone at Rhythm N’ Blooms seems to be like-minded individual coming together as one and exuding positivity. Sets like this one make you realize how lucky we are to be living in such a great community. – JF
Cellogram ft. Dave Eggar & Chuck Palmer
I almost didn’t make it into this performance, as I encountered something I was not expecting when I strolled up to Boyd’s Jig & Reel Saturday afternoon: This show was at capacity, with a one-in, one-out policy. I’ve experienced this plenty at Big Ears, the city’s other major music festival. Once I finally made my way inside, I immediately understood why, as this act would have fit in perfectly at the more avant-garde-leaning affair in March. Renowned cellist Dave Eggar was joined by drums, piano and other strings onstage (I never got a great look at what all was up there, as I’m short and the room was packed), serving up a sampling of his incredibly vast stylistic range.
Parts were like a classical symphony, with beautifully weeping cello. Other parts were funky, with staccato drums which almost made me gleefully think of the “Addams Family” theme spiced up with up rock ‘n’ roll. There also was a goth-y Beatles vibe, influenced by metal, and such skillful drumming that I first thought a motorcycle had pulled up outside. The sum of these parts made up a whole performance like nothing I’ve ever heard before, with the crowd – myself included – enthralled the entire time. I really want to see this act again (and be able to actually see them), as I was completely hanging onto every note. For now, I guess I can grab myself a copy of their EP, which is available on Amazon. – Jennifer Duncan-Rankin
Langhorne Slim
Coming to the stage with only an acoustic guitar, Langhorne Slim immediately wanted to be closer to the people. By his request, the festival organizers and security agreed to let fans come in between the rail and the stage. After only a few songs, Slim quickly came down to join them, standing on a chair and pouring his soul into the crowd. This tells you all you need to know about the authenticity, emotion and love that he brings to his performances. He’s a magnificent storyteller, both in the lyrics of his songs and the stories that tell the history of them. Slim’s songs of love, loss, struggle and triumph will connect to anyone willing to listen, and those who do are likely to shed a tear or two. His ability to take a main-stage performance and turn it into an intimate gathering of acoustic singalongs is impressive, creating a connection with the audience that ultimately connects them with each other. We need more of that all around. – MM
Good Guy Collective
One of my favorite things about this festival is seeing people I love doing great things inside places I love. Kobe Kane, NuSense and J. Bush, part of Knoxville’s favorite hip-hop group (no really, they won Best Hip-Hop Group in BLANK’S Knoxville’s Finest poll this month) put on a wildly energetic show inside Pilot Light that was packed from the stage to the back door. J. Bush started the party by asking the already buzzing crowd, “Y’all ready for that hip hot s@#t?!” before laying into a little of Al Green’s “Let’s Stay Together.” The beats were tight, and bass turned up in that fun, body-thumping way that had the audience dancing from start to finish.
I can’t say enough about the positivity of these guys, though. The huge grins up on that stage were contagious, spreading throughout the room. I’m smiling right now just thinking of them. They gave the audience a nice sampling of what the supergroup has to offer, with songs such as “No Approval,” “Bands” and Parade.” They offered encouragement, singing, “I know it’s hard to be yourself when everybody is acting just like everybody else.” The memorable, grinning-through-tears moment of the show was when J. Bush sang “You Can,” a love song to his sweet little boy, letting him know the sky is the limit and dad will be there every step of the way. Baby Bush was in the crowd, but with the heat inside the small club, he was not in the mood to go onstage and join in. Nevertheless, this show left the entire room full of love, hope and positivity. You can catch them often around town, usually at Pilot Light or the Birdhouse. Please make sure you take the opportunity to see these guys today, though, as they’re guaranteed to make your day better. – JDR
Teen Spirit
The rain may have pushed it back a little, but Knoxville’s favorite ’90s cover band brought a party Saturday evening that had people literally dancing in the streets. Fronted by two awesome ladies, the group threw a huge handful of nostalgia dust over the crowd with hits like “Gangsta’s Paradise,” “Semi-Charmed Life” and “Shoop.” People could be heard squealing with delight as they heard the intro to one of their favorite hits and then looked to a friend as they sang along. This group is always guaranteed to put on good party, and this time was no different. Make sure to check them out next time you get a chance, as they play around town on a pretty regular basis. – JDR
Rayland Baxter
After a short but smooth weather delay, late festival addition Rayland Baxter took the Cripple Creek Stage for the best set we’ve seen yet from the Nashville favorite. Baxter doesn’t necessarily follow performance norms. His vocals aren’t overpowering, and he prefers to remain with his band instead of being out front. He’s a great performer in a simple way, always enjoying the moment and delivering his carefully written songs with authenticity and clarity. He clearly enjoys performing with his exceptional band, full of great musicians who help bring Baxter’s work to life in a big way. Baxter has created a rock sound that is all his own, achieving a wide audience in the Americana and rock realms. There’s no doubt why he continues to rise in popularity, and he will continue to play main stages for some time. – MM
Temp Job
Knoxville may have a new favorite local band. Manic punk energy emanated from the stage immediately as Temp Job flew into a series of short, fast and intense numbers. Horn players, keys and fuzz bass were well-represented, and the two female vocalists danced around the stage in shiny, sequined costumes while adeptly rapping about partying, someone catching on fire and other important existential themes.
To complement the music onstage, the crowd was going wild with hedonistic abandon. The band’s rhythm section, led by scene veteran Chris Rusk on bass, dressed in dark colors and rocked out stoically, mostly staring forward, which was a funny juxtaposition to the spastic movements made by the vocalists and horn players. Still even the vocalists had that somewhat hipster-ish dead-eye, apathetic affectation amid their energy that made it all the more cool.
What was on offer was crazy-cool, hot punk rock, something that Knoxville has needed for a while. The audience’s response showed that void was being filled. More than that, though, the multicultural nature of the group has awakened something new; no, we can’t go back to how things were before, and yes, we are going to have to have more of this – and soon.
Several of us were talking about how we think we might have found our new favorite band within moments of their first song. The fact that Temp Job has almost no information about themselves on their website, no recorded material or videos posted, increases the mystique and allure. BLANK will be eagerly looking ahead to see what the band has next in store. – LB
Tank and the Bangas
After witnessing the set at Barley’s the night before, I was content to hover a good ways back from the horded masses pressed in close to the Cripple Creek Stage on Saturday night and let others have the chance at seeing greatness live and in person. The music still sounded stunning from that vantage point, and it was clear that this band and its magnetic frontwoman are performing on a different level than many of their peers. And they left little doubt as to their ability to headline a main stage at a festival with this gargantuan showing.
Sporting an inflated suit a la ’90s-era Missy Elliott, “Tank” Ball was a charismatic figure leading the orchestrated madness, spearheaded by drummer Joshua Johnson, going on behind her. Taking the many musical influences each member brings to the table, the group distills them into one singular style at which they excel. Both of New Orleans and seemingly outer space, Tank and the Bangas have their feet grounded in history and humanity while still looking toward the stars. Like a lot of the artists on this year’s bill, this weekend probably provided the last opportunity to see them for such a reasonable price – and it almost certainly marks the last time they will play a stage the size of the one at Barley’s ever again. – MR
Benji.
Sloppy Jane
I honestly had not heard of this band before this week. I did a little digging to find a rocking act that was more like performance art. As such, when I settled into a corner bench close to the stage and an entire bachelorette party surrounded me inside the Pilot Light, I couldn’t help but ask myself if it was part of the show – because it sure seemed bizarre. Turns out, that was just a weird thing that happened in addition, as the stiletto-and-sundress clad women fled within the first five minutes of the set, as did the frat boys in attendance. I don’t know what their problem was, though, as I loved every second of this show. Every. Single. Second. I loved it so much that I looked at Jason Boardman and begged him to make sure these guys make their way back inside the Pilot Light soon.
I counted eight performers, including two violinists, a bassist and a guitarist – one of which was standing on top of (perhaps?) a stool during the whole set. There were keyboards and drums, I saw a flute and there were two women sitting at a table with a TV with “The Wizard of Oz” playing during the whole performance. Frontwoman Haley Dahl started off by conducting the string section in a gorgeous classical movement which grew from slow and graceful to an increasingly frenzied pace, peaking with driving drums and bells. The best way I can describe what I saw and heard is a kind of “Beetlejuice” opera, with the Frank Zappa influence apparent in the coolest, most impressive way possible. The musicians were tight and precise, and the vocals were also on point, with sweet harmonies like a choir but punctuated by Dahl’s screams. The musicianship was technically superior, the music itself engaging and the overall show artful and complex. Hopefully I’ll get my wish and see these guys again in the near future. – JDR
Jubal
Taylor Kress has been a hard-working man as of late. He’s been touring around the country, bringing the gospel of Jubal to the masses. When BLANK first spoke with the band, Kress and his partner at the time, Bonnie Simmons, were an acoustic-based duo fresh off the release of their self-recorded debut album, “Bloodroot,” and about to play their first Rhythm N’ Blooms together.
The group continued to grow in popularity around town and added musicians to the mix on occasion. They recorded out of town and released “Warm Regards” in 2017. The duo went their separate ways as Kress began to focus more on touring and a bigger sound with a full band, and since then, Jake Smith (Cereus Bright) has become his partner in crime, producing the band on “The Peso Tapes” and new record “County Ball,” a lush, mature effort that Jubal released on March 9 at the Outpost to a very warm reception.
They were put off Saturday for a while by a storm delay that affected all stages but for the Jig & Reel, but that only built anticipation and their crowd. By the time they got going about 30 minutes after headliners Tank and the Bangas ended their set, it was the witching hour, and Kress and company were happy to oblige with some sonic magic of their own, rocking through a folk, country, and Americana-infused set that was eloquent and gorgeous at times. – LB
Eleanor Studios Presents: Midnight Merry-Go-Round
Will Carter is in this town but perhaps not really of this town – or this world, for that matter. He often can be spotted playing onstage at the Grand Ole Opry with artists like Ashley Campbell or sitting in on tour dates with musical legends like Jackson Browne. He’s co-headlined his own Bijou show with Trisha Gene Brady and consistently has packed out his popular Monday-night series at Maple Hall, where he plays his signature style of country, rockabilly, bluegrass and everything in between to a host of his favorite local all-star friends.
Carter runs Eleanor Studios in town and is responsible for the recent Guy Marshall release “The Love We’ve Made and Otherwise,” among other great albums. He’s brought new life to indie-rock jazz/soul poet Daje Morris’ music with his bass-playing, live sound-mixing and electronic beat programming, generally helping her band add layers and a dynamic that brings her presence to the forefront in a way that is really exciting to watch.
And did we mention this fella is quite the sharp-dressed man? He took the stage for his Eleanor Studios Midnight Merry-Go-Round dressed to the nines (sans shoes) in in an embroidered white suit with a matching white cowboy hat, long black hair and beard flowing, a style reminiscent of a dark-haired Leon Russell. He strapped on his guitar and with his band went into instrumental honky-tonk/surf-rock jams. Starting with the James Bond theme and transitioning into “Ghost Riders in the Sky,” he later would bring out Andy Wood and The Black Lillies’ Cruz Contreras for more musical fun. – LB
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