Sun Mar 20 2022

9:00 PM (Doors 8:00 PM)

The Basement East

917 Woodland St Nashville, TN 37206


All Ages

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SOLD OUT! Briston Maroney w/ Jackie Hayes and Future Crib

  • SOLD OUT! All tickets to this concert have been sold. No additional tickets will be made available by the venue, artist, or promoter at any time. WE ONLY ACCEPT TICKETWEB TICKETS.
  • Briston Maroney

    Briston Maroney


    For Briston Maroney, it’s been a journey to arrive at the current moment. A mental, physical, emotional, and musical one. But it’s left him equipped: not only with a deep understanding of self, discovered through life’s trials and errors, but just as important, with a piece of art that reflects his personal growth. Sunflower, Maroney’s debut album, is the culmination of the past decade of the now-22-year old’s life. “It’s all of the things I’ve been stoked about since I was 12 coming together,” the wise-beyond-his-years, Nashville-based singer-songwriter says with a laugh of his striking album. “It’s been a literal and physical relationship with the record as far as coming to a point where I understand what parts of me it represents, what it means to me as a person and what it means for my entire life.”

    Recorded between the summer of 2019 and early 2020 in LA with acclaimed producer John Congleton, Sunflower is “definitely a milestone,” Maroney admits. “I’d be lying to say I didn’t feel a little bit of that. And why not let yourself enjoy it?” It’s also a gut-punch of fuzzy power chords (“Sinkin”) and genteel acoustics (“Cinnamon”); deftly-composed pop songs (“Freeway”) and hard-charging rockers (“Rollercoaster”). “I put all of myself into it,” Maroney adds of the 10-track LP. In retrospect, he adds, “I definitely have this sense of calmness now. I did what I was capable of doing and I’m just glad I was around my friends and my people to help me get to this point.”

    An energetic live performer with a craft first honed in basements, living rooms, and jam-packed clubs, Maroney quickly developed a style steeped in the sweat and sounds of Nashville’s DIY scene. After self-releasing his 2017 debut EP Big Shot and amassing a strong local fan base, Maroney ultimately attracted the attention of Canvasback Music. After signing with the label, his subsequent releases – Carnival (2018), Indiana (2019), and Miracle (2020) – remained entirely self-written with just a single producer credited on each project, namely Grammy Award-winning producer Tone Def and UK-based producer Jim Abbiss (Arctic Monkeys, Adele). 

    When Maroney began to tour the US and Europe alongside other artists, co-writing sessions became commonplace as they created music together while on the road. It was at this point he made the conscious decision that he would seek out additional songwriters and producers to work with on his debut full-length project; as Maroney’s music world grew, so too did his desire for collaboration. 

    While Maroney is the first to admit he was ‘terrified-in-a-good-way’ to be working alongside top-notch talents with the likes of Manchester Orchestra’s Andy Hull and venerated songwriter Dan Wilson on the creation of Sunflower, over time he came to understand a simple lesson. That being, “If you’re approaching what you’re doing from a place of love and kindness and passion you can be as open and flowing artistically as you want to be with your collaborators,” he says. “I learned a ton from writing with those people,” Maroney continues. “I think the biggest thing I took away is you get to decide how open you want to be, and you get to decide how much of a stage you want to set for emotions in songwriting.”

    If there was a sense of apprehension heading into such sessions, it’s only because songwriting, for Maroney, has long been such a highly personal process. “It’s been my journal for a really long time,” he explains. “There’s a beauty in songwriting. It’s a scrapbook. It’s a photo album. And if you’re really putting your heart into what you’re doing and writing songs for the right reasons, every one of them should take you back to a very specific place.” For Maroney, the songs that comprise Sunflower take him along the long and winding path to the present, from his time as a young, upstart-tween musician busking at the Knoxville farmer’s markets to playing dank basement gigs, sobering up amid personal struggles, and finally arriving right now at his most fully-realized self. 

    “Hopefully this record is representative of my journey,” Maroney says, singling out the opening track “Sinkin” as summing up the record to him in a single cut. “Here’s 100 percent of who I am,” he says of the brash and bursting song. “It feels the most connected to my heart.”

    “I hope that people hear the record and see the songs as windows into what I’ve been experiencing and hopefully they’ll relate to that,” Maroney says, continuing. “I know these songs will continue to do that for me.”

    Working with producer John Congleton, Maroney explains, was about learning to trust his impulse. While Maroney had long been the first to question initial instincts, Congleton taught him to respect his gut. “He communicates really directly and really taught me a lot about speaking precisely and speaking about what you want to accomplish with a song and a record,” Maroney recalls. “Whereas I have a tendency to be really abstract. I learned to be able to switch into that mode. He had my back the whole time.”

    Maroney gushes as he reflects on the session with Congleton that resulted in “It’s Still Cool If You Don’t.” Their initial stab at writing together, “was the first experience of really letting go,” Maroney contends of the song. “Just coming in and having a silly idea and being down to see where it goes.” Working on “Cinnamon” alongside seasoned songwriter Jenny Owens Young, which Maroney describes as a “quieter more low-key song,” was by contrast an exercise in “being all gushy” and exploring his feelings on love. “That was really fun to write a love song with someone else who was also in love with a person,” Maroney offers. 

    Where “Rollercoaster,” an older track that Maroney and his band typically closed out their sets with, was his attempt at getting a bit raucous, the track “Deep Sea Diver,” which Maroney penned with Dan Wilson, was a far more meditative affair. Or as Maroney says with a laugh, “It’s like, well, if this really pissed off angry rock thing doesn’t work here’s my best attempt at trying to be John Prine.”

    If anything, the process of assembling Sunflower was the best way Maroney learned to take his foot off the gas a bit and ease into his life in a more gratifying way. Where he admits at times throughout the recording process he was “squeezing it so hard,” completing a brilliant debut album to him “was so much about just learning to be a little more laid back,” Maroney says with a smile. “I still feel really connected to it, but I’m so stoked to share it and especially one day play it live,” Maroney adds of Sunflower. “Right now, I am just so thankful and happy.”

  • Jackie Hayes

    Jackie Hayes


    Jackie Hayes (born August 17, 1999) is a Waukegan-raised, Chicago-based musician detangling the tremors of her life to articulate the perils of young adulthood. Her first musical experiences happened in the church worship band, where her piano skills were hailed as a gift from God. There’s an irony to the divinity, considering Hayes was kicked out of the worship band for being a nonbeliever. Rejecting doctrine and dogma, Hayes detoured onto her own musical journey in near-secrecy with fierce opposition from her parents. She spent her adolescence sneaking into shows, working service and retail jobs to fund her own career. Her self-published music gained her a following for the inviting nature of her vulnerable candor.

    Finally detaching herself from her family’s religious fervor, Hayes moved to Chicago at 19, immersing herself in the city’s new wave of genreless artistry. The move proved fruitful: she continued self-releasing under the Hayes name to growing acclaim, and shared stages with the likes of Claud, Role Model, and The Japanese House. After collaborating with celebrated producer Billy Lemos, the pair worked on Hayes’ debut EP take it, leave it. Now, they join forces once more for a new chapter in parsing through darkness: There’s Always Going to Be Something.

    Where her prior work documented the trials of life’s mundanity, There’s Always Going to Be Something finds Hayes fearlessly reexamining the almighty to unravel her chaotic upbringing. Crafted in quarantine times, these five records are brief transmissions from a burgeoning musician, working to navigate the world while holding the deep desire to escape the confines of consumption. Reunited with Lemos on production, the EP casts a brighter light onto the depths of Hayes’ discontent. Her voice and the music carry a spirited poise, both equally electric and liable to go haywire. The duo excels in crafting alternative music that knows where it belongs: loud, short, and furious.

    Hayes transports us through the minutiae of her memories: pretty, plain, and painful. She dwells in them all, just long enough to remember and persist onward. The music teems with the palpable frustration of twentysomething malaise, rendering Hayes as a conduit for her peers’ lost innocence. She’s passionate and exhausted, lamenting the unfettered determination of her younger selves while picking the locks on the woman she must become. When yesterday loses the rose-tinted lens, Hayes dares to file through the remnants for whichever truth works for her.

    When self-destruction’s no longer on the menu, mapping tomorrow becomes the only option. There’s Always Going to Be Something symbolizes Jackie Hayes’ next big steps toward that tomorrow. It’s a confirmation of what makes Hayes is one of the most energizing new figures in music. full of unflinching honesty and immovable heart. As chaos rages on, and the years weigh heavier on the psyche, these are raucous musings of choosing bravery, finding Hayes clawing relief from the jaws of her past.

  • Future Crib

    Future Crib


    On the tailend of a pandemic that stunted artistic production around the globe, the sentiment
    chosen to open Future Crib’s Full Time Smile may seem at first listen a bit untimely. “Happiness
    is going out of style/pretend you are miserable for a while,” croons multi-instrumentalist and
    vocalist Johnny Hopson as keys and synths swish into a lush, blissful crescendo.
    For the five-piece Nashville-based band, happiness isn’t so much passe as it is a process, or
    the end result of a transitional and sometimes tumultuous period. As drummer and vocalist
    Noah Pope puts it, the record's central theme revolves around “recontextualizing” the parts of
    life that are less than pleasant. “It’s about searching and having the guts and strength to move
    on and explore new territory,” Pope adds.

    Recorded in the outskirts of Atlanta in December 2020, the band gave themselves the self-
    imposed limitation to record Full Time Smile in the span of a week. While challenging, the

    method of building a makeshift studio with analog gear was a testament to the friendship that
    undergirds how Future Crib operates on the regular. “We were in a state of being open and
    communicative about where we were in our lives and I think that comes off in the record,” says
    bassist and vocalist Julia Anderson. “We all weighed in because these songs were important to
    all of us.”
    Whereas the band’s second LP, Silverdays, was, in the words of multi-instrumentalist Bryce
    DuBray’s words, “a reimagining” and a “polishing up” of previously-produced demos, Full Time
    Smile is a more carefully-crafted affair, a concerted effort to reflect the band in the most
    accurate way possible. It’s the first record by the band that features contributions of guitarist and
    vocalist George Rezek, who joined the group in a full-time capacity after filling in for Pope on a
    series of dates in 2019.
    This “retreat” approach to making the record took the already-established bonds within the band
    to new levels. “When you make a record at home, it’s going to be pretty predictable,” says
    Hopson. Though bands are rarely a democracy, Future Crib sought to develop Full Time Smile
    without any particular member having absolute authority over a song’s final form. Blending
    electronic or synthesized instrumentation with organic sounds gives the album a balance so
    rarely found in even the most modern of releases.
    Indeed, the band made a point to put egos aside during the production and craft something that
    transcended any one member’s preferences. “We decided to stay away from doing anything
    that would make the record sound like any particular band or influence,” says Hopson. “We
    were making all of the choices that were best for each song. The influences come no matter
    Though there was a conscious effort to avoid sounding like anything in particular, the result
    draws on a range of influential artists that dominated rock clubs and college radio in the 90s and
    early aughts. It comes as no surprise then, this alt-pop masterpiece dares to be embraced by
    fans of Built To Spill, Modest Mouse, Dr. Dog, and other acts of their ilk.

    “We all really enjoy listening to records front-to-back,” says Pope. “We put a lot of effort into
    arrangements and how songs flow.” Though dynamic, the album retains an obvious cohesion
    that is owed to the band’s reliance on self-recording and making a point to avoid more traditional
    studio setups. “There’s a lot going on and a lot of room for error, but we trust each other with

    sounds and creative decisions because we know that ultimately we will do what’s best for the
    song,” adds Hopson.
    The album’s lead single, “Most Likely Never Going To Die,” is an aptly-named earworm that is
    representative of the band’s penchant for writing indelible melodies with punchy guitar licks that
    will surely resonate with fans of the aforementioned acts. Hopson is at his best when he waxes
    philosophical about what constitutes the good life without coming off as pretentious.
    On “Horses,” “Leaves,” and less-rollicking numbers, the tempos may slow down considerably,
    but the emotional weight and maturity remains. While these songs may be closer in presentation
    to the outsider art of Bill Callahan and Daniel Johnston than radio-rock, they’re no less effective.
    The record’s title track also trades raucous sing-alongs for a reflection on how to find happiness
    in spite of ever-present struggle.
    Despite its ecstatic moments and joyful performances throughout, Future Crib exercise a
    stunning amount of humility on Full Time Smile -- perhaps most especially on the record’s
    closing track, “Forever Ain’t A Long Time And We Still Have A Lot To Do.” As Hopson sings,
    “We’re kidding ourselves if we ask for a three-minute rocker to last forever.” With songs as
    crafty as those found on Full Time Smile, though, it’s very possible that these three-minute
    rockers may stick around for quite a long time.

SOLD OUT! Briston Maroney w/ Jackie Hayes and Future Crib

Sun Mar 20 2022 9:00 PM

(Doors 8:00 PM)

The Basement East Nashville TN
SOLD OUT! Briston Maroney w/ Jackie Hayes and Future Crib
  • SOLD OUT! All tickets to this concert have been sold. No additional tickets will be made available by the venue, artist, or promoter at any time. WE ONLY ACCEPT TICKETWEB TICKETS.

$20 All Ages