On February 27th, Aaron Lewis brought his Stateliners to the pews of Ryman Auditorium, transforming the Church into something between a honky-tonk revival and a political rally.  If you bought a ticket, you likely knew the assignment. This is Lewis’ alt country chapter, far removed from the angst-soaked roar of Staind. What you may not have anticipated was just how completely the evening would prioritize ideology before melody.

On February 28th, the pews of the "Mother Church" filled with electricity and expectation. Ryman Auditorium has seen its share of legends, but there was a different charge in the air this time. The room buzzed with the promise of a record that helped redefine modern blues three decades ago. Kenny Wayne Shepherd was back to celebrate 30 years of Ledbetter Heights, the album he began writing at 16, recorded and released at 17.

Foxy Shazam at Eastside Bowl on February 21st felt like a fever dream. Walking in with MoonDough and Descartes a Kant on the bill, it was obvious this had the potential to tip into too much sideshow and not enough circus. Too much flash, not enough foundation.  Instead, what unfolded was a masterclass in how spectacle and musicianship can collide without canceling each other out.