Blind Boys of Alabama – Mill & Mine
Rob: A perfect way to kick off a Sunday. The talented foursome blasted Southern gospel tunes to a welcoming crowd, and their energy was infectious. One perk of Sunday at a festival: the crowds thin out, which meant I could get up close and really soak in their set. If you enjoy fresh, creative takes on traditional Southern gospel, I cannot recommend them enough.
Julian Lage Quartet - Tennessee Theatre
Paul: I've played and enjoyed Julian Lage's new album. Getting to see him and his band play live did not disappoint. They sounded better than some other acts on the same stage. Tight, playful jazz played supurbly.
Anna Tivel – Boyd’s Jig and Reel
Rob: Boyd’s Jig and Reel might be the smallest performance space at Big Ears, but that intimacy is exactly what makes it special — you catch little moments and exchanges you’d miss at a bigger venue. Anna Tivel, hailing from the Pacific Northwest, was not on my radar until Paul Jorgensen pointed me her way, and I’m so glad he did. She was thoroughly impressive.
A highlight was a song she called Chris, written about a friend who would walk at night and look into people’s houses, imagining their lives as little movies — “not creepily,” she was quick to add. The song was beautiful, and she dropped in a whistle solo that was absolutely stunning. It hasn’t been recorded yet, but I’m already looking forward to when it is.
Paul: Anna seemed, in some ways, similar to Haley Heyndrickx from Saturday. Certainly in their stage banter but also in the personal reflection captured in their songs. Anna and her band's style is more of that PNW indie folk bent. A true delight. Anna told me she played at the Woodshop in October 2022, and would love to return.
Muireann Bradley – Boyd’s Jig and Reel
Rob: We stayed at Boyd’s for Muireann Bradley’s set, and she blew me away. She’s 19 years old and from Ireland, but you would never guess it from her voice or her talent. She primarily covers country blues songs from the 1920s–40s and plays fingerpicking guitar that is, frankly, phenomenal. Her opener, Candyman, was a standout — I’d heard her version beforehand and loved it, and hearing it live did not disappoint.
She also played a few originals, and they were equally impressive. The fact that she plays guitar like that at 19 makes you stop and ask yourself what you’re doing with your life. She has a long career ahead of her. Keep an eye on this one.
Paul: Utterly delightful. Her rendition of "When the Levee Breaks" while true to the original was better than others' covers. She's heading back to Ireland soon but hopes to return before too long.
Clark: It felt like she's the next in line for roots/country royalty that played that stage before the notoriety.
S.G. Goodman – Jackson Terminal
Rob: One of the highlights of the entire festival. I knew of S.G. Goodman as she’s toured with Jesse Wells and I’d heard her on a podcast where she came across as sharp, blunt, and hilarious — but seeing her live was something else entirely. She’s from Kentucky, and as a fan of Sturgill Simpson and Tyler Childers, I always keep an eye on what great music Kentucky is producing. She delivered.
Her live show runs heavier than her studio work, which was a welcome jolt after a mellow afternoon. She covered the Butthole Surfers’ Pepper, which was an absolute blast. She also played Im in Love— a genuinely funny love song about the crazy things we do when we’re smitten — and Space and Time, probably her most well-known track. Hearing it live for the first time was absolutely unbelievable.
What sets her apart is the balance: serious, meaningful songs delivered with dry humor and effortless crowd banter in between. Her band introductions alone were some of the best I’ve ever seen at a show. I was floored to see she only has around 170,000 monthly Spotify listeners — she plays with so much purpose and intention that she deserves a much bigger audience. Don’t sleep on her.
Paul: I don't have much more to say than Rob. Spectacular. Hope she comes to town soon.
Clark: The coolest of the newer wave of alt-country Americana. She's funny and charming and carries substantial swagger. She is super cool.
Alan Sparhawk with Trampled by Turtles – Closing Set at Mill & Mine
Rob: An interesting way to close out the festival. Paul was more familiar with Alan Sparhawk than I was, though I’ve seen Trampled by Turtles before in Chattanooga. This project was a different beast — much more mellow and downbeat than their usual fast bluegrass. A slightly unconventional festival closer, but still very enjoyable. It was a cool change to see Trampled by Turtles step back and let Sparhawk lead. I’ll definitely be digging deeper into this project.
Paul: Many minor keys and deeply personal songs by Sparhawk. Fans of the band Low will know the name and the vibe. One thing that took me out of the performance was some larly lighting and sound problems. The musicianship was obvious. I would like to see them in a smaller, more intimate venue.
Power Out
Attending Big Ears exceeded expectations. The opportunity to see so many artists of so many stripes in a small geographic footprint is lind of like listening to the radio with hosts that spin a wide variety of tunes on their shows. I wonder what public radio station in the Tennessee Valley that sounds like?
Clark, Rob & Paul will soon post their wrap-up podcast. Keep your podcatcher pointed to "From The Green Room".
