independent thoughts on indie rock, alternative, and indie pop music
Cornelia Murr shares the new single “Come Undone,” a patient and atmospheric track featuring harpist Céline Dessberg. The song arrives ahead of her “Last Run To The Center” spring tour in support of her 2025 album Run To The Center. The tour includes a Nashville stop on March 19 at Third Man Records.
Copenhagen-based singer-songwriter Elliot returns with the new single “hot but depressive,” an introspective indie-pop track that explores the tension between connection and self-sabotage. Built around warm guitar textures and reflective lyricism, the song examines the instinct to distance yourself from love before it gets too close.
Nashville-based alt-pop artist Lauren Presley returns with her latest single, “Potential,” a guitar-driven track that examines the emotional tension between hope and reality in relationships.
Girls Write Nashville will return to 3rd & Lindsley on March 29 for its 5th Annual Benefit Concert, featuring Ashe and a writers round from graduating student artists in the organization’s songwriting mentorship programs.
Shaky Knees Music Festival returns to Atlanta’s Piedmont Park September 18–20, 2026, featuring The Strokes, Twenty One Pilots, Gorillaz, and one of the deeper rock and alternative undercards on the 2026 festival calendar.
Shell Daze Music Festival returns to Overton Park Shell in Memphis on April 17–18, 2026, with Old Crow Medicine Show, Greensky Bluegrass, Molly Tuttle, and more across two days.
RiverBeat Music Festival returns to Tom Lee Park in Memphis on May 1–3, 2026, with a lineup led by Dave Matthews Band, Wu-Tang Clan, and The Red Clay Strays. The three-day riverfront event also features St. Vincent, Ice Cube, Lord Huron, Marshmello, T-Pain, Phantogram, and De La Soul, alongside a mix of regional artists and several influential Memphis rap veterans.
ROREY shares the raw bedroom pop single “Temporary Tragedy,” alongside a cinematic video exploring heartbreak, emotional fallout, and the process of reclaiming self-worth.
Dean Johnson turned a cold Nashville weeknight into a packed, attentive listening room at The Blue Room. With understated arrangements, expressive vocals, and songs that balance surreal storytelling with grounded perspective, the set unfolded with a genuine connection between stage and audience.
Edgehill lean into a more immediate indie-rock groove on “Love To Go,” an early fan favorite tied to their debut album Ode To The Greyhouse.
