Die Spitz At The Blue Room: Purpose in Words, Power in Sound

**Die Spitz Performing At The Blue Room In Nashville**

We don’t often cover the heavier edges of rock, but Die Spitz have been on our radar for a while. Too much of what crosses our submissions desk in the hard rock/metal genres veer toward the derivative or simply turn up the volume without a sense of direction. Die Spitz have been a notable exception. Their recordings hit hard without losing shape. Their social awareness isn’t tacked on for effect. And their mix of raw power and pointed intent connects in a way that feels distinctly in step with the modern moment.

We first caught a glimpse of their live spark earlier this year at Shaky Knees in Atlanta, where their abbreviated festival set hinted at something much larger. They managed to ignite a crowd despite the afternoon timeslot. When Third Man Records announced a two-night run at The Blue Room—a room small enough to catch every shift of expression and one of Nashville’s best-sounding venues—we were curious how their energy would translate. The short answer: all energy, no compromise.

Die Spitz performing at the Blue Room Nashville

Night Two opened with the venue already filled wall to curving Blue Room wall. More people arrived early for the opener than is typical for a Nashville show, and between sets it only tightened as fans moved closer to the stage instead of drifting toward the bar or stepping out for air.

Die Spitz wasted no time escalating things. The first riffs tore through the room and The Blue Room immediately transformed into organized chaos. Through the night, circle pits formed and dissolved and even the occasional wall-of-death was attempted as best it could in the compact space. Crowd surfing was still very much on the table, albeit within the spatial limits of the venue. The energy punctuated when bassist Kate Halter rode the room early on during “Monkey Song,” and later, singer/guitarist Eleanor Livingston made a brief pass over the crowd on what appeared to be a makeshift cardboard platform.

**Die Spitz Bass Player Kate Halter crows surfing at The Blue Room in Nashville Tennessee**

Musically, the band was dialed in. The Blue Room’s mix was loud but remarkably clear, every guitar tone intact and every vocal sitting perfectly above the fray—a rarity at a high-energy rock show. Their pacing stayed tight, each song pushing the set forward without feeling rushed. When the band swapped instruments, the shift felt seamless. Drummer Chloe De St. Aubin came out front to handle guitar and vocals, and Ava Schrobilgen picked up the drums without disrupting the momentum. Moments like that made clear how controlled their chaos truly is.

Between songs, Die Spitz spoke with purpose. They expressed gratitude for Third Man Records and the Nashville crowd, and they weren’t shy about addressing what weighs on them creatively—ranging from gender rights, mental health, and human rights in Palestine. Their commentary underscored the urgency embedded in their music.

The encore unfolded like a release of everything the set had been building toward. The closing stretch was celebratory and chaotic in the distinctly Die Spitz way—joyous, unruly, and fully communal. Before closing with “Throw Yourself to the Sword,” the band invited the women in the audience to the front and ceremonially “knighted” several of them, turning the moment into an entertaining but unmistakably empowering exchange that was met with cheers.

Even after an eleven-song main set and a four-song encore, the performance still felt too short—not due to time constraints, but because this band’s momentum makes the minutes feel condensed. Die Spitz strike hard on record, but what sets them apart is how seamlessly that intensity carries into the room.

Whether in a festival field or a tightly packed venue, their shows channel purpose into motion, and motion into connection.