Autoheart’s recent performance at Exit/In in Nashville felt like a full survey of the band’s range—sonically and emotionally. Touring in support of their latest album Heartlands, the London-based trio moved through a set that shifted from buoyant to introspective, from crisp pop to atmospheric, all without ever losing momentum. Rather than feeling scattered, the variety shaped the entire night—proof that Autoheart’s range isn’t just broad; it’s compelling.
The crowd filled in early, a mix of longtime followers and newer listeners who’ve connected with Autoheart through streaming and viral moments. Even before the band started, the room already felt attentive. People weren’t just here to hear songs; they were there to engage.
The set started with the bright “Indigo Chateau,” the soaring “Heaven Is My Destination,” and the melodic “Baby Bird,” an opening trio that not only eased everyone into the night but served as a preview of the ground to be covered. As the band transitioned to the rhythmic “Sad Divide,” the crowd spontaneously swayed, some with hands raised in the air. The audience, already coming together as one, drew an anticipatory breath and cheered when singer Jody Gadsden teased that there was a rumor the next song might be a love song, prompting everyone’s attention for their viral hit, “Stalker’s Tango.”
From there, the mid-set stretch showcased just how far Autoheart is willing to go sonically. “Moscow” arrived with a noticeable sense of joy. “My Hallelujah” leaned towards straight-up pop, while in places it brushed against baroque pop. As the energy lifted again, “Time Machine” hit with an anthemic pulse, and “Hellbent” even brought a slight disco influence into the mix. Sonically, the setlist kept you focused. You never wanted to miss what might happen next.
Almost as important as the group’s musical range was the emotional connection between the band and its fans. Early on, Gadsden spoke about his own anxiety and the role music plays in finding steady ground. That reflection led directly into “Agoraphobia.” Performed live, the song felt softer and more vulnerable than on record, inviting a quiet stillness into the room as people softly sang along, a few tears visible in the crowd. A similar moment surfaced later with “Wretch,” a song rooted in inner turmoil and the desire for redemption. Before playing it, the band mentioned how often fans had told them that they felt connected to that song when dealing with strife. The band seemed both grateful and humbled by that bond. The room listened in stark quiet. Instead of heaviness, there was a sense of communal understanding.
After the main set, the band stepped offstage briefly before returning with a grin: “We love hearing you chant ‘one more song,’ but you’re getting three more.” The encore, the familiar “The Sailor Song,” “Anniversary,” and “Factories,” brought widespread singalongs, each separated by loud cheers. The encore felt neither tacked on nor were they merely holding the best for last. Instead, it felt like a planned release to leave the crowd both musically and emotionally fulfilled.
Across more than twenty songs, Autoheart never settled into one lane. Instead, they moved deliberately through moods and textures, proving that range isn’t just a feature of their catalog, it’s the defining quality of their live identity. It’s a perspective that turned a winding setlist into something cohesive, purposeful, and unmistakably theirs.
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What hearing protection do we use at concerts? The Loop Switch2:
