I was first introduced to Bruno Major not through my friends or Spotify but my mom when she texted me a YouTube link to a lyric video for “Nothing.” Major’s soothing serenade and the coziness of the lyrics enamored me instantly, and I knew that I had to listen to him in person.
On Sept. 23, Bruno Major and opener Lindsey Lomis graced Nashville with their presence and created a dreamy night of whimsical tunes and transformed Brooklyn Bowl into their world. The night was a full circle moment for Lomis as she won a contest to open for Major in New York City in 2019. Four years later, she opened for him again at one of her dream locations. She started the concert with “DAYDREAMING,” singing with a raspy voice that made me immediately fall in love. Her incredible vocal runs and groovy guitar playing received enormous applause and audible “wows” from the awed crowd.
Lomis sang two unreleased songs with poetic lyricism that resonated profoundly; one about an inescapable feeling and the other about vulnerability in a relationship. From “Simple Love,” she transitioned into a cover of “Just the Two of Us” by Bill Withers and Grover Washington, Jr., receiving gasps in recognition from the audience. The seamless transition and her interpretation of the song truly personalized it as her own. Finishing her act with “Outta Sight (On My Mind),” she left her audience to reflect on her enchanting performance and extraordinary musicality.
As the lights dimmed, projections of Major’s album covers appeared on the curtains, shifting faster from one album to another as Major and his team walked on stage. The whimsical melody of the piano’s first few notes signaled a spotlight to shine on Major as he started singing “The Show Must Go On.” Bodies swayed to his tranquil serenade and heads bopped to the rhythm. As the song ended, the audience welcomed him loudly, and he transitioned to the next song, “Like Someone In Love.” He showed the versatility of his electric guitar as he seamlessly wove the electronic beats into his soothing singing.
Major immersed himself in the performance as he closed his eyes and mouthed the guitar’s notes. This energy was contagious, and the music became a physical presence in the room, surrounding everyone. He followed with “Fair-Weather Friend,” “Wouldn’t Mean A Thing” and “Regent’s Park” where he switched to an acoustic guitar. During “Regent’s Park,” it felt as though he spoke to each member of his team through music, their instruments engaging in musical dialogue and voices harmonizing as one.
The next song, “The Most Beautiful Thing,” co-written with FINNEAS, is a sweet love letter to a yet-to-be-met soulmate. Following this heartfelt serenade, he transitioned to “18,” a deeply personal song. He prefaced it with apologies as it was not the typical vibe for a Saturday night. The sorrowful lyrics resonated with the crowd, bringing some people to tears. In particular, the lyrics “God only knows what we lost that day in the snow” and “‘Cause I’m twice the age you’ll ever be” stirred an ache in my heart. Nevertheless, this moment provided us with an intimate glimpse into his world.
Years ago, when he had just released one or two songs and had not yet gained much recognition, he opened for a band with his song “Home” in London. He exclaimed that the difference was striking in Nashville since people came specifically for his performance. When he sang “Home,” the audience sang along, deeply immersed in his emotions. He continued giving his all to “A Strange Kind Of Beautiful,” “Just The Same” and “Trajectories.” For “Trajectories,” the spotlight shined down on him as he performed on the piano. A hush fell over the audience as we listened intently to his soft singing.
He then asked for song requests from the audience, choosing “Second Time.” However, the next moment was especially memorable as he asked us to make stars with our phones. Hundreds of lights turned on, bathing the venue in a soft, mellow glow, as we sang “Nothing,” one of his most iconic songs.
The atmosphere took a turn as Major performed “Shakey Ground.” The crowd started dancing, and the sounds of drums, bass and electric guitars filled the air. He proceeded to introduce his latest album “Columbo” by bringing a toy car on stage. “Columbo” was not just the name of his album but also his vintage car that he crashed. For him, the car had become a metaphor, representing a period of both potential and unknown.
The performance came to a close with the songs “You Take The High Road” and “We Were Never Really Friends.” Major delivered the “last” song, subtly hinting that it might not truly be the end. As he exited the stage, the audience chanted, calling for his return. A few moments later, Major came back to perform “Easily,” providing a perfect and heartfelt ending to the concert. The night truly was a glimpse into Major’s starry universe.
