Briston Maroney’s “Paradise Festival” has become a beloved event within the Nashville community. 2024 marked the third year of the festival, and Maroney brought the energy to match fans’ anticipation.
On the second night of the festival, I was eager to immerse myself in the vibrant energy of “Paradise” and see how the crowd would respond to the evening’s trio of supporting acts. Brooklyn Bowl, already buzzing with excitement and adorned with massive disco balls, felt like the perfect venue for a diverse lineup of performers, each with their own flair.
The festival stage was an immersive wonderland — a carefully curated explosion of whimsy that Maroney described as “Rainforest Cafe on LSD.” Picture this: towering plants and trees shimmering under multicolored lights, ambiguous creatures prowling in the shadows and bursts of glimmering reflections and neon hues that flashed with every beat of music. It was a kaleidoscopic dreamscape that blurred the line between fiction and reality, setting the tone for a night where anything felt possible.
Rising star Hana Eid opened up the second night of “Paradise” at Brooklyn Bowl. Eid was raised in Northern Virginia and moved to Nashville to attend Belmont University. While Eid’s opening set was brief, her airy vocals and personal lyrics made a lasting impression on myself and others, captivating a restless crowd. Seated at center stage with just an acoustic guitar and a microphone pressed close to her lips, she delivered a raw and intimate performance that felt almost confessional. Her set featured tracks from her latest EP, “I Exist Because You Say So,” alongside a tender, newly written song crafted just two weeks prior.
Eid took a moment at the end of her set to share her favorite track off the EP, “Austin Song,” which also happened to be my personal favorite as well. Before performing the song, she described the hit as a “sad banger,” sharing the backstory of the song’s creation. Eid candidly shared the origin story behind its title, explaining to the audience why she chose Austin as the setting instead of the actual city, Boston. She admitted that using the real city would feel too on the nose and might give her ex a little too much confirmation about the song’s inspiration.
Throughout her performance, Eid scanned the growing crowd with wide eyes, her expression shifting between awe and joy. She repeatedly expressed gratitude to both Maroney and the audience for the opportunity to share her music, her voice tinged with excitement.
“I’m just stoked,” Maroney said.
Second in the lineup of impressive talent was Chicago-based indie band Bnny. Fresh off a year of promoting their latest album, “One Million Love Songs,” released in April 2024, the band brought their signature style to the stage under the warm glow of neon lights. Their performance was filled with stunning contradictions — melancholic lyrics delivered with a soft, breathy sound layered over punchy instrumentation. The interplay of multiple guitars, bass and drums gave each song a rich texture, serving as a powerful counterpoint to lead singer Jessica Viscius’ hauntingly delicate vocals.
Despite the emotional weight of their songs, Bnny kept the mood light. Their onstage chemistry shone through in playful banter and shared laughter. At times, it felt like the band was letting the audience in on an extended inside joke, with the members exchanging grins and even breaking into laughter mid-song. Jessica Viscius moved deliberately across the stage, pausing occasionally to connect with the crowd or join in the humor, letting the audience feel like part of the band’s world.
One particularly heartwarming moment came when Jessica paused to share a secret with the audience. Her sister Alexa, the band’s bassist, is pregnant with their guitarist Tim’s child. She revealed that the band affectionately refers to the baby as “Peanut” on tour, earning cheers from the crowd. The anecdote was emblematic of Bnny’s charm — a close-knit group that feels more like a family than a band.
Closing out the trio of supporting acts for the evening was folk-pop artist Yoke Lore, who brought an electrifying energy to the stage that had the crowd buzzing from the first note. Known for his dynamic performances, he leaped high into the air mid-song with his banjo strapped across his chest, as though he could hardly contain his energy. The crowd mirrored those movements, turning the Brooklyn Bowl into a bouncing, unified wave of excitement. Constantly in motion, darting across the stage and hyping the audience with every beat, Yoke Lore’s presence was magnetic, sparking a dance party that swept through the venue like wildfire.
Between songs, Yoke Lore shared a heartfelt sentiment, reminding the audience that taking care of one another is what Paradise is all about. His words resonated, adding a layer of connection that elevated the set beyond just music. At one point, he crouched at the edge of the stage, leaning into the crowd to let a few lucky fans press buttons on his soundboard, blending their voices into his performance — a playful, interactive moment that fans will likely remember for a long time.
As the night neared its peak, Yoke Lore launched into the crowd-favorite and his biggest hit, “Beige.” The room erupted with the sound of hundreds of voices merging to sing the powerful chorus in unison. Yoke Lore’s set was an unforgettable mix of high-energy performance, heartfelt connection and playful spontaneity. It left the audience exhilarated and perfectly primed for the headlining act to follow.
Finally, Briston Maroney took over for his highly anticipated closing set.
You guys want to get a little loosey-goosey with it?” Maroney said. “If you’ve got it in you, please go on this journey with us. We’re heading to a place I like to call Paradise Land.”
Kicking off his set with three back-to-back hits, Maroney reflected on the festival’s origins.
“Three years ago Paradise began. That’s over 5,000 days ago. A lot has changed since then, but one thing [that] has not changed [is] how much we appreciate you spending time with us. Spending time with each other is the most important thing in the world,” Maroney said.
These heartfelt words encapsulate the festival’s pillars of connection and community. Maroney made it clear that “Paradise” is not simply about music — it’s about fostering a space of togetherness.
Maroney’s set was a celebration of those bonds. Surrounded by loved ones on stage, he wove the narrative of his life into his performance. He highlighted his friendship with guitarist Devin Badget, his best friend since childhood, sharing how playing alongside Devin was a dream come true. Later in his set, Maroney paused to acknowledge gratitude for his father’s support throughout his career. In a tender moment that drew loud support from the audience, he dedicated his next song, a surprising and energetic cover of ACDC’s “Back in Black,” to his dad, who was watching proudly from the balcony, unmissable in his cowboy hat. Maroney then implored his fans to “go absolutely bananas” in honor of his dad.
One highlight of the night was a brand-new song, “Real Good Swimmer,” inspired by his Tennessee roots. Before playing it, he offered the audience a glimpse into his teenage years, saying with a laugh, “I used to smoke cigarettes and snack on gizzards.” The remark drew cheers from the crowd and also painted a vivid picture of the small-town Southern life that informs much of his music. The song, with its strong guitar riffs and metal-inspired sound, showcased Maroney’s evolving artistry while staying true to his typical storytelling.
The emotional high point came with his hit “Freakin’ Out on the Interstate.” As the crowd screamed the chorus back to him, Maroney appeared visibly moved, his eyes glistening as he absorbed the moment. During the encore, his gratitude overflowed.
“Thank you so much for asking us to come back out,” Maroney said. “It means the absolute world.”
Reflecting on the power of good people coming together, Maroney left the crowd with a spontaneous promise to get a tattoo the next day — a fittingly carefree conclusion to a night that perfectly embodied the spirit of “Paradise.”
