When I entered The East Room, I knew immediately I was in for something different. From the unassuming alleyway entrance to the venue’s raw, grungy atmosphere, it was clear that conventions were to be left at the door. Inside, there’s no space for judgment — only for music, intimacy and connection, served from a small stage and to whoever claims it for the night.
By the time I arrived, a crowd had already formed around the stage and was buzzing with anticipation. At first, I assumed the group was longtime friends because of their effortless rapport, but, as I listened, I realized the group had traveled from different cities and states to meet up at the show. That’s the magic of The East Room and of music itself: the power to dissolve divisions in favor of shared experience.
The night opened with a taste of Nashville’s soul: Emma Ogiers, a young country artist with an acoustic guitar and a classic country accent with a distinct Gen-Z flair. Joined by her brother Aidan Ogiers on the electric guitar, Emma Ogiers delivered a set full of honest humor and unfiltered emotion. Only one song in her set has been officially released, so it was an enticing sneak peek into her bright future.
“I was in a bad contract that disabled me as an artist,” Emma Ogiers shared between tracks, but she added that new music was on its way.
Her openness set the tone for the night: raw, real and rooted in connection.
(Jo Anderson)
Next came Benét, an unapologetically queer artist who transformed the stage into something between acoustic storytelling and a comedy set, moving fluidly between melodies and banter.
“What kind of gay person are you?” Benét teased an audience member who sheepishly admitted they hadn’t watched the show “Killing Eve.”
Benét’s authenticity didn’t just entertain — it invited the audience to laugh, reflect and engage. His energy lingered, and he later returned to join Daisy the Great on stage for a group performance.
When Daisy the Great took the stage, fronted by the magnetic duo of Mina Walker and Kelley Dugan, the room shifted again — this time into something electric. Launching into playful renditions of “IDKW” and “Glitter” with Walker on bass, the band immediately drew the audience in. With the stage so close and the performance so personal, the line between performer and listener became blurry. The band paused to thank their openers for both their music and their humor, and brought Benét out for a crowd-favorite trio version of “I’m Fine,” a first for this tour.
Later, Walker and Dugan spoke about their recent EP “Spectacle: Daisy the Great vs. Tony Visconti” and reflected on the surreal experience of working with Visconti — best known for his decades-long collaboration with David Bowie. They followed with a performance of the EP’s single “Fireman!” in a highlight of the set.
The energy softened as the band shifted into a trio of unreleased songs from their upcoming album titled “The Rubber Teeth Talk.” The final of the three, “Dog,” was introduced with a story from Dugan, who explained the song was inspired by spotting a Winnie the Pooh stuffed animal lying face-down in a puddle during a rainstorm. The audience responded with collective affectionate sighs in a moment of shared emotion and then burst into laughter.
To close out the evening, Daisy the Great launched into a rapid-fire finale, which included the upcoming album’s lead single “Ballerina” and their viral hit “The Record Player Song,” which had the crowd joyfully scrambling to keep up with its fast-paced lyrics. By the end, the room was buzzing — not just with sound, but with connection, laughter and something more lasting.
At The East Room, it doesn’t matter where you came from or what brought you there. For a few hours, you can feel part of something intimate, unpolished and deeply human. And that’s what makes it feel so special. Daisy the Great reminded me that music isn’t just heard, it’s shared. At their show, the spirit of togetherness was alive and well in every note.
