Childers’ opener, Charley Crockett, began the show by bringing us back to the early 60’s rockabilly-inspired country music. Accompanied by a neon sign like an old honky tonk, a bold electric guitar and piano riffs straight out of a Western, Crockett showcased his unique flair and excellent projection. The storytelling in his performance of “Night Rider” had elements of Johnny Cash and brought the energy to wake up the audience. Building on this, Crockett then played one of his most popular songs, “Welcome to Hard Times,” which prepped the audience for the emotionally complex, yet still fun and funky, music of Childers.
Waiting for Childers’ set in Geodis Park — the venue where I watched my friends graduate last May — put me in a reminiscing mood, which set the tone for my experience throughout the show. Childers’ return to Nashville came at the perfect time: Having discovered him in my junior year of high school, he has written the soundtrack of my young adulthood and college life.
As Childers came on stage, suspense grew as the black-and-white screens behind him evolved into color, and distorted clips of his music started to play. This introduction and the stage, overall, were reflective of a 70’s variety show, with small details ranging from action figures on the keyboard to an old television set playing clips of Childers. This old-school aesthetic was further solidified by Childers’ cardigan on night one and custom letterman style jacket on night two, which had his name embroidered along with patches that seemed to represent some of his songs.
He opened with “Eatin’ Big Time” from his latest album, “Snipe Hunter,” which immediately brought in this fun, not-so-serious energy. Childers proceeded with his typical animated facials throughout the performance, accompanied by background visuals of storybook-like animals frolicking through the woods. These visuals added to the overall details of the performance and really fit the tone and content of each song.
After a few of these more playful, upbeat songs, Childers switched into what I would describe as the “love-song portion” of the show. From “Rustin’ In The Rain,” which Childers himself described as “a bit too randy” to be an actual love song, to “In Your Love,” “Oneida” and “Jersey Giant,” Childers encapsulated all different phases of love and lust. The highlight of this section was “All Your’n,” which took me back to the fall of my freshman year, when I used to walk around Vanderbilt’s campus with this song on repeat — slowly falling in love with Nashville and the new life I was entering.
With a quick change of pace, Childers exited the “love-song portion” with an iconic rant about people and actions he just can’t stand: from people who ride their bicycles on the sidewalk to those who leave their grocery carts in the middle of parking lot. This was a rather fitting segue to his performance of “Bitin’ List,” where he encouraged the crowd to bark towards the end of the song to let out their own anger and hate. I will admit that “Bitin’ List” has also been a part of my Childers journey. I heavily relied on it this summer in my hometown, where minor inconveniences are rampant.
Once again flipping the overall vibes and musical speed, Childers then moved to his second stage to perform “Lady May.” This calming song carried me through many high-stress moments during my time at Vanderbilt, always bringing an immediate sense of serenity, and this performance was no exception. Accompanying this emotional turn, Childers also played “Follow You to Virgie.”
Ending the show on a more theatrical, gospel-inspired note, Childers performed “Old Country Church,” “Way of The Triune God” and other well-known songs, which were accompanied by a stained-glass background. This section of the performance led to more dancing and excitement from the audience.
Childers’ stint in Nashville was filled with vivid details, quick shifts and a deep sense of nostalgia that will stay with me for years, just as his music always has.
