The Basement East was full of Vanderbilt students, recent alumni and younger Nashvillians when Edgehill and Dogpark played a night of indie rock on Oct. 15. This show, a part of Dogpark’s, “Corporate Pudding” tour, encapsulated classic coming-of-age indie rock in two very different, yet complementary, manners.
While waiting for Edgehill to come on stage, I was pleasantly surprised by how many familiar faces I saw and the sheer number of mini reunions that were happening around me. This made sense given that Edgehill is a band comprised entirely of Vanderbilt alumni. I ran into friends, classmates and other Vanderbilt students who I did not expect to see. Meanwhile, members of Edgehill were wandering around to hug and welcome family and friends — making the show feel familiar and intimate. Adding to the communal atmosphere, members of Edgehill’s team passed out temporary tattoos with the band’s logo on them.
As Edgehill took the stage, “We Are Young” by Fun played — fitting as the entire band and much of the audience are still emerging into adulthood. Edgehill then went on with their emotionally charged vocals and songs, which built both instrumentally and energetically over time. Through songs like “I Can Be Your Dog,” Edgehill showcased the edgier, more dramatic side of their music — balanced by songs like “lol” and “Doubletake,” which leaned toward a softer, more emotional tone.
Amidst these darker songs, Edgehill also played some fan favorites like “Shooting Glances,” which got everyone dancing. Songs like this one, which played with typical indie sounds mixed with heavier elements of rock like electric guitar riffs, kept all eyes on Edgehill as they gave a youthful spin to the genre. Edgehill continued to engage with the audience throughout, with lead singer Chris Kelly yelling “Anchor Down” at one point.
With the crowd warmed up, Dogpark took the stage with a casual coolness, allowing the audience to continue to be themselves and have fun alongside the band. Opening with “Hollywood” set the tone for the night, driven by distinct guitar lines from Declan Harris and Billie Apostolou, punchy drums by Chris Conte and a groove that felt effortlessly cool. The lead singer, Eamon Moore, had a distinct, high-pitched voice that cut through the mix — echoey and alive — unlike anything else that night. Songs like “Washington Square Park” and “Dive Bar Named Nirvana” had everyone dancing in some capacity, from head bopping to full out. When they slowed down for “Far Away From You,” the tone grew unexpectedly emotional; one line, “as I leave this sanctuary / so far away from you,” had the room swaying. Between songs, the band stayed relaxed by laughing and trading smiles as if they were just playing for friends.
By the middle of the set, Dogpark showed just how dynamic their sound could be. Their song “Dreamwalker” drew one of the biggest reactions of the night, followed by the moodier new single “I Don’t Mind,” which leaned more angst-driven than their earlier funk moments. Later songs like “Storefront Cabana,” which was tense and emo-laced, built into something bigger, especially when they rolled into their standout song “September.” The final stretch felt raw and unfiltered: guitars cutting deeper and vocals stretching higher.
This was all before they surprised the crowd with a Jonas Brothers cover in honor of their recent show in Nashville, putting their own indie spin on it. By the end of the night, Dogpark’s chemistry was electric, every member feeding off the others. They closed out the night with a mix of nostalgia and forward motion that perfectly captured why they’re continuing to grow within the industry.
While Edgehill showed off the more emotional, moody side of the indie genre, Dogpark leaned into more of the groovier tones. Both bands painted the full picture of what modern indie rock can look like. Something that I really enjoyed while at this show was being able to see Dogpark, who originally hails from New York, be so well welcomed into Edgehill’s hometown and the Nashville community overall.
