Going into this concert, I did not know what to expect as this was my first time attending a show at The Pinnacle. I quickly realized that this was a night of firsts, not only for myself but also for the opener, Mercury, and for Colony House as well. This show was the first time Colony House had filmed a concert, and the live projections throughout the night added a new layer to the experience, making the performance feel more immersive and interactive. It was also the biggest show Mercury had played to date, adding another layer of significance to the night. 

The show doubled as a hometown moment for both bands and marked the final stop of Colony House’s “77” tour. Originally from Franklin, Tennessee, the band, made up of brothers Caleb and Will Chapman alongside Scott Mills and Parke Cottrell, has been building its indie rock presence since 2009. Ending the tour in Nashville felt full circle, as they returned to where it all started while still building something new, blending songs from their recent albums “77 Pt. 1” and “77 Pt. 2,” released in 2025 and 2026, with the classics that got them there. 

The last time I saw Mercury play live, it was in a stripped-down acoustic setting, making this full-band performance feel especially anticipated. They opened with “Born in Early May,” a heavy, grungy track that softened just enough to let lead singer Maddie Kerr’s voice cut through. Her vocals carry a striking contrast, airy and almost fragile at times, then suddenly powerful, stretching into improvised runs that gave the song a restless edge. 

“I think this is the biggest show we have all ever played, so pretty special,” Kerr said. “Thanks to all of you for making it special.” 

The band then played “Special,” a song centered on not feeling like an equal, which added a layer of vulnerability to the set. Tension carried through their performance, as the crowd remained relatively still, taking in the band’s layered sound. Tracks moved between breathy, restrained verses and swelling choruses, often marked by pauses that heightened the anticipation. Red lighting also increased the intensity of their more aggressive rock moments, while darker, moodier tones gave the set a slightly anxious edge. At times, the vocals were harder to make out, but that almost added to the atmosphere, blending into the band’s mix of whispery indie and grungier rock textures. When they played their last song, “Heaven,” the contrast in their sound came into full focus. Kerr’s softer, higher register floated over the band’s heavier instrumentation, creating a balance that felt both eerie and controlled, while capturing what makes Mercury’s sound so distinct. 

By the time Colony House took the stage, The Pinnacle was filled with anticipation. The band opened in near darkness with a neon “77” sign slowly filling with light as the band played their opening track, “77.” This let the tension build, and it set the tone for a show that was as visually intentional as it was sonically dynamic. Songs like “Highwire” followed with driving percussion that could be felt through the floor, especially as the crowd jumped up and down, shifting between explosive full-band moments and lead singer Caleb Chapman’s vocal isolations. 

“It’s good to be home, y’all,” Chapman said after the first few songs. “Colony House is from just a little further south. Let’s have a good night.” 

The setlist moved fluidly between eras of the band’s catalog. “Would Ya Could Ya” and “Ready to Go” brought a lighter, more playful energy, with the crowd clapping and dancing along, while “Silhouettes” showcased a breezy, nostalgic tone that catered to their early fans. Similarly, “You & I” leaned into Colony House’s earlier, wilder sound, with funky riffs and high energy feeling. 

“That one’s for you,” Chapman said after an older song. “This one’s for us.” 

This marked a shift into the band’s newer material from the “77” album. They played “Taking a Fall,” a song the entire band clearly connected with, particularly the drummer, whose energy set the tone. “You’re Right Where You’re Mean to Be” followed as one of the night’s most intimate moments, with the crowd singing back the title refrain, turning the song into a shared affirmation that returned multiple times throughout the night. 

That connection carried into one of the night’s most memorable moments when a fan named Henry was brought onstage to play guitar for “2:20,” which is a fast-paced, technically difficult song. What began as a lighthearted exchange quickly turned into a standout performance, with the crowd chanting his name as he held his own alongside the band. 

As the show moved toward its close, Colony House balanced high-energy rock with quieter reflection. “Moving Forward” stripped things back, with the band gradually gathering around a single microphone, reinforcing the sense of unity that defined the night. Later, Chapman stepped into the crowd during “Looking for Some Light,” turning the massive venue into something that felt unexpectedly personal. The encore stretched on in a way that felt almost intentional, refusing to let the night end too quickly. Footage of the band driving into Nashville played across the screen, adding to the homecoming atmosphere before they launched into one of their most well known songs, “You Know It,” a fitting near-finale that had the crowd fully engaged.  

Even then, they were not done. The band pushed into a final stretch of high-energy songs such as “Landlocked Surf Rock,” closing with a performance that felt loose, celebratory and just pure fun. 

For a tour built around movement and growth with the release of the “77” albums ending in Nashville allowed Colony House to reflect that journey back onto the place it started. With cameras rolling and a hometown crowd fully invested, the night became more than just a final stop. It felt like a marker of where the band has been and a signal that they are not staying away for long.