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8 Off 8th: Hosted by McKay's Books

8 Off 8th: Hosted by McKay's Books

Mon · April 24, 2017

Doors: 7:00 pm / Show: 8:00 pm


This event is 18 and over

Doom Country and Shitty R&B
Brian Smith and the Noise
Lovely Steel
Jonni Greth
Jonni Greth
Singer/ Songwriter Jonni Greth spent years traveling the Eastern United States-playing music in every town he visited- before arriving in Nashville. His style, which runs the gamut from spooky alt-country to lush, string-heavy Americana, revolves around his earthy fingerpicking style and warm, philanthropic melody lines. Greth draws inspiration from old hymnals, and from songwriting greats such as John Prine, Leonard Cohen, and Bill Mallonee.

At age six, Greth's father used the family's tax return money to buy his son a ¾ sized Gremlin acoustic guitar. A childhood hobby grew into a lifestyle as the young songwriter honed his craft at shows around the United States and overseas. His showcases included the Frank Brown International Songwriters Festival in Gulf Shores, Alabama, and Cornerstone Festival in Bushnell, Illinois.

Working the festival and independent folk circuits enabled Greth to connect with many other creative forces, such as bluesman Glenn Kaiser, who he lived with and worked beside for years. He has also collaborated with experimental folk artist Bill Tucker, and jazz singer/songwriter Ami Moss, who have both recorded Greth's songs. His religious imagery and roughly-hewn lyrics also inspired author Nick May to write his underground novella Megabelt.
"Get his album," said May, "Maybe you'll write a book."
Kirstie & David Frank
The Chewers
The Chewers
The Chewers are Travis Caffrey and Michael Sadler, two freaks from the woods of West Virginia. After incubating separately in the strange, timeless hills of the back-woods, they met and eventually wound up (quite arbitrarily) in Nashville, Tennessee.

Within a dense fog of cultish isolation, they create deliberately off-kilter music. Each Chewer plays various instruments which coagulate into an eclectic blend of deadpan, primitive rock, heavily focused on rhythmic interplay and unbalanced semi-melodic car-crashes.

The songwriting has a strong isolationist streak running through it. The songs feature characters who are immersed in psychological hells, struggling with deep disconnect and dissatisfaction with the society they live in. Though thematically dark, these subjects are presented with a crooked sense of humor and the absurd.


Reviews of The Chewers

"Twisted hillbilly noise-rock...fascinating, unpredictable, and doesn't sound much like anything else I've heard lately."
-Music for Maniacs

"...full to the brim with mind melting, idiosyncratic, Beefheartian punk from the outer limits..."
- The Devil Has The Best Tuna

"Outstanding -- funny, weird, and rocking."
-Johnny Dowd

"...Pessimistic, avant-garde Americana, but with a wry sense of humor. The deadpan vocals delivered over a musical candy store backing are not for the squeamish. The songs, short as they are, demand the full attention of the listener...The duo wants to be heard, but crowd-pleasing isn't part of their vocabulary."
- Here Comes the Flood

"...Rugged, roughly-hewn, juddering oddball folk, the perfect soundtrack for a doomed world...Nightmarish, witty, compelling and deeply, deeply unusual."
-Neill Dougan (

"(They sound) as though a couple of tattooed hillbillies decided to retire early from the bathtub speed trade and form a band based on the Residents and Tom Waits records they found at a yard sale in Wheeling."
-The Weirdest Band in the World

"The Chewers address (themselves) to the awkwardness and uncertainty of real people, with rhythms that mimic the gestures of rock, but stumble along like the slightly-overweight and under-rested on their way to work after a disturbed night on a cheap mattress...There's creativity and intelligence in every moment of this album, even at its most random and bizarre, and its most serious points are directed via that most subversive of channels: laughter."
-Oliver Arditi (

"Most of what they do involves rudimentary guitar lines which complain like old suspension springs; drums thumped with a bastardized ritual technique; frowning, stump-handed bass playing which is too big for the room, but too inert to leave it. They sing, after a fashion -- usually in a menacing deadpan creak, sometimes in a gruff, lobotomized roar. Melodies are torn off, like unwanted paint. They strip everything down to a trapped and surly chug...Their Americana is absurd and brutal, part Faulkner and part 'Gummo'..."
- Dann Chinn (
The Billy Ocean
Venue Information:
The High Watt
One Cannery Row
Nashville, TN, 37203