Shows & Events

Madi Diaz is an artist who cuts to the emotional core of her own experiences with startling precision. Her last two albums, 2021’s History of a Feeling and 2024’s two-time Grammy-nominated Weird Faith, set off a breakthrough for the professional songwriter. These records won over critics, audiences, and other collaborators with well-crafted songs and a compelling arc: first there’s the difficult breakup, then a mourning period and slowly, a sense of reinvention; when love comes around again, Weird Faith seemed to say, it’s worth fighting through the fear and uncertainty. Fatal Optimist, the Nashville singer-songwriter’s forthcoming LP, could be considered the final chapter in this heartache trilogy, and also its rawest entry. This time Diaz is asking audiences to lean closer in to hear what she has to say.

It might’ve even been last night, but Steve Poltz just played the greatest show of his life. Guess what? The next show will be even greater, making that show the greatest show of his life. Are you starting to notice a trend? He isn’t shy about it either. Even after most likely thousands of shows (but who’s counting?), he hits the stage with the same amount of energy and always makes sure to declare, “This is the greatest show of my life.”

Baby Man, the new album by Fruit Bats, is like nothing else in Grammy-nominated songwriter Eric D. Johnson’s catalog. Little in the arc of his career—including Fruit Bats’ evolution from home recording project to rollicking roadshow, his solo output, and his work with Bonny Light Horseman—points the way to this album, in which his only accompaniment, aside from the occasional blush of synthesizer, is a guitar, banjo, or piano. Save for producer Thom Monahan, reuniting with Johnson for the first time since Fruit Bats’ 2019 breakthrough Gold Past Life, it’s just Johnson in the room, meaning that when the turntable’s needle meets Baby Man’s groove, it’s just him and the listener, mutually in for a reckoning.