It was Nashville’s first week of “fake fall,” and the crisp evening had fans making the most of the Pinnacle’s outdoor courtyard. But a chill wasn’t the only thing in the air that night.
Excitement and anticipation buzzed around me as I walked through security, into the venue, and upstairs to the General Admission floor.
The first opener of the night was Dylan Cotrone. Cotrone’s set was a simple two-man setup, with Cotrone on acoustic guitar and vocals accompanied by another acoustic guitarist. His cover of Cage The Elephant’s “Ain’t No Rest for the Wicked” had the crowd singing along and set an energetic tone for the rest of the night.
After a short set change, California-based trio Sitting on Saturn took the stage, immediately winning over the crowd. Their high-energy performance took me back in time to the early 00s, the kind of show that makes me wish I could’ve been part of the scene back then.
Later in the night, I got the chance to chat with Hoyt Yeatman (guitar & vocals), Trevor Smith (drums), and Kyle Hart (bass & BGVs).
Although their trumpet player couldn’t make this show, the band still delivered a powerful set, showcasing their unique spark. Formed in 2019, Sitting on Saturn already has three LPs under their belt, and is signed to 311’s label, SKP.
To close out their set, they invited 311’s guitar techs on stage, each wielding their guitar of choice — a PRS for one and a Les Paul for the other. The final moments onstage became an interstellar sendoff for Sitting on Saturn, and an energetic lead-in to Badflower.
Once Sitting on Saturn wrapped up, I headed up to the Pinnacle’s balcony to get a prime view of the stage for Badflower’s set. My connection to Badflower began while I was interning at their label, Big Machine, so getting to see their live performance was particularly special.
Josh Katz, the lead singer, admitted to the audience that he was sick — he had skipped soundcheck to save his voice for the show. Had Josh not brought this up himself, I don’t think anyone would have known — the vocals were as flawless as they are on Badflower’s records, full of raw emotion and undiluted energy.
Bassist Alex Epiritu was especially magnetic on stage, demanding attention and owning every moment. The band poured themselves into each track, playing fan-favorites like “Detroit”, “Ghost”, and “Paws”. I was thrilled when they played “Snuff,” my favorite song for theirs.
No mosh pits broke out during Badflower’s set. This was surprising to me and relieving to the two parents lounging against the barricade with their kids, eagerly waiting for 311.
There was split in age and preference: younger fans came to see Badflower, while older fans were there for 311. The charm of this contrast came when I noticed the mutual appreciation that developed. 311 fans were cheering during Badflower’s set, the younger Badflower fans stuck around to watch 311 perform.
I’m sure it was intentional when planning this tour, but I’ll repeat it here as well: lineups like this highlight the magic of live tours, introducing both fanbases to new sounds and creating shared appreciation across generations.
When 311 finally took the stage, the entire GA floor was packed with a sea of eager fans. Throughout their set, they performed hits like “Love Song” and “Sunset in July”, and deeper cuts like “Freeze Time” off their 1999 LP “Soundsystem”.
Fans of all ages were singing along, proving that 311’s music doesn’t age — it just evolves. On “Beautiful Disaster”, Nick Hexum (Vocals & Guitar) and Tim Mahoney (Guitar) harmonized their guitars to form a captivating, hypnotic break in the song.
By the end of the night, it was clear that great music has no age and will always have the ability to bring people together.
