By admin 
HangupsMusic.com – Nashville, Tennessee – On a balmy Saturday evening, August 23rd, the hallowed halls of the Ryman Auditorium bore witness to an extraordinary musical event that transcended the typical concert experience. Fans of Big Thief, arriving for what they anticipated would be a standard, albeit stellar, performance, found themselves immersed in a once-in-a-lifetime unveiling. The Brooklyn-based indie-folk darlings, known for their raw lyricism and ethereal soundscapes, chose the Mother Church of Country Music to debut their forthcoming, unreleased triple album, Horsepower, in its entirety, accompanied by a pantheon of Americana and roots music legends.
The air inside the historic venue was thick with a palpable sense of anticipation even before the show began. Subtle cues hinted at an evening far from ordinary: the conspicuous absence of an opening act, strategically placed notices requesting audience members to refrain from phone usage, and a stage adorned not just with Big Thief’s usual setup, but with an array of additional seating and instruments – particularly several fiddles – suggesting a much larger ensemble. The moment Adrianne Lenker, Buck Meek, and James Krivchenia, joined by touring bassist Joshua Crumbly, settled around a rustic, enigmatic wooden table and remained seated for almost the entire duration of the performance, the audience collectively realized they were in for something truly unprecedented.
Adrianne Lenker, understated in jeans and a patterned shirt, addressed the expectant crowd. She explained that Horsepower was recorded in Nashville the previous May, though she didn’t specify whether Woodland Studios – co-owned by guest Gillian Welch and David Rawlings – was the site. Lenker then revealed the evening’s unique format: the album would be played in full, but not in its intended sequence. She gently managed expectations, acknowledging that those hoping to hear fan favorites like "Not," "Simulation Swarm," or tracks from their 2025 release, Double Infinity, might need to adjust their desires. "If you had some hopes of hearing some of the songs you might know, those could be discarded," Lenker stated, before promising, "But if you’re all open to it, it could be a really unique night of music." Her words set the stage for an immersive journey, divided into two distinct sets with an intermission.
Lenker’s assurance proved prophetic. The performance began intimately, with her playing the first song solo on an acoustic guitar. Gradually, additional musicians were welcomed to the stage, each adding a new layer to the evolving sound. This organic expansion felt like a natural culmination for a band that has consistently woven threads of folk and country into their distinctive indie rock tapestry. The Ryman, with its legendary acoustics and deep roots in traditional music, provided the perfect crucible for this sonic exploration.
One of the most striking revelations of the night was the album’s deep lineage within the Big Thief canon. While the band didn’t explicitly name all 29 tracks of Horsepower as they performed them, many were far from unheard. Songs such as the title track, "Happiness," "Baby Honey Sweet Darlin," "Spatchcock Chickenshit Bingo," and "Muscle Memory" had previously graced Big Thief’s live sets, often appearing in markedly different arrangements. Even Lenker’s solo album, Bright Future, featured "Sadness Is a Gift," now re-imagined within the band’s expansive new work. In fact, nearly two-thirds of Horsepower‘s vast tracklist had been road-tested over the years, some dating back to the very origins of the band, including "21" (originally known as "Bloom"), which Lenker noted was the first song she and Buck Meek ever wrote together. This deep well of material, now coalescing into a singular, monumental statement, underscored the album’s profound personal history for the band.
The iconic guest artists were not merely adornments but integral voices shaping the album’s distinct sonic identity. Iris DeMent was the first legendary figure to join the band on stage, a fitting choice given Lenker’s often-cited admiration for DeMent, a connection she once shared with Rolling Stone: "When Buck and I first met, we bonded over Iris DeMent. It’s a deep part of us." DeMent’s distinctive vocal timbre blended seamlessly with Lenker’s, adding a layer of seasoned warmth. Gillian Welch followed, lending her masterful acoustic guitar and banjo work, further enriching the folk textures. The formidable Lucinda Williams completed the legendary trio, gracing the stage for the final two songs. The combined harmonies of Lenker, DeMent, Welch, and Williams created a tapestry of voices that resonated with authenticity and emotional depth. DeMent, in particular, radiated joy, clapping and swaying in her seat, occasionally offering an encouraging pat on Lenker’s back, who admitted to pre-performance nerves.
The Ryman performance showcased Big Thief’s most overt embrace of country and roots influences to date. Beyond the core quartet and the celebrated guest vocalists, the stage swelled with an esteemed collective of session musicians. Greg Leisz and Russ Pahl provided exquisite steel and guitar work, while Zosha Warpeha, Richard Bowden, and Hannah Read formed a captivating three-piece fiddle section. This assembly of talent, combined with the album’s Nashville origins, yielded Big Thief’s most "twangy" and richly arranged output yet. However, to label it solely as country-folk would be reductive. The influences woven into Horsepower are remarkably diverse, echoing the poignant storytelling of Gram Parsons and John Prine, the intricate melodies of Joni Mitchell and Paul Simon, and even the atmospheric depth of Radiohead. The presence of Williams, DeMent, and Welch undeniably cemented the album’s Americana credentials, yet it retains the experimental edge and introspective spirit characteristic of Big Thief. The album is also a masterclass in narrative storytelling, replete with "on-the-road" anthems that traverse the complex, often heartbreaking, yet undeniably beautiful landscapes of human experience.
Beneath the intricate arrangements and guest appearances, a profound philosophical current ran through Horsepower: Big Thief’s ongoing contemplation of happiness and resilience in a world fraught with challenges. Lenker’s poignant query on "Beautiful World" – "This fucked up world, why must everything be conquered?" – highlighted a deep concern for humanity’s trajectory. Yet, the album offers no embrace of despondency. Instead, happiness emerges as a recurrent motif, alongside themes of love – explicitly so when Lenker dedicated "6-7-8-9 She’s Fine" to her girlfriend. The band explores various avenues for cultivating joy and even playful absurdity amidst the chaos. "Spatchcock Chickenshit Bingo," a delightfully whimsical track, offers a whimsical catalogue of coping mechanisms: "Put your pants on backwards/Walk to the store like that." This particular song, with its lighthearted instruction, marked a playful departure for the band, perhaps even hinting at the first Big Thief track ripe for a viral social media dance. The evening culminated with "Gift Pleasure Joy," a song Lenker revealed was penned in the studio during the album’s recording, a direct reflection on the creative process itself. "What a gift, what a pleasure, what a joy," she sang, finally rising from her seat for the only time that evening, her voice imbued with a sense of profound gratitude. It was a clear invitation for the audience to seek and cherish their own sources of "gifts, pleasure, and joy" in the world.
Adding another layer of anticipation to this already momentous occasion, the entire Ryman performance was meticulously documented by multiple cameras. The band confirmed that this footage is intended for a future concert film, the details of which remain under wraps. Similarly, the official release date and announcement details for Horsepower are yet to be revealed, leaving fans eagerly awaiting further news. However, for those who missed this initial, unforgettable debut, a second opportunity arose. Big Thief planned to repeat the entire performance the following night in Nashville, Sunday, August 24th, potentially with the same esteemed special guests. For those with the means and spontaneity, a last-minute trip to Nashville offered a rare chance to experience another iteration of this truly unique and historic musical event.
