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Yahoo
17-07-2025
- Entertainment
- Yahoo
Nashville's top 10 rooftop bars: Drinks and views away from downtown
While Broadway rooftops might draw all the chair-throwing drama and bachelorette-party chaos, sometimes you just want a quiet cocktail, high above the fray. Some of Nashville's best rooftop bars aren't anywhere near Lower Broadway. You won't find pedal taverns circling below or a cover band playing Wagon Wheel. Or at least we hope so. What you will find: Killer cocktails, noise levels that allow for conversation and a welcome breeze. In East Nashville, Germantown, Wedgewood-Houston, Green Hills, Midtown and even Franklin, rooftop bars offer a much-needed break from the Broadway burnout, not to mention cheaper parking and better people-watching. The view? That's just a bonus. Coral Club This watering hole brings tropical daydream vibes to the most unlikely of places: a strip mall across the street from an Aldi. The drink list leans toward beach club over tiki bar. The breezy, balanced theme is clear in cocktails like the White Port Cooler, a mix of gin, white port, cucumber, lemon and just enough strawberry to whisper summer. If that doesn't make a Tuesday feel like vacation, the plant-filled rooftop patio with East Nashville views and a glimpse of downtown will. -Mackensy Details: 604 Gallatin Ave Ste 217, Tall Tales Rooftop Bar Newcomer Tall Tales is at the top of Waymore's Guest House on Gallatin Pike in East Nashville. If you haven't heard of it yet, catch up quick. Tall Tales offers a lovely view of the Nashville skyline from a safe distance, plus stellar golden hour lighting. The aesthetic is kicked up a notch with tons of overflowing foliage and comfy patio furniture. There's plenty of room to hang out with large groups of friends, and service is great from attentive waitstaff and skilled bartenders. Plus, there's happy hour every day and frequent late night specials. -Molly Details: 811 Main St, Ramone's Oyster Bar & Citrus Club Wedgewood-Houston's first rooftop bar comes with long-range views of the downtown and gorgeous design. Perched above Mercado by Butchertown, Ramone's Rooftop feels like a breezy escape, even though you're just minutes from the city core. An extensive raw bar anchors the Baja-inspired menu, including seafood towers, while the cocktail menu leans light and fresh with plenty of agave-forward sippers and ingredients that nod to the tropics. -Mackensy Details: 625 Hamilton Ave., SkyBar Atop the Hilton hotels in Green Hills and Capitol View are two bars perfect for sunset watching and sipping on mojitos— which they serve with coconut, watermelon and blood orange varieties. The former is a classic poolside bar that offers tapas and "tiki bar-style" drinks, while the latter features a view of the statehouse and rotating frosè flavors, all of which sound delectable. It can be enjoyable to lean into the serenity that comes with a staycation, even if it's just for happy hour. -Hadley Details: 3801 Cleghorn Ave, Green Hills, and 530 11th Ave. N., Capitol View, Up/Down Yes, it's a chain. Yes, it's full of arcade games. But the rooftop bar boasts an exceptional view of downtown that's a bit hard to find east of the river. There are private booths, fire pits and plenty of space to spread out. And it's hard to argue with a vodka-spiked Rosé Frozé in hand as the sun dips behind the skyline. -Mackensy Details: 927 Woodland St., Culamar The rooftop of this seafood-forward restaurant from Frank Pullara features some easy breezy favorites from downstairs — think curated East and West Coast oysters, ceviches and shrimp cocktail, plus more substantial additions such as po'boys and gyros. The cocktails are thoughtful and clean, the wine list smartly edited, and the view of Franklin's historic downtown feels especially charming by the glow of the rooftop firepits. -Mackensy Details: 99 E Main St ste 190, Franklin, The Pool Club at Virgin Hotel The Virgin's rooftop takes the concept of a "hotel bar" to the next level. Greenery, disco balls and red and white striped umbrellas decorate the nearly 360-degree view of Nashville's evolving Midtown neighborhood. Guests can request seating on the pool deck or inside by the DJ, but if you want a tip, order at the bar and then head out the back door to a more secluded space overlooking Division Street. Expect a fun take on bar food ranging from burgers and chicken tenders to barbacoa bowls and kimchi fried rice to accompany the summery cocktail list ranging from $16-45 and select beers starting at $7. -Hadley Details: 1 Music Square, Reunion Bar Another East Nashville favorite, Reunion Bar has a relaxed vibe and multiple areas to enjoy drinks with friends. Check out the indoor bar area, garden patio and rooftop space depending on your vibe. The happy hour at this spot is serious business. Catch it Monday through Friday from 2 to 7 p.m. Deals include two-for-one draft beers, shot and beer combo specials and specials on wine by the glass. -Molly Details: 105 S 11th St. Eddie Ate Dynamite This one flew under our radar for a while, despite the fact it's right by The Tennessean's Midtown office building. Eddie Ate Dynamite, on the seventh floor of Hotel Fraye, is a low-key spot with rotating craft cocktail options and a handful of happy hour deals. There's a covered area, so you'll be fine even if the weather isn't perfect. Find also: comfy seating, friendly bartenders and access to the hotel's pool area. -Molly Details: 1810 Broadway, Top Note Perched equally on the outskirts of Germantown and Downtown, Top Note is one of the lesser known spots on the list. Its bohemian interior design meets a concrete-filled view over Nashville Municipal Auditorium and the Nashville Sounds' distant scoreboard, but there's plenty of space, live music and indoor/outdoor seating available. There are $11 and under wine and beer options, a few $16 signature cocktails and a varied Tennessee whiskey list— joined with a hefty food menu of steak, salads, sandwiches and pasta. Don't miss the entrance on 3rd Avenue, separate from the TownePlace Suites hotel entrance on Gay Street. -Hadley Details: 505 3rd Ave. N., Mackensy Lunsford is the senior dining reporter at The Tennessean. Reach her at mlunsford@ Hadley Hitson covers business news for The Tennessean. She can be reached at hhitson@ To support her work, subscribe to The Tennessean. Reporter Molly Davis covers growth and development in Nashville. Reach her at mdavis2@ This article originally appeared on Nashville Tennessean: Nashville rooftop bars: Our recommendations beyond Broadway Solve the daily Crossword
Perth Now
18-06-2025
- Entertainment
- Perth Now
The star will be joined by award-winning entertainers
The City of Belmont is set to come alive with the glitz and glamour of world-class entertainment as Australian cabaret royalty Rhonda Burchmore headlines a brand-new pop-up event at the AfterDark Performance Lounge. The five-night cabaret spectacular will see The Glasshouse venue in Faulkner Park undergo a dramatic transformation that will see it turn into an intimate, fully licensed cabaret lounge. Burchmore, who most recently featured in the hit musical Sister Act, will debut her new show Tall Tales, an evening of her heartfelt and hilarious journey through four decades in the limelight. Your local paper, whenever you want it. 'I will be opening the vault on my 40-year career in showbiz, sharing wonderful stories and killer songs that will fit perfectly in the intimate AfterDark Performance Lounge.' she said. 'It's so wonderful to see a new performance venue popping up in Belmont and engaging such an incredible line-up of fabulous cabaret stars.' Belmont mayor Robert Rossi said the event was a great chance to bring world-class entertainers to Belmont's local stage. 'AfterDark brings outstanding live performances to our local community and sees the Glasshouse venue transformed into an intimate space hosting a bold and brilliant line-up of performers,' he said. 'We're offering discounted tickets for local residents, making it easier for more people to enjoy a high-quality artistic experience.' On top of Rhonda's appearance, the series will host some of Australia's other brightest cabaret stars such as Mama Alto, Michael Griffiths, Gina Williams and Guy Ghouse, and Libby Hammer and Ali Bodycoat, each bringing their own flair to the experience. Mama Alto will present her WA premiere of Transcendent, a soul-stirring show blending classic songs with some unexpected delights. Helpmann Award winner Michael Griffiths will lead his band through a joyous tribute to the legendary Peter Allen, who was known for his flamboyant stage presence. Award-winning Michael Griffiths will pay tribute to Aussie icon Peter Allen. Credit: City of Belmont Williams and Ghouse will bring a modern take on ancient traditions, merging natural acoustic instruments, stories and voice. Two of Perth's most loved jazz vocalists, Libby Hammer and Ali Bodycoat will also sparkle at the event, reuniting in a heartfelt celebration of music, friendship and sisterhood. The event will end with two adult-only literary events Adult Storytime by acclaimed poet and performer Sukhjit Kaur Khalsa and A Timeless Gathering by Live History, all the way from Canada. The event runs Thursday, July 24 to Monday, July 28, tickets go on sale on June 19.
Perth Now
31-05-2025
- Entertainment
- Perth Now
Radiohead singer Thom Yorke says AI does nothing more than steal from human artistic expression
Radiohead's Thom Yorke says artificial intelligence does nothing more than "steal" from original human artistic work. The 56-year-old songwriter – who has just released his first full-length electronic album 'Tall Tales', a collaboration with Mark Pritchard – is against the onslaught of AI in the music business and other creative industries. Thom insists the technology is stealing musicians' ideas with no financial reimbursement. Speaking to Electronic Sound magazine, Thom said: 'As far as I can tell in music and art and all creative industries, Al is so far only able to 'create' variations on genuine human artistic expression, and those are obvious. Is Al capable of genuine original creative thought? I have yet to see that. It analyses and steals and builds iterations without acknowledging the original human work it analysed. It creates pallid facsimiles, which is useful in the same way auto-accompaniment is useful, or a screensaver of a beautiful natural landscape in a billionaire's bunker is. "But the economic structure is morally wrong ... the human work used by AI to fake its creativity is not being acknowledged. Writers are not paid. It's a weird kind of wanky, tech-bro nightmare future, and it seems this is what the tech industry does best. A devaluing of the rest of humanity, other than themselves, hidden behind tech. In the US right now, we are witnessing this spilling over into politics. 'We are. in modern parlance. 'creatives. which is a term I find deeply offensive because it arrived around the time that art morphed into 'content' for devices.' Yorke - who also fronts The Smile - was one of 10,500 signatories, which also included Abba's Björn Ulvaeus, actress Julianne Moore, The Cure's Robert Smith and Rosario Dawson, from the creative industries warning artificial intelligence companies that unlicensed use of their work is a 'major, unjust threat' to artists' livelihoods. The statement read: "The unlicensed use of creative works for training generative AI is a major, unjust threat to the livelihoods of the people behind those works, and must not be permitted." The organiser of the statement was the British composer and former AI executive Ed Newton-Rex, who resigned from his role as head of audio at tech firm Stability AI last year due to a disagreement with the higher-ups that that taking copyrighted content to train AI models without a licence constitutes 'fair use', a term meaning permission from the copyright owner is not needed."
Yahoo
29-05-2025
- Entertainment
- Yahoo
Thom Yorke Releases ‘Dialing In' as Theme to Apple TV+ Series ‘Smoke'
Radiohead frontman Thom Yorke has unveiled a new song, with 'Dialing In' serving as the theme to Apple TV+'s forthcoming series Smoke. Released on Wednesday (May 28), and recorded with Sam Petts-Davies, the haunting track presents a dark and brooding atmosphere as Yorke's trademark vocals warmly accompany a tender and eclectic musical bed. More from Billboard Zak Starkey Rubbishes Reports He Retired from The Who, Insists He Was 'Fired' Lorde Makes Surprise Appearance at Aotearoa Music Awards Bone Thugs-N-Harmony Perform 1996 Hit 'Tha Crossroads' on 'Everybody's Live' The song also soundtracks the recently-released trailer for Smoke, which – according to a descriptor – follows Taron Egerton and Jurnee Smollett as they 'attempt to get as close to the truth as possible—without getting burned.' For diehard fans, 'Dialing In' won't be an entirely new experience, with its origins being found in Yorke's unreleased track 'Gawpers,' which had been performed during a run of European dates in 2019, but has since evolved before its 2025 release date. Yorke announced the release of 'Dialing In' by noting on social media that the track is 'now available to stream on your least crap streaming service.' According to the song's credits on Tidal, Yorke's daughter Agnes is also featured as a backing vocalist. 'Working with Thom Yorke was as much an honour for me as working with Clint Eastwood, Martin Scorsese or Richard Price,' said Dennis Lehane, Smoke creator and executive producer. 'I've somehow been blessed with collaborating with living legends who were also formative influences on my own creative life. Thom is definitely that. 'In addition, he took a basic concept I gave him and delivered a song that perfectly embodies the show and absolutely crushes.' 'Dialing In' is the latest release from Yorke this month, who also released the album Tall Tales, created alongside Mark Pritchard, on May 9. 'Mark sent me a large file of MP3s of ideas during lockdown,' Yorke explained of their long-distance collaboration. 'There were so many great ones, I knew straight away that I had to drop what I was doing. It felt very much that I had not been anywhere like this before — both as soon as I put my headphones on and started trying to find the vocals, words and sounds, but also, as it progressed, watching Jonathan [Zawada] respond so freely and spontaneously with all his video and artwork ideas. 'It was mental, and I feel lucky to have been involved,' he added. 'Tall Tales is very important to me. I hope people get it, and get to hear it!' Listen to 'Dialing In' below: Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Winnipeg Free Press
09-05-2025
- Entertainment
- Winnipeg Free Press
New music: Thom Yorke and Mark Pritchard, PUP, Phil Haynes & Ben Monder, Borusan Istanbul Philharmonic Orchestra
Thom Yorke and Mark Pritchard Tall Tales (Warp) Tall Tales, the first full-length collaboration between Radiohead singer Thom Yorke and electronic music pioneer Mark Pritchard, captures two prolific artists without much to prove and whole worlds left to explore. Tall Tales captures their shared, endearing spirit of experimentation in a collection of dystopian, prog electronics that will satisfy fans of both artists. Across the album, Pritchard's inventive productions and use of vintage electronic instruments serve as a perfect foil for Yorke's darker lyrics and mournful vocals. The opening track, A Fake in a Faker's World, serves as a mission statement. There, Pritchard presents a whirlwind of digital sounds, with Yorke's human voice the sole organic element. A strong middle section begins with Back in the Game. The opening lyrics evoke the project's genesis during the pandemic: 'Have you missed me? How've you been? Back to 2020 again.' As in so much of Yorke's work, the track blends emotional despair with an infectious musicality. It is anchored by the album's two catchiest tracks. Gangsters evokes 1980s video games with its use of a Mattel Bee Gees rhythm machine. This Conversation Is Missing Your Voice follows with a propulsive electronic-pop energy that falls somewhere between Gorillaz and Squeeze. The late songs gradually add analog instruments to the mix, and by the finale, Wandering Genie, the initial musical premise seems almost inverted: In the beginning, Yorke's voice was the only organic sound; by the end, it's all recognizable instruments and his voice has been digitized beyond recognition. Atop analog flute, bassoon and pipe organ, a mechanical Yorke brings the journey to its coda, repeating the single lyric, 'I am falling.' And in 2020, who wasn't? ★★★★★ out of five Stream: Gangsters; Back in the Game — Jim Pollock, The Associated Press PUP Who Will Look After The Dogs? (Little Dipper) For those unfamiliar with Toronto-based punk rock band PUP, the name is an acronym for 'pathetic use of potential,' lead singer Stefan Babcock has said. That should give listeners an idea of the snarky rejection of perfectionism at the core of this group. It should also be kept in mind when this reviewer says that PUP's latest offering is, well, not good. And compared to their previous work — it's not. But good is probably not what they were going for. The quartet has come up in the past decade as a punk-pop rock staple, combining Babcock's yelled lyrics about human fallibility with humour and catchy, head-banging melodies, but Who Will Look After the Dogs? is missing the invigorating electric guitar riffs and cohesion that made past albums so solid. The group's fifth studio album focuses on Babcock's relationships with romantic partners, bandmates and with himself. On the album, Babcock shares his vulnerable side, not the first time for the singer who has an open history with depression. Dark, self-deprecating humour permeates the album — and PUP's work as a whole — such as on the gritty Olive Garden, when Babcock asks a past romantic partner to meet up at the restaurant, ('Last time your Grandma was in a coffin') or in the bittersweet Hunger for Death. Some songs take a step back from the band's usual frenetic energy, especially the ones reflecting Babcock's romantic relationships. That is where the album can tend to lag, such as on breakup ballads Best Revenge and Shut Up. There are pleasures and missteps across the album, but the latter outweighs the former, making this one of the weaker releases across the band's animated discography. ★★ out of five Stream: Olive Garden — Kiana Doyle, The Associated Press Phil Haynes & Ben Monder Transition(s) (Corner Store) Drummer Phil Haynes has said he sees jazz musicians falling into one of two camps — traditionalists and modernists. His goal is to bridge the gap he sees as unnecessary. Within his releases are riffs that might be called traditional but are, in fact, ideas present in Ellington or other earlier artists. This album puts him in duet mode with wonderful guitarist Ben Monder. Together they explore the meaning of 'modern' within a fascinating array of acoustic and electronic moods that are 'new' yet somehow seem familiar and comfortable. It is a terrific romp. Clearly the overall impact here is electronic with sonic swirls augmenting the guitar. Monder weaves a wide range of moods with lingering chords and drawn out effects. There are a series of brief interspersed tracks titled Ben I etc. or Phil ! etc. that are tiny solos. They add a neat flavour to the longer tracks while tying the album together. The longer tracks, such as Untitled Ones, are quite slow and meditative with gentle melodies that never jar or seem forced. As Haynes wishes, the familiar is captured within a contemporary package. The title track, Transition, has a harder edge with Haynes' drum driving a recognizable tune. A highlight is Too Easily, a version of the classic tune I Fall In Love Too Easily that is pure delight. Monder and Haynes move around the melody and each other with grace and melancholy. As the tune slides in and out of the solos it completely relates the lyric instrumentally. The blend of unusual drum sounds with a guitar feature is often haunting. The final track, Epilogue, exemplifies this and seals off the album beautifully. Highly recommended. ★★★★½ out of five Stream: Too Easily; Beyond — Keith Black Bartók, Enescu, Kodály, Martinů Borusan Istanbul Philharmonic Orchestra (Onyx) The orchestral music of Eastern Europe is celebrated with the Borusan Istanbul Philharmonic Orchestra artfully led by its new chief conductor, Carlo Tenanof. First to bolt out of the gate is 20th-century Hungarian composer Bartok's Dance Suite, Sz. 77, its six movements propelled by forceful syncopated accents and ear-cleaning tonal clusters. Tenanof maintains a taut rein, ensuring its densely packed orchestration and kaleidoscopic, often shifting textures spotlighting individual players remains clear, from its opening I. Moderato, through VI. Finale: Allegro. Another highlight by Bartok's close friend and musical colleague, Kodály, is Dances of Galánta. The nearly 17-minute work was inspired by the Roma dance bands of (now) Slovakia. Tenanof's expansive approach brings sweeping romanticism to this five-movement pleaser, its unabashedly lyrical themes evoking the ethos of traditional 'verbunkos.' By contrast, Martinu's Frescoes of Piero della Francesca, H. 352 reflects the composer's visit to Arezzo to see the famous 15th-century frescoes the History of the True Cross in the Basilica of San Francesco. Its finale, III. Poco allegro, is particularly compelling with insistent rhythm motifs and clear passagework in the winds. Last but not least is Enescu's Romanian Rhapsody No. 1 with its halting opening bleeding into more fulsome textures and dancelike rhythms. One can only wish to hear this work performed live, with the orchestra's well-paced, no-holds barred delivery practically leaping off the album and full of fire from the Old Country. ★★★★ out of five Stream: Dance Suite, Sz. 77, III. Allegro vivace; Romanian Rhapsody No. 1 — Holly Harris
