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The Lookaways, Zook
May 20 @ 6:00 pm - 8:00 pm CDT
The Look Aways
In a city absorbed by sights and sounds, the Look Aways have formed a unique musical
presence that quietly runs counter to Nashville’s raucous reputation. The group resides
somewhere between the dramatic worlds of Brazilian jazz, ‘70s folk, and psychedelic pop.
With emphasis on improvisation and an uncanny knack for making the most “out”
moments feel familiar, the Look Aways are unmatched amongst an overcrowded scene.
The group’s live show is both subtle and compelling. They’ve been referred to as “cocktail-
wave” and “alt-smooth” in reflection of their wide-ranging song list that includes covers of diverse
artists such as Antonio Carlos Jobim, ELO, The Delfonics, Paul Simon, and Josephine Foster.
As stalwarts of the local pop, jazz, and avant-garde communities, each member’s individual
talents blend to create the Look Aways’ eclectic sound. Vocalist Erica Wilkes delivers a
captivating, almost dreamlike performance worthy of Astrud Gilberto or Lana Del Rey.
Long-time musical cohorts, Anson Hohne on drums and Ben Rice on guitar act as a
telekinetic catalyst to the group’s sound. The circle is completed by upright bassist Carter
Murphey. His dynamic playing and vast jazz roots are transcendent.
Together, the Look Aways are an aural adventure through boundless ambiance: perfectly at
home on a hazy night under the moonlight, on a scarlet stage or among the glow of sea
foam and waves. Even amidst the noise of Nashville, the Look Aways leave a lasting
impression on listeners of all types.
Sewn undeniably within the Nashville psychedelic folk scene is local band Zook. The project is the spawn of modern day poet, Zach Tittel. From 2018’s “Garden Variety” to now, Tittel has been working closely with producer and long-time friend, Thomas Luminoso to release another full-length album. So far, the three singles released have brought promise of a record with wide variation and playful, songwriter appeal. The first single, “Marmalade,” mixes warbling synths with piano and patterned, interlocking guitar leads. Although “Marmalade” comes off as post-modern in the way of Avey Tare, “Evergreen,” feels more along the lines of Wilco or Yo La Tengo. The latest release, “Pimlico Racehorses,” also evokes the same sort of whimsy. Over the years, the lineup of collaborators has included many Nashville staple players.
~Ash Richter (Total Wife)