Two thousand miles from home and just after the release of his new album ‘Gold Mine,’ Stephen Day from Nashville showcased an exceptional live performance demonstrating the lasting appeal of concert experiences.
by guest writer Alex Ashley
“A Bar on the West Side of Town” – Stephen Day
“Whenever I say ‘Stephen,’ you all reply ‘Day!’” shouts a tall man from the middle of the audience, already standing.
“Stephen!”
“DAY!”
“Stephen!”
“DAY!”
From the second-floor balcony, a velvet curtain draws back. A silhouette appears through the greenroom window: Stephen Day, 29, the center of attention, momentarily highlighted. The audience catches on in waves, and soon the room fills with excitement.
It seems orchestrated, but it's not. Such moments arise only when the energy is just right, when the crowd is primed for an artist.
As the clock approaches 9 PM, a young woman—alone—leans toward a couple.
“Is this your first time seeing him?”
“No, it’s my second,” one responds.
She beams. “I saw him in 2022 with his blue album [‘The Shapes I’m In’]…”
Here at Los Angeles' Troubadour — a revered venue steeped in Laurel Canyon history — Day's performance has already kicked off, even before he steps on stage.
For those unaware of Day, he has spent the last decade carving out his niche in the indie-soul singer/songwriter realm – merging classic sounds with a fresh romantic perspective. A preacher’s son originally from Georgia and now based in Nashville, TN, Day has built his career through traditional means: self-releasing records, relentless touring, and steadily gaining fans. His debut EP, Undergrad Romance and the Moses in Me, quietly grew into a streaming hit, launching a discography that now boasts over 140 million plays. This paved the way for several albums that earned him a contract with Riser House Records, as well as tour opportunities with Allen Stone, Stephen Sanchez, Teddy Swims, and Ben Rector, in addition to a sync in the Will Ferrell film Strays. However, this concert at the Troubadour, supported by a significant indie release and a tightly synchronized band, feels more like a crowning moment than just another career milestone.
The evening begins with Anna Vaus, a California-born, Nashville-based singer/songwriter who recently released her album “Downhill from Here.” Her crystal-clear voice flows over the resonance of a 12-string Guild guitar—played by her fiancé and guitarist, Kevin Monahan—offering a set that firmly establishes her roots. She opens with a rendition of Fleetwood Mac’s “Dreams” and pays homage to Laurel Canyon with original tracks like “Trace of You” and “Happy Trails.” Although her compositions have been recorded by Keith Urban, Maddie & Tae, and Carly Pearce, it is primarily her own voice and narrative that resonate most strongly: no matter her current location, she will always be a California girl.
Anna Vaus © Bryce Drew
When Day and his four-member band — Chris Karabelas on drums, Andrew Brown on bass, and Harrison Finks on keys — finally emerge from the greenroom, their silhouettes cascading down the staircase, the audience is already charged with excitement.
They launch into “Kinda Cowgirl,” a groove-oriented yet laid-back soul-pop opener that serves as an ideal entry into Day’s universe: “Take my jacket off / I’ll take another Scotch,” Day sings. Then, with a playful nod to Shania Twain: “Put a quarter in / and watch her spin / you’re still the one I want.”
Next is “Gold Mine,” the title track of both his new album and the tour—a radiant number that marks his debut in the indie label arena. But live, it feels like a declaration:
“Eyes are closed, don’t lie to me
I want to feel you close and feel something
Don’t want that counterfeit make believe
I just want the real thing”
And that’s precisely what he and his band provide, showcasing musical moments that feel entirely genuine. From upbeat tracks like “On Top of the World,” to heartfelt tunes like “If You Were the Rain,” where Day channels a blend of Allen Stone and the late Bill Withers.
Stephen Day © Nick Jackson
The night features several pivotal musical moments that enrich and elevate the performance.
Day explains that “Gold Mine” was inspired by deep explorations into ’70s soul and the nostalgic twang of ’50s and ’60s country music. He then dives into “Folsom Prison Blues,” a powerful Cash cover that strikes with a burst of energy, before seamlessly transitioning into his own track “Hey Lady.” There are subtler elements throughout the night that some might miss, like when he uses the recognizable melody of “Mr. Sandman,” the 1954 Chordettes classic, as the intro
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Two thousand miles away from home, and just after the launch of his new album 'Gold Mine,' Nashville’s Stephen Day showcased a 24-karat lesson in the lasting impact of live performances.