Daniel Donato's Cosmic Country Debut at the Historic Ryman Auditorium in Nashville, TN

By Andrew Pringle

On Friday, August 22^nd, 2025, new-age country star Daniel Donato fulfilled his lifelong dream of headlining the Mother Church of Country Music- The Ryman Auditorium. Accompanied by his band, Cosmic Country, Donato played an impressive two sets and encore. Clocking in at nearly- three hours, he paid tribute to the trailblazers that paved the way for him, all while making his own statement in the world of country music. 

At 8:15 pm sharp, Donato and Cosmic Country took the stage. Dressed in tailored blue suit similar to the ones worn by country music pioneer Hank Williams Sr. Additionally, Donato wore his signature white cowboy hat, this time with the design of the Ryman’s iconic stained-glass windows embroidered on the back. Without even playing a note, the crowd was already cheering and applauding, intensifying Donato’s genuine and infectious smile. After embracing the atmosphere for a moment, he raised his hands and yelled his emblematic “Howyadern!”, to which the audience responded with an even louder cheer. While still laughing, he went straight into an explosive rendition of Merle Haggard’s “Workin’ Man Blues”, a song which allowed the quartet to flex their individual instrumental strengths.

Before going any further, I need to address what Cosmic Country sounds like. The name itself tells you everything you need to know but cannot do justice the expansive range of sounds which it is comprised of. Predominantly rooted in country music, it pulls from both the southern honky tonk and western outlaw sides of the country music spectrum. Once the foundation is laid, the band expands on these ideas by incorporating heavy elements of rock, funk, improv, and psychedelic. While it is mainly considered country, the music of Daniel Donato has found its highest acclaim and support in the jam community. However, Cosmic Country being categorized as a “jam band” shouldn’t deter the common listener.

  With that out of the way, the band ripped through an impressive first set with highlights including “Blame the Train”, which contained numerous solo sections which Donato navigated with soulful playing at a variety of tempos. Additionally, early in the set they played “Half Moon Night”, a song which, like a lot of Donato’s work, utilizes classic country song structure, yet breathes new life into the sound and feel, creating an infectiously danceable sound. Hanging on by every note, the crowd’s energy was boosted when the band seamlessly went into a cover of Hank Williams Sr.’s “I Saw the Light”. While he had previously played these two songs together, this time it held higher significance due to the southern gospel classic being performed in a church, leave it to Donato to get a crowd full of hippies dancing and cheering to gospel music in a church. They continued the first set by playing more Cosmic Country classics such as “Broadside Ballad”, “Hangman’s Reel”, “Along the Trail”, and “Better Deal Blues”, with each song further demanding the question- Why did it take so long for Donato to headline the Ryman? The band ended the first set with the optimistic “Sunshine in the Rain (Strange Presence)”, which by the end, left the crowd wondering how the band would be able to top the fantastic first set. 

After an intermission, the band returned to the stage and ripped into a nearly 18-minute “Dance in the Desert”, a fan favorite which accurately showcases the heart and soul of cosmic country, utilizing swirling guitar tones and funky bass lines intertwined with a steady drum rhythm to create a living breathing entity of a song. Despite the sprawling length of the jam, it feels as though not a note was wasted, which further left the crowd guessing how the band would be able to keep the energy at such heights for the second half of the show, and to no surprise, they did just that with the next song- “Sugar Shack”. Led by keyboardist Nathan “Sugar Leg” Aronowitz, this funky tune features Wah-heavy guitar parts, mixing moving chords with tasty solos, an angelic Hammond organ, and a heavy rhythm that will ensure even the stiffest heads to bob. Next up, the appropriately titled “Lose Your Mind”. This song, like many, highlights Donato’s ability to craft anthem-esq choruses that will surely get stuck in your head. From there, they eased into a smooth cover of Waylon Jennings’ “Waymore’s Blues”, a nice change of pace that allowed both the band and the audience catch their breath, before ramping up the speed again for a cover Elvis Presley’s “Mystery Train”, which had to have been clocking in at around 170 bpm. During the solo section of the song, Donato paid tribute to the legendary Johnny Cash, playing the iconic guitar solo to “Folsom Prison Blues”. The solo section also perfectly reflects Donato’s ability to traverse through the scales faster and faster, and just when you think he can’t play any faster, he does. The band once again flawlessly transitioned back to a lighter tempo with the song “Free Wheelin’”, which was led by bassist Will “Mustang” McGee. Despite not being as fast or “impressive” as some of the band’s other songs, the slower songs still have an unmatched amount of soul and warmth, the audible equivalent to the sun lightly touching your skin on a perfect spring day when the weather is not too hot or too cold. The band ended their second set with another epic song, the 18 minute “Chore”, a song which starts with a down-temp composition and simple structure but builds its way up to a bouncing funk with hard hitting guitar melodies that pull the heart strings. As the jam peaked, so did the intricate lights and the crowd’s energy. One of my absolute favorite things about seeing a show at the Ryman is, due to the size of the venue, being able to see the crowd move in unison, and the peak of “Chore” was further proof of this. 

When the band returned to the stage for the encore, Donato took a second to express his gratitude for the show and contextualized the significance. He explained how he began playing guitar on Nashville’s Broadway at the age of fourteen, and by fifteen was frequently playing Robert’s Western World multiple nights a week. Due to being underage, he was always forced to leave the bar after his set was finished but had to stick around until he was paid his cut of the nights’ earnings. Robert’s Western World shares an alley with the Ryman, and as he would wait for his paycheck, he would stare at the Mother Church, mesmerized, determined to one day headline a show there. Additionally, he announced that after the show, he and the band would be playing a show at Robert’s as a way to commemorate his roots. Additionally, both shows were being recorded for a live album set for future release.  After thanking the crowd, they played two more Cosmic Country classics, “Luck of the Draw” and “Sugar Leg Rag”. Despite being the final two songs, the band showed no signs of stopping, showcasing energy that was on par with the rest of the show, they continued to rip through the songs, leaving no gas left in the tank. “Sugar Leg Rag” in particular features a section that allows each member to showcase a short fill, each one building off the previous, creating pure honky tonk bliss. 

After the sixteen-minute encore, the band left the stage, with Donato thanking the audience once more. It took no time for the crowd to exit the Ryman, everyone trying to get to Broadway to get in the line that filed out of Robert’s Western World. Unfortunately, I was not able to get in to see the second show, so I will also be waiting for the live album to be released, but I can assure that it will be as solid as the rest of Cosmic Country’s craft. 

As someone who attends numerous concerts, this one felt special. It’s the rare feeling of knowing you got to witness something significant, history being made. Not only was the music and stage presence some of the finest I’ve ever seen, there was a crowd energy that felt unique, the feeling of unity and love and support amongst the audience that is typical for the jam community. All the things combined move me and leave me coming back for more every time. While I am still not over this overwhelming sense of joy and satisfaction, I am most definitely looking forward to the next time I get to see Daniel Donato’s Cosmic Country.