Freely Fest Review

By Amanda Trotter

Freely Fest will indubitably mark history as one of the most integral expressions of art and

freedom. The newest Nashville festival was sold out days before the show began, and for good

reason.

The event brought artists and creatives of different backgrounds and beliefs together in

celebration of the freedoms granted by the First Amendment. Hosting the show was the award-

winning Ariana DeBose, known for her role as “the Bullet” in Hamilton, who carried the night

with poise and intention, guiding the audience through a lineup that felt more like a statement

than a show.

Opening the night, Avery Anna stepped into the arena with a quiet confidence that

contrasted the scale of the room. Her set, lasting close to an hour, did not attempt to overpower

the crowd, instead, it drew them in. Her voice carried a rawness that demanded attention, making

each lyric feel intentional rather than performed. She blended originals with covers, most notably

her rendition of “No More Tears,” originally by Ozzy Osbourne, which built tension in a

controlled, almost restrained way before opening up emotionally. The performance felt less like

an opener and more like an introduction to the tone of the night: personal, expressive, and

unapologetically individual.

Janelle Monáe, known for her feature in FUN’s hit song “We Are Young,” brought soul,

pop, and funk to the stage, tying it all in the bowtie of her avant-garde, pantsuit style. Suiting a

white blazer jacket, a black pair of tap shoes, and a signature red beret, Janelle Monáe brought

class to the stage alongside her pronounced, focused expression of her sound. With modern,

white stairs, striking visuals, and band interactions, her set matched her personal appearance,

allowing for a heightened expression of herself through her music. The audience felt and listened

intentionally as she interwove rap and melodies with her experiences as a Black woman, calling

women to come together and celebrate femininity through intersectionality. She expresses her

frustration, especially as a woman living in the patriarchy, in her song “Django Jane:” “We gave

you life, we gave you birth... You want the world? Well what’s it worth?”

Being an opener served a difficult challenge that Monáe was skilled and prepared for. To

tie her piece all together, she included a viral TikTok version of her hit song “Yoga,” pulsating

excitement through the audience through the movement of Monáe and her crew. The dancers

created their own masterpiece, interacting with one another and the audience with visible

appreciation and understanding of the music, combining it with their confident presence. Her

band was an integral part of the overall piece as well, strengthening the depth of her

performance. Through her expansive range and clever expression, Monáe kept the audience

captivated and educated on current issues, making for a purposeful, memorable performance.

Suiting a casual zip-up, a white long-sleeve Henley, jeans, and work boots, Dominic Fike

sauntered on the stage next, eyes low and focused. As he approached his controller, the audience

watched in awe through the smoke coming from the fog machines on stage. He pushed his hands

through the haze, moving his body to brush off the negative energy and keep himself open to the

good vibes in the space. Matching his relaxed appearance, he remained loose and humble

throughout his set, keeping commentary concise and transitions intentional. The intimacy of

watching him do what he was meant to do was felt by everyone throughout the room; he was not

performing to an audience, he was communicating through his source. “I dig this,” he said. “I dig

this idea for a festival; freedom of speech. That’s really dope.” His conversational tone created a

comfortable environment, reminiscent of early 2000s garage shows, where connection

outweighed production.

As the night progressed, T-Pain took the stage and shifted the atmosphere entirely. What

had been introspective and expressive transformed into something celebratory and communal.

With hit after hit, he commanded the crowd effortlessly, turning the arena into a full singalong.

His presence was both nostalgic and current, reminding the audience of his longevity while still

feeling fresh. Tracks like “All I Do Is Win” ignited the room, with the audience raising their

hands in unison, fully immersed in the moment. His humor and interaction broke down any

remaining barrier between artist and audience, making his set one of the most engaging of the

night.

Closing the night, The Killers delivered a headlining performance that felt nothing short

of monumental. Opening with “Mr. Brightside,” they immediately captured the energy of the

entire arena, setting the tone for a set that never let up. Brandon Flowers moved with precision

and confidence, leading the band through a lineup of iconic songs that had the audience singing

every word. From “When You Were Young” to “Human,” each track built on the last, creating a

finale that felt both nostalgic and powerful. Confetti filled the air as the night came to a close,

marking not just the end of a concert but the culmination of a shared experience rooted in

expression and unity.

Freely Fest was more than a lineup, it was a progression. From Avery Anna’s intimacy,

to Monáe’s statement, Fike’s connection, T-Pain’s energy, and The Killers’ anthemic close, the

night unfolded with intention. It was not just about music, but about the freedom to create, to

speak, and to be heard.