We’ve made it to the last round of Glassetonbury Vol. 3, and two worthy Nashville-based acts have risen to the top. Six-piece folk-rock/Americana band Juke of June takes on indie rocker Brian Elliot in the most unpredictable Glassetonbury finale to date. Both of them had similar voter turnout throughout the tournament, so this one will likely be a nail-biter.
Let’s take a look at how we got here today.
Voting for this round will close on Saturday, December 12th at 1:00 p.m. CST and is limited to one vote per IP address per poll per day. Make sure to click “Vote” again after the CAPTCHA to ensure that your vote processes. Campaign for your favorite on social media and in the comments below!
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“Turn Around” – Juke of June
defeated “The One” by Richard in the Round of 32
defeated “Smoke” by Simen Mitlid in the Sweet Sixteen
defeated “Info Nympho” by Sam Soto in the Elite Eight
defeated “Sleeping In On Sundays” by Dante Palminteri in the Final Four
“Turn Around” is the latest single from Juke of June, and brings one of the most powerful vocal performances in Glassetonbury history from singer Jackson Hahn. Borrowing elements from 70s rock, Americana, and folk-country, this song feels both massive and homey at the same time.
It’s a slow-burn, instantly-memorable 6/8 ballad with jangly guitars (Jackson Kilburn and Ben Ballard) and sensational keyboard riffs (Bradley Crow) sprinkled over a rock-solid rhythmic foundation (Zach McCoy — drums; Emily McCreight — bass). The song is an immediate playlist save that you’ll be singing to yourself all day.
— vs. —
“Blue Jean Girl” – Brian Elliot
defeated “Lost My Love” by Maisie May in the Round of 32
defeated “Friends” by Eric Vattima and MNERVA in the Sweet Sixteen
defeated “Rodeo” by Teller & The Tale in the Elite Eight
defeated “Remember” by Elina in the Final Four
Brian Elliot‘s “Blue Jean Girl” lands in the quirky-cool vein of indie rock that reminds me of artists like Franz Ferdinand and Arcade Fire, and it makes for a positive introduction to the East Nashville artist. It has an ear-worm of a chorus with a huge drop-off that builds back up nicely.
Elliot is just as heavily influenced by classic film as he is by classic rock, and that plays out in his cinematic, unconventional songwriting. He cites Quentin Tarantino as a major influence, and the more you listen to “Blue Jean Girl” the easier it becomes to imagine the song in a movie trailer playing behind wide-frame shots of sprawling desert landscapes.
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