On April 2nd 2011, LCD Soundsystem played its final show at Madison Square Garden. LCD frontman James Murphy had made the conscious decision to disband one of the most celebrated and influential bands of its generation at the peak of its popularity, ensuring that the band would go out on top with the biggest and most ambitious concert of its career. The instantly sold out, near four-hour extravaganza did just that, moving the thousands in attendance to tears of joy and grief, with NEW YORK magazine calling the event "a marvel of pure craft" and TIME magazine lamenting "we may never dance again." SHUT UP AND PLAY THE HITS is both a narrative film documenting this once in a life time performance and an intimate portrait of James Murphy as he navigates the lead-up to the show, the day after, and the personal and professional ramifications of his decision.

LCD Soundsystem debuted with Losing My Edge, a single that became one of the most talked-about indie releases of 2002. A self-effacing spoof of the outrageous pissing contests that often occur whenever music geeks cross paths ("I was there at the first Can show in Cologne," etc.) laid over a puttering electronic beat with the occasional bursts of discoid clatter, the track was also one of the first released on the DFA label. Several magazines and newspapers would eventually declare James Murphy, the man behind both LCD Soundsystem and DFA, to be one of the coolest people on the planet.

Years of obscurity and the occasional poor decision preceded this. Just before Murphy began to cut his teeth throughout the '90s, first as a member of Pony (an average post-hardcore band with heavy debts to their inspirations) and then with Speedking (a much stronger, more unique band), he passed up the opportunity to write for the popular sitcom Seinfeld. All the time spent toiling in indie rock took a toll on Murphy, but he built his own studio and became increasingly adept at engineering and producing other bands.

While working on David Holmes' Bow Down to the Exit Sign, he struck up a relationship with programmer/producer Tim Goldsworthy that developed into a partnership. By the end of 2002, there were several releases on Murphy and Goldsworthy's DFA label, most of which involved the duo in some capacity. LCD's "Losing My Edge," backed with an excellent neo-post-punk dance track called "Beat Connection," was one of them. Murphy scattered three other LCD singles through the end of 2004 and released a self-titled full-length in January of 2005. At the time of its release, the DFA label was more popular than ever; Murphy and Goldsworthy had remixes for Metro Area, N.E.R.D., Le Tigre, and Junior Senior behind them, as well as failed sessions with Britney Spears that might've benefited from an interpreter. Janet Jackson was another unlikely admirer seeking the duo's assistance, but Murphy didn't bother to follow up on her request. ~ Andy Kellman, All Music Guide

Cherub is a sexy electro-pop duo that is the dance love-child of 80’s funk and pop-music from the future. The members of Cherub, Jordan Kelley and Jason Huber, share a love for honest original music and vibrant live performance, with a common goal to share a little bit of sex, a little bit of drugs, and a whole lot of love with people across the globe. 
Cherub’s music is a fresh electrified take on risqué pop music that brings to mind timeless artists such as Prince or Zapp and Roger, and more contemporary artists like Pharrell and The Dream. With a live show that is bouncing with energy, Cherub dances their way into the hearts of audiences from the first falsetto hook, until the very last delay filters out. 
Named one of Paste Magazine’s “12 Tennessee Bands you Should Listen to Now,” Cherub has had a massive 2012, with appearances at such major festivals as Bonnaroo, SXSW, Electric Forest, Hangout Fest, Snowball Music Fest, and with STS9 at Red Rocks Amphitheater. 
After receiving a warm response worldwide to the digital release of the band’s first record, Man of the Hour, and touring throughout the US and Mexico, Cherub released their follow up MoM & DaD in February 2012. The album includes the smash viral hit “Doses and Mimosas,” which in August 2012 hit #1 on Hype Machine’s most talked about songs chart. 
The latest batch of Cherub songs brings a fresh, uptempo electro feel to the familiar pop sensibilities showcased on their first record. Jordan Kelley’s studio production, clever songcraft, and silky smooth falsetto are complimented perfectly by Jason Huber’s live production and tube-driven guitar work. Cherub’s versatility in songwriting and dance music production blurs conventional genre barriers. Ranging from grooving heartfelt ballads to risqué club bangers, Cherub takes the throwback vibes of old drum machines and washed out keyboards and marries them with timeless writing and a very modern approach to music production and performance. Playful guitar licks and lush synthesizer textures dance around in the mix, as listeners are treated to sing-a-long hook after hook the entire way through the tunes. 
“Melding a club-spawn, skull-shaking low end with a wall of guitars and talkbox pyrotechnics, the duo comprising Cherub also sport the silky smooth pipes to spread their appeal to all four corners of the dance floor.” – Nashville Scene 
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Your memory is a monster; you forget - it doesn’t. It keeps things for you, or hides things from you - and summons them to your recall with a will of its own. You think you have a memory; but it has you!

Electronic dance music, by its very nature, is a transient music. Venues change, audiences change and sounds change at a clip that we don't see in any other genre. Partially due to its clandestine origins in rave culture - where its inaccessibility was part of its allure - and partially a result of technology's constant forward push, dance music and its proprietors rarely exude a sense of permanence, of perpetuity. DJs come and club nights go with tenures more often measured in weeks than in months or years. It's a rare thing for a residency to last one year, let alone three with no signs of flagging on the horizon. But that's exactly what local DJ and party promoter Jeremy "Coach" Todd has done with his Y2K at 12th and Porter.

When you factor in Todd's other nights - Sunday's classics-only Whiskey Disco at No. 308, the old-school hip-hop party Recognize at Mai, the monthly Girls and Boys at the Cannery Ballroom - all of which have their own different demographics, it's pretty obvious that he's not resigning as Captian of the S.S. Party Town anytime soon. Todd and his cohorts - like Y2K resident Hands Off Sam, Recognize resident Kevin Perryman and promoter/gadfly/all-around-good-dude-to-know Jim O'Shea - have managed to cultivate a vibe more akin to an epic, movable house party, and the crowds have followed in kind. And even though, as Todd himself will point out, about half the actual faces in the crowd turn over every six months, it's the blend of veterans and newbies that reveals the staying power of the concept. That concept, of course, being a damn good party.

"For the most part in Nashville it's about the party rather than the artist," says Todd. "Which is fine, because artists come and go, but obviously a party will stay as long as people are having a good time. ... That's a good thing."

Y2K frequently expands from the one-room, DJ-only format to include bands and live performers of all stripes - hip-hop, indie rock, pop - in both of 12th and Porter's performance spaces. It has become one of the go-to destinations for Nashville's party people, precisely because it eschews normal dance-night considerations. Where most regular dance nights are as predictable as the tides - they may be fun, but they are the same kind of fun, week in and week out - Y2K shifts gears so often that it doesn't have a chance to wear out its welcome. It's Todd's ability to straddle so many lines, to make people of just about any background get down and boogie, that has landed him his latest and sorta-highest-profile gig yet: playing LP Field.

After a random one-off gig spinning for Titans players and fans during the pre-season - "I played a bunch of disco, which is kind of hilarious, but they were super into it" - Todd got the call from the front office of the Boys in Baby Blue. They wanted pre-game tapes for the players and the fans - different sounds from the usual, predictable fare - and Todd happily obliged. And frankly, who the hell else in this city could get the blood of 70,000 people pumping? While we've seen many a righteous DJ come out of Music City, none have the pop sense - that sense of what will work best with the most people - that Todd puts on display three times a week every week. In a city whose major export is music, it's only right that eight of the biggest parties in town have the music provided by one of our leading party exponents

- Sean L. Maloney, Nashville Scene