“Son of a bitch, give me a drink!” he belted, dancing wildly. Just set me free As it takes its hold And it won't let you go I'm reminded of the cold And how it's taken so much from me Are you worthy of being saved All your fears and insecurities Just set me free Just set me free Just set me free And there's nowhere to hide And you're only just trying Are there only just lies you hear While redemption. Bugs are crawling all over me!” he sang, accompanied by just hums and the drum beat. “Alright… My heart is breaking, hands are shaking. “We got all night! Come down! Get the fuck down!” With “S.O.B.” Rateliff and crew seemed determined to get everyone involved: mid-way through, a trumpet solo and a giant decrescendo brought the band to their knees as Rateliff yelled to the audience to join them. With just a tambourine in hand, Nathaniel danced a two-step to “ Out on the Weekend ,” before the band hammered out more recognizable songs that were greeted by cheers from the crowd. The red curtains were doused in blue light, turning a deep purple. At the end of the song, Rateliff tossed his white guitar into the air, caught by the stage crew. Though throughout their performance the band members often added extra layers of sound to each song, they managed to make the music feel more like the purposeful layering of jamming jazz musicians than the rowdy ruckus of the neighborhood garage band. The other guitarists joined in before turning their backs and leaning up against the speakers to hit the audience with a building wave of static and noise. Nathaniel Rateliff and the Night Sweats by Knar Bedian What had started like a lazy float down a river had turned into a storm. One guitarist furiously spit out a solo, hunched so low over his instrument that it was inches away from his face. The strums that hyped up the crowd led to “ Look It Here ,” which was played at a faster tempo than usual the horns played a much more prominent role, driving the song forward, accenting the off beat and adding a sense of urgency.Īnd though “ Shake ” started with the band’s slow sway of the hips, the gentle shake of the maracas, and the glimmer of the blinking background lights, it didn’t take long for the three cowboy hats onstage to go from bobbing along to practically headbanging. It was clear from the start that folk rockers Nathaniel Rateliff and the Night Sweats had come to tear shit up.
“Let me hear you one more time!” he shouts, with a noisy strum of his guitar. Growing up in rural Missouri, Rateliff saw “good people trying to move away from bad situations and trying to get ahead, and stumbling when they try to move forward.“Y’all having a good time?” Nathaniel Rateliff’s gritty voice thundered out into the crowd at Mansfield’s Xfinity Center. He drew inspiration for “Redemption” through finding familiarity with the film’s protagonist, Eddie. At the end of the song, there’s the line ‘we keep running until we learn to find peace’.” Rateliff says. Says Rateliff, “For me, the song is about what I saw in the film, and what I see out there in the world, of continuing to struggle until we find some kind of peace and some kind of answer. Variety has the exclusive premiere of his solo acoustic rendering of the theme song (below). However, it’s singer Nathaniel Rateliff’s end-credits song, “Redemption,” garnering awards buzz for as the race for best original song continues.
The film has Timberlake playing Eddie Palmer, who returns home from prison and bonds with a boy from a troubled home.
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The streaming premiere of Justin Timberlake’s “ Palmer” was touted by Apple TV Plus as powering its ‘ “most-watched weekend” since the platform debuted just over a year ago.
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