By: Ava Edwards
A sold-out crowd filled the Tennessee Theatre on Sunday, Nov. 23, anticipating an evening rooted in Americana, folk, and bluegrass-inspired sounds. From the moment the lights dimmed, it was clear the final stop of Watchhouse’s tour would not unfold like a typical closing performance.
The night opened with Paper Wings, a West Coast-based folk duo composed of Emily Mann and Wila Frank. Known for their harmonies and acoustic, roots-driven style, the pair quickly established an intimate atmosphere inside the historic venue. Their musical chemistry, shaped by years of collaboration that began at a fiddle camp, brought an inviting warmth to the room. Since this was their last show of the tour, their set carried a sense of closeness and appreciation that resonated with the audience.
Watchhouse, the North Carolina folk duo of Andrew Marlin and Emily Frantz, took the stage next with an unexpected announcement. Just minutes before the show began, Marlin realized his voice, still strained from a recent flu, would not allow him to sing as planned. Instead of canceling or shortening the performance, the band decided to rework the entire set on the spot. Frantz explained that the audience would hear a version of the show that had “never been performed before and might never be performed again.”
What followed demonstrated the group’s adaptability and commitment to musicianship.
Marlin focused almost entirely on mandolin, playing with a level of intensity that allowed the instrument to carry the emotional weight normally found in his vocals. Frantz led the performance with a warm and steady voice, and longtime collaborator Josh Oliver stepped into additional singing responsibilities with impressive skill and ease.
The ensemble included two brothers, saxophonist Chuck Mullican and bassist Clint Mullican, and drummer Kyle Keegan. The musicians performed with the comfort that comes from years of playing together. Several members also have ties to Knoxville, which added a subtle feeling of homecoming throughout the evening.
One of the most memorable moments came when the musicians formed a traditional bluegrass-style circle on the left side of the stage. Without lighting effects or visual staging, the group delivered an intimate and tightly connected performance that highlighted their collective skill and shared musical language.
The Knoxville audience responded with enthusiasm that eventually brought Watchhouse back onstage for an unplanned encore. They closed with “Wildfire,” one of their best-known songs, which reflects on historical divisions and the dangers of hatred within a society. The song’s message carried additional weight in the quiet of the theater. Paper Wings then returned to the stage for a final collaborative number, and each musician took a short solo that felt like a celebratory sendoff for the tour.
Watchhouse’s Knoxville finale was not shaped by limitation but by the band’s willingness to embrace change. The reworked set showcased the group’s creativity, resilience, and strong musical talent. Instead of the polished performance one might expect at the end of a tour, the audience witnessed something more rare: a night defined by collaboration, spontaneity, and genuine connection.