This Nashville group grew from basement psych blues into a widescreen heavy-psych sound.

Southern haze, city grit

After a spell as a lean trio, keys player Allan Van Cleave returned, bringing organ swells and violin colors back into the mix. Expect long builds that bloom into thick riffs, then collapse into hushed, swampy space.

Keys back in the cauldron

Likely fixtures include When God Comes Back, 1X1, Open Passageways, and Blood and Sand / Milk and Endless Waters. The room skews mixed-age and music-first, with guitar nerds comparing pedals, doom fans nodding in the back, and couples riding the slow-burn grooves. Deep-cut trivia: Nothing as the Ideal was tracked at Abbey Road to tape with no keyboards, and drummer Robby Staebler often creates the live liquid-light visuals himself. You might also catch a short, freeform intro that quotes a riff from Lightning at the Door era sessions. These notes on songs and production are thoughtful projections, not a locked blueprint.

The All Them Witches Crowd, From Jacket Patches to Poster Tubes

The scene leans practical and lived-in: faded band tees, earth-tone jackets, worn boots, and a few thrifted Western shirts.

Style you can hear

You see poster tubes early because the screen prints are a draw, many designed by Robby in gritty, collaged styles. Between songs, the room gets quiet, and then a low murmur builds as people recognize a bass drone or cymbal pattern that hints at the next piece. When the riff drops, pockets of headbanging form while others sway in time, and a quick cheer often meets a well-timed drum fill.

Little rituals, shared language

Merch talk centers on limited vinyl colorways, enamel pins, and which hoodie actually holds up after a winter of gigs. After the encore, fans trade notes about the improvisations and compare which older tracks crept in from the Lightning at the Door and Sleeping Through the War eras. It feels communal without fuss, driven by people who like long songs, strong art, and a band confident to leave space.

How All Them Witches Build the Storm, Then the Silence

Charles Michael Parks Jr. sings with a relaxed, grainy tone that sits inside the groove rather than on top of it.

Riffs that breathe

Ben McLeod favors thick, singing guitar lines, often tuned down and sometimes on baritone, which lets riffs feel huge without rushing. The rhythm section keeps a roomy pocket, leaving air so small organ figures or violin stabs can rise and fall. Live, they like to reframe songs with slower intros, then snap into the album tempo for the payoff.

Small moves, big impact

A subtle trick they use is dropping the guitars a half-step and letting the bass stay put, which makes the turn into a chorus feel like the floor shifts. Visuals tend toward warm ambers and deep blues, with textured projections that move like water behind the band. The mix normally favors kick, bass, and vocal clarity, so even big fuzz never buries the storytelling.

If You Like All Them Witches, You Might Drift This Way

Fans of King Buffalo often click with this band for the patient builds and trance grooves that reward close listening.

Kindred travelers

Elder shares the mix of prog-minded riffs and warm, low-end weight, landing in a similar heavy yet melodic pocket. If the reverb-laced desert moods and minor-key swirl pull you in, The Black Angels make sense for their moody psych pulse and velvet-fuzz tones. Earthless suits instrumental heat seekers, with a jam-first attack that mirrors the open-ended sections the band stretch on stage.

Why these bands fit

All four acts value dynamics over speed, letting a riff breathe before it bites. That approach draws crowds who like texture, headroom, and songs that shift shape without losing the thread.