Ruel returned to one of Nashville’s most iconic venues, Marathon Music Works, on his Kicking My Feet Tour, delivering a dynamic and emotionally charged performance.
English singer-songwriter Arthur Hill opened the evening with a tight, well-paced set that immediately warmed up the crowd. Backed by a guitarist and drummer, Hill moved confidently through selections including “She’s So Handsome” and “Miracle,” blending indie-pop charm with understated rock sensibilities. His stage presence was relaxed yet purposeful, allowing the songs to take center stage while still maintaining strong engagement with the audience. “Right Now” and “Working On It” highlighted his knack for melodic hooks, while the rhythmic pulse of “Dead in the Disco” added a burst of energy midway through the set.
Hill’s performance felt cohesive and intentional, with the trio format giving the songs a raw, live edge. “Lily” and “Appetite” showcased his vocal clarity and lyrical earnestness, invoking enthusiastic applause from an audience that appeared increasingly receptive with each track. By the time his set concluded, the room was primed for the headliner, with Hill having successfully established a tone of youthful sincerity and rising momentum.
When the lights dimmed again, anticipation surged. At the center of the back half of the stage stood a single door, glowing faintly as blue lights flashed from behind it, casting a dramatic silhouette. Ruel emerged through it to thunderous applause, immediately launching into “Only Ever,” followed by “Not What’s Going On” and “Dazed & Confused.” Backed by a guitarist positioned on a left riser and a drummer on the right, the Australian artist commanded the stage with a balance of polish and natural ease. After the first three songs, he paused to reminisce about his last visit to Nashville, acknowledging the city’s warmth and the significance of returning on a new chapter of his career.
Much of the set drew from his sophomore album Kicking My Feet, a project that captures the dizzying highs and vulnerable lows of young adulthood. “I Can Die Now” translated seamlessly to a live setting, its propulsive rhythm igniting the room. Before performing “Destroyer,” Ruel shared that it was one of his favorite songs he had ever written, a sentiment that deepened the emotional weight of the performance. “No News is Good News” followed in a stripped-back arrangement, performed solo on acoustic guitar. Afterward, he joked that “it’s not getting any happier,” drawing laughter from the crowd before shifting into more introspective territory.
Seated at the keyboard, Ruel delivered stirring renditions of “Even Angels Won’t” and a heartfelt cover of Bonnie Raitt’s “I Can’t Make You Love Me,” allowing his husky tone to take full focus. As the band returned to the stage, the atmosphere swelled in anticipation for “Face to Face,” which built steadily before erupting into a sharp electric guitar solo, with an emphatic drum fill carrying the transition into “Someone Else’s Problem.” The momentum never faltered. When a fan volunteered a sparkling cowboy hat onto the stage, Ruel embraced the Nashville spirit. He announced he had learned some Spanish for “Wild Guess.” The opening lines, delivered in Spanish, triggered ecstatic screams from the audience.
A brief technical issue momentarily interrupted the flow as he began explaining the origin of the title “GROWING UP IS _____.” Rather than allowing the pause to stall the energy, Ruel pivoted into a spontaneous solo electric performance of “Cats on the Ceiling,” maintaining connection and control until the issue was resolved.
The main set closed with an electrifying rendition of “Painkiller,” seemingly signaling the end. Yet the night was not complete. Returning for an encore, Ruel performed “Japanese Whiskey,” then transitioned from a moving cover of “Hallelujah” into the title track of his latest album, “Kicking My Feet.” The finale encapsulated the tour’s essence: growth, vulnerability, and exuberance coexisting under bright lights. By the final notes, Marathon Music Works felt less like a venue and more like a shared celebration of an artist confidently stepping into his next era.
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