The Nashville trio’s debut album, Ode to the Greyhouse, is getting a new life on the road this fall.
A house can become part of a band’s story without ever appearing on a poster. For Edgehill, it ended up in the title of their debut album.
The Nashville trio released Ode to the Greyhouse on February 13. Its nine tracks include “Drone Song,” “Doubletake,” “lol,” “Love To Go,” and the title track. The Greyhouse is more than a clever name: in the band’s tour biography, singer and guitarist Chris Kelly describes it as the Nashville home where he and guitarist Jake Zimmermann lived and where much of the album took shape. The band said it incorporated sounds from the house into the recording. For a debut record, it is an unusually specific place to plant a flag.
Edgehill’s three members, Kelly, Zimmermann, and drummer Aidan Cunningham, draw heavily from the texture and dynamics of ’90s alternative rock. The group’s biography describes an intentional effort to let the recordings feel lived in. Zimmermann’s account of “Love To Go” adds another piece to that approach: it was a song the band had played live for years before finally recording it for the album. Ode to the Greyhouse gathers music with a history in rooms and relationships, then sends it back out into new rooms.
That exchange is what makes the Moving Out Tour a natural second chapter for the record. In a September interview with *Melodic Magazine*, the band said the album had been recorded at the end of 2024 and spoke about the prospect of playing headline shows for audiences who knew the full set of songs. The release date was one milestone; hearing a crowd recognize more than the singles is another.
The tour reaches New York’s Bowery Ballroom on September 27, Chicago’s Subterranean on October 1, and Nashville’s Basement East on October 25, among other stops. Edgehill’s North Carolina dates have already passed for this run, but that doesn’t make the story less relevant here. For listeners who caught the band earlier this month, the album offers a way to revisit what they heard; for everyone else, the tour is a reason to find out why those songs are traveling.
There is something pleasingly circular about an album named for a home becoming the foundation for a tour called Moving Out. The title invites the joke, but the more compelling story is what a band carries with it. Edgehill made a record rooted in a particular house, with all the unfinished feelings and familiar sounds that implies. Now the songs have to make themselves at home somewhere else each night.