Meels Headlines The Station Inn

February 18, 2026 Jason Shrum

The first time headliner captured hearts and earned a standing ovation

There is a mysticism that hovers inside the walls of The Station Inn, located in Nashville, Tennessee. There is an opulent rebuild happening on the west side of the city that has seen the configuration of fancy shopping, condos, high rises, gourmet eateries and more being thrust into the regentrification in this section of town. Yet, nestled amongst the shiny metallic awnings and sleek white concrete blocks sits The Station Inn. It is these small and independent music venues that need our help more than ever. The area is known as the Gulch and The Station Inn looks unassuming compared to its neighbors. Once inside however, the rush of magic runs over you and you are taken back to an amazing time in music. The stage is wooden and well crafted and the walls donned with music billing posters from yesteryear. They offer live acoustic sounds seven days a week and highlight the authenticity of bluegrass, classic country, Americana and roots music. The space has existed for over 40 years and has hosted the likes of Bill Monroe, JT Gray, Alan Jackson, Dierks Bentley, Vince Gill, Alison Krauss and John Prine. Tonight, we were witnessing the first headlining show for Meels.

Meels comes to us via Los Angeles but you would never think she hails from the west coast when hearing her voice pierce the atmosphere. She has a sound that mirrors the legends that laid the groundwork before her. Joan Baez, Joni Mitchell, Linda Ronstadt and even Dolly herself would certainly lift a smile to know that this young lady is carrying on in a much-needed tradition of Americana and Folk. Tonight, she was supported by another Los Angeles resident named Phoebe Sanders.

Phoebe has an online presence with hundreds of thousands of followers across her social platforms. She is a prolific banjo player that adds a little extra to her performances… puppets. Don’t read into it as simply a gimmick either. This talented artist has all the chops and displays them regularly in video. However, much like Meels tackling a first, Phoebe was making her debut live appearance. She toted her plush entourage across the country and was aptly prepared to show an audience that she wasn’t just cuts and edits.

Unfortunately, some of her furry, handmade friends were slightly damaged during the trek, but she was able to stitch them up before her performance, and what a performance she gave. The puppets are attached to her hands and feet and as she picks her strings and taps her foot, the mostly animal themed critters dance along with the music. The showcase is fun, whimsical, and lined with deep cut playability. The rig was not without its complications though as some of the participants did not move in the direction that Sanders had originally planned, but that was also another element to the show that became incredibly joyous. In particular there was “Milk Jug the Racoon” who kept turning away from the musician. The crowd chatted Milk Jug’s name and at about the third shout the racoon obliged by facing the audience and completing his routine. The finale featured a wooden carved “jig doll” created in the image of beloved TV icon Gilligan that seemed to flatley jive with her strums.

She mentioned Banjo Camp and meeting the legendary Alison Brown, as well as being an admirer of picking guru and comedian Steve Martin. She said she wished that she had jokes to tell between songs like the Wild & Crazyy Guy, but instead took the short downtime to introduce her cousins. The crowd certainly chuckled. She was wholesome and sweet, and Phoebe Sanders has so much to offer humanity in this sometimes-dismal world of ours.

Meels was born Amelia Einhorn and grew up in Mill Valley, California. She jumped up to play piano at age five and quickly began songwriting. After studying Recorded Music at NYU’s Clive Davis Institute, Meels began putting together and recording original music. She has dubbed her melodies as “Critter Country.” Her lyrics are meaningful and honest and come from the heart. Stories of home, family and human experience pour out of her, and the audience is met with honesty. There is an emotional depth that bleeds sonically and captures the listeners’ attention with grace.

She was joined onstage with a violinist, harmonica player, stand-up bass, accompanying guitarist and piano player and they all melded together nicely to create a tonal cathedral that was soulful and inviting. The set list was ministered with storytelling in mind as she paced through the curation wonderfully. Each song flows into the next with interconnectivity. She weaves these personal stories and human experiences into viable imagery that is recognizable to all. This Indie Folk musician has a grasp on condition and examines emotion with an ethereal awareness.

“This is surreal,” Meels said shortly into opening the show with a song called ‘Vultures’. “I’ve never played a show that’s all mine, and it feels so special to be doing it here at Station Inn, such an iconic venue in Nashville”. Her new album is titled Across the Raccoon Strait and it released on Jan. 30 circa Lost Highway Records.

This may have been Meels first headlining show but it didn’t feel like it. There was pure confidence and well versed structure to the set. The crowd was hanging on every note and gleaming with anticipation on the gorgeous vocals she displayed. It was a sold-out show for the newly anointed main act. It may have been oversold as bodies of onlookers littered the walls and open spaces that they could pack into for standing room only.

She indulged the audience with a cover of John Prine’s ‘Angel From Montgomery’ during the night that had such passion and discipline. If you are going to do Prine in Nashville you certainly better do it the right way, which Meels did. She also brought up Nashville singer-songwriter Belle Frantz who was in the crowd. They did an alluring cover of Dolly Parton’s ‘Do I Ever Cross Your Mind.’

The show concluded with her well listened to ‘Out West’. She was joined on stage by Phoebe and her “Tiny Gilligan” puppet. Gilligan clacked along, being utilized as an instrument himself during this astonishing closer. When the song ended, the singer was met with an uproar of clapping and cheers. From there a few began to rise and the rest that were seated quickly gathered to their feet for a proper standing ovation. What a night for Meels. We were honored to be there.