Nashville Scene 2-5-26

WITNESS HISTORY

This letterman jacket was worn by Sam Phillips, Sun Records founder and Country Music Hall of Fame member, when he played in the Coffee High School marching band in Florence, Alabama (c. 1940).

Metropolitik: Ice Storm Leaves Lasting Damage for Families and Metro Leaders City and NES both face blowback for extended power outages and poor public communication

BY ELI MOTYCKA

Lawmakers Chase ‘Fake’ Uber Drivers

While Pay Cuts Fuel a Cash Market

State law passed last year targets public safety risks as drivers point to increasing off-app rides BY NICK PIPITONE

Pith in the Wind

This week on the Scene’s news and politics blog Nashville Is a Southern Skating Hub

Talking with Nashville Skating Academy ahead of the 2026 Winter Olympics BY LOGAN BUTTS

COVER STORY

Independents’ Day

With 615 Indie Live poised to celebrate the city’s independent artists and venues, we take a look at the state of the scene BY MARGARET LITTMAN

A 615 Indie Live Field Guide

Our picks for can’t-miss shows during the 2026 run of the citywide celebration of indie venues

BY STEPHEN TRAGESER

615 Indie Live 2026 Participating Venues

COMPILED BY JASMIN ENRIQUEZ MARTINEZ

CRITICS’ PICKS

Tyler Ramsey and Carl Broemel, Orchids at Cheekwood, Justin and the Cosmics, Rob Anderson and more

FOOD AND DRINK

From the Hearth

New White Bridge Road dining room Noôsh builds feasts around stew, kebabs and sumac BY ELI MOTYCKA

MUSIC

Gotta Have That Funk

Ahead of Paul Burch’s latest residency date at Brown’s Diner, we talk with the ace songsmith about his band, his latest LP, his debut novel and spaces outside the mainstream BY SEAN L. MALONEY

Lilly Hiatt keeps the human connection at the forefront ahead of 615 Indie Live performance BY BEE DELORES

The Spin

The Scene’s live-review column checks out The Features and Glossary at Eastside Bowl and Mavis Staples at the Ryman BY P.J KINZER AND RON WYNN

FILM

Calling Attention

Oscar-nominated docu-fiction The Voice of Hind Rajab, which focuses on the humanitarian crisis in Gaza, will stick with you BY KEN ARNOLD

Love Bites

Luc Besson’s Dracula bites down on the Romantic movie trend BY JOE NOLAN

CHECK BACK HERE WEEKLY TO LEARN ABOUT LOCAL PROMOTIONS, PARTNERSHIPS AND EVENTS

Fashion for a Fraction Fashion for a Fraction Sunday, Feb. 15, at The Factory at Franklin’s Liberty Hall. Visit fwpublishingevents.com for more information.

Conversations at OZ Arts with Laura Hutson Hunter The Scene’s very own arts editor, Laura Hutson Hunter, will host a table during Conversations at OZ 2026, 6:30 p.m. on Feb. 25. Learn more and purchase your tickets to this table at ozartsnashville.org/ conversations-2026.

STAY IN THE KNOW

Galentine’s Day Giveaway

Enter for your chance to win four VIP tickets to Fashion for a Fraction on Feb. 15 and gifts from participating boutiques! Visit nashvillescene.com/promo/freestuff to learn more.

Aunt B Radio Hour

The Aunt B Radio Hour is now live on Spotify and Apple Podcasts! Scene columnist Betsy Phillips and co-host Braden Gall dive into Nashville culture, music, news, history and plenty of hilarity. Head to nashvillescene.com/podcast to listen now.

LOOKING AHEAD

on flyer by Angelina Castillo; photo of flyer by Eric England

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BLACK HISTORY MONTH

ICE STORM LEAVES LASTING DAMAGE FOR FAMILIES AND METRO LEADERS

City and NES both face blowback for extended power outages and poor public communication

BY ELI MOTYCKA

Metropolitik is a recurring column featuring the Scene’s analysis of Metro dealings.

A WEEK AFTER Winter Storm Fern froze Davidson County, the thaw finally arrived — an extended period of higher temperatures that melted snowbanks and ice on slick roadways. Muddy grass returned from underneath frozen sheets of snow. What appears like a slow return to normal comes with prolonged electrical outages, water main breaks across Nashville and continued damage for families and top city officials who bear the brunt of an angry public traumatized by a historic ice storm. As of Feb. 2, the city has reported five storm-related deaths with many more injuries and widespread property damage.

Fern lined up a destructive combination of snow, sleet and subfreezing temperatures in quick succession, with multiple inches of snowfall starting around midday Saturday, Jan. 24. Families sledded and young people packed the bars, celebrating Nashville’s annual snow day. But temperatures plunged overnight as frozen rain coated the city with a layer of ice. Many remember hearing loud cracks while lying in bed early Sunday morning — branches breaking off of trees, burdened by the weight of frozen water. As ice destabilized bigger branches — and even entire trees — they took out powerlines and utility poles. Power outages peaked around 230,000 customers late Sunday. Downed trees and ice made roads impassable.

A split-screen flow of information defined the next week for the hundreds of thousands of Nashvillians without power. Rumors and storm-related AI photos spread on social media, feeding the frustration of many families facing an unknown stretch without electricity. The weather jeopardized basic necessities for life, and the disconnected city switched into survival mode. Some hunkered in unheated homes while others relied on the generosity of family or friends with power or generators. Forty-six children were treated for symptoms of carbon monoxide poisoning — a risk from operating generators and

heaters indoors — as of Jan. 27, according to a statement from Monroe Carell Jr. Children’s Hospital at Vanderbilt. The earliest, best advice from Metro leaders reflected the moment’s complete uncertainty: If your home doesn’t have power, find Plan B.

City leaders began daily briefings on Jan. 25, with Mayor Freddie O’Connell appearing next to crisis leads like Metro Nashville Police Chief John Drake and Nashville Fire Department Director-Chief Will Swann from a Metro “war room.” The city added fire and police stations to its warming shelter network. They all repeated the same vague talking points — prepare for a “prolonged” outage, prepare for multiple days, utilize warming shelters or secondary options. In essence, no one knows when your power will be back on

The bad news, and lack of confidence, fomented sharp public backlash aimed at Nashville Electric Service leadership. Brent Baker, an NES executive overseeing power restoration, initially joined the mayor’s briefings until O’Connell began distancing himself from the city’s local power company. Many cheered the linemen working around the clock to separate branches from power lines and repair blown transformers, but traded speculation that NES wasn’t prepared and didn’t have enough people. One rumor — that NES turned away linemen from the International Brotherhood of Electrical Workers — took hold among frustrated Nashvillians, gaining strength after a Tennessean article cited comments from a low-level IBEW employee. A senior union official soon denied the rumor, saying, “Reports of IBEW line crews being turned away from helping Nashville recover from the ongoing winter storm are unequivocally false.” The utility has employed IBEW and Service Employees International Union workers throughout the storm. According to SEIU union leader Maura-Lee Albert, NES began the storm understaffed, and should have about 150 more frontline workers. NES restored power in big chunks at first. Total customer outages dropped from 230,000 to

LAWMAKERS CHASE ‘FAKE’ UBER DRIVERS WHILE PAY CUTS FUEL A CASH MARKET

State law passed last year targets public safety risks as drivers point to increasing off-app rides

BY NICK PIPITONE

LAST YEAR, the Tennessee General Assembly passed a law criminalizing the impersonation of a rideshare or taxi driver. The law, which took effect July 1, makes it

below 100,000 within a few days before progress slowed as work became more fine-grained, with restoration totals flattening below 10,000 a day by Jan. 31 — even as more linemen crews came online. At NES’ separate storm briefings, Baker and CEO Teresa Broyles-Aplin evaded or declined to answer basic questions about the restoration process. Neighborhoods with old-growth tree canopy and low population density are last on the list as work there is the least time-efficient. Forced out of their homes, thousands of families struggled to make plans for the week without any timeline or information from NES, which published its first restoration schedule on Jan. 31 — estimating that 100 percent of “customers who can receive power” would have their power restored by Feb. 9, more than two weeks after the first outages began. More than 25,000 customers were still without power as of Feb. 2. Frozen pipes and water main breaks have compounded damage.

The result has been a city — and many residents — underprepared for an ice storm. O’Connell, expected to run for a second term in 2027, has maneuvered his office in the past few days to direct Fern’s political damage to NES, a business entity financially separate from Metro. The mayor can’t fire its executives, but he does appoint the NES board; many want O’Connell to clean house as a gesture of strong leadership. The mayor has described the utility as “unequipped to communicate” in a crisis, issuing an executive order on Feb. 2 “establishing a Commission to Review Preparation and Response to the January 2026 Winter Storm.” The mayor says the commission will hold hearings and request the assistance of the Metro auditor, and is expected to return its initial findings within six months. When asked Monday if he intends to fire any NES board members, O’Connell told reporters he has not decided yet whether he will do so — though he is exploring his and the Metro Council’s ability to do so. The storm’s fallout is far from over, and O’Connell will try to regain public trust as Nashville families rebuild in the coming months. ▼

a class-B misdemeanor to falsely present oneself as an Uber, Lyft or taxi driver. If the impersonation occurs in connection with a felony, the charge may be elevated to a class-E felony.

State lawmakers framed the measure as a public safety effort to protect riders from impostors, citing reports of fraudulent drivers luring passengers, overcharging them or creating unsafe situations. Supporters of the legislation say passengers should be able to trust that their driver is legitimate and properly vetted, and that the law will protect licensed rideshare and taxi drivers by preventing bad actors from posing as platform affiliates and undercutting drivers who follow the rules.

“It’s a common-sense measure,” said Sen. Becky Massey (R-Knoxville), the bill’s Senate sponsor, last year. “Hopefully, it won’t come into play much, but if it saves one life, it’s worth it.” Massey referenced incidents in which people posing as rideshare drivers in Nashville and elsewhere committed serious crimes. Dating back several

Find ongoing coverage of the city’s response to Winter Storm Fern at nashvillescene.com/ news/pithinthewind.

On Monday night, term-limited Gov. Bill Lee delivered his final State of the State address at the Tennessee State Capitol. During his remarks, Lee touted last year’s passage of his school voucher program as well as what he described as the state’s “fiscal responsibility” and commitment to nuclear energy. In a statement on behalf of the state’s Democrats, Senate Democratic Leader Raumesh Akbari of Memphis decried high housing and grocery costs, calling for an end to the state’s grocery tax, expansion of health coverage, an increased minimum wage and more investment in public schools and infrastructure.

Cade Cothren — who was convicted of federal fraud and bribery charges and later pardoned by President Donald Trump — says he intends to seek the state House District 71 seat currently held by Republican Rep. Kip Capley. Previously, Cothren was an aide to Republican state House Speaker Glen Casada. Cothren was part of Casada’s administration when NewsChannel 5 revealed exchanges between Cothren and Casada featuring explicit language about sex and drug use. The two resigned in 2019 and were later charged with federal crimes, undergoing a trial and sentencing in 2025. The Tennessee Registry of Election Finance has fined Cothren $80,000 for what they believe are eight violations in reference to his Faith Family Freedom Fund from 2019. Cothren has until March 10 to pay the penalty or he will not be able to run for office.

On Jan. 28, U.S. Sen. Marsha Blackburn posted on social media: “It was a pleasure to meet a fierce America-loving patriot, Nicki Minaj!” Writes longtime Scene opinion columnist Betsy Phillips, Blackburn has been touting herself as some kind of champion for all the Epstein victims, so why is she hanging out with Minaj, who married a convicted attempted rapist, allegedly pressured the victim to recant, worked with alleged domestic abuser Tekashi 6ix9ine and paid bail for her brother when he was arrested for allegedly raping a child? “Nicki Minaj is no friend to abuse victims,” Phillips writes.

years, there have been various reports of impersonators allegedly robbing or assaulting passengers.

Massey says she worked closely with Uber to pass the law, and that Uber, Lyft and the Metro government support it. She declined an interview with the Scene but shared a list of talking points and a quote from an Uber spokesperson. Uber says the company doesn’t have access to the criminal files to determine the number of driver impersonations that occur, but they “are aware that these incidents take place across the country and can lead to severe incidents that compromise the safety of riders.”

State Rep. Elaine Davis (R-Knoxville), who was a cosponsor of the bill in the House, says the legislation was narrowly focused on criminal impersonation rather than broader rideshare labor or pricing issues. The legislation originated with state Rep. Dan Howell (R-Cleveland), chairman of the House Transportation Committee, and was prompted by specific safety concerns including an alleged incident in Nashville in which a man was robbed by someone posing as a rideshare driver.

But the new law doesn’t address a related issue: the growing market for off-app cash rides. These rides are not offered by “fake drivers” with criminal intent, but by existing drivers finding a workaround to Uber’s high fees. According to Sergio Avedian, a senior contributor to industry site The Rideshare Guy, the shift can be traced to a change in Uber’s pricing algorithm in 2022. “Riders are paying more, and drivers are pissed because they’re earning substantially less,” Avedian says. “So they cut a deal and take the trip off-app.”

NASHVILLE IS A SOUTHERN SKATING HUB

Talking with Nashville Skating Academy ahead of the 2026 Winter Olympics

BY LOGAN BUTTS

EVERYONE NOW knows that Nashville is a hockey town. It may have taken almost two full decades, but by the time the Nashville Predators made the franchise’s first run to the Stanley Cup Finals in 2017, Music City had given its chilly, gold-drenched smilodons a warm embrace.

But Nashville’s status as a Southern figure-skating hub isn’t as well-known. Twenty months prior to the Predators’ first game at Bridgestone Arena, the downtown venue — then known as Nashville Arena — played host to the 1997 U.S. Figure Skating Championships, jump-starting the city’s status as one of the premier figure-skating locales in the South.

Seeing stars like Tara Lipinski and Michelle Kwan in person was surely a big moment for local Olympic hopefuls, but there weren’t always easy pathways to high-level skating instruction within reasonable driving distance. Attempting to excel in any nontraditional sport can put a financial and logistical strain on families. Laura Sanders Holzman, an ex-pro figure skater who has taught young athletes across the state, started Nashville Skating Academy with that in mind.

“I had to travel a lot for my amateur career, because there wasn’t a lot of skating in the South,” Holzman tells

Avedian argues that Uber’s fee structure — which he describes as “exorbitant” — has effectively incubated an informal cash market. Uber supplies customers to drivers, who, frustrated by shrinking pay, turn off the app and request cash or Venmo instead. Some go further, forming LLCs and attempting to operate private transportation businesses by securing the necessary registrations and licenses. Even those drivers may continue to rely on Uber to source passengers. Or they congregate in busy areas where people are seeking

the Scene. “So when I started to coach professionally, I came back to my hometown to train under my original instructor, and since then, it’s just been a goal of mine to bring figure skating to the South.

“We’re really proud that most of our skaters are homegrown — they’re here from Nashville,” she continues. “One of the things that I wanted to do was not have to have people leave their family and their homes to go and train elsewhere, which is what I had to do.”

Nashville Skating Academy, which operates out of the Metro-owned Centennial Sportsplex, has around 60 coaches — many of whom are former students — teaching more than 2,000 skaters six days a week across all skill levels throughout the year, including what Holzman calls the “largest learn-to-skate program in the Southeast.” They have also partnered with the Metro Parks disABILITIES Program to field a competitive adult skating team.

Nine of the academy’s elite-level skaters were recently invited to the 2026 U.S. Figure Skating National Development Camp in St. Louis, which takes place alongside the yearly U.S. Championships. The camp functions as a developmental pipeline for the country’s top youth skaters to be introduced to U.S. Figure Skating, the sport’s official governing body in America.

“It was a really good experience,” says 12-year-old Nashville native Liyah White, who competed alongside her twin sister Lexie in St. Louis.

White has been skating for a decade despite her young age, and Nashville Skating Academy has helped shape her into an elite youth skater — something that would not have been possible locally in years past.

“The coaches are great,” White adds. “I’ve worked with Laura for so long. … We’ve had a good experience and good relationship between all of us, and I could definitely tell a big difference from when I first started

rides, such as Lower Broadway or the airport.

“It all starts with Uber’s greed,” Avedian says. “When both the rider and the driver feel like they’re getting ripped off, they’ll find a workaround.” That workaround carries risks. If Uber or Lyft detects off-app activity, drivers risk a permanent ban from the platforms. If a driver lacks proper insurance or licensing and is involved in an accident, the legal exposure can be severe, including lawsuits from injured passengers.

Rep. Davis says drivers who turn off the app and

with her. And I could definitely see a big difference between everyone that skated with her.”

One of the academy’s coaches, two-time Olympian Bill Fauver, was honored on the ice in St. Louis alongside his former U.S. teammates for the 50th anniversary of their performance at the 1976 Winter Olympics in Innsbruck, Austria. Fauver, a longtime Nashvillian, has seen the city’s transformation into a figure-skating hub firsthand.

“Nashville has been a scene of excellence, really, since we hosted the [U.S. Championships] at Bridgestone Arena in 1997,” Fauver says. “In fact, in the figure-skating world, they know that Nashville is a hub of activity.”

accept cash rides are unlikely to be covered by the new law. Questions about the legality of off-app or cash rides, she says, would ultimately fall to local prosecutors. She stresses that the legislation is specifically aimed at criminal impersonation, and says enforcement will be largely “reactive” and complaint-driven. Davis has not seen any data on how the law has been enforced or whether any arrests have been made since it took effect in the summer.

Metro Nashville Police Department spokesperson Kristin Mumford says rideshare driver impersonation is not “a commonly occurring offense.” She adds that MNPD has not seen any arrests in connection with this offense.

Monique McClain, a Nashville-based rideshare driver, is skeptical that the law will improve safety and is confused as to why it was even pursued. McClain is co-president of the Tennessee Drivers Union, a grassroots organization of roughly 400 rideshare drivers. She’s more concerned about outof-state rideshare drivers, who she believes pose a greater safety risk and are diminishing local drivers’ earnings. A law addressing out-of-state rideshare drivers has not yet been passed. She believes the new criminal impersonation law is more about damage control for Uber, which is facing mounting pressure nationwide for a pattern of sexual violence during rides.

“This law was meant to appease tourists and show that they have a grip on safety,” McClain says. “They don’t want that tourism money to stop coming in.” ▼

participating in the Olympics. Four Nashville Predators will be among those taking the ice in Milano-Cortina. Current captain Roman Josi will suit up for Team Switzerland. He is the only Predator of the four who has previous Olympic experience, having been selected for the Swiss roster in 2014.

Star forward Filip Forsberg will be looking to add to his 2018 World Championships gold medal with some hardware for Team Sweden in Milano-Cortina.

Outside of Team USA of course, Team Finland might be the team for local hockey fans to cheer for, as both forward Erik Haula and goaltender Juuse Saros will be representing the Finns.

Tennessee, or even those just wanting to get in a few

With two high-level skating programs in the area — longtime Franklin resident and Olympic gold medalist Scott Hamilton operates the Scott Hamilton Skating Club at the Ford Ice Centers in Bellevue and Antioch — the future looks bright for any hopeful Olympians in Middle Tennessee, or even those just wanting to get in a few wobbly laps around the ice.

“We try so hard to let people know that it’s here and that it’s available, and it’s available at all levels of interest,” Holzman says. “Whether it’s to become a national competitor or to win an Olympic medal, or just to get some good exercise.”

NASHVILLE

None of Nashville’s Canadians were named to Team Canada’s roster, most sadly so for veteran Steven Stamkos. The 2009 World Championship silver medalist was named to Canada’s team for the 2014 Olympics, but broke his tibia prior to the start of action in Sochi. ▼

PREDATORS AT THE OLYMPICS

While the students at Nashville Skating Academy will be tuning in to see American figure-skating stars like Ilia “The Quad God” Malinin and Amber Glenn at the 2026 Winter Olympics in Italy, local sports fans may want to check out the hockey competition. For the first time since 2014, when then-Preds captain Shea Weber won a gold medal with Team Canada, NHL players will be

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ALL THE FEELINGS TOUR WITH METRIC, BROKEN SOCIAL SCENE AND STARS ON SALE FRIDAY AT 10 AM

BY MARGARET LITTMAN

IN JANUARY, Elliston Place’s The End posted that for the first time in the independent music venue’s 27-year history, it was struggling to pay rent. The club posted a link to its GoFundMe campaign, and within four hours, it met its $25,000 goal — primarily through small donations — and gratefully closed the request.

But the public asked to keep making donations. “We are seeing lots of messages about reopening donation acceptance,” venue ownership posted on social media. “Instead of further donations, we encourage you to attend local shows. Buy tickets, drinks, merch, even water. It may seem like a small purchase, but everything counts at these independent venues.”

The End’s experience is indicative of the state of indie music venues in Nashville today. It’s a roller coaster of being behind on rent, then having enthusiastic public support. It’s a mix of booking acts and needing to sell a can of water and a T-shirt. It’s a mix of state legislation, business-plan pivots, GoFundMe campaigns and cheap beer.

Nashville has more live music venues per capita than any other city, according to the Nashville Independent Venues Study, conducted in 2023 and 2024. At that time, the city had 252 spaces where live music was the main draw. Of those, 24 were independently owned, and 48 had some degree of independent ownership. Those venues each had their own wild rides in 2025. Some, including Madison’s Eastside Bowl, had their best year to date. Late last year, the owners of Rudy’s Jazz Room announced they plan to open a second location in East Nashville, near nonprofit venue Drkmttr. Iconic venue The Basement just celebrated its 21st anniversary. But others, including The End and Lower Broad’s Acme Feed & Seed, counted 2025 among their most challenging years. East Nashville’s The 5 Spot recently launched a Support Pass initiative — an opportunity for patrons to buy tickets now and redeem them for entry into a future show of their choice — to help offset recent losses.

A diverse set of live music venues — both corporate-owned and locally and independently owned — is crucial for a healthy live music ecosystem. Without it, Nashville could not and would not be Nashville. Without smaller venues and stages, musicians don’t get the live, in-person experience they need to later sell out arena shows.

There was a moment when the industry thought TikTok might be the incubator that would help new musicians be born and discovered, says Lauren Mo-

615 Indie Live Saturday, Feb. 7, at venues across Nashville. Download the official app and follow @615IndieLive on Instagram for updates.

rales, COO of TomKats Hospitality and owner of Acme Feed & Seed. But you can’t take anyone — no matter how talented — from playing in their bedroom for a video audience on TikTok to playing before a live, in-person audience of thousands. Musicians need to hone their craft in front of live audiences, and smaller indie venues provide that training ground.

In the NIVS study, 64 percent of venues reported being unprofitable. Most venue owners don’t own the properties where they operate, so in addition to inflation and other economic pressures, they face rent increases and displacement. As a result, most indie venues are trying a variety of new approaches to solidify their finances.

Tennessee is close to having a model for indie venues and corporate-owned venues to coexist, says Chris Cobb, president of nonprofit independent venue organization Music Venue Alliance Nashville. “Tennessee should lead,” says Cobb. “The titans of the music business and industry that thrive here should be excited to support the idea of figuring out how to best reinvest their profits back into the foundation of the live business.”

That model includes the Tennessee Live Music and Performance Venue Fund. Passed with bipartisan support by the state legislature in 2024, the fund is designed to provide grants to venues, promoters and performers. It has not been funded, however, so Jamie Kent — a lobbyist, communications consultant and founder of Backstage Strategies — is working with legislators to pass a bill to put dollars to work. One option is to impose a small levy on all tickets sold by third-party resellers.

“We actively invest in initiatives that strengthen Nashville’s live music ecosystem by making financial contributions to local organizations that champion artists, songwriters and venues,” says Grant Lyman, Live Nation’s U.S. Regions East president, via email when asked about funding the live music fund. “And we encourage policymakers to focus on curbing abusive resale practices while keeping tickets affordable and accessible for fans.” (Representatives of AEG, another major corporate venue owner in Nashville, declined to be interviewed for this piece.)

A separate proposal under discussion: provid-

ing property tax relief for independent venues and their landlords. Such legislation was passed in Toronto in 2022 and has provided a boost for venues, according to Mike Tanner, music sector development manager for the city of Toronto.

As in Nashville, most indie venues in Toronto don’t own their properties, and the system is designed so landlords pass on 100 percent of savings to their tenants. The program offers a 50 percent reduction in property taxes. Venues apply for the program, providing evidence of the frequency of their live music and that they pay performers. They apply annually, although once deemed eligible and approved, the reapplication process requires less paperwork. Landlords then sign an attestation that they will pass on savings to the tenant, although the specifics of how they do so (through a rebate or rent reduction) is not dictated by the government. The city follows up on reported concerns.

The number of participating venues has increased from 48 to 71 in just a few years, Tanner says. The small amount of lost revenue to the city from the discounted property tax — about $900,000 — has been recovered via what Tanner calls “a very small incremental increase tax” for other types of businesses in the city. The program has been successful in promoting Toronto’s music culture. After post-pandemic venue closures, Tanner says new venues are opening.

“WE’VE BEEN in a five-year phase since COVID and pivoting so much you’re dizzy,” says MVAN’s Chris Cobb. “It can be exhausting for the folks who do it every day.”

In general, says Acme Feed & Seed’s Morales, her establishment is not bringing in less revenue, but because costs have risen so dramatically — insurance costs are up roughly 30 percent this year — Acme has tried several approaches. One pivot was adding more lower-priced beers. Many venues on Broadway sell $10 to $12 beers, so Acme added $3 Busch Lights, a beer they did not carry 18 months ago, as well as other less expensive beers, albeit with smaller margins. Morales has been surprised by how well Busch Light has sold. And food sales are up at Acme as beer sales are down — a trend seen nationwide as people consume less alcohol. Food costs have risen, how-

ever, so margins are slim.

Some venues are selling nonalcoholic and CBD beverages to make up for the lost income from alcohol sales, although none say the revenue is a replacement yet. Changes in CBD beverage regulations in Tennessee are also leaving some venue owners unsure of how best to stock and price those products. Some venues have free water available for patrons — “water is a right,” quips Eastside Bowl co-owner Chark Kinsolving — but selling canned or bottled water at $6 a pop can help bring in revenue. One of the most popular canned water brands, Liquid Death, is partially owned by Live Nation, the corporate owner of Ticketmaster as well as forthcoming Wedgewood-Houston venue The Truth. Some indie venue owners would prefer not to line their competitor’s coffers, although

the brand sells well.

Other pivots include offering more all-ages hours and leaning into the family-friendly offerings so that locals can bring their kids to hear original live music.

Kinsolving says 2025 was Eastside Bowl’s best year since opening in 2021 because the venue was “brave enough to pivot.” He and co-owner Jamie Rubin converted the space’s former restaurant into The ’58, a 225-person venue that brings the number of music venues in the former Kmart to three. The bowling alley brings in guests of all ages, and the design of the building allows under-age bowlers to see live music through the windows, which Kinsolving thinks contributes to a community-gathering vibe. Another boost for Eastside Bowl has been Honky Tonk Tuesday Nights, which moved from

American Legion Post 82 to Eastside Bowl in August 2024. That regular weekly audience brings another cross section of dancers and music lovers to the venue.

Marcie Allen Van Mol, co-owner of Anzie Blue, agrees with the pivot language, joking that she feels like she’s on the famous “Pivot!” episode of Friends. She has expanded the offerings at the Hillsboro Village venue, including adding a recording studio and hosting all manner of events, from Hollywood premieres to discussions on mental health in music to bar and mat mitzvahs. The emphasis is on events for and by locals, and often, she says, they are available to make events accessible that would not otherwise be affordable.

Morales sees Metro addressing affordability citywide as crucial to indie venue success. Without affordable housing and transportation, musicians can’t live and work in the city and locals can’t go see music. And while having free, easy and ample parking may seem like an oversimplification of what makes for a successful music venue, multiple venue owners report that it makes a big difference.

Both Eastside Bowl and Anzie Blue have at least some free parking, and Kinsolving says it’s one of the things attendees repeatedly mention. Morales knows parking at her Lower Broad venue is a challenge for attendees, staff and musicians. Even with deals for discounted parking for staff and free parking for musicians playing downtown through Metropolis’ Park and Play, Morales knows locals find the lack of affordable parking a deterrent to going downtown. With the closure of the Nashville Public Library parking garage due to a fire in June, locals are hesitant to pay $20 to $40 for parking during a night out. Rideshare apps can be pricey, and WeGo service may help some locals get downtown but is not feasible for those living in many residential areas, particularly late at night.

Programming can help address that. In its second year, 615 Indie Live offers dozens of artists performing on more than 15 independent stages for just $20 per wristband ($25 on the day of show). The Nashville Convention & Visitors

A 615 INDIE LIVE FIELD GUIDE

Our picks for can’t-miss shows during the 2026 run of the citywide celebration of indie venues BY

STEPHEN TRAGESER

LAST YEAR’S INAUGURAL 615 Indie Live event had a lot of things in its favor. Among the biggest: Most weekends, Nashville’s independent venue ecosystem offers fans and musicians alike ample access to top-notch live music in a wide range of club settings — one of the main reasons to celebrate. The big lift for event co-organizers Nashville Convention & Visitors Corp and Music Venue Alliance Nashville (and all the participating venues) was to orchestrate dozens of artists performing on more than 15 stages during one day as one unified happening, with a single pass to allow attendees to hop between shows as if it were SXSW or AmericanaFest. Despite cold, wet weather on the evening of Feb. 1, 2025, the shows seemed to go overall as planned, and some 2,200 ticketholders caught sets from Nashville musicians running the gamut from jazz to rock to hip-hop to country and beyond.

The independent venue landscape in Nashville continues to evolve — see the other part of our cover story for an in-depth look at that. For the second run of 615 Indie Live, scheduled for Saturday, organizers have their sights on covering even more ground. You’ll want to snag a pass ahead of time via Etix and check the official app and @615IndieLive on Instagram for the most current scheduling info. With that in mind, here’s a brief rundown of our picks for can’tmiss shows.

Start your day early where Lower Broadway meets the Cumberland with Charles “Wigg” Walker, who plays Acme Feed & Seed from 11:30 a.m. to 2:15 p.m. (It’s worth noting the end time, because the majority of the day’s performances will be 30 to 45 minutes.) The Nashville soul legend recently released a stunner of an LP dedicated to his late wife Marva, called This Love Is Gonna Last, which we at the Scene crowned the Best R&B Album in our 2025 Best of Nashville issue.

Also on the early side, Mainstage at Cannery Hall hosts harmonizing pop-rockers The Brummies at 2:15 p.m., country songsmith Zandi Holup at 3:30 and philosophically inclined rock ace Ron Gallo at 4:30 p.m. After several years in Nashville, Gallo returned to his hometown of Philadelphia in 2020. In October, he released Checkmate, a record that features more acoustic instruments and relaxed tempos than his earlier work, but is no less incisive and insightful.

Those who keep an ear out for rising Nashville rockers have strong bills to dive into at two venues — and praise be, you can conceivably get to both. At

East Side nonprofit all-ages spot Drkmttr, Ol Blue kicks things off at 3:30 p.m., followed by self-described “bubblegrunge synthpunk riot band” Hussy Fit at 4:15 and experimental rock champs Total Wife at 5, with post-grunge rockers Venus & the Flytraps making a hometown stop on their winter tour at 5:45. You’ve got plenty of time to grab a bite to eat and scoot over to Rock Block stalwart The End — whose recent crowdfunding campaign to make up back rent met its goal in a matter of hours — where Boy Orbison takes the stage at 8 p.m., massie99 (whose Pen15-esque jams you might have caught at Snooper’s album release show) goes on at 8:45, New Translations hit at 9:30 and shoegaze-kissed outfit The Sewing Club wraps it up at 10:30.

Looking for more rock or a different flavor thereof? Playing at 10 p.m., Eddie Angel of superb instrumental rockers Los Straitjackets tops the bill at Lebanon Pike-area spot Mirror Mirror. Meanwhile, Eastside Bowl’s smallest stage Low Volume Lounge — not so quiet anymore after a recent P.A. upgrade — gets cooking early, with one standout on the lineup being the Zeppelin-schooled rock of A Tribe of Horsman at 3:45 p.m. The venue’s midsize room The ’58 hosts greats like Lilly Hiatt (playing 7 p.m., read more from her in our feature story in this week’s music section) and The Minks (8 p.m.). On the main stage at ESB, you’ll find a Bob Marley Birthday Bash with Plainview Vibes (8 p.m.). Nashville School of the Arts alum Bryant Taylorr flexed his muscle as a singer and MC on his 2020 EP Rare, and has mostly focused on songwriting and appearing on others’ releases in the years since. His 8 p.m. set at Hillsboro Village’s Anzie Blue is a highlight of the night, as is the multifaceted Crystal Rose’s 9:30 p.m. set (with new tunes promised!) at The East Room

If country is more what you’re looking for, don’t sleep on Country Latin Association co-founder Angie K (8 p.m. at The Music Makers Stage at Delgado Guitars) or Kristina Murray fresh off her awesome 2025 rocking country LP Little Blue and playing at 10 p.m. atop a stout bill at The 5 Spot. Slide guitar queen Cristina Vane teams up with country crooner extraordinaire Joshua Hedley at Dee’s Country Cocktail Lounge for a 9:45 p.m. set capping a long day of great locals — which includes a live taping of Rolling Stone’s podcast

Nashville Now with singer-songwriter Noeline Hofmann

Looking for something else entirely? Rudy’s Jazz Room has Rougarou 6-Piece New Orleans Brass Band at 5:30 p.m., the David Cook Quintet at 8 and the Marc Payne Quintet at 11. Meanwhile, dance club Night We Met is bustling all night with sets including renowned New York DJ (and creative and music director for wine bar Sauced) The Whooligan spinning at midnight and the team of Hayes. + Knyghts on at 2 a.m. ▼

615 INDIE LIVE SATURDAY, FEB. 7, AT VENUES ACROSS NASHVILLE DOWNLOAD THE OFFICIAL APP AND FOLLOW @615INDIELIVE ON INSTAGRAM FOR UPDATES

Corp provides about 90 percent of the funds for that event, and more than 50 percent of the event’s revenue goes directly to the performers. Many venues are on bus lines and outside of the downtown core.

THE PROLIFERATION OF performance rights organizations, commonly called PROs, is another stressor for venue owners. There used to be three main PROs: BMI, ASCAP and SESAC. Now some venues are paying licensing fees to as many as six PROs, with a few others in the works. Each PRO covers licensing for different musicians whose music is played in public spaces, and each charges fees for blanket licenses. The licenses are based on projections from the top live music venues in the country, but many feel they don’t accurately depict what music actually is played on independent stages. PROs are known to be litigious, venue owners say, so

there’s no way to scale back on paying these fees. Live Nation’s Lyman says the corporation does negotiate rates with some PROs.

Eric Holt — associate professor of music business at Belmont University’s Mike Curb College of Entertainment and Music Business and co-founder of promotion group Lovenoise — believes technology can improve the situation. Voice recognition could track which music is actually being played in venues, benefiting smaller artists and venues, rather than having the bulk of fees go to top radio artists.

Despite the challenges, Acme’s Morales remains optimistic.

“People still want to hear live music, and in Nashville specifically, we are still such a hub for live music,” she says. “At Acme, we are grateful every day for our artists. We are who we are because of our artists. Hearing them perform five days a week is still just a treat for a music lover.”▼

THURSDAY, FEB. 5

COMEDY

[GAY SCIENCE] ROB ANDERSON

Have you ever lost precious minutes of your life thinking about some of the most insane Dawson’s Creek storylines? Can you quote The Lizzie McGuire Movie by heart? Were you personally victimized by the children’s films The NeverEnding Story and The Brave Little Toaster? Do you ever look back and think the Berenstain Bears books were actually a little toxic? Comedian Rob Anderson has gained a legion of fans on TikTok with his Mystery Science Theater 3000-level roasts of millennial youth culture, from Hilary Duff’s filmography to the WB cheese-fest that was 7th Heaven. Now he’s bringing the nostalgia to the masses for a live comedy tour. Are You Afraid of the ’90s, Anderson’s musical comedy show celebrating the most unhinged pop culture moments from the 20th century’s final decade, is headed to Nashville with two shows at Zanies that have now sold out. BOBBIE JEAN SAWYER

7 & 9:30 P.M. AT ZANIES

2025 EIGHTH AVE S.

WOKE3: I AM … IN THE STUDIO PAGE 20

YANIRA VISSEPO: ON THE MOUNTAINSIDE BY THE RIVER PAGE 20

ACTORS BRIDGE ENSEMBLE: THE VAGINA MONOLOGUES PAGE 22

THURSDAY / 2.5

MUSIC

[FUCK MY COMPUTER] NINAJIRACHI

Ninajirachi’s debut album I Love My Computer was a revelation last year. Capturing the feel of early-2010s EDM pop hits while breathing new life into the genre is no small feat. Whether it’s “iPod Touch” and its dreamy reminiscence of the past or “CSIRAC” with its stuttering buzzes and pulse-pounding beats, there’s no shortage of incredibly infectious songwriting. Combined with Ninajirachi’s potent lyrics exploring the highs and lows of our ever-consuming digital landscape, the album is meant to be heard with other internet-obsessed freaks. The chorus of “All I Am” alone is begging for a crowd to chant it loudly in the midst of a concert. Good thing you can, since Ninajirachi is performing in Nashville on Thursday at Night

We Met. IAN MATTHEWS

9 P.M. AT NIGHT WE MET 114 12TH AVE. N.

MUSIC

[I SEE LONDON, I SEE FRAN’S] JUSTIN AND THE COSMICS’ FRAN’S FUNDRAISER RESIDENCY

Old-school Nashvillians of fine taste have known Fran’s Eastside as one of Nashville’s best karaoke dives since it was in its previous location over in Inglewood. (And the true old-schoolers have loved it since the location before that.) At its current spot on Dickerson Pike, Fran’s also hosts performances from great punk, country and rock ’n’ roll acts. The Fran’s gang is currently hoping to upgrade its outdated PA system in order to, in their own words, better “handle the party.” A GoFundMe campaign to raise the funds is already halfway to its goal of $4,000, and throughout the month of February, they’ll be hosting a run of shows to throw some more money in the hat. The residency is being hosted by local rock ’n’ roller (and Fran’s regular) Justin Collins and his band Justin and the Cosmics, known for their fun, raucous, perfectdegree-of-loose rock performances. They’ll get support from a different local opener each week, and up first on Feb. 5 will be the creator of catchy garage pop Ricki. Come back Feb. 12 for garage punks Heinous Orca, Feb. 19 for brilliant folk songster (and the Scene’s own Advice King) Chris Crofton and Feb. 26 for newcomer Rina Ford.

Cover is $10 each time, but additional donations will no doubt be appreciated. D. PATRICK RODGERS

8 P.M. AT FRAN’S EASTSIDE; RESIDENCY THROUGH FEB. 26

2504 DICKERSON PIKE

ART [STAY WOKE]

WOKE3: I AM … IN THE STUDIO

Woke3 has long been considered an influential, imperative figure in Nashville’s art scene — specifically in the North Nashville community, where Woke’s style has developed from graffiti and murals into gallery-ready paintings that are as strong conceptually as they are formally. This exhibition of his ongoing I AM series at The Forge is an ideal way to experience his work. The series involves portraits painted directly on collaged archival materials, and it’s something of a breakthrough in the artist’s already notable career. One of the works, “Ms. Hattie Margaret Parham,” even got a writer’s choice award from contributor Joe Nolan in our Best of Nashville issue. “The portrait of an elderly woman painted on an assemblage of vintage seed and feed bags is one of the most striking works of art I saw all year,” writes Nolan. The combination of portrait-painting and vintage industrial materials is something Woke hopes will create “a visual dialogue between being perceived as a commodity and expressing authentic individuality.” Come see if you recognize any of the figures in his works at Thursday’s opening. LAURA HUTSON HUNTER OPENING RECEPTION 6-9 P.M. AT THE FORGE; THROUGH MARCH 8 217 WILLOW ST.

FRIDAY / 2.6

FILM

[MURDER’S NEVER PERFECT] ROMANCE

IS DEAD: DOUBLE INDEMNITY & STRANGERS ON A TRAIN

Legendary crime novelist Raymond Chandler had a brief but very successful stint as a screenwriter-for-hire in Hollywood. He officially penned five scripts and supposedly polished up countless others. Despite cranking out a pair of all-time classics and a forgotten gem (the 1946 Best Original Screenplay nominee The Blue Dahlia, the best of the Alan Ladd-Veronica Lake noirs), Chandler hated the experience. This weekend at the Belcourt, as part of the theater’s Romance Is Dead series, you can catch both of the aforementioned classics — Billy Wilder’s Double Indemnity and Alfred Hitchcock’s Strangers on a Train. Adapted from James M. Cain’s foundational crime novel of the same name, Double Indemnity set the template for noir films in which a femme fatale out-schemes a bumbling loser. Barbara Stanwyck gives one of the great film performances of the 1940s as the nefarious Phyllis Dietrichson. Strangers on a Train, an adaptation of crime queen Patricia Highsmith’s novel, will be a hit with any Challengers fans, with its queercoded love triangle and iconic tennis scene. Visit belcourt.org for showtimes. LOGAN BUTTS

FEB. 6-8 & 10 AT THE BELCOURT

2102 BELCOURT AVE.

FILM

[IN MY RESTLESS DREAMS, I SEE THAT TOWN] MIDNIGHT MOVIES: SILENT HILL

The Silent Hill franchise is horror-game royalty. Exploring an abandoned town consumed by fog is creepy enough, but combine that with iconically frightening monster designs and Akira Yamaoka’s hypnotic yet unsettling soundtrack, and you’ve got some of the best video games in the history of the medium. No wonder, then, that the franchise was perfect fodder for film adaptation. Directed by self-professed fan Christophe Gans, 2006’s Silent Hill follows Rose as she takes her adopted daughter Sharon to the titular town in a last-ditch effort to cure an ailment affecting the child. What follows is a descent into madness, including series trademarks like the character Pyramid Head and Yamaoka’s trip-hop-inspired tunes. The film has gained a cult-like status over the years, as it was a rare gem in a wave of poorly made video game adaptations, as well as a clear love letter to the games that revels in its source material rather than seeming ashamed of it. With the film celebrating its 20th anniversary — as well as Gans’ new film Return to Silent Hill currently in theaters — it’s only natural that the Belcourt brings it back, and with a wonderful 35 mm showing, no less. Come visit Silent Hill on Friday at midnight; they’ll be expecting you. Scene senior film critic Jason Shawhan will introduce the screening. IAN MATTHEWS

MIDNIGHT AT THE BELCOURT 2102 BELCOURT AVE.

SATURDAY / 2.7

HORTICULTURE [IN BLOOM] ORCHIDS AT CHEEKWOOD

When Cheekwood’s horticultural team turns its flower focus inward, staging the eighth annual Orchids exhibit inside the mansion, visitors can expect a palette of petals in sunny hues of white, yellow and soft peachy-orange, cascading from chandeliers and staircases like a tropical daydream of Dendrobium, Beallara, Howeara and Oncidium. In addition to the sculptural centerpieces, orchid-forward tabletop and floor displays will adorn the rooms of the mansion. Alongside the floral exhibit, Cheekwood hosts

a complementary orchid-oriented calendar of workshops and classes, such as floral design and drawing, which tends to overflow onto wait lists. And when the exhibition concludes, the plants — sourced from as far away as Hawaii, California and Canada, and as close to home as greenhouses in Alabama — become available for sale. Check Cheekwood.org for information about shows, classes and sales. CARRINGTON FOX THROUGH MARCH 8 AT CHEEKWOOD ESTATE & GARDENS

1200 FORREST PARK DRIVE

FILM [IT’S A ME …] MIDNIGHT MOVIES: SUPER MARIO BROS.

Some movies are perfect for the prime hours of a weekend night, to be enjoyed by the masses — people who are on dates or hanging with groups of friends. Then there are movies that only make sense at midnight, reserved for the sickos and the wild cards who are free to hoot and holler along with the most insane creations that cinematic history has to offer. On Feb. 7, the Belcourt is screening what is easily one of the most quintessential midnight movies of all: 1993’s Super Mario Bros. Starring Bob Hoskins, John Leguizamo and Dennis Hopper, this live-action exploration of Nintendo’s iconic plumber is both a baffling interpretation of the source material and a jaw-dropping time capsule that has to be seen to be believed. From its dark underworld to its pinheaded gangster Goombas, Super Mario Bros. is a one-of-a-kind experience that has only gotten more unhinged with age. Roger Ebert called it a “complete waste of time and money” back in 1993, but watching it today with fellow midnight movie fans is an experience well worth the price of admission. This should be the silliest Belcourt Midnights screening since Mac and Me, and I wouldn’t miss it.

CHARLIE RIDGELY

MIDNIGHT AT THE BELCOURT 2102 BELCOURT AVE

MUSIC [TIN CAN ALLEY]

On her magnificent 2025 album New Radiations, Marissa Nadler utilizes a pinpoint-accuracy

fingerpicking style, ethereal melodies and an otherworldly, breathy, mezzo-soprano voice to further establish herself as a one-of-akind musician. The blackened New England songbird, now a Nashvillian, has a bleakly poetic storytelling ability. Her lush signature style of noir folk — celestial and ominous — has impressed a lot of other musicians. Her incredible talents have led to collaborations with pop crooner Angel Olsen, Velvet Underground founder John Cale, harpist Mary Lattimore and ambient black metalist Xasthur. But Nadler’s strength remains in her personal approach to the songs. Like Nadler, Josephine Foster’s brand of simple organic music uses textures and nuances that make her hard to pin down. She has the charm of the Tin Pan Alley folkies paired with a penchant for sonic exploration, adding new tools to her skill set with each album. P.J. KINZER

7 P.M. AT CANNERY HALL

1 CANNERY ROW

[LANDSCAPE ARCHITECT]

ART

YANIRA

VISSEPO: ON THE MOUNTAINSIDE BY THE RIVER

Self-taught artist Yanira Vissepo has tapped into something extraordinary with her ink-ontextiles method — she’s among the youngest (if not the youngest) contributors of In Her Place, the massive but still selective group show of Nashville women artists currently hanging at the Frist Art Museum. And she’s also gotten the attention of ZieherSmith, the Edgehill-area gallery with roots in New York’s Chelsea Arts District. For this exhibition, Vissepo will present a new body of work that incorporates stained raw canvas with collaged linocut-printed black linen cutouts. Vissepo’s interest in botany and migration is especially powerful in an era of both climate crisis and immigration crackdown, and gives her work a critical edge. The work in On the Mountainside by the River is inspired by botanical landscapes in Nashville as well as her native Puerto Rico, the speculative fiction of Octavia E. Butler and her recent travels to Echizen, Japan. Echizen is a village with a 1,500-year history of papermaking, and Vissepo’s time there helped develop both her practice of water-based woodblock printing and her understanding of multifaceted global perspectives. LAURA HUTSON HUNTER

FEB. 7-28 AT ZIEHERSMITH

1207 SOUTH ST.

SUNDAY / 2.8

[SPATIAL EXPLORATION]

MUSIC/DANCE

B CHAKOIAN JONES & BECCA

HOBACK: THE GREAT SPACE

You may know B Chakoian Jones from his work with the folk-rock band Humming House, or perhaps from the Nashville chamber ensemble chatterbird. The busy composer, arranger and bassist is also the founder and curator of the Nashville Chamber Music Series. This weekend, Jones will unveil his new string quartet, The Great Space, marking the release

From platinum-selling chart-toppers to underground , household names to undiscovered gems, Chief’s Neon Steeple is c bringing the very best national and regional talent back to Broadway.

FEBRUARY

2.7 Ultimate Eric Church Experience - The Outsiders Album Anniversary Show 2.9

Dallas Moore, Daryl Wayne Dasher w/ Special Guest Jimmy Dasher 2.11

Tyler Hilton & Kate Voegele: Celebrating The Music Of One Tree Hill w/ Special Guest Gina Miles

2.14 A Special Valentines Evening with Karen Waldrup 2.15 Heartland 2.16 Buddy’s Place Writer’s Round w/ Ryan Larkins, Alex Hall, and Smithfield

2.18 Chase Rice - Unheard Songs, Unforgettable Hits 2.19 Ashley McBryde: Postcards From Lindeville

2.20 Ashley McBryde: Postcards From Lindeville

2.21 Made In America - A Tribute To Toby Keith

2.22 Hot Brown SmackdownBilly Strings Afterparty

2.23 Chief’s Outsiders Round w/ Skyelor Anderson & Ben Kadelecek and Guests Max Boyle, Jacob Lutz, Ryan Mundy, Luke Stevens

2.26 Uncle B’s Damned Ole Opry Presents “Banned From The Grand: The Songs Of Cash, Hank, & Other Grand Ole Opry Exiles”

2.27 Aaron Nichols & The Travellers - Chris Stapleton Tribute

2.28 Waymore’s OutlawsRunnin’ With Ol’ Waylon

of his first studio recording on Feb. 6. The Great Space release also will be accompanied by four live performances. Originally commissioned for performance in the Parthenon’s Naos room in 2019, the project has grown and evolved, offering a thoughtful meditation on “spatial exploration through multiple mediums, including music performance, dance performance, photography and videography.” The first concert is set for Feb. 8, taking The Great Space back to the unique reverb of the Parthenon. Contemporary dancer Becca Hoback also joins the performance, adding another intriguing dimension to the idea of spatial awareness and response. It’s a thoughtprovoking piece that simply asks us to be present and to reflect upon the space we occupy. Audiences can look forward to additional performances at Knoxville’s Laurel Theater on Feb. 22 and in Nashville at St. Paul’s Episcopal Church on March 24 and The Arcade on April 11.

AMY STUMPFL

FEB. 8 AT THE PARTHENON

2500 WEST END AVE.

TUESDAY

/ 2.10

FILM

[KISS ME, MY GIRL, BEFORE I’M SICK] ROMANCE IS DEAD: PHANTOM THREAD

Out of all the Paul Thomas Anderson epics with endings that made me go, “What the fuck was that all about?” (that’s most of them), I found 2017’s dignified-but-dysfunctional fashion show Phantom Thread to be his most baffling. For this period piece, PTA reteamed with his There Will Be Blood star Daniel Day-Lewis, having him play a British designer whose prestigious, perfectionist world is rocked when he falls for a young gal (Vicky Krieps) who goes

nice, and The Secret Sisters add warmth to a song titled “Flying Things.” Meanwhile, Ramsey and Broemel do well with Neil Young’s “Sail Away,” a song from Young’s 1979 album Rust Never Sleeps. Still, the instrumentals come across as something more than standard folkie guitar pieces — the guitar moves are timeless, but Celestun feels bracingly modern throughout. File Celestun on the shelf alongside Christopher Idylls and Nashville guitarist William Tyler’s 2025 Time Indefinite. Moose Loon, which is the solo project of Kentucky singer Ryan Anderson, will open. EDD HURT

8 P.M. AT THE BASEMENT EAST 917 WOODLAND ST.

FILM [KIRI KIRI]

ROMANCE IS DEAD: AUDITION

continues to build his career. GRACE BRASWELL 7 P.M. AT THE BASEMENT 1604 EIGHTH AVE. S.

[GIRL TALK]

THEATER

ACTORS

BRIDGE ENSEMBLE:

THE VAGINA MONOLOGUES

from muse to significant other to bane of his existence. So is this a refined takedown of toxic masculinity (coincidentally released during peak #MeToo activity)? Or given its 1950s setting, is it a metaphorical treatise on Britain’s postwar reinvention, with Krieps’ liberated lass figuratively dragging Day-Lewis’ stodgy sophisticate into the swinging future? Or is it just a fucked-up rom-dram in which a crazy-ass creative finds true love with someone even crazier? Whatever it is, it’s as visually fetching and immaculate as the dresses that get stitched and modeled. To paraphrase Buddy Hackett, Phantom Thread puts on a vest just to take a leak. Visit belcourt.org for showtimes. CRAIG D. LINDSEY FEB. 10 & 14 AT THE BELCOURT 2102 BELCOURT AVE.

WEDNESDAY / 2.11

MUSIC

[FLOW MOTION] TYLER RAMSEY AND CARL BROEMEL

The modified folk rock of Tyler Ramsey’s 2024 album New Lost Ages complements the somewhat noisier folk rock of My Morning Jacket’s 2025 release Is, and both albums contain plenty of electric guitars. Ramsey, who played with the South Carolina-by-way-ofSeattle rock group Band of Horses for a decade, teamed up with My Morning Jacket guitarist Carl Broemel to record Celestun, which was released in January. Celestun is anchored by acoustic guitars that range from fingerpicking to elegant solo lines, and the record’s easy flow puts me in mind of Memphis guitarist Gimmer Nicholson’s great — and underrated —1968 album Christopher Idylls Celestun makes its statement as an instrumental record, so tracks like “Last Tarot” manage to flow while retaining a touch of mystery. The vocal tracks are also

As the great Southern rap orator Mystikal would say, if you’ve never seen Audition, then y’all ain’t ready yet. I expect the audience who’ll catch this at the Belcourt will be made up of first-timers and the sick-fuck fans who just wanna see how the first-timers respond. Japanese filmmaker Takashi Miike’s 1999 shocker (based on Ryu Murakami’s 1997 novel) has gotten a rep for being a love story that goes down one unexpected, messed-up road. (Former Scene contributor Mike D’Angelo said it best: “I don’t understand how this film happened.”) Things start off deceptively melodramatic at first: A widower (Ryo Ishibashi) gets back in the dating scene by holding fake movie auditions for a significant other, ultimately getting smitten with a reserved ex-ballerina (Eihi Shiina) — and that’s all you’re gonna get from me. Let’s just say things take one sharp-AF turn in the second half, turning this mildly problematic rom-dramedy into either an unsettling misogynist nightmare or the most batshitinsane, toxic-masculinity-skewering cautionary tale ever filmed. See for yourself which side you’re on — if you dare! Visit belcourt.org for showtimes. CRAIG D. LINDSEY FEB. 11 & 14 AT THE BELCOURT 2102 BELCOURT AVE.

MUSIC

[ONCE IN A BLUE MOON] ISAAC

STALLING W/WASP EATER

Wasp Eater (Makena Brown) is a transcendent storyteller, fabricating musical portals that fully transport you into her world. Her lyricism is heavy and healing, navigating her own deepest corners as an exercise of expression. The Nashville-based artist has been slowly releasing music over the past year, with songs like “eight of cups” taking hold on social media, thanks largely to Brown’s lyricism: “Resentment grows like shower mold / On the walls and in my throat / Do we ever get to hold onto love?” There’s a lot of musical texture in Wasp Eater’s songs, their folksy ambiance creating a truly beautiful sonic experience. I first saw NYC-based artist Isaac Stalling perform at Vinyl Tap during AmericanaFest last year, and his music stuck with me. His words move like water. Although he only has one song, “Covers,” out on streaming platforms, he’s an artist everyone should keep their eyes on as he

Over the past 25 years, Actors Bridge Ensemble’s annual production of The Vagina Monologues has served as a much-needed space for stories that honor and explore the female experience. Producing artistic director Vali Forrister calls it “an annual ritual … a gathering of voices, laughter, rage, healing and liberation.” Penned by playwright and activist Eve Ensler, the piece takes on tough issues with a unique blend of humor, honesty and raw emotion. The Vagina Monologues first premiered off-off-Broadway at HERE Arts Center in 1996 and has since become something of a global sensation, celebrating the strength and resilience of women everywhere. ABE’s production has been going strong since 2001, and this year’s lineup features a great mix of new and familiar faces, including Tasneem Ansariyah Grace, Tracy Gershon, Heather Lefkowitz, Nina Hibbler Webster, Yemurai Tewogbola, Kat Tierney-Smith, Chelsea Eden Hope, Sharon Dixon Gentry, Kyla Ledes, Chloe Ledes, AJ Jacobs, F. Lynne Bachleda, Misty Lewis Boyd, Caroline Connor, Marjorie PomeroyWallace, Raven Buntyn, Yanni Monét and Sarah Rodgers. And as always, proceeds from the event go to support Act Like a GRRRL, ABE’s amazing autobiographical writing/performance program for girls ages 12 to 18. AMY STUMPFL FEB. 11 AT THE CITY WINERY 609 LAFAYETTE ST.

BOOKS [LONGPLAY]

33

1/3 AUTHOR PANEL

For music lovers, Bloomsbury’s 33 1/3 series is a long-form gold standard for album-by-album deep dives, illuminating the backstories and explaining the importance of renowned releases and hidden gems alike. At The Bookshop’s 33 1/3 authors’ panel, which was recently rescheduled to Feb. 11, three Middle Tennessee music experts and authors will offer insight into its pitching process: MTSU professor Mark Doyle (John Cale’s Paris 1919), Vanderbilt professor Emily J. Lordi (Donny Hathaway’s Donny Hathaway Live) and the Country Music Hall of Fame and Museum’s Emily Osmon (John Prine’s John Prine). Moderated by NPR music critic and Nashville resident Ann Powers and with a Q&A to follow, the free event will host a Murderers’ Row of music-writing talent with expertise to offer for “writers and wannabes” alike. There’s nothing more exciting and agonizing than having a good idea you can’t stop thinking about — and this is a great way to get inspired to get it out.

ANNIE PARNELL

6:30 P.M. AT THE BOOKSHOP

1043 W. EASTLAND AVE.

IT’S BEST TO trust a guide when you’re in unfamiliar territory — that can be a map, or a trusted source, or even your own senses. Use all of these at Noôsh, a new fine-dining spot on White Bridge Road where meals come together easily around warm Persian stews and glistening kebabs.

Small jars of tangy, crimson sumac sit on each table, complementing the gem tones throughout the split-level dining room. Palette matches palate for owner Naz Kiani: Warm color and rich spice tie together every item on the two-page menu, which takes diners from smoky blended eggplant to butter-yellow saffron ice cream.

Noôsh’s success comes from a careful balance between the complex, the simple, the known and the unfamiliar. While fe-

FROM THE HEARTH

New White Bridge Road dining room Noôsh builds feasts around stew, kebabs and sumac

BY ELI MOTYCKA

senjan, a thick stew of walnuts and pomegranate, is a rare find in Nashville, it is a basic staple of one of humanity’s oldest cuisines, developed over millennia across the once-vast Persian Empire. Geographic reach and common ingredients allowed Persian cuisine to influence (and be influenced by) the food of North Africa, Turkey, the broader Middle East and the Mediterranean. Noôsh does its best to showcase the dishes that make Persian food stand out.

At dinner recently, a server told our table that many regulars have already picked up on the best path through a dinner here — the three-course contract labeled “Feast,” tucked under a paralyzing choice of fish, lamb, chicken, beef and vegetable kebabs. It’s a framework for shared dips, four kebabs, stew, rice

and saffron ice cream that can satisfy at least two diners for $88. Deals that good might run Kiani out of business.

A good meal here centers on the blazing oven visible behind a glass wall. Juicy kubideh (ground lamb) and flaky salmon, brightened by the quick squeeze of a charred lemon, are not to be missed. Rice comes dotted with lentils (adas polo), lima beans (baghali polo) or barberries (zereshk polo), perfect as a kebab landing pad or testing ground for ground sumac, which hits like salty-sour fruit and goes well with everything.

A short drink list riffs on classic cocktails with help from Persian staples like apricot, sumac, rose and, of course, pomegranate. The House Doogh — a thin, craveable yogurt drink — deserves at least one trip around the table. With minimal

tweaks, the menu’s basis in rice, vegetables, legumes and spices easily accommodates vegetarian, vegan, alcohol-free and gluten-free diners.

Noôsh’s only disappointment was a few false promises brought by the Friday night rush. A shortage of hummus meant we instead got both eggplant spreads: the smokier mirza ghasemi and the savory kashk-o-bademjan, thickened with drizzled whey. Sold-out chenjeh, Noôsh’s sirloin kebab, opened up space for a succulent shrimp skewer. The hot chicken kebab has been struck from the menu altogether, mainly a blow to our curiosity.

Noôsh comes online as part of a real food renaissance for the area. It physically replaced pizzeria Porta Via, and for now, it seems to rely on a similar West Side clientele: older couples dining in even-numbered pairs drinking wine;

adult children meeting up with parents for a weekly night out. But it still has empty seats. West End Avenue and Hillsboro Pike have historically lagged behind culinary hot spots like Germantown and East Nashville, and Noôsh — along with recently announced expansions for Two Ten Jack and Soy Cubano, as well as a Dalt’s makeover from Strategic Hospitality — might help better establish the area’s dining scene, where national chains like Raising Cane’s, Chipotle and Chuy’s outnumber a few beloved stalwarts (Sonobana, Sperry’s, a revamped Caffé Nonna).

Just around the corner from Noôsh, the new Belle Meade Village will bring a nearby supply of people and money, a much-needed lifeline for a restaurant situated inside an otherwise sleepy commercial plaza. ▼

Susan Werner & Chris Canterbury Backstage Nashville! Daytime Hit Songwriters Show featuring Roger Cook, Andy Albert, Josh Phillips & Dan Alley + Gloria Anderson

Andi Jane’s Honky-Tonk Cabaret Album Release with Special Guests Brother Dusty & Andrew Tyler Brown

Livin’ The Write Life Presents THE NEXT featuring Jacob Jones album release party with performances by Savannah Rae & Friends, Kirbi, Doc Lewis, CEF, J4, Kendra Remedios & Adysen Malek

John Cowan & Andrea Zonn are The HercuLeons with Jody Nardone, Andy Peake, Paul Kramer, Will McFarlane, Abe Parker & special guest Lilly Winwood

MUSIC

GOTTA HAVE THAT FUNK

Ahead of Paul Burch’s latest residency date at Brown’s Diner, we talk with the ace songsmith about his band, his latest LP, his debut novel and spaces outside the mainstream

BY SEAN L. MALONEY

THESE DAYS, TOO many things that we’ve come to think of as fundamental are disappearing or being turned into shells of what we’ve relied on for years. That makes it especially nice to see two Nashville institutions come together to make the world a better place, even if only for a little while. Thursday, Paul Burch and the WPA Ballclub are set to celebrate 30 years of making familiar-feeling yet fully timeless rock ’n’ roll with their return to their monthly residency at Blair Boulevard’s finest establishment, Brown’s Diner.

Burch, whose local roots stretch back to the earliest days of Lambchop and Lower Broad’s social and economic nadir, brings his band of buds to the beloved burger joint to cap off a year of immense creativity. He published his novel Meridian Rising — which shares its title and its subject matter (country legend Jimmie Rodgers) with his 2016 album — in September and released his latest LP Cry Love in October, and he’s ready to throw a party.

“When Paul Niehaus and I started the WPA Ballclub at Tootsie’s, no one came downtown,” says Burch during a recent phone call. “I mean, downtown was scary. … It was the center for vice. But it was pretty, late at night downtown: You could hear the Ernest Tubb sign creaking as it turned — there was nobody down there. And we were really looked down on, like, ‘You’re playing where it makes Springwater look like Trader Vic’s?’ But it was funky.”

Springwater is a long-standing cultural institution that has influenced generations of America’s most creative boozehounds — as important as Vic’s clientele, if not as well-behaved — while Tootsie’s has traded in its genuine funk for franchisable corporate synergistic aesthetic activations. Once upon a time, though, Tootsie’s was a weird place, culturally speaking, filled with weird people. Old Weird Nashville was just

COMMON GROUND

Lilly Hiatt keeps the human connection at the forefront ahead of 615 Indie Live performance

BY BEE DELORES

“THE OLDER I GET, I realize I have to make the most of what’s around to be of any use,” says Lilly Hiatt. The singer-songwriter and stellar heartland-rock bandleader feels more zen than ever these days. But our current political chaos never leaves her mind. “There are still plenty of things that trouble me on a larger scale. I try to come through for the folks around me. Or I’m trying.”

following its own path, away from the center of American culture, bar a Bogdanovich film here and there.

“Those funky places, that’s where you can be creative,” says Burch. “[In a] really fine, posh room, you got to come up with a 40-minute set and blaze through it. And it’s not that you care less, but when you’re kind of reworking your machine, or you’re trying to create who you’re going to be over the next year or two, it’s much easier to do it in a [funky] place.”

Brown’s Diner’s funk is different from the kind you typically find in a spot that revels in its identity as a dive bar. Maybe it’s the scent of fries in the hopper mingling with the foam off a full pitcher and burgers sizzling away on the flat-top. Or maybe it’s the less-planned elements of the place’s architecture, since the building started life as a decommissioned trolley car in the 1920s. Something brings out the most neighborly instincts in patrons and performers, reflecting the ideal of Music City at its best.

A constant onslaught of disturbing headlines and viral videos is enough to pressurize anyone’s heart.

So Hiatt seeks out art, family and interactions with strangers to keep her grounded and present most days. In her frequent world travels, she hasn’t learned everything, but being alone in places she’s not familiar with has offered her glimpses of what human kindness really looks like. “I hang onto that when I can,” she says.

Exercise, playing guitar and working her day job at Anaconda Vintage also anchor her. It’s been a year since her sixth studio album Forever and its meditations on long-term relationships dropped into the world, and she finds that love means even more to her now.

“Growing up, my family always told me, ‘Love wins,’” says Hiatt. “As time has gone on, and I’ve seen the power of that and what it can accomplish, I fully believe in love.

This kind of funky cognitive space is where Burch found the seeds for the aforementioned Meridian Rising, his debut novel based on the life of early country star Jimmie Rodgers imagined through the lens of a music lifer. (The WPA Ballclub as an entity is only a few years younger than Rodgers was when he died in 1933.) Burch employs narrative devices like fictional interviews to create a very lived-in world, with a warmth and an empathy that doesn’t always come through in nonfiction music writing. The book began life as a collection of songs, and through the pressure cooker that was the pandemic lockdown, it became a diamond of a story.

“I’ve never written a book before,” he says. “I never aspired to write a book. I was kind of in a funny place where I recognized, from just being a writer for a long time, that there was something to that voice. And almost right away, I also got the idea that … it would be as much fun for me to have every [other] chapter be from

the voice of these people who were interesting to me.

“And these [people] are so fascinating to us because all we have are anecdotes. No writer cared enough to really give them good interviews. And that wasn’t the style of interviews at the time. That’s kind of how the book started to get together. I didn’t know if I could finish it, but I thought the only thing I had going for me was that I had finished things before.”

It’s a simple approach to complete a daunting task. The struggle to start a book is very real, the struggle to finish one can be crushing in its enormity. (Take it from this writer, who has published a book of nonfiction, an entry in the 33 1/3 series on The Modern Lovers, and is sitting on half a dozen unfinished manuscripts). The end result is as lyrical and charming as anything Burch has committed to tape. That includes Cry Love, which adds just enough ’60s soul-schooled pop shimmy to Burch’s deep-rooted understanding of classic country and the foundations of rock to make it all feel undeniably fresh.

“[Rodgers] reminds me of every musician I’ve met who’s trying to make it — who gets lucky, gets unlucky. Like any good stylist, he kind of soaked a lot of music up. He was a musical person, and he happened to be around the stuff that we think of as the very guts of rock ’n’ roll.” ▼

My dad and mom told me that a lot, and it’s not as if their lives were a simple breeze. They’ve both been through a lot and acted out of that loving place often. I’ve seen what it brought into their lives, and it means a lot to me.”

Her relationship with the songs on the record seems to have naturally evolved a bit over the past 12 months, but she explains that the subject matter of a song is almost always something immediate. So you could say she’s trapped in those stories, from the luminescent glow of “Hidden Day” to the rhythmic growl of “Kwik-E-Mart,” until the floodgates burst open and she begins writing again. During the past year, she’s put pen to paper as a release valve for her throbbing anxieties and is “finally starting to like” some of what she’s written, she says with a laugh.

Hiatt has also found emotional release in music, TV and movies. “I seriously loved the show with Claire Danes, The Beast in Me,” she says. “It took me to a place and unlocked something. As far as albums, I just discovered Madeline Edwards and think she’s an incredible writer. The song ‘American Psycho’ [from her 2025 album Fruit] is brilliant. Lily Allen’s new music is blowing my mind; her new album West End Girl is, I believe, her best. I always lean fairly hard on The Brian Jonestown Massacre. And the record I probably wore out hardest last year is one from 2018: [BJM co-founder] Matt Hollywood & the Bad Feelings’ self-titled, and I especially obsessed over the song ‘Nobody’s Hurt.’ That song got me through 2025.”

Hiatt kicks off a slew of tour dates Feb. 7 with a set at Eastside Bowl during the second annual 615 Indie Live celebration of independent venues. (Read more about that in this week’s cover package.) The Southern leg of the tour is a full-band affair that takes her out to Texas, where she’s hoping to “crack the code” to draw bigger crowds to her shows. Then it’s on to solo shows in Canada in early March (after which she hopes to be “done with snow this winter — I’ve had my fill”) and another string of solo performances in the Midwest later that month. She’s sad to be leaving behind the camaraderie she feels on band gigs but looks forward to a kind of grounding quietness that surrounds those adventures.

“It’s also scarier in a way, though, because you really have to rely on yourself. Eventually, I’ll have someone go with me on solo runs. I love both experiences, and my favorite part is meeting the people who come to the shows.”▼

MUSIC: THE SPIN

THE WAY IT’S MEANT TO BE

BY P.J KINZER

FANS OF THE Alan Moore-Dave Gibbons masterwork Watchmen might remember a plot device called “Nostalgia.” In the original 1980s comics, it’s a cosmetics product that’s supposed to keep users looking like they did before their world was plagued by fear of interdimensional aliens and nuclear holocaust. In HBO’s 2019 sequel series, it’s a drug that unlocks lucid memories. Trying to get through the terrifying present by ignoring it in favor of whatever you can conjure up from the past comes with a whole host of problems, not the least of which is that time doesn’t slow down, let alone stop.

But you can gain something by revisiting the past, at least for a little while — especially when the trip is firmly connected to the present and the future. That was the case with the shows organized for Friday and Saturday at Eastside Bowl by Good Signal’s Caroline Bowman-Schneider and Michael Eades. The gigs were benefits with proceeds going to keep some vital broadcasters strong, namely community radio station WXNA and Nashville Public Radio’s news station WPLN and music-discovery station WNXP. Playing the two sold-out shows were The Features and Glossary, two beloved local rock bands who hadn’t graced a stage in far too long. For the fans who missed out on tickets, a whole host of newerto-the-scene artists also played for free in the venue’s smaller room The ’58.

Glossary was one of the first bands I saw at

Lucy’s Record Shop when I moved to Nashville in 1997, and at the time they were fledgling indie-rock upstarts. When I enrolled at Middle Tennessee State University two years later, I came to realize they were already a keystone of Murfreesboro’s musical world. Their sound resonated with fans of Jay Farrar, but they always stood out to me with their ability to incorporate the twin-guitar harmonies of Thin Lizzy or Wishbone Ash — held together by the thunderous bounce of bassist Bingham Barnes, someone who seemingly everyone knows and loves if they’ve been around local music much in the past 30 years.

As Glossary’s set began on Friday, frontman Joey Kneiser invited everyone in the packed room to try to forget about the world outside for the next couple hours. It was a big ask, considering just how harrowing things are out there: Preshow conversation included the status of thousands of people like myself still without power in the wake of the ice storm, the horrors of the latest Epstein file drop and the profoundly disturbing Brownshirt-esque actions of federal officials in Minneapolis — including the footage of the shootings of Renée Good and Alex Pretti. Watching Glossary, I saw familiar faces from the B-roll of my college memories light up with enthusiasm rekindled from decades ago. Amid Kneiser’s heartfelt songs about seeking out the best of human nature, we heard his voice entwined with Kelly Smith’s and his guitar sparring with Todd Beene’s, over the rhythmic backbone from Barnes and drummer Matt Martin, who was filling in for longtime timekeeper Eric Giles. Between sets, I chased another hit of dopamine. At the DJ coffin set up on the Low Volume Lounge stage near the venue’s main bar was Mary Mancini, longtime political thought leader

and radio host, former chair of the Tennessee Democratic Party and onetime proprietor of the aforementioned Lucy’s. I was struck by how long she’s been making an impact on Middle Tennessee weirdos. Lucy’s closed in 1998, but its credo — “No racist, sexist or homophobic shit tolerated” — is still something I carry with me. And her DJ set was pretty great too, including Guided by Voices, El Michels Affair and Section 25’s “Looking From a Hilltop.”

I have to come clean: I sort of missed out on The Features the first time around. Friends dragged me to their shows, and I couldn’t escape the records. But as a brooding, pre-therapy 20-something I preferred my music devoid of fun, and The Features’ threads of nursery-rhyme whimsy and XTC-style oddball catchiness were not for me. Even so, the genuine love that fans appeared to share with each other, seemingly reciprocated by the band, was impressive. Time after time, there’d be booming sing-alongs and the crowd throwing up their hands in unison. As long as the band was playing, it felt like we were all a little closer together.

I didn’t revisit The Features’ music until a few years ago when I interviewed frontman Matt Pelham about The Mahaffey Sessions 1999, a long-shelved early recording by the band reissued by the aforementioned Michael Eades’ YK Records. This time, the hooks were not lost on me, and Friday’s show was my first time seeing The Features as a fan. As Pelham, keyboardist Mark Bond, bassist Roger Dabbs and drummer Rollum Haas bowled through fan faves like “Lions” and “That’s the Way It’s Meant to Be” and somewhat deeper cuts like “This Disorder,” I got to take in the joy in a more firsthand way. I could almost see the ice melting off the youthful hearts of a lot of middle-aged Middle Tennes-

seans (and some former locals who rolled in) as they clapped and pogoed and sang along to every “whoaa-oh-ohhh” chorus.

Life is a long haul, and on the group’s 2004 major label debut Exhibit A, a then-young Pelham sang about a solid relationship helping him be more comfortable with it in “The Idea of Growing Old.” Hearing the song Friday, the meaning seemed to extend beyond commitment anxieties — all the way to making it feel like we can find our way out of these contemporary Dark Ages and make something new.

I KNOW A PLACE

BY RON WYNN

VOCALIST MAVIS STAPLES is unquestionably a cultural treasure — a performer whose artistry and brilliance remain impressive and whose legacy extends as she continues to inspire and excel at 86. Staples’ much-anticipated appearance at the Ryman was delayed a week due to the winter storm, but those who braved the stillfrigid conditions Saturday night were treated to a superb show. Staples gave a consistently energetic, engaging and versatile performance that ran nearly 90 minutes and included a powerful encore rendition of “I’ll Take You There,” one of several songs celebrating various eras of her career.

Staples began that career with the legendary Staple Singers, the family group she first joined as a teen and of whom she is the last surviving member. The Staples family were gospel legends and civil rights warriors who became soul stars in the late 1960s and early ’70s. Backed on Saturday by a tight ensemble that included a guitarist, bassist, drummer and two backup singers, Staples sounded strong and determined during stirring performances of “Why Am I Treated So Bad” and “If All I Were Was Black.”

In addition to providing fine instrumental support on guitar, bandleader Rick Holmstrom occasionally took the lead vocals on such tunes as the all-time classic “Respect Yourself.” Staples’ set also included numbers from her most recent LP Sad and Beautiful World

Between songs, Staples often referenced moments from her amazing career, including remembrances of the friendship between her father Roebuck “Pops” Staples and Dr. Martin Luther King Jr. She peppered her banter with jokes about senior moments and Taylor Swift as well as calls for those in attendance to keep marching and remain active. Above all, she called for the rejection of hatred and the embrace of love, never sounding bitter or re-

signed in her appeals.

Despite battling occasional leg cramps that forced her to take a seat to keep performing, Staples wasn’t the least bit slowed during her lengthy set. If anyone questions the ability of an artist over some arbitrary age to sound fresh, be relevant and perform consistently, they haven’t seen Staples. Her opening act was none other than contemporary rocking Americana star M.J. Lenderman, who headlined his own show at the Ryman in the fall. He gave a solid 45-minute all acoustic set, mixing originals with fine renditions of other artists’ songs like Warren Zevon’s “Hasten Down the Wind” (as made famous by Linda Ronstadt). Lenderman made an ideal bridge to Staples’ set with a performance of the titular “Sad and Beautiful World” from her recent LP (which itself is a cover of a song from Sparklehorse’s 1995 debut). He also joined Staples onstage later in the night.

In perhaps the perfect addendum to her concert, Staples won two Grammys on Sunday (Best Americana Performance for “Godspeed” and Best American Roots Performance for “Beautiful Stranger”). Though the extreme cold on Saturday likely prevented the concert from being the total sellout it should have been, those who made it there heard something special: an unstoppable talent and force of personality. ▼

Name: HAZEL

Age: 4 yrs.

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In her foster home, Hazel has been a wonderful companion. She is house trained, crate trained, and has lived with kids. She enjoys gentle play, relaxing in the yard, and spending quality time with her people. If you’re looking for a cuddly, affectionate pup with a big heart and endless wiggles, Hazel could be your perfect match.

Weight: 60 lbs. an independent bookstore for independent people UPCOMING EVENTS

PARNASSUSBOOKS.NET/EVENTS FOR TICKETS & UPDATES

THURSDAY, FEBRUARY 5 6:30 PM KAIRA ROUDA with J.T. ELLISON at PARNASSUS We Were Never Friends

SATURDAY, FEBRUARY 7 10:30 AM

SATURDAY STORYTIME with PARNASSUS STAFF at PARNASSUS

WEDNESDAY, FEBRUARY 11 6:30 PM

JENNY TINGHUI ZHANG with LINDSAY LYNCH at PARNASSUS Superfan

THURSDAY, FEBRUARY 19 7:00 PM

RACHEL GRIFFIN with ADRIENNE YOUNG at PARNASSUS The Sun and the Starmaker

SATURDAY, FEBRUARY 21 10:30 AM

SATURDAY STORYTIME with NORMAN THE DOG at PARNASSUS Norman, At Your Service: My First Day

TUESDAY, FEBRUARY 24 6:30 PM

MARGARET RENKL & BILLY RENKL at PARNASSUS The Weedy Garden

3900 Hillsboro Pike Suite 14 | Nashville, TN 37215 (615) 953-2243 Shop online at parnassusbooks.net

@parnassusbooks @parnassusbooks1 @parnassusbooks @parnassusbooksnashville

YOU MAKE IT POSSIBLE.

Saturday, February 7

SONGWRITER SESSION Gary Hannan NOON · FORD THEATER

Sunday, February 15

MUSICIAN SPOTLIGHT Appalachia featuring Richie Owens and Bob Ocker

Saturday, February 7

BOOK TALK 100 Years of Grand Ole Opry with Craig Shelburne and Brenda Colladay 2:30 pm · FORD THEATER

Sunday, February 8

MUSICIAN SPOTLIGHT Linda Davis and the Scott Family 1:00 pm · FORD THEATER

Saturday, February 14

SONGWRITER SESSION Steve Moakler NOON · FORD THEATER

1:00 pm · FORD THEATER

Saturday, February 21

SONGWRITER SESSION Erin Enderlin NOON · FORD THEATER

Saturday, February 14

HATCH SHOW PRINT Block Party

3:00 pm and 6:00 pm HATCH SHOW PRINT SHOP

Sunday, February 15

HATCH SHOW PRINT Family Block Party 10:00 am · HATCH SHOW PRINT SHOP

WITNESS

OCT. 7, 2023, is not the day the Israeli-Palestinian conflict began — it was rather the spark that further ignited long-existing tensions. That conflict has led not only to violence in the region, but spikes in both anti-Muslim and antisemetic action on a global scale. And in a world of algorithms, where complex topics are packaged in overly simplistic TikToks and bites of media, many people are misinterpreting and oversimplifying the issue as Judaism versus Islam. The reality is far more complex. The new film The Voice of Hind Rajab isn’t attempting to present and explain the conflict as a whole. It focuses instead on a singular and brutal true story — the Red Crescent’s efforts to save civilian lives during Israel’s military campaign in Gaza.

Jan. 29, 2024, at the Palestine Red Crescent Society in Ramallah in the West Bank: Volunteers are working nonstop, taking emergency calls from throughout Gaza. They receive a call about a car taking gunfire, and the only survivor is 5-year-old Hind Rajab. Trapped in an active combat zone and under fire from the Israel Defense Forces, the Red Crescent fights bureaucracy and races the clock to arrange for an ambulance to the girl’s location. The phone call featured in the film is the unedited recording from the real-world event.

Director Kaouther Ben Hania has a unique talent for blending the cinematic and the real. The pacing of the film’s editing and her cast’s performances make for a hypnotic thriller, while the use of Red Crescent call logs and social media posts cuts through the veil of cinematic immersion and grounds the film in real emotion. Unlike Jonathan Glazer’s 2023 film The Zone of Interest, in which Glazer (an executive producer

LOVE BITES

Luc Besson’s Dracula bites down on the Romantic movie trend

BY JOE NOLAN

ROMANCE IS TRENDING at the movies — but I’m not talking about cuddly couples’ comedies. Romantic movements in Western art and literature (approximately 1790 to 1850) forwarded values that favored nature over industry, emotional passion above reason and the experience of the awesome and the sublime beyond the reach of religious institutions. Romance with a capital R is back in a big way, and the trend is most obvious on our cinema screens, where titles like Frankenstein and the forthcoming The Bride, Wuthering Heights and Werwulf all connect to the period and/or its aesthetic. The horror films in this lot all lean into the darker gothic side of Romanticism, and Luc Besson’s new Dracula may turn out to be one of the best of the bunch.

Writer-director Besson (The Fifth Element, Léon: The

CALLING ATTENTION

Oscar-nominated docu-fiction The Voice of Hind Rajab, which focuses on the humanitarian crisis in Gaza, will stick with you

BY KEN ARNOLD

on Hind Rajab) opted to shoot his film like an observational documentary, Hania styles her film like a cinematic drama — but uses actual recordings from the incident to bring the audience into these real-world moments. The result is 89 straight minutes of stress and frustration — you will feel as though you are in the room with the Red Crescent as helplessness bleeds off the screen into the audience.

The ongoing conflict in Gaza is a subject that many are scared to touch, and films of this nature are therefore often overlooked by major film distributors for the U.S. Last year, the documentary No Other Land was overlooked by distribution companies, and its filmmakers were forced to self-distribute in a very limited

Professional) reimagines Bram Stoker’s classic vampire tale as a gothic romance. When 15th-century Prince Vladimir of Wallachia (Caleb Landry Jones) witnesses the brutal murder of his wife Elisabeta (Zoë Bleu) during battle with the Ottomans, he renounces God and damns heaven itself. Cursed with eternal life, he is reborn as Dracula, an immortal who defies fate in a crimson crusade to reunite with his one true love.

Over four centuries, Dracula searches for Elisabeta’s reincarnation — deploying vampire agents to assist in his quest and developing a perfume no woman can resist. His search leads him to negotiations with Parisian

run despite the film being highly awarded on the festival circuit — it even won Best Documentary at last year’s Oscars. Similarly, Hind Rajab was passed over by most major distributors, eventually being acquired by independent company Willa, which is distributing the film — a nominee for International Feature Film at next month’s Oscars — throughout the U.S. When the studios refuse to touch certain subject matter, that effectively silences a voice. This voice is simple and direct — it speaks of an ongoing humanitarian crisis. The Voice of Hind Rajab doesn’t attempt to dig into the decades of conflict and extremist violence. It stays at the human level — the difficulty of saving this little girl’s life.

The Voice of Hind Rajab will stick with you.

solicitor Jonathan Harker (Ewens Abid), where Dracula discovers that Harker’s fiancée Mina may be the reincarnation he seeks. All the while, a relentless priest (Christoph Waltz) hunts Dracula, sworn to end his immortal reign. Danny Elfman composed the score.

This lovelorn plotline isn’t part of Stoker’s book, which is more about real estate deals and Victorian sexual anxieties, and is revealed in a series of letters. It’s more correct to think of Besson’s movie as a remake of Francis Ford Coppola’s 1992 film Bram Stoker’s Dracula Coppola’s film includes a rather convoluted script and uneven performances: Gary Oldman is ferocious in the title role, while Gen-X darlings Keanu Reeves and Winona Ryder struggle to find their footing in a period piece. Even so, Coppola’s costumes, production, practical effects and nods to early horror cinema have made the movie a cult classic.

Jones is a demonic delight as Besson’s king of the bloodsuckers, and he sometimes resembles Klaus Kinski, conjuring visions of Werner Herzog’s 1979 remake of F.W. Murnau’s vampire classic Nosferatu. Besson’s script is clearer than James V. Hart’s script for Coppola’s

And so will the voice of Hind Rajab itself, which will continue to ring in your ears. Hania’s powerful docu-fiction cuts through the political noise and focuses on the crucial real-world challenges that first responders face every day as they attempt to bring aid to civilians — and especially children. ▼

The Voice of Hind Rajab NR, 89 minutes; in Arabic with English subtitles Opening Friday, Feb. 6, at the Belcourt

film, and the supporting cast — especially Waltz — is consistently believable despite the supernatural goings-on. Colin Wandersman’s cinematography makes this glam-goth romance a brooding dance in shadow and light. Besson brings his flair for action to Dracula in bloody battles with lots of slashing swordplay, and his costumes and interiors are sumptuous and stylized — even if some of the digital effects are as jarring as Coppola’s practical illusions are magical.

Besson’s Dracula is thoroughly entertaining. It offers a fresh take on the undead aristocrat that balances period eye candy with bloody thrills. Its combination of elaborate costumes, action, gallows humor and horror makes this the Valentine’s Day date movie everyone can sink their teeth into. ▼

Dracula R, 129 minutes Opening wide Friday, Feb. 6

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BACK OF THE BOOK

ACROSS

1 You’re looking at it!

5 File type

9 Piano technician

14 Parasite’s target

15 Had no co-conspirators

17 Preparation for many a surprise party

18 Which 1991 comedy starred Bill Murray and Richard Dreyfuss?

19 Quotidian

21 Charon’s domain

22 Bistecca ___ fiorentina (Italian dish)

23 Role for Annie Potts on “Young Sheldon”

25 Are: Fr.

27 Gift for a musician

28 Figure in much W.W. I propaganda

31 Kid with a route

35 Home to the first N.F.L. team to win a Super Bowl in its own stadium (2021)

39 What Edvard Munch painting inspired a poster for “Home Alone”?

40 What fictional English heavy metal band consists of David St. Hubbins, Nigel Tufnel and Derek Smalls?

42 Like the origins of Buddhism and Hinduism

43 Chill pill, essentially

44 Investigate

47 Prefix with genetics

50 Assessment, informally

51 Gorgon slain by Perseus

56 Cohort

58 Where many family names begin O’-

60 Denizen of hell

61 Test graders’ aids … or what is needed to respond to the six italicized clues in this puzzle?

64 Neighbor of Java

65 Nancy Drew and Sherlock Holmes

66 Prayer leader

67 Lit for fun, e.g.

68 ___-à-___

69 Bore DOWN

1 Idly pluck, as a banjo

2 It always wins, they say

3 One of Us, say?

4 Driver of some engines

5 Like most oysters served with mignonette

6 Some Bavarian cries

7 Majestic

8 Which unit of data storage could hold 200,000 HD movies?

9 19th letter

10 Sephora competitor

11 Gallant

12 ___ Gay

13 Steel rod with ridges

16 Maliciously publishes the private info of online

20 Actor Fishburne of “The Matrix”

24 Org. for the Fever and the Dream

26 Filled

29 End of many modern addresses

30 Cat breed from an island in the Irish Sea

31 Educational support grp.

32 Sounds of realization

33 Who won Best Supporting Actor for Martin Scorsese’s “GoodFellas?”

34 Pitchers’ stats

36 What Mediterranean nation lies between Italy and Libya?

37 Go for the gold?

38 Apropos

40 Initialism for an online advertiser

41 Pitted fruit

43 Take over for

45 Undisguised

46 “Sit!”

47 “Horrors!”

48 Group of experts

49 2010 release now owned by Meta, informally

52 Entry in red ink

53 So-called “fifth taste”

54 Kind of wind … or an alternative to wind

55 “Mob Psycho 100” genre

63 Buffalo-to-Baltimore dir.

57 Singer Stefani

59 Negative for Nikolai

62 Heart chart, for short

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