PENDING BILL REQUIRES TRUST FUNDS FOR INFLUENCER KIDS
>> PAGE 8
FOOD & DRINK: EAST NASHVILLE’S LOST AND FOUND — A FOOD TRUCK PARK WITH A PERMANENT TWIST
>> PAGE 24
Touring Nashville’s zine scene, investigating the resurgence of VHS, considering the influence of AI in graphic design and more dispatches from the world of physical media
Metropolitik: Legal, Ethical Obstacles
Hinder NASCAR’s Fairgrounds Hopes
A proposed charter amendment and an ethics controversy pose obstacles for a potential deal between the mayor and speedway operator
BY ELI MOTYCKA
Pith in the Wind
This week on the Scene’s news and politics blog Ads for The Truth Outside Indie
Venues Raise Hackles
Live Nation apologizes for promo for its new venue stenciled on sidewalks near The 5 Spot and Springwater BY MARGARET LITTMAN
Bill Requires Trust Funds for Influencer Kids
Children featured in content also have the right to ask for old videos to be removed BY HANNAH HERNER
COVER PACKAGE: PHYSICAL EDUCATION
Be Kind, Rewind
Mt. Juliet’s Danger Zone Video is a local hub for a growing community of VHS and DVD fans
BY ANNIE PARNELL
Book It
Spend some time at these 20 independent local bookstores BY LOGAN BUTTS
Commercial Artists Don’t Fear AI … Yet
Talking with silkscreen printers and a tattoo artist about maintaining customers despite the rise of generative AI art BY ALEJANDRO RAMIREZ
The Zine Scene
Nashville zines embrace imperfection, highlight overlooked interests and scenes BY HANNAH HERNER
Center of Attention
Archivist Olivia Beaudry takes us on a tour of MTSU’s Center for Popular Music BY STEPHEN TRAGESER
Vinyl Memories
Finding my way with vinyl after the death of my father BY EMILY R. WEST
CRITICS’ PICKS
Inaugural MNPS Book Festival, Whiskey & Wags, Hannah Cohen, Girls Write Nashville and more
FOOD AND DRINK
Keep on Truckin’
Lost and Found joins several other area food truck parks — but this one has a permanent twist BY MARGARET LITTMAN
ART
Objectified
Ian Kline assembles a new kind of picture show at Neue Welt BY JOE NOLAN
MUSIC
Ground Level
Ryan Davis commits his extraordinary songwriting powers to The Roadhouse Band BY JACQUELINE ZEISLOFT
Love or Something Like It
Courtney Marie Andrews turns her keen eye on romance with Valentine BY HANNAH CRON
The Spin
The Scene’s live-review column checks out Lucero at The Basement East BY BOBBIE JEAN SAWYER
FILM
You’re Gonna Need a Bigger Screen Weekend Classics: Steven Spielberg series features several must-see screenings BY LOGAN BUTTS
OZ Arts presents Hiroaki Umeda, March 26-28. Choreographer and performer Hiroaki Umeda redefines the boundaries of dance and performance through his inventive use of multiple video projections and immersive sound art. ozartsnashville.org
MUSIC CITY FOOD &WINE Music City Food & Wine Festival will return April 24-26. Enjoy three days of tasting events, wine seminars, specialty dinners and brunches, vendor markets, live music and fun at Centennial Park cheekwood.org TIN PAN SOUTH
The Nashville Scene is thrilled to host a stage at Love & Exile during the 2026 Tin Pan South Songwriter Festival, March 24-28. Settle in for an evening of powerful songs, behind-the-lyrics stories and even better company. tinpansouth.com
PASSES TO BONNAROO The electric Bonnaroo Music & Arts Festival returns to Manchester, Tenn., June 11-14, with performers including Skrillex, Noah Kahan, The Strokes, Rüfüs Du Sol and many more. nashvillescene.com/promo/freestuff THE POWER OF THE PURSE Step into a celebration of generosity at The Power of the Purse on April 16 at OZ Arts. Enjoy an evening benefiting the Women’s Fund at the Community Foundation of Middle Tennessee, featuring auction items and an experience. cfmt.org/calendar-events
Get ready for
WIN TICKETS TO BOB MOSES & CANNONS AT THE PINNACLE
WHO WE ARE
EDITOR-IN-CHIEF D. Patrick Rodgers
MANAGING EDITOR Alejandro Ramirez
SENIOR EDITOR Dana Kopp Franklin
ARTS EDITOR Laura Hutson Hunter
MUSIC AND LISTINGS EDITOR Stephen Trageser
ASSOCIATE EDITOR Logan Butts
AUDIENCE EDITOR Annie Parnell
CONTRIBUTING EDITOR Jack Silverman
STAFF WRITERS Julianne Akers, John Glennon, Hannah Herner, Hamilton Matthew Masters, Eli Motycka, Nicolle Praino, William Williams
SENIOR FILM CRITIC Jason Shawhan
EDITORIAL INTERN Jasmin Enriquez
CONTRIBUTING WRITERS Cat Acree, Sadaf Ahsan, Ken Arnold, Ben Arthur, Radley Balko, Bailey Brantingham, Ashley Brantley, Maria Browning, Steve Cavendish, Chris Chamberlain, Rachel Cholst, Lance Conzett, Hannah Cron, Connor Daryani, Tina Dominguez, Stephen Elliott, Steve Erickson, Jayme Foltz, Adam Gold, Kashif Andrew Graham, Seth Graves, Kim Green, Amanda Haggard, Steven Hale, Edd Hurt, Jennifer Justus, P.J. Kinzer, Janet Kurtz, J.R. Lind, Craig D. Lindsey, Margaret Littman, Sean L. Maloney, Brittney McKenna, Addie Moore, Marissa R. Moss, Noel Murray, Joe Nolan, Katherine Oung, Betsy Phillips, John Pitcher, Margaret Renkl, Daryl Sanders, Bobbie Jean Sawyer, Nadine Smith, Ashley Spurgeon Shamban, Amy Stumpfl, Cole Villena, Kay West, Nicole Williams, Ron Wynn, Kelsey Young, Charlie Zaillian
ART DIRECTOR Elizabeth Jones
PHOTOGRAPHERS Angelina Castillo, Eric England, Matt Masters
GRAPHIC DESIGNERS Sandi Harrison, Tracey Starck, Mary Louise Meadors
GRAPHIC DESIGN INTERN Torian Staggs
PRODUCTION COORDINATOR Christie Passarello
MARKETING AND EVENTS DIRECTOR Robin Fomusa
EVENTS MANAGER Tristan Maryanski
BRAND PARTNERSHIPS AND EVENTS MANAGER Alissa Wetzel
MARKETING AND PROMOTIONS MANAGER Meredith Grantham
ADVERTISING SOLUTIONS ASSOCIATES Audry Houle, Jack Stejskal
SPECIAL PROJECTS COORDINATOR Susan Torregrossa
PRESIDENT Mike Smith
CHIEF FINANCIAL OFFICER Todd Patton
CORPORATE CREATIVE DIRECTOR Elizabeth Jones
IT DIRECTOR John Schaeffer
DIGITAL DIRECTOR Caroline Prater
CIRCULATION AND DISTRIBUTION DIRECTOR Gary Minnis FW PUBLISHING LLC
WITNESS HISTORY
This tambourine was given to engineer, producer, songwriter, and Fame Gang percussionist Mickey Buckins, after being signed by numerous musicians and artists, including David Hood, Delbert McClinton, Kris Kristofferson, Walt Aldridge, Clayton Ivey, and Reggie Young.
From the exhibit Muscle Shoals: Low Rhythm Rising
artifact: Courtesy of Mickey Buckins artifact photo: Bob Delevante
THE LIFE
LIFE OF A STEM KID SUMMER CAMPS: Rising 1st–5th AWARD-WINNING SIGN UP! NEW SPECIALTY CAMPS: Rising 6th–8th
A proposed charter amendment and an ethics controversy pose obstacles for a potential deal between the mayor and speedway operator
BY ELI MOTYCKA
RACING FANS WILL flock to Wilson County in May for the newly minted Cracker Barrel 400 — and the suburban Nashville Superspeedway might be the closest NASCAR gets to the city itself. Several legal and ethical obstacles have cluttered the road to a new agreement between the city and national track operator Speedway Motorsports Inc. that once promised to bring NASCAR back to The Fairgrounds Nashville.
A $164 million racetrack overhaul to set up a high-profile NASCAR Cup Series event seemed close to reality in the waning days of former Mayor John Cooper’s administration, before then-Councilmember Colby Sledge executed a nifty scheduling maneuver that indefinitely postponed a contract between Metro and track operator Speedway Motorsports. Should Speedway Motorsports woo Mayor Freddie O’Connell’s office into a lease-and-renovate deal — similar to the contract for a new Titans stadium inked by Cooper and opposed by then-Councilmember O’Connell — the NASCAR operator would pocket tremendous business advantages and another marquee site in a tourist town despite the opposition of certain neighbors, environmentalists and urbanists who envision different uses for such prime public property.
Jasper Hendricks, chair of the Fair Commissioners Board and key NASCAR supporter, has become embroiled in an ethics controversy.
Brought on by an ethics complaint in October, the Metro Board of Ethical Conduct determined late last year that Hendricks violated rules prohibiting officials from giving “the impression that any person can improperly influence, or unduly enjoy their favor in, the performance of their official duties.” Ethics commissioners have not been happy with Hendricks’ lackluster responses regarding a conflict of interest from a pivotal public figure overseeing a nine-figure deal on behalf of taxpayers. They skewered his recent response to the board at a March 2 Board of Ethical Conduct meeting.
“It’s deficient,” said board member Chris Sa-
bis, an attorney who professionally handles government inquiries. “It provides some self-serving characterizations of his prior relationships with NASCAR, but it does not actually talk about what those relationships are.”
Local political veterans are broadly playing defense against any potential NASCAR deal, and a little offense against Hendricks and the Metro Charter. Attorney John Spragens, a former Scene staffer active in Democratic politics, lodged the ethics complaint against Hendricks, whom the anti-racing crowd deride as “JASCAR.” Spragens’ timely and thorough responses to the board, where Spragens previously served as a member, helped favorably advance the complaint through Metro’s slow-moving bureaucracy. In an official disclosure to the board filed this week, Hendricks says his attendance at various NASCAR races and events has been “observational in nature and did not involve any financial interest, advisory role, or decision making authority connected to racing entities.”
Mike Kopp, a strategist active in music and politics, and former city hall insider Saul Solomon are carrying a charter amendment to block auto racing at the fairgrounds — a requirement of the site, as added to the Metro Charter in 2010. In its place, the proposed amendment would swap in “Affordable and/or Workforce Housing” as required at the site. In February, former race car driver Neil Chaffin challenged the amendment language from Kopp and Solomon in chancery court, slowing down the amendment’s path to a public vote. Kopp and Solomon recently filed a request to expedite a ruling from Chancellor Patricia Moskal; if the charter revision effort wants to put its racing ban on the Nov. 3 ballot, it needs to start collecting the required public support — more than 50,000 signatures from Davidson County voters — by April.
Spragens, Kopp and Solomon are joined by branded efforts like “Fairgrounds Preservation Partners” and “Restore Our Fairgrounds,” which maneuver opposite pro-racing groups “Save My Fairgrounds,” “Save Our Fairgrounds” and “Restore Nashville Fairgrounds Speedway,” the
latter a shell for Speedway Motorsports. Raising alarms about the heavily polluted Browns Creek, which runs feet from the racetrack along Craighead Street, the Cumberland River Compact has also joined the effort. When a deal last appeared at the Fair Commissioners Board, area Councilmember Terry Vo and local community groups opposed handing track control to Speedway Motorsports — and NASCAR events specifically — due to concerns about noise pollution, quality of life, tourist chaos and logistics.
Mayor O’Connell has avoided wading too deep into the issue. After assuring media in December that he will consider any deal that’s good for taxpayers, O’Connell tells the Scene on March 18 that he hasn’t met with anyone about a racetrack deal in “weeks” and has not seen any specific contract. O’Connell does say that the city has been triangulating concerns between Speedway Motorsports and Nashville SC, the professional soccer team backed by billionaire John Ingram that competes next to the track at Geodis Park. The pro-racing crowd alleges that Ingram money is secretly behind their opponents’ multipronged campaign.
The mayor has direct control over the Fair Commissioners Board, which currently has a vacant seat but no one to fill it, according to O’Connell.
“We have offered the opportunity to serve on the Fair Board to so many people since the start of the term, and just have not had anybody willing to commit,” O’Connell tells the Scene. “We’re trying to see if we can get somebody from one of the communities very close to the fairgrounds.”
O’Connell — with procedural help from the Metro Council — could also push Hendricks off the board if he considers the chair’s ethical concerns a taxpayer liability.
Fast cars, billionaires, electoral campaigns, corruption allegations, class tensions — the racetrack’s ongoing saga already has powerful city forces colliding at the fairgrounds. The mayor, Speedway Motorsports and public advocates will likely continue jockeying for position as the county heads toward a potential referendum vote later this year. ▼
Nashville Noticias reporter Estefany Rodríguez Flórez was released on $10,000 bond from ICE custody on March 19, more than two weeks after she was arrested for allegedly overstaying a tourist visa. Her lawyers have argued that her arrest and detention are government retaliation for her ongoing coverage of Immigration and Customs Enforcement. Rodríguez was stopped by ICE in South Nashville on March 4, and was transferred to an Alabama jail before being moved to an ICE detention facility in Louisiana According to legal filings, Rodríguez has “suffered both physically and emotionally” in ICE custody. The government disputed a claim that it was a warrantless arrest and argued in court filings that First Amendment rights “may not even be applicable to an illegal alien.”
Businesses seeking to operate along North Nashville’s Buchanan Street will soon have to follow a new set of guidelines following the Metro Council’s approval of a commercial compatibility overlay district for the area. The council approved two bills — sponsored by Councilmember Brandon Taylor — at its March 17 meeting that put limits on the kinds of businesses able to operate along Buchanan Street. The legislation restricts new beer/ cigarette markets and payday lenders from opening and puts 2,640-foot buffers between auto repair shops, car washes and liquor sellers. The bill would also put restrictions on bars and nightclubs.
As the Tennessee General Assembly’s ongoing session hurtles toward its conclusion, we have coverage of various bills making their way through both chambers of the legislature — including a bill that would require public schools to track and report students’ immigration status, a bill that would require public schools to display the Ten Commandments and a bill designed to double the amount of school vouchers, known as Education Freedom Scholarships, provided by the state. Read all of our coverage at nashvillescene.com/state-legislature.
Metropolitik is a recurring column featuring the Scene’s analysis of Metro dealings.
NASHVILLE FAIRGROUNDS SPEEDWAY
ADS FOR THE TRUTH OUTSIDE INDIE VENUES RAISE HACKLES
Live Nation apologizes for promo for its new venue stenciled on sidewalks near The 5 Spot and Springwater
BY MARGARET LITTMAN
THE TRUTH, the new 4,400-capacity indoor music venue opening in Wedgewood-Houston this fall, was in the news March 16 for its inaugural concert lineup with big names like Sting, Beck and Limp Bizkit. The venue is owned by ticketing and touring giant Live Nation and AJ Capital Partners in partnership with Nashville Songwriters Association International. On March 19, news of a different kind about the venue cropped up when Todd Sherwood, owner of longtime East Nashville music venue and bar The 5 Spot, spotted an ad for The Truth spraypainted on the sidewalk in front of The 5 Spot’s door.
“We do not own the sidewalk, and I do not want to report them to Hub Nashville, but today I got fed up,” Sherwood said on Thursday after posting a video of the message on Facebook. The ad reads “The Sound of New Nashville Text ‘TRUTH’ to + 1 (615) 205-7022.”
Similar messaging appeared on the sidewalk in front of the door at Springwater Supper Club, the oldest bar in the state. It reads “Music City’s Next Chapter Text ‘TRUTH’ to + 1 (615) 205-7022.”
Texting the number leads to “automated marketing alerts.”
A Live Nation spokesperson tells the Scene that stencils were part of a marketing effort carried out by a third-party vendor and that the organization was not aware of the specific locations in advance.
“Once we became aware, we moved immediately to have them removed,” the spokesperson says. “We take responsibility and sincerely apologize to the venues impacted.” The paint was removed between Thursday evening and Friday morning.
Sherwood says he received apologies from
BILL REQUIRES TRUST FUNDS FOR INFLUENCER KIDS
Children featured in content also have the right to ask for old videos to be removed
BY HANNAH HERNER
CHILD LABOR DOESN’T look like it used to, says state Sen. Page Walley (R-Savannah).
A bill that would require some of the funds earned from social media content featuring children to be put into a trust is making its way through the Tennessee General Assembly, having already passed the Senate. The legislation also allows those children to request that content featuring them be deleted once they reach adulthood.
“Most of our child labor protections were really written at a time when kids were at risk of working in
Live Nation, and the folks who reached out promised to have the paint removed. They also asked him to remove his video, which shows a hand flipping the middle finger to the signage.
As of this writing, the video and the community’s reactions to it remain online.
Earlier this year, Live Nation’s U.S. Regions East president Grant Lyman told the Scene that the company was interested in “actively invest[ing] in initiatives that strengthen Nashville’s live music ecosystem by making financial contributions to local organizations that champion artists, songwriters and venues.”
To those who work and support independent music venues, this action is counter to that stated goal.
“It is incredibly disappointing that multi-entities involved in The Truth seem to be more interested in extracting from Music City than supporting it,” says Chris Cobb, president of nonprofit independent venue organization Music Venue Alliance Nashville.
It’s “soul-crushing,” Sherwood says, to see music fans excited about going to The Truth, while independent venues struggle to keep their doors open. Other indie venue owners called it “tone deaf.”
Sherwood notes that when bands staple posters to utility poles advertising a show at The 5 Spot, the bar needs to take them down or face a court appearance or a fine. Stapling posters or flyers to poles is a violation of Chapter 6.04.010 of the Metropolitan Code. Sidewalk graffiti violates the same rule. The Live Nation spokesperson did not immediately answer questions about whether the company was aware that the marketing initiative involved painting public sidewalks. Neither AJ Capital Partners nor Nash-
coal mines or in fields, and really hadn’t been updated to keep pace with our digitalized economy,” Walley tells the Scene.
The bill applies to accounts in which children appear in at least 30 percent of the monetized content over a 30-day period, and the creator must earn at least $15,000 annually, including at least 10 cents per view. Exactly how much money will be taken out is unclear — that’s in relation to how many minutes of content the child is part of, Walley says. The creator must keep a record of compensation generated, as well as the number of minutes a minor was featured in content creation, according to bill language.
The bill states that those younger than 14 cannot monetize their own content — an element of the bill that drew a dissenting vote from Sen. London Lamar (D-Memphis). However, if they make money on their own content, those 14 and older would have 100 percent of those funds placed in a trust until they turn 18. Another wrinkle in the legislation: The content creator must make 10 cents per view. YouTube typically pays
ville Songwriters Association International immediately replied to requests for comment.
“Live Nation has a well-documented history of going after independent venues and promoters,” says District 5 Metro Councilmember Sean Parker. “They should be ashamed of spray-painting illegal advertisements outside of long-standing independent Nashville venues. I encourage every Nashvillian to visit and support our independent music venues. We’ll miss these spaces dearly if we lose them.”
The incident comes as Live Nation’s antitrust
less than 1 cent per view, while TikTok content creators make 2 to 4 cents per 1,000 views. Instagram, on the other hand, does not pay directly for views or followers, but the content creators can still earn money via brand deals on the platform.
“With all of the issues around pedophilia and misuse and abuse of kids and child labor, wanted to just get ahead of it,” Walley says. “I wanted to make sure that we protected these youth from exploitation, I think, particularly at a time when it’s been so visible on the news about young people being exploited for adults’ pleasure and gain.”
Former family content creator Ruby Franke, whose YouTube channel 8 Passengers had more than 2 million followers and 1 billion views at its peak, was charged with multiple counts of aggravated child abuse in a high-profile 2023 case. Illinois was the first state to expand its child labor laws to include child influencers and vloggers in 2024, followed by California and Minnesota. Utah passed similar legislation in 2025.
For child actors in California, New York, Illinois, Lou-
troubles continue, with multiple state plaintiffs, including Tennessee, refusing to sign on to the settlement the conglomerate reached with the U.S. Department of Justice. The trial resumed last week, with Live Nation CEO Michael Rapino taking the stand. Among other points, Jeffrey L. Kessler (the attorney representing the states) questioned Rapino about internal messages revealed in court proceedings in which Live Nation employees called customers “stupid” and referred to “robbing them blind, baby.” ▼
isiana and New Mexico, 15 percent of a minor’s gross wages are required to be withheld by the employer and deposited into a trust. These blocked trust accounts are known as Coogan Accounts, named for 1920s child actor Jackie Coogan.
“This legislation reflects the reality of today’s digital landscape, where children are increasingly participating in content creation that generates real revenue,” House sponsor Rep. Ron Travis (R-Dayton) says in a statement. “Tennessee’s existing child labor laws were not written with social media in mind, and as a result, there are gaps in how we protect minors who are contributing to that content. When children are helping generate income through content creation, they deserve clear protections for their earnings, privacy and future.”
The legislation is set to be heard in the House Commerce Committee on March 25, after this issue went to press. ▼
Touring
ON A FRIDAY MORNING in late February, the team at Vanderbilt’s Special Collections and University Archives gave a handful of Scene staffers a tour through the institution’s collections, which are housed in a distinctive stone building formerly home to the Disciples of Christ Historical Society archives. The collections feature countless artifacts of both local and global import, from works by Middle Tennessee’s own comic book artist Eric Powell to a first-edition copy of James Joyce’s Ulysses and the death mask of 19th-century French poet and art critic Charles Baudelaire.
It shouldn’t surprise you that we — the team behind a real, decades-old, honest-to-God print publication — geeked the hell out. The archival tour also got us thinking about all the folks
Be Kind, Rewind
BY ANNIE PARNELL
Nashville’s zine scene, investigating the resurgence of VHS, considering the influence of AI in graphic design and more dispatches from
the world of physical media
working not only to preserve special artifacts like these, but the members of our community who are still committed to making physical media. Here. Now. In 2026.
In this week’s issue, the Scene tours another very cool archival space, MTSU’s Center for Popular Music, and takes a look at the creative folks who are part of Nashville’s thriving zine scene. Our writers examine the resurgence of VHS taking place at spots like Danger Zone in Mt. Juliet, offer a lineup of Middle Tennessee’s best independent bookstores and talk to several local graphic designers about how AI is beginning to creep into their world. We also have an essay on how listening to vinyl brought a daughter closer to her father — even after his death. Read on for more, and long live physical media! D. PATRICK RODGERS, EDITOR-IN-CHIEF
Mt. Juliet’s Danger Zone Video is a local hub for a growing community of VHS and DVD fans
LOCAL FILMMAKER Justin Sulham describes streaming as “a thankless format.”
He’s the director behind the new slasher Big Bad Betty, a horror-comedy he recommends for fans of Tucker and Dale vs. Evil and Shaun of the Dead. It’s available now, but you won’t be able to find it online — he’s made a conscious decision to distribute the film only on Blu-ray and VHS.
At a recent Big Bad Betty pop-up at Mt. Juliet’s Danger Zone Video, Sulham explained his decision to skip the streaming services: “This is my first feature film, and I wanted it to mean something.”
Physical film media, referred to by fans as simply “physical media,” is having a moment. Comedian Pete Davidson has made headlines for buying VHS tapes as collectors’ items, racking up tens of thousands of dollars for certain titles. Recent data from the Los Angeles Times shows that DVD sales, plummeting for years, dropped only 9 percent in 2025 compared to more than 20 percent in previous years. On social media, collector-creators like Sarah the Gremlin are making moody highlight reels of title screens and close-ups from their tapes — sometimes by recording modern stream-
ing-only series to tape as “customs.” Closer to home, the Nashville Public Library’s Donelson branch announced a free media digitization studio last week to preserve the contents of decaying cassettes and negatives, while Emergency Movie Services travels to pop-ups and parties selling videos and “weird little treasures” from a repurposed vintage ambulance. Danger Zone Video, which focuses on selling VHS tapes and DVDs but bills itself as “much more than a video store,” has become a regional hub for physical media fans. Owned by Jesse Butler, the shop has grown from a pop-up on an embalming table to its own brick-andmortar shop, with an impressive selection of favorites and rare finds and a busy schedule of in-store events. Along its walls are cardboard cutouts of Universal monsters and stickers
for organizations like Nashville Hardcore and the Tennessee Transgender Task Force. In one corner, a vintage TV screens old movies at all hours, giving the whole place a cozy living-room feel.
Butler used to work for Independent Wrestling TV, doing a mix of commentary, backstage work and “the occasional really gross death match.” He started collecting tapes as a hobby — his Holy Grail is the media preview copy of the 1988 cult classic Killer Klowns From Outer Space — and began selling them when the COVID-19 pandemic put wrestling matches on pause. He believes the physical media market, while still niche, is growing. Horror and sci-fi aficionados are common, but so are collectors of Disney movies and even ’80s
exercise videos — Danger Zone has a healthy selection of Richard Simmons tapes.
“People are buying everything,” Butler says. Jess Maxfield runs the locally owned online resale shop Monster Maul with her husband Alex, and she agrees that the market is on the rise. Monster Maul started off selling collectible horror merchandise but found an audience hungry for the movies themselves, and transitioned to focusing on physical media. It’s a self-sustaining side hustle: With no current physical location and no employees to support, they’re able to keep overhead low and new inventory coming in.
“We actually were out of the red within the first three months with our startup money,” Maxfield says.
But why the physical media craze, and why now? There’s the obvious nostalgia factor: For some die-hards, time-honored films like Texas Chain Saw Massacre are best consumed in what Sulham calls the “gritty, grainy and ugly” VHS format, and Maxfield speaks of wanting to share her childhood experiences of movies with her own kids. There’s an affinity for the tapes and DVDs themselves: Big Bad Betty star Ray Bruce says he loves the smell of clamshell VHS cases the way some people love the smell
of old books. Criterion Collection DVD releases are prized by what Maxfield calls a “thriving community” of collectors, gaining value over time as pre-owned stock.
And then there’s streaming fatigue, which many think is a growing motivator for younger generations. One common assertion among enthusiasts: You never actually own a copy of anything you stream online. A favorite series or movie can change streaming services or disappear entirely, leaving fans at a loss.
Plus, Sulham thinks younger generations are especially eager to break out of the algorithm — when they watch a copy of a movie that they physically own or check out of a library, “they know that their privacy isn’t being invaded.”
On a fundamental level, the ritual of choosing what to watch is romantic in a video store, but scrolling through trailers and Letterboxd reviews gets grueling fast. “I’m locked into owning what we watch,” says Butler. “That’s always going to be my first option, as opposed to, ‘Let’s thumb through for an hourand-a-half.’”
Regardless of the reasons people love it, Nashville’s physical media community is thriving, and Danger Zone is helping nurture it.
Book It
Spend some time at these 20 independent local bookstores BY LOGAN BUTTS
OVER THE PAST half-decade, bookstores have been making a bit of a comeback.
As we were all stuck at home and looking for a mental escape during the COVID-19 lockdowns of 2020, reading reestablished some of its lost foothold within pop culture. Online communities like BookTok and Bookstagram caught fire, steering readers toward romantasy titles and classic literature alike. And that’s muchneeded: With overall literacy rates alarmingly low and anti-intellectualism rearing its ugly head, it’s a crucial time to cultivate new readers.
Unlike their impersonal big-box counterparts, independent bookstores have been thriving as of late. They provide a sense of community with physical spaces where people can gather to admire, discuss, buy, sell and trade books. Whether you’re a peruser who enjoys the classic bookstore vibe or a full-on physical media collector, Nashville has plenty of great independent spots for you to check out.
When Monster Maul was first starting out, they hosted a pop-up at the store that Maxfield says netted their highest sales at the time. Events like that are a practice that Butler holds dear. He credits Shayne Parker, the late proprietor of vintage retail shop Dead People’s Things, with giving him not only a space to start out but a sense of community that guides his work.
“We love supporting small businesses that way,” he says. “2026 is [about] focusing on in-house, our community and just bringing everyone here as much as we can.”
Among sellers, the congeniality is good for business — if Monster Maul doesn’t have what a customer is looking for, they can send people to Danger Zone, and vice versa. It’s also heartening to hear about a secondary market that is, at its core, about preserving the art and schlock that brings people together.
“We’re all just weird punks,” says Butler. ▼
Any roundup of interesting local spots has to begin in East Nashville, which has a high concentration of bookstores worth visiting — including the thoughtfully curated The Bookshop, romance-focused former “smut truck” Slow Burn LGBTQ-focused Novelette Booksellers hip book-hunters’ paradise The Green Ray, kid-friendly Fairytales Bookstore, tiny but mighty East Nashville Books, hardcore collectors’ choice Defunct Books and new kid on the block Shook About Books. In Marathon Village, you’ll find the micro book and art outpost Taylor Street Art and Books. Head to West Nashville for the long-standing and beloved Rhino Booksellers, and while you’re on the West Side, make the pilgrimage to physical media mecca McKay’s, where you’ll find … just about anything, from video games and musical instruments to vinyl, books and more. And those who know their way around Old Hickory can attest to the cozy vibes of Duckbill Bookshop. Music City’s longtime Black-owned bookstore, Alkebu-Lan Images offers a unique assortment of books, gifts, jewelry and more as a cultural center in North Nashville. The city’s unofficial reading ambassador Ann Patchett owns Green Hills’ Parnassus Books, which always has a calendar full of notable author events and book club meetups. Folks in the ’burbs have exciting options too. Landmark Booksellers in downtown Franklin, Honey Rock Books and Cafe in Gallatin, The Spine Bookshop in Smyrna, Crying Cat Books and Records in Murfreesboro, Harper’s Books in Lebanon, City Square Books and Music in Hendersonville and Duck River Books in Columbia are just some of the top-notch locations outside of Davidson County proper. ▼
THE NEON COWBOY NES VIDEO GAME RELEASE PARTY 11 A.M.-4 P.M. SATURDAY, MARCH 28 AT DANGER ZONE VIDEO (11942
Commercial Artists
Don’t Fear AI … Yet
Talking with silkscreen printers and a tattoo artist about maintaining customers despite the rise of generative AI art
BY ALEJANDRO RAMIREZ
AI-GENERATED ART has evolved past the melted faces and overabundance of fingers that defined early tools like Dall-E 2. While these images — which churn through and reassemble the work of actual artists without permission — still often display quirks that betray the fact that they’re machine-made, they’ve reached a level of “good enough” that AI posters and logos swarm social media.
Matthew Sharer, art director at Grand Palace Silkscreen, says he’s been disappointed seeing community events advertised with AI-generated flyers and that he’s actually reached out to folks offering to make something for free instead.
“We all live in Nashville, where it’s increasingly harder to even survive and live, but I’ll do a free drawing for somebody that’s doing something that I think is positive,” Sharer says.
The custom silkscreen printing shop on Dunn Avenue has received AI artwork from prospective clients, but it has yet to print any of them onto a poster or shirt. That’s not due to any particular stance or policy, but because the designs just aren’t screen-printable.
Sharer demonstrates the process with a few stencil-like screens that overlay to create the
iconic logo of radio station WNXA, with its crossed dynamite sticks. Each layer would be a different color with bold, crisp borders. AI-generated designs are often low-resolution; colors aren’t separated, and the images have blurry edges. While design issues preceded the proliferation of AI art, the technology starts more people off on the wrong foot, says Sharer.
Although someone could prompt AI to spit out a more printer-friendly version, illustrators at Grand Palace recommend seeking a professional instead.
Grand Palace founder Bingham Barnes says AI art hasn’t affected the customer base of physical print products, but the encroachment of the tech into the design field has been more noticeable. Barnes notes that the sticker shock of designer fees has often been a “hurdle” for customers — and now they can turn to free AI products.
“There is where we get into … the value of creative work, and a lot of different people’s perception of it is that it’s not something they should have to pay a lot for,” says Barnes.
He adds that if a logo or poster for your company or brand is important for you, then it should be important enough to hire someone who “knows what they’re doing.”
Sharer says the technology hasn’t shrunken his pool of design clients, partly because it’s still emerging tech. He also says he’s spoken with other designers who feel that many of the folks
using AI for posters, flyers and logos probably weren’t going to hire designers anyway.
AI-generated art has also started to bleed into the tattoo industry. There’s even a robot that inks humans down in Austin — photos of it in action look like scenes from a health clinic. But an established artist like Elisheba Israel Mrozik isn’t too afraid of a machine uprising.
Mrozik — former owner of now-closed One Drop Ink on Jefferson Street — has a studio in a looming garage, and sits at a table covered with tactile elements. Mrozik is a heralded tattoo artist and recognized artist and muralist — she currently has a room-filling installation on display in the Frist’s In Her Place exhibit.
Mrozik, as she takes a file to a crown-shaped figure she removed from a silicone mold, says artists will need to argue their value in this economy: “You’re not going to appeal to somebody’s better interest. You’re not going to appeal to their morality. You need to figure out why you’re worth money.”
In the fine and public arts sectors, Mrozik proves her worth through her connection to the community, transforming their words into “visuals or programmatic elements that connect with them.”
As a tattooer, her personality and rapport with clients keep customers returning. She’s honest about what does and doesn’t work for a tattoo, and isn’t condescending about it. Mrozik says it takes time and energy to build a loyal cus-
“Art is the one human thing”
— ELISHEBA ISRAEL MROZIK
tomer base, and AI tattooing will make it harder for newcomers to find their own.
Mrozik’s tattoo clients usually bring in a crop of reference images to show what they’re looking for. Sometimes they bring AI-generated designs. That doesn’t bother Mrozik much: The final product will be something new and unique, not a copy of any reference.
Mrozik has experimented with AI — using its image generation to play with different angles of a flower, for example — but ultimately she feels it’s important the art is the product of her own imagination as much as possible.
“Art is the one human thing,” says Mrozik. And then, more wistfully: “It’s the last human thing.” ▼
ELISHEBA ISRAEL MROZIK
GRAND PALACE ORIGINAL DESIGNS
MARCH 30
THE FIRST LADY OF COUNTRY MUSIC TAMMY WYNETTE TRIBUTE CONCERT WITH WYNONNA, ANN WILSON (OF HEART), THE WAR & TREATY, BRITTNEY SPENCER, PATTY GRIFFIN, LUCINDA WILLIAMS &
APRIL 12
YO-YO MA REFLECTIONS IN WORDS AND MUSIC
MAY 4
FENDER PRESENTS: TELE TOWN 75TH ANNIVERSARY OF THE TELECASTER ON SALE FRIDAY AT 10 AM
JUNE 2
STARS FOR SECOND HARVEST WITH ERNEST & FRIENDS ON SALE APRIL 10 AT 10 AM
JUNE 9
CA7RIEL & PACO AMOROSO ON SALE FRIDAY AT 10 AM
JULY 19
BILLY BOB THORNTON & THE BOXMASTERS ON SALE THURSDAY AT 10 AM
DEC 14, 15, 16, 17, 19, 20, 22 & 23
AMY GRANT & VINCE GILL CHRISTMAS AT THE RYMAN ON SALE FRIDAY AT 10 AM
The Zine Scene
Nashville zines embrace imperfection, highlight overlooked interests and scenes
BY HANNAH HERNER
A ZINE CAN take the form of a 50-page book of poetry, a collection of articles or essays or even a sketchbook of doodles. It’s a self-published work completely open to interpretation — and sometimes, that’s the hard part.
“The first zine is the hardest zine you’ll ever make,” says Graeme Morris, owner of design and print studio Risology Club. “The second, third and fourth are super chill, and then you can really do some wild stuff. It’s so hard to let yourself be done with it.”
Morris shepherds area zines and art prints as a master of the Risograph, a printer traditionally used for media like church bulletins and letterhead. Morris uses the machine to make eye-catching art that stretches beyond what he can make on a computer or phone screen.
Zines have a long and rich history, with roots in the “little magazines” of the Harlem Renaissance, which highlighted lesser-known voices of the time. Then there are “fanzines,” unofficial publications that for decades have celebrated science-fiction, horror and comics, among other more niche fandoms. Zines also have roots in the punk and riot grrrl movements, with publications that championed
feminism and LGBTQ causes at a time when mainstream media wasn’t doing the same.
Lara Carvin, founder of the zine Hard Candy, wanted to turn zine making into a group project. The only stipulation: Submissions must
come from a woman or nonbinary person.
“It could be a list of your favorite words or a doodle that you’re really proud of, but it could also be your best painting you’ve ever done,” Carvin says. “I think there’s something really lovely about reading stories or seeing art from women that live in your area, so you can feel closer and connected with one another.”
Where Hard Candy is broad in theme and polished through design software and professional printers, local zine Panel Discussion, distributed through the Nashville Public Library, takes a more traditional approach. Panel Discussion creator and librarian Jeremy Estes produces a grainy black-and-white booklet focused on the library’s comic book collection that also points to monthly meetings of his comic book club, also called Panel Discussion.
“I have always loved the punk rock cut-andpaste flyer kind of thing,” Estes tells the Scene Action Cat, a yearly zine founded by Middle Tennessee State University students, highlights the DIY music scene across the Southeast.
Social media manager Omorose Emwanta also produces a roundup of shows each week on the zine’s social media. One of the goals of Action Cat is to highlight artists and bands who might not otherwise get the ink.
“Sometimes I come across some once-in-alifetime, generational talents in our everyday communities,” says zine president Dorian Pate.
For many first-time contributors to Action Cat and Hard Candy, being able to hold their work in their hands still means something. Even the digital-native college students who run Action Cat still value print. They’ve made a profit on each issue so far.
“I think there has been a bit of an overreliance on digital media in the recent age of
journalism and news reporting, just because I feel like that can be overly curated for the sake of just pushing out content,” Pate says. “I really like being able to provide a really polished physical product that we can all look at and be like, ‘We put this together.’”
For Carvin, a copywriter by trade, Hard Candy is a chance to share her unedited voice.
“Don’t let perfectionism or the thought of not being a creative person hold you back,” she says. “Part of building a community is you’re not trying to be your most polished, perfect self.”
For Morris, who studied graphic design, it’s a challenge to remove the pressure of professional work. At one point he created the one-page Paper Towel Zine, folded and distributed through an actual paper towel dispenser.
“I have to be a clean, nice, fresh designer [at work], but my true nature is chaos, color and dirtiness, rough around the edges and all that,” Morris says. “It just feels more in tune with my design soul.”
And for Estes, zine making is part of the public-library ethos: It’s free and accessible.
“I felt like for a long time I needed permission or a reason to be doing stuff like this, and then I didn’t,” he says. “I could have been doing this for years, and I don’t regret that time, but I’m just grateful that I finally did start doing it.” ▼
SOME LOCAL ZINE PICKUP LOCATIONS: GIFT HORSE
DRKMTTR
RANDOM SAMPLE
GUERILLA BIZKITS
NASHVILLE PUBLIC LIBRARY BRANCHES
PHOTO: ANGELINA CASTILLO
GRAEME MORRIS, RISOLOGY CLUB
Center of Attention
Archivist Olivia Beaudry takes us on a tour of MTSU’s Center for Popular Music
BY STEPHEN TRAGESER
IN OUR HYPERCONNECTED, hyper-online world, your first thought might be that the most important step in preserving cultural information for future study — especially information about music, since it’s consumed digitally in such massive quantities — is getting it into a computer. While it’s important to digitize certain things, like rare or totally unique recordings on fragile media, organizing and caring for the tangible objects is a much bigger concern for Olivia Beaudry, the archivist at the Center for Popular Music at Middle Tennessee State University in Murfreesboro.
“It’s not possible to digitize everything, and you wouldn’t want to,” says Beaudry. “There’s nothing like holding a 1700s book in your hand rather than flipping through it on a website.”
The center was established at MTSU in 1985 as a stand-alone program of the state, and officially became a part of the Scott Borchetta College of Media and Entertainment in 2009. It resides on the ground floor of the John Bragg Mass Communication Building. At present, there are more than a million items in the collection, from sheet music to cassette tapes of oral history interviews to periodicals and commercial recordings.
Among a huge array of items of local interest, Beaudry points out tapes of jam sessions at late musician and songwriter John Hartford’s home, as well as a collection of backstage passes and other memorabilia going back to the 1970s do-
nated by live event professional Stephen Gudis. (You can even find an extensive collection of print issues of the Scene.)
Beaudry began working at the center when she came to MTSU as a graduate student studying country music. She has bona fides from the Academy of Certified Archivists, a professional organization that administers an exam she compares to the bar exam for attorneys, except for people who want to make things last for another 500 years. (Also key is making sure things can be found and someone can easily see what they are. Writing what’s known as a finding aid, which includes a short description of the items in a collection, is just as important for Beaudry and her team as keeping items arranged and stored in acid-free containers.)
Having all this stuff in one place is great, but Beaudry points out another vital role for physical archives: context.
“If you come in person or look at the items, sometimes you might see connections that you wouldn’t see by just clicking on one item on a website,” she says. “Or even just talking with me, I might say, ‘Hey, I know this related thing to your research topic,’ that you probably wouldn’t have thought of, just because I know the collection.”
Lots of additions to the collection happen because individuals volunteer them. Something like tapes of live-in-studio performances on a radio show are more in line with the center’s mission than, say, a moldy box of Steppenwolf LPs, or even a sheaf of glossy 8-by-10 photos from a 1990s press kit — there’s a decent likelihood they already have those anyway.
One enormous new acquisition is the complete archive of epochal Bay Area international punk zine and radio show Maximum Rocknroll Because of the extensive process, it will take
Vinyl Memories
Finding my way with vinyl after the death of my father
BY EMILY R. WEST
OVER THE PAST six years, people have been kind enough to ask my mother and me if we’re doing OK in light of my father’s death. It’s a question I never know how to respond to in the moment.
What is the definition of “OK”? I couldn’t really tell you.
But I do know I still find ways to bond with my father, even after his passing. My father died in 2020, but not from COVID-19 — from esophageal cancer. We had six months with him between his diagnosis in late 2019 and when he went into hospice. Losing a parent is hard no matter when it happens, but facing his death during a worldwide pandemic compounded my grief and loss.
A year after my father died, I raided his cabinet in my parents’ living room. It was full of records I hadn’t seen in years. On a sunny Monday about a month later, I wistfully went into Target and bought the last record player I found perched on a shelf. I wanted to listen to music from my father’s time.
some time for Beaudry and her crew to prepare the tractor-trailer load of zines, vinyl and more for the public.
“If something was to come in,” says Beaudry, “we have to record it in what we call an accession record. It’s really just saying what came in. Count the material: Say there’s 10 VHS and two LPs and a linear foot of papers. So we have to document all of that. And if the donor wants to take a tax deduction, we have to do another report form, because it’s a donation to the state. [In theory, I will] process it right away — that doesn’t happen very often — and re-folder, rebox, write the finding aid, post the finding aid on the website, catalog the finding aid, and then make it available to the public.”
There is a key distinction between an archive like the Center for Popular Music and a library or a museum: You can’t just browse the collection in person. But even though supporting academic research is an important goal for the center, all of its materials are available to anyone at no cost. Peruse the online catalog to get an idea of what you might be looking for and head on down.
“We supply parking passes if somebody needs it. A heads-up is helpful, but not necessary. You can walk right in and request to see something, and you don’t need to prove that you’re writing a book or a journal article or anything like that. It could just be you want to listen to Pet Sounds on the original vinyl. Well, come in here and listen to it if you want. We’re open.” ▼
I was familiar with my dad’s musical tastes long before opening the cabinet. He was a teacher and a lifelong studier of facts and historical figures, but his favorite artists were often the popular performers of his time.
I have deep and distinct memories of my dad listening to Bob Seger in the evenings while I was on the couch. He would retire to his favorite deep-blue recliner and rest his eyes before going to bed for the evening. While in his recliner, he would usually play The Beatles, the Stones and the other giants of the ’60s. I remember he took his records and a portable record player to his classroom, sharing his love of music with his students. My father taught ACT prep at Franklin County High School in Winchester, Tenn., and some of his students told my mother and me at his visitation how much they enjoyed his musical tastes. Even at his sickest, he would maneuver his smartphone — a device he loathed but nevertheless used — to stream music loudly from YouTube while reclining in a chair at the oncologist’s office.
In his later years, he often kept classic country music blaring, thanks to his rediscovery of the genre following Ken Burns’ 2019 documentary series Country Music At the time, I secretly wished he would turn it down. But Barry was hard of hearing, so he had only one setting: loud.
On a recent February morning, I sat with the windows open, spinning Paul McCartney’s “Blackbird” from The Beatles’ White Album. I was reading in the kitchen, where for years my dad would read local news from The Tennessean and the Chattanooga Times Free Press. He would regularly spread the paper across the kitchen island, resting on his elbows as he scanned the sports and opinion sections before eventually getting to the hard news.
So how am I doing? I’m taking my broken wings and learning to fly — and playing the music loudly enough for my father to hear. ▼
OLIVIA BEAUDRY
THURSDAY / 3.26
MUSIC
[BLUFF CITY]
THE BROOK & THE BLUFF
Nashville-based indie-rock quartet
MARCH 26-28
DANCE [HIGH-OCTANE MOVEMENT] HIROAKI UMEDA: ASSIMILATING & MOVING STATE 1
If you were lucky enough to be in the audience for one of Hiroaki Umeda’s thrilling performances at OZ Arts back in 2019, then you already understand just how wildly imaginative this celebrated choreographer, dancer and multidisciplinary artist’s work can be. Known for his compelling blend of movement and technology — including otherworldly sound, imagery and lighting — Umeda “creates high-velocity, visually stunning experiences that blur the line between installation and live performance.” Based in Tokyo, he is widely recognized as a driving force in Japan’s avant-garde arts scene. This weekend, he’s back at OZ Arts, wrapping up a five-city U.S. tour that has included stops in New York City, Philadelphia and Washington, D.C. The program features two particularly intriguing performances — Umeda’s electrifying solo work assimilating, along with his “cinematic group work” Moving State 1, which features four female hip-hop performers from his groundbreaking Somatic Field Project.
AMY STUMPFL
MARCH 26-28 AT OZ ARTS
6172 COCKRILL BEND CIRCLE
[BARTER
BOOKS
UP] BOOK SWAP
The latest addition to the ever-growing literary scene here in Nashville: Shook About Books. Specializing in used books, the shop began as a trailer that traveled to events around town. The store carries virtually every genre, and book prices begin at $1, with a limited selection of CDs also available. Shook About Books has recently moved to its first brick-andmortar location at Open Invite, a collective of small and woman-owned businesses on East Nashville’s Riverside Drive. The shop is hosting its first-ever book swap at the new location on Thursday, allowing you to bring and trade books with other local readers. Any genre is accepted, all books have to be in good to excellent condition, and any books leftover will be stocked on shelves for guests to purchase. Make sure to BYOB (bring your own bag) and grab a cold Walker Brothers kombucha before hunting for the next title that will leave you absolutely shooketh. TINA DOMINGUEZ
5 P.M. AT SHOOK ABOUT BOOKS
2215 RIVERSIDE DRIVE, SECOND FLOOR
The Brook & The Bluff — Joseph Settine (lead vocals, rhythm guitar), Alec Bolton (lead guitar, vocals), Kevin Canada (keyboards) and John Canada (drums, vocals) — celebrate the release of their fifth full-length album Werewolf with a hometown show at Brooklyn Bowl Thursday night. The album, which was produced by Micah Tawlks and released March 6 by Dualtone Records, finds the group turning up their guitars and returning to their rock roots. “We did nothing but live takes,” Kevin Canada says of the sessions for the album. “We’d already spent months playing together at Alec’s house. The arrangements were worked out, the songs were finished. We were ready to go, and you can feel that energy in the tracks.” The group’s Nashville appearance is part of a 28-date headlining tour in support of the album that kicked off Friday at The Ritz in Raleigh, N.C., and includes stops at the 9:30 Club in Washington, D.C.; Webster Hall in New York City; Ogden Theatre in Denver; The Fillmore in San Francisco; and The Bellwether in Los Angeles. Singer-songwriter Cassandra Coleman will open the show. DARYL SANDERS
8 P.M. AT BROOKLYN BOWL
925 THIRD AVE. N.
ART [THE TOXIC AVENGER]
BENJI ANDERSON: TOXIC WASTE IN PARADISE
Local artist Benji Anderson opened his latest solo exhibition at Elephant Gallery in North Nashville a few weeks ago — on Friday the 13th. Toxic Waste in Paradise is a collection of surreal landscapes populated by a menagerie of fantastic creatures, portraits of pensive skulls and paintings of a beloved black cat named Mavis. One of the real attractions of Anderson’s work over the years has been a varied, multimedia output fueled by his ranging curiosity — you never know what you’re going to get with Benji. For all of the bad luck symbolism in the dates and subjects, Toxic Waste in Paradise finds Anderson’s work blessed with the good fortune of a maturing vision, resulting in the artist’s most focused solo exhibition to date. Anderson is still drawn to raw renderings in traditional mediums — this collection is mostly oils on linen and wood panels — but this whole body of work feels of a piece. Even the comic-panel-filled sketchbooks included in the exhibition read like microcosms of the bigger display. This solo show finds Anderson dialing in a deeper focus even while he doubles down on the imperfect aesthetics and imaginative subjects that have always made his work remarkable.
JOE NOLAN
THROUGH APRIL 20 AT ELEPHANT GALLERY 1411 BUCHANAN ST.
MUSIC [FULL OF GRACE]
ROBERT PLANT WITH SAVING GRACE AND SUZI DIAN
Beginning with Raising Sand, his 2007 collaboration with Alison Krauss, rock legend Robert Plant has spent the past two decades exploring his love of roots music. His latest roots expedition began six years ago with the new U.K.-based band Saving Grace — vocalist-accordionist Suzi Dian, guitarist Tony Kelsey, banjo and string player Matt Worley, cellist Barney Morse-Brown and drummer Oli
Jefferson. “It’s an impressive collection of people now,” Plant says. “I can’t tell you how lucky I feel about this.” In September, Plant released his 12th album, also called Saving Grace, which features the group’s interpretation of a collection of songs by Memphis Minnie, Bob Mosley (Moby Grape), Blind Willie Johnson, Martha Scanlan, Sarah Siskind and others. Plant and the band played 14 dates in North America in the fall in support of the album and are currently in the midst of a 16-date 2026 leg of the Saving Grace tour that includes a stop in Nashville Thursday evening at the Ryman. In addition to material from the album, the group’s recent sets have included their rendition of Neil Young’s “For the Turnstiles,” as well as a handful of Led Zeppelin songs. Singer-songwriter Rosie Flores will open the show. DARYL SANDERS
7:30 P.M. AT THE RYMAN
116 REP. JOHN LEWIS WAY N.
ART [ENERGY PLANT]
MOUMINATOU THIAW: BURY ME DEEP
For her solo exhibition at The Forge, Mouminatou Thiaw is drawing heavily on two subjects that feel particularly pertinent: the female form and plant life. The artist — who is currently based in Nashville but was born in Dakar, Senegal — is clearly tapped into the same generative-in-the-face-of-struggle energy as great Nashville artists like Karen Seapker, Yanira Vissepo and even María Magdalena Campos-Pons. That’s excellent company. Bury Me Deep features mostly acrylic-on-canvas paintings, but also includes a handful of clay sculptures and block prints. From the exhibition statement: “Through an impressionistic series of works, Thiaw expresses a somatic ecosystem of the earth, body and spirit, employing bold, contrasting colors and organic forms to explore emotional coexistence, healing, and interconnection.” LAURA HUTSON HUNTER
THROUGH APRIL 4 AT THE FORGE
217 WILLOW ST.
FRIDAY / 3.27
MUSIC [BEEP, BEEP] JIM MESSINA AND THE ROAD RUNNERS
Jim Messina’s fingerprints are all over the history of popular music in the ’60s and ’70s. The singer, songwriter, guitarist and producer was a member of the fabled folk-rock band Buffalo Springfield, which earned him induction into the Rock and Roll Hall of Fame in 1997. He was co-founder of the trailblazing Southern California country-rock outfit Poco and half of the hit-making duo Loggins and Messina. Backed by his band The Roadrunners — Jim Frazier on keys, Ben King on bass, Steve Nieves on saxes and percussion and Jack Bruno on drums — the rock legend brings his 2026 tour to City Winery Friday night. Fans can expect to hear a healthy helping of the best-known music from across his storied career, especially from his Loggins and Messina days. Messina, who has lived in Franklin since 2018, is looking forward to the show. “Performing in Nashville is always special, because myself and my band all live in and around Nashville,” he tells the Scene. “Our wives and family never really get a chance to see us perform, so it’s a special treat for us to come and perform at City Winery.” DARYL SANDERS
7:30 P.M. AT CITY WINERY
609 LAFAYETTE ST.
SHOW [SPACE AGE] INTERPLANETARY TALENT
SHOW
TALENT
Modern times call for a little escape every once in a while, and going to another planet certainly sounds appealing. One option is the upcoming Interplanetary Talent Show from local dance and performance troupe Nocturne Dance, which will feature 10 dance, music and circus-style acts. (Sword swallowers and aerial artists will be featured.) It’s a way for Nocturne Dance to show off their skills — and commitment to a theme — weaving the acts together into a storyline complete with astounding costuming and production value. Arrive early to check out the art vendors, flash tattoo offerings and a photo booth, or to receive a tarot reading before the event. With the support of DancEast and Metro Arts, the atmospheric event offers a chance to embrace the local dance scene while enjoying some time in a galaxy far, far away. HANNAH HERNER
8 P.M. AT EASTSIDE BOWL
1508A GALLATIN PIKE S., MADISON
SATURDAY / 3.28
[HIT THE BOOKS]
BOOKS
INAUGURAL MNPS BOOK FESTIVAL
Metro Nashville Public Schools is hosting its inaugural Book Festival on Saturday at James Lawson High School in Bellevue. Lawson High, named after the late American civil rights icon who called Nashville home, opened in 2023 as Metro’s first new school since 2008, and the campus is beautiful. Head there Saturday for a full festival lineup of local middle-grade
and young adult authors, including Jennifer Lynn Alvarez, Sharon Cameron, Caroline Brooks DuBois, Helene Dunbar, Nathan Hale, Greg Howard, J. Kasper Kramer, Andrew Maraniss, Tyler Merritt, Christen Randall, Erica Ivy Rodgers, Adam Rosenbaum, Christina Soontornvat, Jamie Sumner, Mary Reaves Uhles, Julian Vaca and Jeff Zentner. Registration is free and open to the public, and lunch will be available for purchase at a food court on campus from noon until 2 p.m. LOGAN BUTTS
10 A.M. AT JAMES LAWSON HIGH SCHOOL
8001 HIGHWAY 70 S.
[BARKING BOURBON]
COMMUNITY
WHISKEY & WAGS
What two things do Southerners love more than anything else? That’s right, whiskey and their dogs — and the two will come together at Whiskey & Wags, at the historic Two Rivers Mansion in Donelson on Saturday. More than 20 Tennessee distilleries will be on hand with samples of their local whiskeys, along with live music, local food vendors and dog-friendly activities. Upgrade to a VIP ticket and get oneon-one time with master distillers and access to limited-batch releases. Ticket prices include samples and tours of the Two Rivers Mansion, and discounted designated-driver tickets are available. Bring a lawn chair for hanging out and, of course, your dog and their leash. The event is rain or shine and open to guests 21-plus with a valid ID. MARGARET LITTMAN
2 P.M. AT TWO RIVERS MANSION
3130 MCGAVOCK PIKE
FILM [BE GOOD]
WEEKEND CLASSICS: SPIELBERG — E.T. THE EXTRA-TERRESTRIAL
Steven Spielberg is the GOAT of blending technical ambition and unbeatable storytelling, and one of his next-level techniques is respecting and celebrating even the littlest children. (See: the bit in Jaws when Chief Brody and his youngest son pull faces at dinner.)
E.T. the Extra-Terrestrial is an entire feature film set in the rich, often-fraught emotional landscape of kid-dom — land-locked as it is within the adult world, save for the sparkling shores of imagination — overlaid on the physical landscape of 1980s suburbia. E.T. begins the Belcourt’s spring Spielberg series with screenings on March 28 and 30, and it’s a family favorite for lots of reasons. It’s funny and exciting without being too scary, the kids’ ingenuity and determination are inspiring, and the late, great Carlo Rambaldi’s E.T. puppet comes across as more alive than CGI could dream of. As a first-time parent, I keep going back to this film because of how wisely and gently the story handles the kid world, imagining the shocks and aftershocks of suddenly having a telepathic link to someone else’s feelings. When the grown-up extraterrestrial tracker tells the youngster, “I’m glad he met you first,” it slams home with incredible force. STEPHEN TRAGESER
MARCH 28 & 30 AT THE BELCOURT
2102 BELCOURT AVE.
“UNTITLED,” BENJI ANDERSON
BENJI ANDERSON: TOXIC WASTE IN PARADISE
SUNDAY / 3.29
[FACE OFF]
MUSIC
QUEERTOPIA: ROOKIE SEASON WITH DJ AFROSHEEN
Throughout the Heated Rivalry craze, events have been popping up by the dozen to celebrate the smash-hit gay hockey romance series: raves, lookalike contests, watch parties, you name it. But at Queertopia Presents: Rookie Season, the first of hopefully many dance parties from the new local events collective, there’s a refreshing focus not only on the show’s queer fans, but also on putting money back into the local queer community. Featuring music from DJ Afrosheen and an appearance from special guest Ellisa Sun — a local artist whose song “Unravel” was featured in the show — Rookie Season’s proceeds will benefit Nashville Launch Pad (which supports unhoused LGBTQ youth) and You Can Play (which promotes community and access to sports for gay and trans athletes). Can’t get enough Heated Rivalry? Queertopia is also hosting a trivia pregame at Chapstick from 5 to 6 p.m. the same night, while Preds Pride Night will feature cottage-themed merch on March 26, followed shortly after by Hockey Romance Night on March 28. ANNIE PARNELL
8 P.M. AT THE BASEMENT EAST 917 WOODLAND ST.
[THE WRITE STUFF]
MUSIC
GIRLS WRITE NASHVILLE
Next to using your voice, one of the most powerful things you can do is show somebody how they can use theirs. Local nonprofit Girls Write Nashville has been engaged in this important work for almost a decade. GWN now offers programs during or after school through several MNPS middle schools, as well as a citywide program that pairs teens with pro songwriters for one-on-one mentoring sessions that help them refine an idea for a song until it (ahem) sings. Enrollment is free, and the nonprofit depends on donations and fundraising campaigns like their annual benefit show, happening this weekend as part of Lightning 100’s Nashville Sunday Night at 3rd and Lindsley. Shakiah is your youth artist co-host, and the gig begins with a writers’ round featuring longtime GWN participants who are high school seniors: Thalia Dills, Koley Berry, Nevaeh and Anya. Pop songsmith Ashe headlines the show. She showcased her aptitude for incisive examination — indeed, sometimes sharp and bloody as a surgeon’s scalpel — of romantic relationships on her 2024 LP Willson, which coincided with her move to Nashville. Last year, Ashe followed that up with The Dream by The Favors, a duo record on which she has teamed up with FINNEAS, aka Billie Eilish’s brother and longtime production partner.
STEPHEN TRAGESER
7 P.M. AT 3RD AND LINDSLEY
818 THIRD AVE. S.
MONDAY / 3.30
FILM [THE BIG SHORTS]
SALUTE YOUR SHORTS NIGHT
Salute Your Shorts, the long-running festival showcasing shorts from local filmmakers, is back following a five-year hiatus. The 2026 edition will take place at Jackalope Brewing Co. on March 30, and tickets include one free draft or nonalcoholic beer. The festival lineup includes a wide range of short films, including live-action narrative, documentary, experimental, animation and even music videos. As long as the filmmaker is from Tennessee, it qualifies. The night will be hosted by local cinematographer and director Caleb Dirks, and will feature a slate of Q&As interspersed throughout the screenings. So grab a beer and support some Nashville filmmakers — and who knows, maybe you’ll see a future Oscar nominee. LOGAN BUTTS
7 P.M. AT JACKALOPE BREWING CO.
429B HOUSTON ST.
MUSIC [STANDING TALL]
FOREVER YOURS: A TRIBUTE TO TAMMY WYNETTE
In 1968, Tammy Wynette released one of the most hotly debated country songs of the 20th century. “Stand by Your Man,” despite being her signature song and one of the most iconic vocal performances in country history, would also be a thorn in Wynette’s side for the rest of her career. Wynette’s publicist and friend Evelyn Shriver would later recall that “a song that took [her] 20 minutes to write, [she] spent 20 or 30 years defending.” In the decades since the song’s release, there’s been no shortage of naysayers who claim the song encourages letting a man walk all over you — a notion that Wynette vehemently denied. Nevertheless, nearly 60 years after the song’s release, the tune, and its opening line “Sometimes it’s hard to be a woman,” hits as hard as ever. That’s because true Tammy-heads know that no one captured the complexities of womanhood with more conviction than the First Lady of Country Music. One look at the lineup for the upcoming Tammy Wynette tribute concert at the Ryman Auditorium is proof of Wynette’s enduring legacy. Wynonna, Lucinda Williams, Patty Griffin, The War and Treaty, Lorrie Morgan, Brittney Spencer, Carter Faith, Katie Pruitt, Valerie June, Heart’s Ann Wilson and many more will take the stage to pay tribute to the country queen. BOBBIE JEAN SAWYER
7:30 P.M. AT THE RYMAN
116 REP. JOHN LEWIS WAY N.
TUESDAY / 3.31
SPORTS [PLAY BALL]
NASHVILLE SOUNDS 2026 HOME OPENER
After a historically bad football season and plenty of disappointment from the world of hockey, it’s thankfully time to welcome
America’s Pastime back to the Nashville pro sports scene. The hometown Nashville Sounds kick off their 2026 AAA season in Norfolk, Va., on March 27 before bringing the party to First Horizon Park a few days later. March 31 marks the official home opener for our Sounds, who will take on the Charlotte Knights in the first of a six-game series. In addition to all of the fun and festivities of opening day, the March 31 game will also feature a Sounds “2026 Tour” T-shirt giveaway to the first 1,000 fans in attendance. It’s gonna be a party at First Horizon, but if you can’t make it, the Sounds have 74 more home games on the calendar this season. CHARLIE RIDGELY MARCH 31-APRIL 5 AT FIRST HORIZON PARK 19 JUNIOR GILLIAM WAY
WEDNESDAY / 4.1
MUSIC
[IN THE BEDROOM] MIRAH
Mirah Yom Tov Zeitlyn’s 2000 debut album You Think It’s Like This but Really It’s Like This sounds like a classic take on artless bedroom pop today. Mirah took an extended break from recording after she released 2018’s Understanding, which peaked with a nice bit of minimalist semi-pop called “Lake/Ocean.” On her new full-length Dedication, the New York singer and songwriter sounds fresh for someone who’s been recording for three decades. Dedication is a post-pandemic and post-Trump album that cuts the wooziness with some welljudged indie-folk-pop that updates the style Mirah favored a quarter-century ago — the album’s “After the Rain” is lush and depressive in equal measures. Dedication contains a couple of excellent tunes that sound like the New Waveinfluenced rock of the 1980s, which may strike fans of minimalist indie pop as incongruous. “Stumbling” and “Catch My Breath” owe a debt to The Cars and Blondie, and they’re among the best things Mirah has done to date. It could be that she has actually been a covert pop musician
throughout her career. Still, Dedication works in the confessional and somewhat downbeat mode that Mirah favors — when she complains that “reanimation is a rotten deal” in “The Ballad of the Bride of Frankenstein,” you believe her. Ashley D. opens. EDD HURT
8 P.M. AT DRKMTTR
1111 DICKERSON PIKE
MUSIC
[SUMMER SWEATS] HANNAH COHEN
Some of us like to hover slightly above our everyday lives, where the world is in harmony with our own thoughts. The romantics called it dreaming. The kids are calling it “delusional.” Whichever way you want to spin it, Hannah Cohen makes the ideal soundtrack for reaching this out-of-body, out-of-touch plane. Earthstar Mountain is the latest mood-enhancing album from the Catskills singer-songwriter. Produced by her romantic partner and frequent collaborator Sam Evian, it features Clairo on the clarinet (a classy touch) as well as Sufjan Stevens. Cohen’s vocals greet listeners with ghosts of music’s past — Minnie Riperton, Stevie Nicks, Vashti Bunyan — while lacing in hints of country, pop and soul. Her songwriting is sensual and seasoned, an open invitation for floating away from reality. New York duo mmeadows will open. TOBY ROSE
7 P.M. AT THE BLUE ROOM AT THIRD MAN RECORDS 623 SEVENTH AVE. S.
HANNAH COHEN
PHOTO: JOSH GOLEMAN
Live Music
S truggle Jennings“Last Name” Album Release Show
Ashley McBryde: Just Me and My Shadow
From platinum-selling chart-toppers to underground icons, household names to undiscovered gems, Chief’s Neon Steeple is committed to bringing the very best national and regional talent back to Broadway. From pla
MARCH LINE UP
3.1 Nathan Belt - Under the Neon Steeple, EP Release Party & Honky-Tonk Celebration
3.5 Dalton Solo - The Built From The Bar Up Tour
3.7 Moonshine Bandits
3.11 History of Country Music Presented by CJ Field: Outlaws and Rivals
3.13 Struggle Jennings - “Last Name” Album Release Party
3.15 Russ Taff w/ Steve Taylor and Some Band - The Almost Farewell Tour - Matinee Show
3.15 Russ Taff w/ Steve Taylor and Some Band - The Almost Farewell Tour
3.16 Flaming Tortuga Records Night w/ Scott Southworth, Daryl Wayne Dasher, Jacklyn Hart
3.17 Buddy’s Place Writer’s Round w/ Michael Logen, Lauren Lucas, The Young Fables
3.18 Jamie O’Neal, Craig Campbell, Rebecca Lynn Howard
3.19 Ashley McBryde: Just Me and My Shadow
3.20 Ashley McBryde: Just Me and My Shadow SOLD OUT
3.21 Bradley Gaskin w/ Special Guest Cort Carpenter
3.22 Buddy’s Place 15th Anniversary w/ Kayley Bishop, Fraser Churchill, Abbey Cone, Sean Kennedy, Paul Sikes, Striking Matches, Cyndi Thomson
3.25 Uncle B’s Damned Ole Opry Presents Dylan vs. Dillon: The Songs of Bob and Dean Slug It Out!
3.28 Ryan Waters Band
GET TICKETS AT CHIEFSONBROADWAY.COM FOLLOW US @ChiefSBROADWAY
KEEP ON TRUCKIN’
Lost and Found joins several other area food truck parks — but this one has a permanent twist
BY MARGARET LITTMAN
IT’S BEEN ABOUT four years since Steve Mabee, Nathan Weinberg, Davey Rowe-Mabee and Kelly Boutwell (best known for Retrograde Coffee and Ugly Mugs Coffee & Tea) and Jamie White (best known for Pearl Diver and Tiger Bar) acquired a property at Gallatin and McGavock pikes. Since then they’ve done a lot of “reimagining” regarding what the space could be, Boutwell says.
Inspired by their own collective love of travel and the serendipitous nature of getting lost and finding new favorites while out on the road, the group of food service professionals finally opened Lost and Found last week.
The result is a little hard to describe, but something they hope will be easy to love. It’s an outdoor community gathering space: part food truck park, part wine shop, part retail area, part food court, part neighborhood hang. When completed, Lost and Found will feature two non-food retail shops, a wine bar, rotating food trucks, a craft cocktail bar and more, plus covered patio seating, a rooftop deck and room for pop-up markets. The roster is filled with beloved Nashville names, including Pizza Lolo, the popular pop-up pizza concept opening its first brick-and-mortar location. There’s also Guyanese restaurant The Pepper Pott, as well as Katrin Taqueria and Sarabha’s Creamery, the Hillsboro Village Indian ice cream stop opening its second location. A Retrograde Coffee trailer will open early for coffee and breakfast. (Not all of these establishments are opening immediately.)
Best Friends will offer vintage consignment clothing. New Lost and Found-only businesses include Boutwell’s tiny wine bar Birdie’s and White’s outdoor bar Fortunate Sun. Birdie’s focus is organic, biodynamic and other wines made with minimal-intervention techniques. Fortunate Sun draws inspiration from White’s travels.
Earlier this year, the Lost and Found team posted on social media that they were looking for an ice cream vendor to join them. According to Sarabha’s Creamery owner Gursharan Singh, several current customers came into the shop on 21st Avenue South, post in hand, suggesting Sarabha’s go east.
“We liked all the different foods from different regions that they are going to have, and we thought it would be a good fit for us,” Singh says.
The spot will also feature a rotating group of food trucks, including Chivanada empanadas. Co-owner Daniel Yarzagaray signed a longer lease than some of the other trucks planning to kick things off at Lost and Found. He says he’s worked with White for years at Pearl Diver and has been involved in a number of food truck parks, so he knows what works and what doesn’t.
“Jamie approached me about this project, and it was just an immediate yes, because this is perfect for us,” Yarzagaray says. “It is everything that we love to do. It doesn’t veer away from our strengths, which are that we are really good at food trucking, and we love making our empanadas and starting them hot and fresh. We’re not taking them in a hot box somewhere. It’s just a really unique concept, backed by a lot of people that I really believe in.”
While food trucks are not new — or even in their first resurgence — they’re popular in Nashville and its environs, and they’re popping up all over. Running a brick-and-mortar restaurant is expensive, as evidenced by the recent closures of Pelican & Pig, Varallo’s and other independent spots. Being permanently situated in a food truck or a micro location — such as Lost and Found or fellow East Nashville hub The Wash — gives chefs options they may not otherwise have.
“People are really responsive to these hustling business owners,” says Laurie Holloway, coowner of The PickUp Food Truck Park, which opened on Brick Church Pike in the fall. The PickUp averages four to five trucks in its lot Thursdays through Sundays. Locals appreciate it as a place where parking doesn’t
cost more than their meal. With umbrellas for shade and firepits in the winter, The PickUp is turning out to be a year-round destination, to the surprise of its owners. (Holloway’s business partners, Darlene Jacobs-Anderson and Brittany Miles, own Peace Love and Paws next door.) The food truck park attracts locals, particularly
LOST AND FOUND
PIZZA LOLO
Five local food truck parks worth checking out: Lost and Found, 3104 Gallatin Pike Street Eats West, 5028 Charlotte Ave.
The PickUp Food Truck Park, 1225 Brick Church Pike
The Trailer Park, 1600 Callis Road, Lebanon
The Truck Stop, 229 Donelson Pike, Donelson
folks living in condos in the area — Holloway says another 2,400 are planned over the next 18 months — as well as visitors staying at nearby Airbnbs.
Lindsey Hartfield and her husband run The Truck Stop in Donelson, a food truck park located in an empty lot that once housed a car lot — the lot where Hartfield bought her first car, as it happens. That illustrates what Hartfield and others feel is so essential about food truck parks: They are part of the community and bring people together as a gathering place. Many members of the Lost and Found team live in Inglewood, and that was one of the reasons they wanted to bring their idea to the neighborhood. They’re excited by some of the new projects in the area, including the mini restaurant row that is now Riverside Village. The
two spots are less than a mile from each other, and Boutwell hopes people will wander from one to the other, moving from one gathering place to the next. There’s a small parking lot, and owners hope people will consider walking, biking or taking WeGo too.
Lost and Found is intended to be familyfriendly, but not kid-centric, Weinberg says. There’s a big white wall for showing movies after dark, and a grassy area with supplied blankets — reminiscent of the original I Dream of Weenie’s days on Woodland Street — where folks can sit and picnic. There are also plenty of picnic tables and umbrellas.
Boutwell adds: “We wanted to create a place that we would want to hang out at and really offer opportunities for other businesses to get started and create this sort of community hub.” ▼
•
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OBJECTIFIED
Ian Kline assembles a new kind of picture show at Neue Welt
BY JOE NOLAN
NEUE WELT GALLERY at The Packing Plant has earned a reputation as a go-to stop for formalist sculpture exhibitions, and its celebration of shapes, materials, colors and textures makes it a safe harbor in a scene awash in content-forward displays. Curator Mauro Antonio Barreto is currently showing pressing hearts into ash, an exhibition of photographs by Brooklyn-based artist Ian Kline that brings interesting twists to a space that mostly specializes in installations of objects. It’s also a show that’s welcome in our local art scene, where photography displays are too hard to come by.
Kline’s very first camera was a Polaroid 300, an instant picture-maker that rebranded Fujifilm’s Instax Mini under the Polaroid name. Kline’s introduction to photography was decidedly physical given the tactile, substantive outputs of instant film cameras. Kline has graduated to 35 mm film cameras, but his photographs still feel as immediate and intuitive as pull-and-shake images, and his artist statements and gallery text also tend to be poetic, free-flowing and candid. At Neue Welt, these elements combine in a display that’s exploratory and definitive, energized and contained.
Three works in the show feature images of 4-by-5 sheet film developing racks. They’re product documentation shots from a 1960s archive of a Kodak lab in Rochester, N.Y. Kline purchased the archive, and now these humble production images are recontextualized in works of art that feel more like objects than mere image displays. Each picture is viewed through a sheet of transparent red acrylic. The photos and acrylic are contained in matching white artist frames that are studded with red-painted screws. Each layer of coordinated materiality adds to their sculptural wholeness. Kline also puts his poetics
in play, titling the works with the chemical formulas for substances like oxycodone and Xanax, and their 1963/2026 dating nods to the artist’s intentional revival and transformation of the Kodak imagery. Kline’s best work comes layered in both language and images, in space and in time.
Other titles in the show evoke personal narratives or esoteric allusions, as with the chemical formulas. Most artists are utilitarian in their titling, but words are part of the fabric in a show called pressing hearts into ash, which the artist styles in all lowercase. Titles like “Mary, Live Again,” “Townes Ashes” and “Forest of One” are intimate and diaristic, while “Heaven Spills” and “Thaws” sound more abstract. Neue Welt shared the titles of works with me in a document that read like the table of contents in a poetry chapbook. Titles of shows, artworks and statements are the appropriate places for artists to insert content that’s pertinent to their unique personal visions. If meanings and messages must be included in a work of art, they are more clearly communicated in language than in visuals.
“Poison in the Distance of Home” is my favorite title in the show. It put me in mind of the Victorian mansion in the middle of the locust-plagued wheat field in Terrence Malick’s Days of Heaven. Kline’s picture is kind of agrarian, but it’s a layered, palimpsestic affair combining black-and-white images of a bird and a dandelion gone to seed. The picture includes what appears to be faint text, but this work — and many in the show — makes use of double exposure, blurring that space-time that Kline points to throughout the display.
Another standout, “Forest of One,” is a close-up on the scarred trunk of a white birch tree against a backdrop of a forest on fire. This is the only color photo in the show, and the only
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one that looks like the color’s been cranked through whatever means: chemical, analog, digital. It’s also the biggest image in the show, and the centerpiece you see when you first walk through the gallery door. It’s an intense picture full of dangerous details — from the vicious-looking scarred scratches on the tree bark to an Apocalypse Now-style treeline inferno. However, it’s all so beautiful that viewers will choose to look closer rather than looking away.
In a 2024 interview with Cultured, Kline revealed the curiosity at the center of his practice, celebrating traveling and meeting people outside of the photography bubble and observing that “the world is always more interesting than your ideas.” Kline’s work is detailed and thoughtful, but it’s not precious. He uses his images as building blocks in objects that embody his conceptual ideas, demonstrating that another good place for content is behind the work. The photographic objects in pressing hearts into ash are about color and texture, but also about time and place. The works are solidly handmade, but they evoke the fluidity of passing moments and the fragile nature of memory.
Kline is most often described as an experimental photographer, but he’s also a conceptual sculptor and a poet. His intermedia explorations are lively and immediate, but they’re also built to last. ▼
Through March 29 at Neue Welt
UPCOMING EVENTS
PARNASSUSBOOKS.NET/EVENTS FOR TICKETS & UPDATES
THURSDAY, MARCH 26 6:30 PM DR. IBRAM X. KENDI with REPRESENTATIVE JUSTIN JONES at VANDERBILT Chain of Ideas
SATURDAY, MARCH 28 10:30 AM
SATURDAY STORYTIME with REJOICE SCHOOL OF BALLET at PARNASSUS Read to Me, Dance with Me
TUESDAY, MARCH 31 6:30 PM
MEREDITH R. LYONS with ERICA IVY ROGERS at PARNASSUS A Horn of Onyx
FRIDAY, APRIL 10 12:00 PM
PATHS TO PUBLISHING with THE PORCH & THE ARTS & BUSINESS COUNCIL at PARNASSUS 6:30 PM
EVELYN CLARKE with J.T. ELLISON at PARNASSUS The Ending Writes Itself
SATURDAY, APRIL 11 6:30 PM
PATRICK RADDEN KEEFE at PARNASSUS London Falling
3900 Hillsboro Pike Suite 14 | Nashville, TN 37215 (615) 953-2243 Shop online at parnassusbooks.net
Ryan Davis commits his extraordinary songwriting powers to The Roadhouse Band
BY JACQUELINE ZEISLOFT
ROCKING LOUISVILLE singer-songwriter
Ryan Davis has released just two albums with his relatively new project The Roadhouse Band: Dancing on the Edge (2023) and New Threats From the Soul (2025). But in their wake, Davis and company have attracted a slew of new fans, sold out a bunch of tour dates and garnered acclaim in numerous year-end list blurbs.
Davis, 40, has been making records and touring for nearly two decades. Some may know him from his work with grungy alt-country band State Champion, which dissolved during the pandemic. That led him to contemplate whether making art felt important to him.
“What would I do for the next 40 years or whatever if I stopped being in bands?” Davis asked himself. With time to reflect, he decided to double down and commit to his craft.
“At a certain point, you stop asking yourself those questions and you just focus on the work,” says Davis, speaking with the Scene ahead of his first show of 2026. “I sensed myself finding more and more interest continuing the path I was on, but just making some changes and adjusting to the person I’ve become.”
In terms of songwriting, Davis doesn’t see a split between State Champion and his more recent tunes. He’s honing his powerful skill instead of going for a big reinvention, which is a good thing.
Davis’ songs come from the perspectives
of well-meaning lovers and losers. He keeps binders full of “tidbits of chorus ideas, verse ideas, little couplets,” or simply words he likes, and when it’s time to pen a song he’ll try to “sew something together.” The cohesion of the patchwork in each song speaks to the strength of Davis’ poetic imagination.
He holds the weird and mundane up to the light, and with a plainspoken brilliance his lyrics lead you to ponder life’s bizarreness and tenderness. He never employs humor for the hell of it — it’s for the sake of the song. Blame his semi-adherence to the verse-chorus form on a love for country music: funny, sad and crowd-pleasing. In the single “Monte Carlo / No Limits,” he crafts one evocative image after another as he reflects on a relationship that’s faltering, but maybe still worth saving. He sings the final verse in an exaggerated drawl over propulsive country-rock slide guitar: “For lately love has made a business out of you and me / I’m skimming hundreds from the drawer just to spend them in the company store / A testament to the fact that I love you more and more.”
Overall, the music is allergic to genre and norms. Tracks run between six and 12 minutes, and lyrics from one song make surprise appearances in another. With tinny Casio drum beats, gorgeous flute melodies and prominent background vocals, the band creates a delightful soundscape that’s all their own.
Touring is the “fun part” for Davis. His crisp annunciation of every line makes his live shows feel like rock ’n’ roll poetry readings. The Roadhouse Band gives Davis’ songs the legs to groove on. Core members of the touring outfit include Lou Turner and Trevor Nikrant of Nashville’s Styrofoam Winos, and while on the road the band stretches out to include --a large network of collaborators, with friends popping in and out of shows depending on the city. On the last run, the whole ramshackle ensemble could barely fit on some of the tinier club stages. Davis fosters a communal ethos onstage and off. For years he has solely operated Sophomore Lounge, a DIY record label with more than 50 releases in its catalog (including the first two Winos albums). During our interview, Davis chats with me from the porch of a cabin in Kentucky. At home, Sophomore Lounge has taken over significant space; boxes of LPs fill his kitchen, acting like the label’s warehouse. He decamped to the cabin for distraction-free downtime and writing time for the next album. For Davis, songwriting is something he has to “scrape the rust off every time” he comes back to it.
“There’s always something else that’s easier to do for me than writing a song,” he says. “When there are distractions available to me, I’ll take the opportunity to do anything other than writing.”
Davis’ experience with songwriting speaks
to anyone who feels called to make art but struggles to do it all the same.
“I have been doing this my whole life … and it always feels impossible,” Davis says. “Every time I go to start writing songs again after a year off from doing it … it’s like, ‘Oh, I finally reached the moment where it’s not there anymore. The magic is gone.’”
Despite the self-doubt, there’s still “that moment where you grind through it” and find what works, he says. It may take weeks or months, but one after another, songs are finished. Then comes a record.
Fans don’t tend to hear about the frustration our favorite songwriters feel as they try to create. It’s affirming to know that Davis bumps up against the very normal doubts and fears in his pursuit to make art. If you’re a songwriter, you know that songs don’t fall from the sky. Songs are written and finished because the writer decides to see it through. It’s not glamorous. It’s difficult, but real.
Davis doesn’t bullshit me on this. It’s another testament to his grounded relationship to his art and a genuine motivation to keep moving forward.
“In the grand scheme of things, there’s still a lot of work left to do in terms of carving my path out. … So I’m out here now. We’ll see what happens.” ▼
Playing 8 p.m. Thursday, March 26, at Exit/In
PHOTO: DAVID BOWER
LOVE OR SOMETHING LIKE IT
Courtney Marie Andrews turns her keen eye on romance with Valentine
BY HANNAH CRON
IN JANUARY, singer-songwriter Courtney Marie Andrews released her seventh studio album Valentine. The title is a word that can mean something different to just about every listener. For Andrews, it partly reflects the location where she co-produced much of the record — using the tape machines at Los Angeles’ historic Valentine Recording Studios to cultivate a warm, enveloping full-band sound that’s also inspired by creative techniques Lindsey Buckingham used on Fleetwood Mac’s underrated 1979 album Tusk. (Andrews finished making Valentine in Madison, where she made her home a few years ago. During our talk, she shouts out the tacos at Garden Fresh Food Market, no small praise from someone who grew up in Arizona.) But the title of Valentine also evokes the complex nature of love — specifically how all the symbols we associate with Valentine’s Day have so little to do with real love. The record, Andrews explains, grew out of exploring the space between love and the illusion of it. The Scene caught up with her between stops on a tour that will bring her to The Blue Room at Third Man Records for a hometown show on Friday. Our conversation has been edited for length and clarity.
It can be so difficult in 2026 to have an original take on anything. “Keeper” may or may not be “a love song,” but it has a perspective on a relationship that I haven’t heard before. It’s funny because it’s almost like a mantra. … I wasn’t sure that I was a keeper when I wrote that song — that was how
it was born. … I wrote it with a friend at dinner. It’s the only co-write on the record. And it was literally born out of a conversation with her, and not me asking her that question.
It’s kind of a funny song where I’m stating I’m a keeper, but I’m actually not sure if I am, and so it lies in that place of uncertainty. It’s a person who presents as perfect, but they’re not at all — they’re actually dying inside. … I think a lot of us have that: We’re presenting like we’re doing a lot better than we are, especially in America. I think that’s like a very innately American thing. I was just in Europe and I was like, “Europeans just sort of are very blunt, you know?” Especially in the Western European countries, like the Netherlands and Germany. And we’re not at all — we sort of put on airs a lot.
Butterflies are a recurring motif on Valentine. They can have a lot of different meanings in art and literature. Do they mean anything special to you, in your life or in the context of the album? I’ve got sort of this symbolism and the reoccurring feeling of seeing them in my life, and they’ve carried from my first collection of poems [Old Monarch] all the way to this record. I like the representation of transformation and change that they represent to me. It’s like the unexpected, chaotic nature of life and how it can form you into something very beautiful — get you out of your cocoon and change. It’s like accepting that things change and transform, and it’s usually for the best. I often think that I gravitate toward these very cliché things, but I think things are cliché because there’s a truth to them.
An underlying theme of Valentine is the cyclical nature of life — the ups and the downs and back and forth, the “Pendulum Swing” as in the song. Life is a series of seasons, and nothing is permanent. [We took a long time to sequence this record], and I think ultimately the way it was sequenced
is that there’s really a story and a journey, and there’s different seasons of the record. It sort of starts with [knowing] that things are going to go dark or light, as they do in everyone’s life. And that’s the pendulum. You sort of fall in love and ask a lot of questions, and you go through heartbreak. And then you reflect on your path and that’s Side B, which is “Outsider,” and “Best Friend” and “Only the Best for Baby.” You start to reflect on your patterns and how you got to this place, and then it ends with [“Hangman”], this resolution, this statement. But as we learned from the beginning, it’s nothing sure.
I wanted to ask about “Everyone Wants to Feel Like You Do.” It’s not often we hear discussions of envy, at least in American culture. Which is weird because that is something else that is so deeply American in my mind — there’s so much envy running through all of us in our desire for status. It’s one of those songs that sort of just happened, and then I reflected back on what it meant in my subconscious. It’s like the opposite of “Cons and Clowns,” where you’re speaking to somebody who’s constantly making themselves small, turning away from the audience, doing things that sort of self-sabotage them, and you just want to see them shine. [“Everyone” is speaking to] that person who is taking up so much space, and has so much confidence, and the world revolves around them.
When I took a step back enough, I was like, “Oh, it’s, it’s that male ego thing.” … Though it’s annoying, you kind of envy that confidence. Everyone wants that confidence. Everyone wants to be able to float through the world without anxiety, or without fear of judgment and that sort of thing. And this person doesn’t care about those things.
Playing 8 p.m.
27, at The Blue Room at Third Man Records
THE KIDS, THEY SING ALONG
BY BOBBIE JEAN SAWYER
NASHVILLE MAY BE Music City, but even the most loyal Nashvillian knows that Memphis, our beloved musical neighbor to the southwest, is also rich in music history. From Stax Records’ singular output to a deep blues legacy to Three 6 Mafia’s powerhouse Dirty South hip-hop to Big Star’s pioneering power pop and beyond, Memphis is damn proud of its musical exports, and for good reason. You can add Lucero to the long list of groups doing right by Bluff City’s musical legacy. For nearly three decades, the purveyors of rollicking alt-country have kept up a grueling tour schedule and released 12 studio albums. Their sold-out show at The Basement East on Saturday served as a bit of a victory lap for the road warriors, who are celebrating more than 20 years of their 2005 record Nobody’s Darlings.
Before Lucero took the stage, singer-songwriter Otis Gibbs opened the show by educating the crowd on an important piece of Memphis history. Gibbs shared his ode to Memphis legend Sputnik Monroe, a 1950s professional wrestler and civil rights activist who integrated Southern wrestling audiences. A star of the circuit with a substantial draw, Monroe refused to go on unless Black ticketholders were able to sit in any seat they chose at Ellis Auditorium. “Listen to me people, let me speak to your soul,” Gibbs sang. “There’s more to Memphis than rock ’n’ roll / And there’s more to history than what we’ve been told.” The song appears on Gibbs’ 2017 LP Mount Renraw; since then, he’s released three more albums, with the latest being last year’s The Trust of Crows
Before kicking off the headlining set with the defiant “Watch It Burn,” Lucero frontman Ben Nichols reflected on two decades of Nobody’s Darlings. “We re-pressed [the album] on vinyl and we thought, ‘Well, hell, we’ll play the whole thing front to back, for better or for worse,’” Nichols said. “I’m not saying it’s a good idea, but it’s what we came up with.”
The set list gave the band an opportunity to revisit songs that haven’t made it into heavy
rotation, such as “Anjalee.” Nichols noted that the band hasn’t played it live in nearly 20 years, quipping, “If I fuck it up, it’ll just be more authentic — more 2005.”
Ahead of “Bikeriders” — which was inspired by Danny Lyon’s book The Bikeriders, a collection of interviews with the 1960s motorcycle club the Chicago Outlaws — Nichols gave a shoutout to his little brother, filmmaker Jeff Nichols. The younger Nichols, a filmmaker whose CV includes Take Shelter and Mud, also directed 2024’s The Bikeriders, starring Austin Butler, Jodie Comer and Tom Hardy. “I’m not saying that I wrote the movie or anything, but this next song gave him a good jumping-off point to work from,” Ben Nichols joked.
The searing “Sixteen,” anthemic “Nobody’s Darlings” and drinking song “And We Fell” closed out what Nichols called “the tasteful half” of the record. “Shit gets a little weird on Side B,” he said.
Nevertheless, the second half of Nobody’s Darlings includes what Lucero does best, from the breakneck country-punk of “California” and whiskey-soaked ballad “Hold Me Close” to the gritty “Noon as Dark as Midnight” (which A$AP Rocky sampled in his 2015 single “Holy Ghost”). Side B also features two unflinching stories of the realities of war: “Last Night in Town,” written after Nichols met a Marine in Little Rock, Ark., spending his last night in his hometown before shipping out to Iraq, and album-closer “The War,” written about Nichols’ grandfather and his experiences fighting in World War II.
After wrapping up their performance of the album, the band played a mix of fan favorites (“On My Way Downtown,” “Texas and Tennessee,” “Nights Like These”) and deeper cuts Nichols described as “just for me.” By the time they closed with the buoyant “Tears Don’t Matter Much,” a slice of power-pop perfection that feels tailor-made to close down a bar after a blearyeyed night out with friends, the crowd was practically levitating.
Lucero kept the rowdiness going with a twosong encore, which kicked off with “Drink ’Till We’re Gone.” “Here at the Starlite,” a tune from their 2002 album Tennessee about neon-lit heartbreak at a 24-hour diner in North Little Rock, Ark., was the perfect sign-off from a Memphis band. Even looking back over multiple decades, Nichols and company didn’t miss a beat. ▼
Support LOCAL INDEPENDENT JOURNALISM
Saturday, March 28
SONGWRITER SESSION Skip Ewing NOON · FORD THEATER
Sunday, March 29
MUSICIAN SPOTLIGHT Chris Nole 1:00 pm · FORD THEATER
Wednesday, April 1 and Thursday, April 2
AN EVENING WITH Lori McKenna 7:30 pm · FORD THEATER
Saturday, April 4
SONGWRITER SESSION Steve Dorff NOON · FORD THEATER
Saturday, April 11
SONGWRITER SESSION Joybeth Taylor NOON · FORD THEATER
Saturday, April 11
BOOK TALK
Jimmy McDonough
Gary Stewart: I Am from the Honky-Tonks 2:30 pm · FORD THEATER
Saturday, April 11
HATCH SHOW PRINT Block Party 3:00 pm and 6:00 pm HATCH SHOW PRINT SHOP
Sunday, April 12
HATCH SHOW PRINT Family Block Party 10:00 am HATCH SHOW PRINT SHOP
Sunday, April 12
MUSICIAN SPOTLIGHT Jason Wilber 1:00 pm · FORD THEATER
WITNESS HISTORY
Locals Kids Always Visit Free
Plan a trip to the Museum! Local youth 18 and under who are residents of Nashville-Davidson and bordering counties always visit free, plus 25% off admission for up to two accompanying adults.
YOU’RE GONNA NEED A BIGGER SCREEN
Weekend Classics: Steven Spielberg series features several must-see screenings BY LOGAN BUTTS
THE BELCOURT IS BACK on its excellent programming once again — this time with a tribute to the GOAT himself, Steven Spielberg. In honor of the acclaimed director’s upcoming return to the world of sci-fi blockbusters with the UFO spectacle Disclosure Day — opening wide June 12 and starring Emily Blunt, Josh O’Connor and the remaining Hollywood stars who aren’t already in fellow 2026 tentpoles The Odyssey and Dune: Part Three — our local arthouse has programmed a rollicking slate of screenings beginning March 28 and running through April 23.
Weekend Classics: Steven Spielberg kicks off Saturday with the ultimate family sci-fi adventure, E.T. the Extra-Terrestrial. (Read more about Saturday’s screenings in this week’s Critics’ Picks section.) Everyone’s favorite alien will be on Belcourt screens twice March 28 and once on March 30.
Speaking of alien encounters, the meditative Close Encounters of the Third Kind (April 11 and 14) and the bleak War of the Worlds remake (April 12 and 16) were must-haves for the series as preparation for Disclosure Day War of the Worlds — one of two underrated flicks Spielberg directed in 2005, alongside political thriller Munich, which won’t play as part of the series — will be screening in 35 mm.
On April 4 and 9, you can catch perhaps the best example of what’s known as Spielberg
Face — the director’s signature shot, in which the camera is extremely close on an actor’s awestruck face as something magnificent happens off-screen. That will come courtesy of entertainment machine Jurassic Park, a film that should be on everyone’s big-screen bucket list.
Also on that list: the 1981 action-adventure thrill ride Raiders of the Lost Ark. Arguably Spielberg’s best film (except for perhaps Jaws, which is not in this series but has seen several Belcourt showings in recent years), Raiders and Harrison Ford’s iconic performance as Indiana Jones set the template for lovable rapscallions on the silver screen. Catch the first in the Indiana Jones series on April 18 and 19.
The most recent entry in the series is the 2015 historical spy drama — and beloved icon of Dad Cinema — Bridge of Spies (April 5 and 7). Starring frequent Spielberg collaborator Tom Hanks, Bridge of Spies features one of the few scripts that legendary directors the Coen brothers wrote for another filmmaker.
Closing out the series on April 19 and 23 is the relentless sci-fi actioner Minority Report. Adapted from a Philip K. Dick novella, Minority Report is maybe my favorite Spielberg movie. The DVD menu is ingrained in my memory, having watched the film repeatedly as a kid — it was one of the first purchases my dad and I made to watch on our brand-new DVD player. I’m looking forward to seeing Tom Cruise navigate jet-pack-donning future-crime cops, those nightmarish spider-robot things and Colin Farrell on the big screen. ▼
Weekend Classics: Steven Spielberg March 28-April 23 at the Belcourt
RAIDERS OF THE LOST ARK
ACROSS
1 Punk rocker Joan
5 Choctaw or Chickasaw
10 Design detail
14 “Up and ___!” (catchphrase for a physicist)
15 In possession of
17 Tibetan title
18 Courting disaster, slangily
21 Fraternity party order
22 Symbol of protection
23 Part of a window above the apron
24 One-half of a golf partnership, perhaps
25 Sound of disapproval
27 Concludes
29 Uses a shampoo bottle as a microphone, perhaps
34 Swindled
35 Boxing champ Laila
36 Subject of the Edward Snowden leaks, in brief
37 Jot down
38 Makes a noise like an electric fan
40 Australian actor Eric
44 “___ Father …”
46 Concert souvenir
47 River to the Rio Grande
48 They may have knowledge of corporate secrets
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52 “___ of the D’Urbervilles”
53 Big name in London
54 Big beginning?
56 Servant of Sauron in “The Lord of the Rings”
57 Short flight
60 Better choice, given the options … or the circled squares vis-à-vis the shaded ones?
64 Volunteer’s words
65 Completely immersed, perhaps
66 Some colorful plastic items in the seasonal aisle in the spring
67 Noted Punxsutawney resident
68 Source of some aerial shots
69 “Take ___!” DOWN
1 Part of a royal flush
2 Raison d’___
3 Metaphor for a challenging puzzle
4 “Eww … just eww”
5 Want very much, with “for”
6 Major, e.g.
7 Reproductive option, for short
8 Some paragraphs in playbills
9 Improve
10 High-end camera, for short
11 Penniless one
12 Mideast leaders
13 Spot to play baccarat
16 Gas units
19 Talking back to
20 Is really bad, in slang
26 Formed from molten lava
28 Sunken treasure sites
29 You can request a new one on religious grounds if it contains “666”: Abbr.
30 “What was ___ think?”
31 “Yeah, right!”
32 Ruling class
33 Fathers
38 Dickens and Dickinson
39 Varnish ingredient
41 Card game clarification
42 Neither’s partner
43 Buffoon
45 “I’m at your disposal”
47 Bishop, e.g.
48 Japanese word that’s sometimes translated as “planted in a pot”
49 Commentator’s call after a missed field goal
56 Wilson of the Frat Pack
58 Actress Kurylenko
50 Took steps
51 Medieval cure-all
53 Radar operator’s concern
55 Over yonder
63 Screen, as a candidate
59 “Over here!”
61 Sketch show with Colin Jost, in brief
62 Fight-ending letters
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It is my privilege as your elected Criminal Court Clerk to notify all citizens of Davidson County, that relative to grand jury proceedings, it is the duty of your grand jurors to investigate any public offense which they know or have reason to believe has been committed and which is triable or indictable in Davidson County. In addition to cases presented to the grand jury by your District Attorney, any citizen may petition the foreperson (foreman) of the grand jury for permission to testify concerning any offense in Davidson County. This is subject to provisions set forth in Tennessee Code Annotated 40-12-105. Pursuant to Tennessee Code Annotated 40 -12-104 and 40-12-105, the application to testify by any citizen must be accompanied by a sworn affidavit statng the facts or summarizing the proof which forms the basis of allegations contained in that application. Your grand jury foreperson is Mary Moody. Their address is 222 Second Avenue North, Washington Square Building, Suite 510, Nashville, Tennessee 37201. The grand jury will meet at 8:15A.M. on Tuesdays and Thursdays, and 9:00A.M. on Wednesdays starting Apr. 7th 2026 for three (3) months Submission of an affidavit which the applicant knows to be false in material regard shall be punishable as perjury. Any citizen testifying before the grand jury as to any material fact known to that citizen to be false shall be punishable as perjury. For a request for accommodation, please contact 862-4260.
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PLEASE. EOE/M/F/D/V. #LIDNP. The expected salary range(s) for this role as of the date of this posting is/are based on factors including, but not limited to, experience, qualifications, education, location and skill level. This role may also be eligible for discretionary incentive compensation. For benefits information, please visit ubs.com/usbenefits
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