SEPTEMBER 17–23, 2026 I VOLUME 45 I NUMBER 34 I NASHVILLESCENE.COM I FREE
NEWS:
MUSIC:
>> PAGE 7
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MORE NASHVILLE NEIGHBORHOODS CLAMOR FOR PARKING RIGHTS
THE WORKERS NASHVILLE NEEDS ARE AFRAID TO SHOW UP
NICOLE ATKINS’ DRAMA IS A POP-ROCK WORK OF ART
as immigration fears keep workers off job sites, middle tennessee’s homebuilders face a tight labor market and the prospect of delays and higher costs by jp olsen
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NASHVILLE SCENE • AUGUST 19 – AUGUST 25, 2023 • nashvillescene.com
CONTENTS NEWS
7 More Nashville Neighborhoods Clamor for Parking Rights City pauses residential permitting and commissions a review BY ELI MOTYCKA
8 Street View: Making Nashville’s Party Vehicles More Accessible The folks behind new pedal tavern designs are fighting for disabled people’s right to party BY LENA MAZEL
10 Niche Businesses Keep Berry Hill Distinctive The Davidson County satellite city maintains its community feel and loyal followings BY HANNAH HERNER
COVER STORY
13 The Workers Nashville Needs Are Afraid to Show Up As immigration fears keep workers off job sites, Middle Tennessee’s homebuilders face a tight labor market and the prospect of delays and higher costs
10 Killjoy in Berry Hill • PHOTO: ANGELINA CASTILLO
BY JP OLSEN
MUSIC
19 CRITICS’ PICKS
35 Drama Queen
Cécile McLorin Salvant , Margaret Glaspy, Shaboozey, Women Like Sex and more
Nicole Atkins’ new album is a pop-rock work of art BY DARYL SANDERS
FOOD AND DRINK
Edie Brickell jumps into a new era with supergroup World Famous Pets
27 Before Their Time What happens when restaurants open in neighborhoods that aren’t ready for them? Some business owners say those failures set them up for their next acts.
ART
Ian Edward White photographs Middle Tennessee’s suburban/rural youth culture BY JOE NOLAN
Juan leans against the bed of his work truck; photo: Hamilton Matthew Masters
BY BOBBIE JEAN SAWYER
36 The Spin
SUBSCRIBE
The Scene’s live-review column checks out Julien Baker at The Blue Room
BY MARGARET LITTMAN
31 Gen Z Wasteland
ON THE COVER:
35 New Philosophy
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NEW YORK TIMES CROSSWORD AND THIS MODERN WORLD
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FILM
33 Taking Flight If I Go Will They Miss Me is a poetic, emphatic piece of inner-city melancholy BY CRAIG D. LINDSEY
33 The Price of Gold The Weight is an old-school nail-biter BY LOGAN BUTTS
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
For advertising information please contact: Mike Smith, msmith@nashvillescene.com or 615-844-9238 National Advertising: Ruxton Media Group www.ruxton.com ©2026, Nashville Scene. 615 Main St., Suite 102, Nashville, TN 37206. Phone: 615-244-7989. The Nashville Scene is published weekly by FW Publishing LLC. The publication is free, one per reader. Removal of more than one paper from any distribution point constitutes theft, and violators are subject to prosecution. Back issues are available at our office. Email: All email addresses consist of the employee’s first initial and last name (no space between) followed by @nashvillescene.com; to reach contributing writers, email editor@nashvillescene.com. Editorial Policy: The Nashville Scene covers news, art and entertainment. In our pages appear divergent views from across the community. Those views do not necessarily represent those of the publishers. Subscriptions: Subscriptions are available at $150 per year for 52 issues. Subscriptions will be posted every Thursday and delivered by third-class mail in usually five to seven days. Please note: Due to the nature of third-class mail and postal regulations, any issue(s) could be delayed by as much as two or three weeks. There will be no refunds issued. Please allow four to six weeks for processing new subscriptions and address changes. Send your check or Visa/MC/AmEx number with expiration date to the above address.
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HARRY POTTER™ NIGHT
NASHVILLE SCENE • AUGUST 19 – AUGUST 25, 2023 • nashvillescene.com
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WITNESS HISTORY This storied Gibson RB-Granada Mastertone banjo was played by bluegrass pioneer and Country Music Hall of Fame member Earl Scruggs throughout his influential career and was graciously donated by his family to the Country Music Hall of Fame and Museum’s collection on May 22, 2023. From the exhibit The Precious Jewel artifact photo: Bob Delevante
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RESERVE TODAY
NASHVILLE SCENE • AUGUST 19 – AUGUST 25, 2023 • nashvillescene.com
MKTG_Scene_FullPage_PrintAd_Rolling_09.17.26.indd 1
9/11/26 2:50 PM
NEWS
City pauses residential permitting and commissions a review
PHOTO: ANGELINA CASTILLO
BY ELI MOTYCKA
PRINTED PERMIT AND PARKING TICKET
BO GUTIERREZ
MANY RESIDENTS WILL have to wait for the small, printed passes that have become a new Nashville currency as more cars crowd residential streets. Neighborhoods have increasingly petitioned Metro to lock down street-by-street parking rights via residential parking permits (RPPs). The issue bubbled over in 12South this summer as cross streets became parking lots for the popular shopping district, prompting the Metro Traffic and Parking Commission to pause the permit process altogether at its July meeting. Increased overlap between residential and commercial properties has brought patrons into neighborhoods like Lockeland Springs, North Nashville, McFerrin Park, Midtown and Sylvan Park. Weekend crowds flock to 12South, where residential streets branch off the main commercial strip. Commissioners want to study these patterns — particularly with an eye on increasing parking-spot turnover throughout the day — to help address a debate that’s spreading beyond just a few hotspots. Paid parking has expanded too, with 2.41 million hours purchased in fiscal year 2026 (up from 1.86 million in FY25) for $6.7 million (up from $4.7 million); the city issued more than 76,000 parking citations during the same period, a 53.5 percent annual increase, about half for expired parking. Tighter parking regulations are a Big City Issue straining residents and businesses as Nashville tries to re-urbanize itself. “It’s a geometry problem and a cultural thing — Nashvillians are accustomed to being able to park close to where they’re going and leave without much fuss,” says District 5 Councilmember Sean Parker, who also sits on the Traffic and Parking Commission. “More people want to be here. They bring the largest thing they
own with them and need to store it, and there’s not enough space. The best solution is getting around without personal vehicles — carpooling, taking transit, taking a bicycle.” Parker defends the city’s paid parking spots, which have taken over the urban core in recent years. When popular Tex-Mex restaurant Redheaded Stranger drew crowds and cars to McFerrin Park in his East Nashville district, annoyed neighbors protected their curbs with traffic cones. When restaurant employees began moving the cones, Parker saw tension escalating, and used RPPs to help broker peace between the business and neighborhood. Two streets in the neighborhood — Arrington and Hancock — are now among the city’s small but growing network of reserved curb parking. So far, such accommodations have been granted for about 50 city blocks concentrated around Music Row, Five Points, Belmont, Edgehill and 12th Avenue South. Pittsburghers use the “parcha” — short for “parking chair” — to unofficially reserve space on Pennsylvania streets. Handmade signs, creative punishments, word of mouth and embossed permits help enforce order across America when it comes to street parking, a daily hazard in cities where population density has crossed an invisible threshold. It’s the expected cost of living for car owners in Chicago, San Francisco, Seattle, D.C. and Boston, all breezy compared to Manhattan — where elaborate machinery stacks and sorts cars in compact lots for commuters who pay handsomely for private commutes downtown. Nashville is quickly catching up. Paid lots, city meters and space-searching headaches have become regular obstacles for drivers here. Free,
easy parking has gone extinct in hot spots like 12South and Five Points as residents struggle for a new equilibrium. A mix of office, residential and commercial buildings brings cycles of traffic to Midtown throughout the day. But since the city put in paid parking two years ago, 18th Avenue South stays mostly empty overnight, says Bo Gutierrez, who leads a homeowners’ association of about 70 residents on the block near Division Street. Rather than overcrowded free parking, his street is dealing with charges imposed by the Nashville Department of Transportation and Multimodal Infrastructure that have cleared out parking altogether, often pushing cars to other blocks. “NDOT is predatory with their ticketing — they sit out here at 5:45 in the morning and wait for 6 a.m. to hit,” Gutierrez tells the Scene from a stoop outside of his condo. “So our streets are bare, and it’s a ghost town. My wife does not feel safe walking the dog outside with nobody on the streets. We want life and activity, and we want nothing for free — we just want to pay so we can park in front of our houses.” Gutierrez says he’s battling through a yearslong application process with NDOT for residential parking permits on behalf of his neighbors. (Gutierrez, who has one vehicle, uses his condo’s single private spot.) The city approved his first petition, which required signatures from 70 percent of residents supporting the change. But he says no one came to his street to put up new signs. After he resubmitted, Metro bounced his second petition as a duplicate in March 2026. He says the city’s temporary moratorium has frozen his third try. For its part, NDOT wants to offer the forthcoming 12South parking study as an example for a whole-city strategy. Initial findings are expected in December, and final study recommendations will take until April. They back the study as a potential reset button for standards that can be applied across Nashville. “Generally speaking, the study will look at curb use in both the commercial and residential portions of the study area to determine how to best accommodate the various right-ofway needs,” says NDOT spokesperson Cortnye Stone. “The planning process will include robust data collection and engagement to inform a sound final plan. We definitely won’t be starting from scratch on this, and have a pretty significant amount of community feedback from prior periods of engagement.” In a cruel twist of fate, Gutierrez spotted a permit behind a neighbor’s windshield last month. He printed his own, a lime-green rectangle with his vehicle’s information and an identification number, from NDOT’s online portal. Gutierrez thought it was a miraculous PHOTO COURTESY OF BO GUTIERREZ
MORE NASHVILLE NEIGHBORHOODS CLAMOR FOR PARKING RIGHTS
breakthrough, only to get a $75 ticket when he tried to use it on the street. The piece of paper was legally powerless, NDOT explained, obtained through an online administrative error. Gutierrez documents the ongoing drama to get permits for his block on Do Better Nashville, a website listing his grievances with city bureaucracy and his councilmember, Terry Vo, whom he criticizes as unresponsive and inconsistent in explaining the complicated application process. Vo says she’s helped answer Gutierrez’s questions and supported his petition. She also backs the city’s current moratorium. “Free parking is not sustainable — in any large city, where do you get free parking?” says Vo, who represents District 17, just before starting a town hall with constituents. “It’s not on the city to subsidize your second or third vehicle, and when people tell me, ‘There’s a parking problem,’ often it’s actually that there’s not enough free parking. Part of that is they are getting gouged by private parking lots too. The issue needs a complete overhaul to be reviewed fully so we can make fair decisions across the whole county.” Vo says the current residential parking permit cost — $10 per year, $25 downtown — should be at least $365, with exceptions for those on fixed incomes. She represents both Midtown and Wedgewood-Houston, where parking woes have become central to neighborhood politics, especially tied to WeHo’s overhaul by AJ Capital and Geodis Park. Soccer games flood surrounding streets with cars and pedestrians, even with the team and city collaborating on a fare-free bus option. For shows, which rarely start before 7 p.m, music venue 3rd and Lindsley now directs patrons to $2 hourly parking at the city’s nearby office complex, which clears out after 5 p.m. Parker suggests a similar “blended” approach for 12South, where side streets clear out during the day and fill up when residents return at night. As an example, he floats paid parking with a heavily discounted annual cost for residents to maximize public space while balancing multiple uses. A similar approach could solve Gutierrez’s block. A densifying city has lots to celebrate, like new restaurants and businesses. But it doesn’t take another study for Nashvillians to see that the golden age of abundant, free and convenient parking is over. ▼
The Metropolitan Nashville Airport Authority on Friday voted unanimously to begin the process of changing the airport’s name in honor of Dolly Parton. A resolution directs president and CEO Doug Kreulen “to immediately begin the process” to change the name and is “the first step in a multifaceted process.” Read more at nashvillescene.com/news.
NASHVILLE SCENE •SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
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NEWS: STREET VIEW
MAKING NASHVILLE’S PARTY VEHICLES MORE ACCESSIBLE The folks behind new pedal tavern designs are fighting for disabled people’s right to party BY LENA MAZEL
SHOP THE SCENE
nashvillesceneshop.com
8
Last year, Grace Lewis had an idea. She’d been to downtown Nashville with her family, and they’d thought about riding a pedal tavern together. But Lewis’ mom, who has limited mobility, couldn’t climb into the vehicle without a ramp. And even if they got onto the vehicle, the seats wouldn’t offer much support. That’s when Lewis, owner of local pedicab company Local Bike Taxi, had an idea. What if she invented a pedal tavern that accommodated disabled people? After months of design and discussion, that idea will soon be a reality. Nashville’s first Americans with Disabilities Act-compliant pedal taverns will be on the streets in the next six months. Lewis’ idea started simple, with plans to retrofit a pedal tavern with seats that could offer some lumbar support, a ramp and space for a wheelchair. But as she spoke to more local disabled people, her design gained more features. At the recommendation of the Mayor’s Office of Nightlife, Lewis joined forces with Dr. Cynthia George, a punk rock musician and disability rights advocate. George, who often goes by “Dr. Cyn,” leads Disabled to the Front, a group that’s working with the night mayor, local venues and the Office of Nightlife to help disabled people get better access to what many Nashvillians take for granted — the right to party. With Disabled to the Front, George has helped venues better understand accessibility needs. As a musician and a disabled person, they’ve seen these issues play out first-hand. But they had an advantage, because so much of the community already knew them. “I sing in a band and I grew up in Nashville, so I have always felt welcomed in venues,” says George. “I could just call up.” “But the more I had those needs, the more I needed accommodations from venues I didn’t really know,” they say. “I saw how difficult it was to get venue owners to answer their email sometimes, and I became so grateful for my inside connections to be able to get things done. “That’s why I started the group,” George continues. “To share my privilege with other people with disabilities.” With her pedicab company, Lewis has also seen how difficult it can be for disabled people to access music and nightlife venues. “She’s down there and she has seen people with dis-
NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
abilities stranded,” says George. Oftentimes, disabled people have to wait until everyone else at shows has gone home before they can catch a ride with the WeGo Access bus. To meet this need, pedicabs can provide a crucial service for some disabled people downtown, bridging the gap between inaccessible dropoff DR. CYNTHIA GEORGE points and the doors of a venue, or (LEFT) AND GRACE LEWIS anywhere else someone might want to go. But their size means they can’t accommodate all types of mobility aids. new vehicles. Lewis’ experience working downtown — and The two designs will accommodate different her friendship with many members of Disabled markets. Badaszewski’s design provides conveto the Front — has shaped her pedal tavern. Her nience, since it can be converted to and from an design accommodates a diversity of needs, with existing conventional pedal tavern to accomspace for either two mobility devices side by modate groups with one person in a wheelchair. side (like a wheelchair or rollator) or a mobility While less conventional, Lewis’ pedal tavern device beside a bench, allowing a disabled perwill accommodate a wider range of disabilities son and their caregiver to sit side by side. It will (though she has said that non-disabled people also have spaces large enough for “oversized” can book the service too). mobility devices that aren’t always accommoWhile discussions of accessibility in Nashville dated by other accessible transport. And then often focus on the city’s incomplete, inconsisthere are Lewis’ favorite features: a rollout ramp tent sidewalks or other transportation issues, to allow people to be dropped off directly on the those are just pieces of a larger puzzle. Like any sidewalk, and comfortable bright-pink seating group of people, Nashville’s disabled commufor people who might want — or need — more nity has a variety of wants and needs. As George support. has seen, some disabled people really want to Lewis has a pedicab operator’s love for tinparty. Downtown transpotainment can be part kering as well as an associate’s degree in meof that. “Where normally people with wheelchanical engineering. As her design has evolved chairs have to go through agony to get to the to accommodate different bodies, she’s gotten second location, the pedal tavern makes it fun,” creative. On a call with the Scene, she explains says George. “It’s designed to keep the party goher design choices while scrolling through eBay, ing from stop to stop.” looking for retired airline seats for the pedal tavBoth ADA-accessible pedal taverns will be ern’s new pink bench. “There’s a lot of different a world first, and both George and Lewis have devices out there that have been created, and already heard from people in other cities who it’s just thinking about how you can repurpose want accessible party vehicles of their own. them to the needs you have,” she says. Lewis Looking at the bigger picture, George says Nashsays she will probably use seats from Southwest ville has a real chance to make lasting change planes, since the leather will hold up against as a disability-friendly city, particularly ahead of drink spills or bad weather. They’ll be bright Nashville hosting the 2034 Special Olympics. pink like her pedicabs, and one member of DisFor George, this fight is over so much more abled to the Front, Emily Grooms, has already than just a pedal tavern. Backed by their acaasked Lewis for them to include a plaque with demic research in social change and prevention Grooms’ name somewhere on them. science, they know community is a crucial part On Aug. 18, Metro’s Transportation Licensing of a good life. Commission heard two cases for construction of “Without access to social networks and accessible pedal taverns. One was from Lewis, meaningful social connection, what is the and the other was from Jake Badaszewski of point?” says George. “While I’m saying I’m fightEvery Body Rides, who has built an ADA-accesing for disabled people’s right to party, I’m really sible design with a ramp, wheelchair space and fighting for disabled people’s right to live.” ▼ a removable seat that can be swapped out to accommodate someone in a wheelchair. Both parties were awarded permits to construct the PHOTO: ERIC ENGLAND
Street View is a monthly column taking a close look at development-related issues affecting different neighborhoods throughout the city.
NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
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NEWS
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
NICHE BUSINESSES KEEP BERRY HILL DISTINCTIVE The Davidson County satellite city maintains its community feel and loyal followings BY HANNAH HERNER THERE IS LIKELY no other neighborhood on the planet that hosts a store dedicated to miniatures, a scuba shop, a balloon-based business, a crystal store, a store dedicated entirely to nonalcoholic beverages and the headquarters of the people who make trampoline shoes. “It just works for us to be a niche business,” says Rob Harris, owner of Island Hoppers Scuba, located at 2806 Bransford Ave. “People will drive from an hour, hour-and-a-half away to come here.” Island Hoppers has … well, hopped around the neighborhood since it opened in 2010, starting in a 900-square-foot spot on Iris Avenue and landing at its current 2,500-square-foot home. The company has built a loyal following, keeping the refrigerator stocked and the kitchen ready to host gatherings in the converted home ahead of monthly diving trips. The niche business model has worked quite well for the Harris family. Rob’s wife Dawne Harris opened her wallpapering business Stella + Cole in June 2025, becoming one of the few wallpaper specialists in the area. The reason Berry Hill feels like no other neighborhood could be that it’s not a neighborhood at all. It’s a satellite city — an independent municipality in Davidson County, separate from Nashville. It has its own police force and local government, led by Mayor Andrew Rusnak. “What I find particularly interesting is the variety,” Rusnak tells the Scene via email. “You can have a recording studio next to a restaurant, next to a professional office, next to a specialty retailer. That mix gives Berry Hill a personality that is pretty unusual for such a small city.” Berry Hill voted to incorporate as its own city in 1950 and retained its separate charter — not unlike fellow satellite city Belle Meade — when Nashville and Davidson County consolidated in 1963. With its own zoning processes, Berry Hill allowed small homes to be converted into commercial spaces and allowed people to live and work in the same building before mixed-use projects became ubiquitous. This means small businesses could and often still can still find places small enough to afford when starting out. It’s changed from a mostly residential to mostly commercial city. Fresh out of college in 2023, Becca Turner — the owner of balloon and event decor business Bundled for You — needed to move her business out of her apartment. But she struggled to find an affordable place that wasn’t too big and didn’t require an extended lease. In August 2024, she moved to a space in Berry Hill. “If you want to pursue your passion, pursue your dream, you can do that, and it’s reasonable here versus in other parts of the city
or anywhere else,” Turner says. “I was looking for an office space. I was almost at a point where I was like, ‘Am I even able to get an office at this point? Is this even an attainable goal?’” Stephanie Styll, co-founder of booze-free beverage shop Killjoy, says when she found a converted home in Berry Hill to open a second Killjoy location, the bureaucracy she faced was nil. She just walked over to city hall, and they handed her the forms. For about the same cost as her East Nashville location, she gets a full kitchen and more space, plus another precious asset: parking. Berry Hill reminds her of Old Nashville, she says. “It’s just a lot of small businesses that all have charm, and there’s a lot of music studios,” says Styll, whose location is about a quarter-mile from John McBride’s famed Blackbird Studio. “It’s people creating things. It’s still relatively affordable. There’s free parking. You drive around here and it doesn’t feel crowded. You don’t see tourists really.” Each business owner remarks that they feel supported by one another. “Everyone is following their dreams in Berry Hill,” Turner says. Berry Hill is not immune, however, to recent hikes in property value — and therefore property taxes. Plans for Universal Music Group’s $250 million film and music studio campus for the area certainly contributed. Two niche businesses, The Beaded Bungalow and Textile Fabrics, bit the dust in 2024. Still, in addition to Berry Hill’s many niche businesses, restaurants like Pfunky Griddle, Sam and Zoe’s and Baja Burrito maintain loyal followings. Relative newcomers like Vui’s Kitchen have won over locals too. The nearby Nashville Crystal Store supplied some calming, cleansing selenite for Vui’s Juice Cafe. Ataana Badilli has offered healing sessions and classes out of the 819 Columbine Place space for 10 years, establishing the crystal storefront seven years ago. “We’ve been here for a long time, because the energy is really good here,” says store manager Erika Leigh.“There’s a reason that we are here.” ▼
BERRY HILL CITY HALL PHOTO: ANGELINA CASTILLO
THE 34TH NASHVILLE
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
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Fashion is for Every Body 10th Anniversary On The Runway Show
Nashville’s only fully inclusive runway show
Fall into something
Saturday | October 3rd Studio 615
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From field trips to Fossil Quest, STEM Camps to the Science of Spirits, there’s always something extraordinary waiting at Adventure Science Center.
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5 pm - VIP 5:30 pm - Premium 6 pm - General Admission
Tickets on sale at fashionisforeverybody.com
12
NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
as immigration fears keep workers off job sites, middle tennessee’s homebuilders face a tight labor market and the prospect of delays and higher costs by jp olsen | photos by hamilton matthew masters
THE WORKERS NASHVILLE NEEDS ARE AFRAID TO SHOW UP BEFORE JESUS (pronounced hey-SOOS) pulls into a gas station on his way to work, he often drives past it and circles back. He’s looking for ICE. Jesus — who asked the Scene to use an assumed name to protect his identity — is 32. He came to the United States when he was 5 and grew up here. After his father was deported, Jesus returned to Mexico with him before eventually coming back to the U.S. He has washed dishes, cooked in Italian kitchens, done construction and, most recently, launched a landscaping business. Because the work takes him across Middle Tennessee, he spends much of his day behind the wheel with tools in his vehicle. Lately, the typical day has acquired another layer of calculation. If a truck at a gas station looks like it might belong to Immigration and Custom Enforcement agents, he keeps driving. “Every day is hard,” Jesus says. “It’s like a silent war.” Recently, a customer asked Jesus to help him find someone to clean his Franklin property. Jesus knows several people who ordinarily would have taken the job in a heartbeat — but no one would make the drive. They were too afraid. “Why don’t Mexicans want to work any-
more?” Jesus recalls the man asking. “Bro,” he remembers thinking, “are you listening to what you’re saying?” There is a distinction between workers disappearing and workers becoming afraid to appear, and Nashville may be in the early stages of discovering just how economically significant that distinction can be. For much of the past decade, the city’s housing dilemma was easy to summarize. Nashville was growing rapidly. Housing prices climbed beyond the reach of longtime residents, and the question was how quickly the city could build. Now the region confronts a less familiar question: What happens to a city built on construction when the labor required to build becomes harder and harder to find? The problem is timing. Housing takes years to plan and build, so the apartments opening today reflect decisions made months or years ago. The effects of a labor disruption now may not become visible to renters until much later. At this writing, Nashville hardly looks like a city on the edge of a market-rate apartment shortage. In the second quarter of 2026, average effective multifamily rents were down 2.8 per-
JUAN ADJUSTS LADDERS MOUNTED ON HIS WORK TRUCK OUTSIDE HIS NASHVILLE APARTMENT cent from a year earlier. Stabilized occupancy stood at 92.3 percent, on par with St. Louis, Kansas City and Oklahoma City, with more than 11,700 apartments under construction across the Nashville market. The region, in other words, has apartments coming out of its ears, even as housing affordable to lower-income Nashvillians remains in desperately short supply. At the start of the development process, however, the numbers look different. Over the past year, multifamily starts fell from 7,575 units to 5,695, according to second-quarter 2026 data from MMG Real Estate Advisors, which tracks multifamily development and transaction trends. Over the same period, the market absorbed 8,512 apartments while developers delivered 6,645. Nashville is still seeing new apartments come online. Fewer projects, however, are breaking ground. Interest rates remain high, financing is tight, and capital markets can determine whether a project gets built at all. After years of extraordinary expansion, some slowdown may simply represent a return to normal. But into that shrinking pipeline comes another variable: labor. “We’ve been talking about the challenges
from a labor and staffing perspective long before immigration enforcement became so aggressive,” says Sergio Barajas, executive director of the National Hispanic Construction Alliance. “This is exacerbating the issue.” The foreign-born workforce is not the same thing as undocumented labor, but undocumented labor is especially concentrated in construction. In 2024, foreign-born workers accounted for 12.4 percent of employment in the Nashville metropolitan area. Among those workers, 18.4 percent worked in construction, compared with 6.1 percent of native-born workers. In May 2025, a weeklong ICE operation in Nashville resulted in 196 arrests, according to the Department of Homeland Security. From May 21 through Oct. 15, ICE made another 3,742 arrests across Tennessee, according to a Prison Policy Initiative analysis of federal data. Each worker, contractor and real estate agent interviewed for this story says they knew at least a few — and in some cases 20 or more — people who had since been deported or detained. This year, Elizabeth Cox and Chloe East released a National Bureau of Economic Research working paper examining places that experienced sudden increases in ICE arrests
NASHVILLE SCENE •SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
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during the second Trump administration. Because government surveys do not record legal status, the researchers used demographic characteristics to estimate which workers were likely undocumented. In areas experiencing enforcement surges, Cox and East found, employment fell 1.4 percent among likely undocumented immigrants who remained in the country and roughly 2 percent in industries where undocumented workers are disproportionately represented — including construction. A KFF/New York Times survey cited by the researchers found that 40 percent of likely undocumented immigrants said they or a family member had avoided work because of immigration concerns. Conventional economic theory offers a simple script, which is to remove an unauthorized worker, create a vacancy and raise the wage until someone takes it. Cox and East found little evidence of that sequence actually taking place. Employment among U.S.-born men also declined in areas experiencing increased enforcement, with no sign that wages rose enough to draw them into affected trades. Researchers Troup Howard, Mengqi Wang and Dayin Zhang found a similar pattern in their study of Secure Communities, a federal immigration enforcement program used from 2008 to 2013. They found that increased enforcement led to less homebuilding and higher prices. Residential construction fell 5.7 percent, about 80 fewer homes a
year in an average-size county, while new-home prices rose 4.5 percent. U.S.-born workers replaced only about 40 percent of the workers lost in lower-skilled jobs, and employment also fell in higher-skilled jobs. Speaking to the Scene, Professor Howard emphasizes that the calculations are complex and that the study does not prove the same thing is happening in Nashville today. Interest rates, financing and other local factors also affect construction, he says, and the effects of one immigration enforcement program may not be the same as another. Tim Lanier, a carpenter and longtime general contractor who remains active in Middle Tennessee construction, says immigration enforcement has compounded a skilled-labor shortage that predates the current crackdown. At the height of his contracting business, he employed around 25 people — roughly half of them Hispanic. Much of the trade is learned informally over years, he tells the Scene, and a worker with a decade of experience cannot be replaced by handing a hammer to a willing volunteer. “It’s hiding in plain sight, and it’s a big issue,” Lanier says. “After our couple of raids, every construction site was shut down, and people didn’t leave their homes. We need more workers, 100 percent.” Barajas and others interviewed for this story say crews in exposed trades — including roofing, framing and exterior work — can thin dramatically after immigration enforcement activity, or even rumors of it. Some subcontractors have removed company signs and logos from their trucks, hoping to attract less attention on the road. “When people disappear from job sites, the work doesn’t shift to someone else,” Barajas says. “It stops.” The effects are not evenly distributed across construction. A general contractor and a concrete worker interviewed for this story say large commercial projects, including downtown sites, are less likely to rely on undocumented labor and have tighter access
APARTMENTS UNDER CONSTRUCTION IN SMYRNA
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
“it’s hiding in plain sight, and it’s a big issue. after our couple of raids, every construction site was shut down, and people didn’t leave their homes. we need more workers, 100 percent.” —tim lanier, longtime general contractor controls, making them less exposed to immigration enforcement. That matters most for lower-priced housing, where margins are thinner. Luxury developments may be able to absorb or pass along higher costs. Affordable projects have far less room to do so. Sarah Beth Paul, a Nashville real estate agent, sees a version of this divide in the resale market. Buyers shopping at $500,000 and above can generally absorb repairs, she says. Below that threshold, even immediate painting, landscaping or power washing can become financially impractical. For years, she depended on contractors who could handle that work affordably. When those workers are unavailable, sellers either wait or turn to larger companies that charge more. “It’s either impossible to find anyone, or it’s too expensive,” Paul says. She has also watched workdays evaporate when rumors of immigration sweeps circulate. The worker loses wages, the contractor loses time, and the seller and buyer wait. Renters may not feel the consequences for years. If developers start thousands fewer apartments now and demand continues to grow, the shortage becomes visible only later, after today’s inventory has been absorbed. For immigrant families, the consequences are immediate. The Mexican nationals interviewed for this story say they understand ICE targeting people who commit serious crimes; what troubles them is the feeling that simply being Mexican brings baseline suspicion. Jesus has started studying how white
landscapers dress and changing his own clothes to blend in. When people mistakenly think he’s Arabic, he admits feeling relief — at least they haven’t identified him as Mexican. Others try to make themselves invisible at home. One worker the Scene spoke with keeps the television barely audible, afraid a noise complaint could bring ICE to the door. “We can’t have a TV on past 8 p.m.,” says Juan, another source who’s asked to be referred to by an assumed name. “We are trying to make ourselves as small as possible.” He continues: “My children are American citizens, and going back [to Mexico], I would lose it all. My job. My tools. My life.” Anne Boatner and Maggie Behringer of the Nashville Hispanic Bar Association Foundation — which will soon be renamed Renters’ Rights of Tennessee — say attorneys frequently hear from immigrant families after a primary breadwinner has been detained. A household can go from paying rent on time to facing eviction in a single afternoon. “Landlords have a fear that they have to ‘check papers’ under the law, and the raids have been a turning point,” Behringer says. “There’s now a kind of permission structure.” Behringer notes that threats to report tenants to federal authorities have spiked since the May 2025 raids, creating coercive leverage against vulnerable renters. “ICE is now being used as a form of extortion,” Boatner adds, describing how some landlords use deportation threats to bypass standard eviction procedures or avoid addressing unlivable conditions.
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APARTMENTS UNDER CONSTRUCTION IN SMYRNA
JUAN HOLDS HIS WIFE’S HAND IN THEIR NASHVILLE APARTMENT
Despite having claims under discrimination and housing laws, many clients remain too afraid to seek justice. “What was frustrating was that these cases are winnable,” Boatner says, “but plaintiffs are often not comfortable being represented or appearing in court.” There is another, less visible layer to the vulnerability, a kind of identity-based exploitation. Advocates who work with immigrant communities say abuse can come from within those communities as well, from people who share a language, nationality or background and who understand, perhaps better than anyone, exactly how much a victim may have to lose by asking for help. Luis, whose name has been changed to protect his identity, is a 35-year-old roofer from Honduras who has worked in construction for about a decade. He says people who’ve hired him have used the threat of immigration enforcement to avoid paying him. Luis says this year alone, customers in Gallatin, Franklin and Murfreesboro have withheld nearly $10,000 that he was owed for roofing, framing and other construction work. When Luis pressed for payment, he says, some threatened to call ICE. Others paid him with checks that bounced. He received three such checks this year, totaling between $3,000 and $4,000. Altogether, he estimates unpaid work and bad checks have cost him roughly $13,000. In a typical year, Luis says he grosses between $30,000 and $35,000, while spending several thousand dollars of his own money on supplies and tools. This year, he expects to gross about $18,000. Luis came to the United States about a decade ago after leaving Honduras — under threat of death, he says. “Somebody was trying to kill me,” he says. “You know, poor people …” He trails off.
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His experience is personal, but the circumstances he fled are not unusual. The United Nations Refugee Agency estimates that more than 247,000 Hondurans were internally displaced by violence between 2004 and 2018. Extortion, territorial control by criminal groups, targeted threats and forced recruitment were among the drivers. For Luis, there is a brutal irony. He fled one country because he feared being killed. In Tennessee, he now finds himself threatened with being sent back there by people who owe him money. Supporters of aggressive immigration enforcement make a straightforward case: Construction should not depend on unauthorized labor. Force employers to compete in a legal labor market, the argument goes, and wages and working conditions will improve, automation will increase, and more American workers will enter the trades, even if housing costs rise during the transition. The Department of Homeland Security defended the May 2025 Nashville operation — which ushered in a period of intensified immigration enforcement that continues today — primarily as a public safety measure. “DHS is a law enforcement agency, and it will continue to enforce the law and work with all state and local partners so that Americans do not continue to be victimized by criminal aliens,” the department said following the operation. In written responses, Marcela Escobari, research vice president for global economy and development at the Brookings Institution, says the assumption that displaced workers will be readily replaced overlooks what often happens when workers disappear suddenly. Rather than raise wages until someone takes the job, employers may simply produce less. Construction is particularly vulnerable, because crews are specialized and interdependent. A framing crew
NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
that loses several workers in a sudden way does not necessarily build more slowly. In some cases, construction all but stops. Escobari says immigration enforcement can reduce not only the supply of workers but also the demand needed to sustain production. She points to evidence that states with the largest increases in immigration arrests in 2025 saw consumer spending fall by 1.7 points. History offers another example. When the agricultural-worker initiative the Bracero
"my labor is wanted, but i'm not wanted." —jesus, landscaper Program ended in 1964, one of the goals was to improve wages and employment for domestic farm workers. Growers responded in part by mechanizing instead. Subsequent research found no significant increase in farm wages or employment. Over time, Escobari says, firms may raise wages, reorganize production, automate parts of the work or otherwise adapt to having fewer workers. But those adjustments can be uneven, slow and costly, and the evidence so far does not show that they are offsetting the near-term job losses associated with increased enforcement. Brookings is now updating its findings with data covering 2025. Escobari says the forthcoming analysis continues to find significant job losses caused by ICE enforcement surges in key cities. The timing is critical: Tennessee continues to gain residents. Census estimates show the
state added 42,389 people through domestic migration between July 2024 and July 2025. At the same time, state law passed this year requires every county sheriff to enter into a 287(g) agreement with federal immigration authorities by Jan. 1, 2027 — under which designated local officers can carry out federal immigration enforcement functions under ICE supervision. Whatever chilling effect Nashville has experienced so far is occurring before that statewide mandate fully takes effect. State Rep. Aftyn Behn (D-Nashville) argues that those two policy goals — housing affordability and aggressive immigration enforcement — are fundamentally at odds. “The homebuilders in my district are seeing the writing on the wall,” Behn says. “What is the breaking point?” None of this guarantees an immediate housing crisis. The decline in apartment starts may mostly reflect interest rates and tight lending, and the extraordinary construction wave that reshaped the region may simply have run its course. Contractors may adjust. Wages may rise. Today’s apartment surplus could cushion demand for years. But Jesus sees the problem from the ground level. When he can’t make a job, customers call. “If I don’t go the day I am supposed to go,” he says, “the person is like, ‘Are you coming?’” Then he reframes the question. “What happens when we’re not here?” Earlier in his conversation with the Scene, he had captured the contradiction even more simply: “My labor is wanted, but I’m not wanted.” For a region that spent the past decade worrying about whether it could build fast enough, Nashville’s next housing challenge may be harder to spot. It begins when the people required to build it stop showing up. ▼
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CRITICS’ PICKS: WEEKLY ROUNDUP OF THINGS TO DO
CÉCILE MCLORIN SALVANT
RIVER SWING FEAT. THE JACK WHARFF BAND
SATURDAY, SEPT. 19
PAGE 20
[ONE STEP AHEAD]
CÉCILE MCLORIN SALVANT
Cécile McLorin Salvant first burst onto the music scene back in 2010, when she won first place at the prestigious Thelonious Monk International Jazz Vocal Competition at just 21 years old. Her early albums — including WomanChild, For One to Love and Dreams and Daggers — established Salvant as a true icon in the world of jazz. But this genre-defying vocalist is not so easy to pin down. A MacArthur Fellow and three-time Grammy Award winner, Salvant is widely known for blurring the lines between jazz, blues, vaudeville, folk and global traditions. A gifted storyteller, she approaches each song as an intimate piece of theater, often “reviving forgotten songs and reimagining them with wit, humor, drama and emotional depth,” as her bio puts it. You can catch this singular artist this weekend, as Tennessee Performing Arts Center opens its much-anticipated new Discovery Series. And be sure to keep an eye out for other upcoming Discover Series performances — including Urban Bush Women: This Is Risk (Oct. 17) and Churchill & Roosevelt: The Christmas That Saved the World (Nov. 12-15). AMY STUMPFL 7:30 P.M. AT TPAC’S POLK THEATER 505 DEADERICK ST.
THE SEX ED WE WISHED WE HAD GOTTEN: WOMEN LIKE SEX LIVE PAGE 24
THURSDAY / 9.17 ART
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Visit calendar.nashvillescene.com for more event listings
[IN THE PINES]
KRISTINE POTTER: DARK WATERS ARTIST TALK
“The hollers of Appalachia are filled with a very specific kind of energy.” That’s what Guggenheim-winning photographer Kristine Potter told me when we first spoke about Dark Waters, her multilayered photography project that examines the Southern landscape, murder ballads and violence toward women with startling nuance. By combining lush, moody, highly detailed landscape photography with
JOE BOB’S INDOOR DRIVE-IN GEEK OUT: CULT OF THE ROCK STAR NIGHT PAGE 25
studio portraits, Potter shows how photography can be both representational and evocative — how it can at once conceal and clarify, sometimes within the same frame. Work from Dark Waters is currently on display at Sewanee University, and Potter will speak about the project on Thursday in Sewanee’s Guerry Auditorium. Anyone interested in photography, true crime, country music, women’s rights or Southern history would be smart to attend. LAURA HUTSON HUNTER
ARTIST TALK 5 P.M. AT GUERRY AUDITORIUM; THROUGH OCT. 14 AT THE UNIVERSITY ART GALLERY 735 UNIVERSITY AVE., SEWANEE
THE CRAZY ORDINARY WORLD TOUR SEPTEMBER 27 | SCHERMHORN SYMPHONY CENTER
Be Moved. Be Amazed. BE. HERE.
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
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and Audioslave. Recent shows have also included covers of John Lennon’s “Power to the People” and Bruce Springsteen’s “The Ghost of Tom Joad.” The Ike Reilly Assassination will open. DARYL SANDERS 8 P.M. AT CANNERY HALL 1 CANNERY ROW
FALL series
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[WESTERN TALES]
SHABOOZEY
Two summers ago, Shaboozey shot to the top of the Billboard charts with a catchy-as-hell tune that cross-stitched the lines of a nostalgic hip-hop song with his take on foot-stompin’ country twang. “A Bar Song (Tipsy)” became an inescapable hit that proved to be the launching pad for a career that now includes multiple platinum-selling certifications, international tours and a Grammy. For his follow-up, he couldn’t just copy and paste “A Bar Song” for an encore round. He wouldn’t be the first in Nashville to adopt an “if it ain’t broke, don’t fix it” mentality to hitmaking had he done so, but where’s the fun in that? Instead, Shaboozey’s new album — called The Outlaw Cherie Lee & Other Western Tales — finds the singer-songwriter flexing his muscles as a six-string storyteller. On the 20-track release, Shaboozey weaves an expansive tale of love and revenge that adds to the pantheon of must-hear country music concept albums. To help tell the story, he enlists guest collaborations from Jamie Foxx, Sam Elliott, Leon Bridges and more. And like most stories, chapters from The Outlaw Cherie are best when experienced with friends. This weekend, Shaboozey brings the new album to Ascend Amphitheater as part of his ongoing Outlaws Never Die Tour. Canadian singer-songwriter Noeline Hofmann will appear in support. MATTHEW LEIMKUEHLER 8 P.M. AT ASCEND AMPHITHEATER 310 FIRST AVE. S.
MUSIC
MusiciansCorner.com
MUSIC
FRIDAY / 9.18
[BLUEGRASS ROYALTY]
ALISON KRAUSS & UNION STATION FEAT. JERRY DOUGLAS
OK, OK. So the Alison Krauss gigs at the Ryman aren’t officially part of AmericanaFest this
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
weekend. But it’s Alison Krauss … at the Ryman … during AmericanaFest. You gotta go, right? For those picking up a copy of the local weekly who may be unfamiliar: Krauss is undisputed bluegrass royalty. She’s a 27-time Grammy winner who cut the trendsetting album Raising Sand with Robert Plant in 2007 (plus the underrated follow-up Raise the Roof in 2021) alongside the band Union Station and delivers one of the finest shows in roots music. This week, Krauss returns to the Mother Church of Country Music for a three-night run in support of the 2025 album Arcadia, the first Krauss & Union Station LP in 14 years. Get to your pew early to catch an opening set from old-school rock ’n’ roller Theo Lawrence. MATTHEW LEIMKUEHLER
8 P.M. SEPT. 18-20 AT THE RYMAN 116 REP. JOHN LEWIS WAY N. [STILL RAGING]
TOM MORELLO
Back in the spring, guitarist Tom Morello had to cancel a number of concert dates due to his mother’s failing health, including a date on May 13 at Nashville’s Cannery Hall. When he announced in late June which dates he was able to reschedule, the news was good for his fans in Music City. “Paris! London! Nashville! Milwaukee! We have locked in new dates for my previously postponed shows, I’m excited to come rock with you all soon,” Morello wrote on Instagram. The hard rock legend will bring his Electric Full Band tour to Cannery Hall Friday night and will release his first true solo album, Everyone Gets Everything They Want, a week later on Sept. 25. The album features guest appearances by Serj Tankian of System of a Down, Kneecap, Beartooth and Morello’s son, Roman Morello. Attendees at Friday’s show can expect to hear a couple of songs from the new album, such as the debut single “Soldier in the Army of Love,” as well as material from his work with Rage Against the Machine
[SWING AWAY]
RIVER SWING FEAT. THE JACK WHARFF BAND
For more than 27 years, Harpeth Conservancy (formerly the Harpeth River Watershed Association) has worked to protect Middle Tennessee’s water quality through a scientific lens. And for more than 23 years, River Swing has been the nonprofit’s premier annual fundraiser, underwriting its important work. River Swing takes place at River Circle Farm in Franklin. With headliners The Jack Wharff Band, fresh off a CMA Fest performance this summer, the evening promises dinner and dancing awash in goldenhour light. Tickets provide access to an open bar, a buffet dinner and a silent auction, with auction items running the gamut from artwork to sporting event tickets to travel experiences. VIP tickets include tableside drinks and an acoustic performance by The Jack Wharff Band among other perks. If tickets are still available as you read this, they can be purchased at the door or online — but River Swing usually sells out. The event is 21 and up, so book a sitter after you grab your tickets. MARGARET LITTMAN
6 P.M. AT RIVER CIRCLE FARM 1041 SNEED ROAD W., FRANKLIN
FESTIVAL
ALISON KRAUSS & UNION STATION
MUSIC
PHOTO: RANDEE ST. NICHOLAS
COMMUNITY
SATURDAY / 9.19
[AFFIRMATION]
AFFIRMING SUMNER PRIDE FEAT. MORGXN
In June 2025, Sumner County nixed the area’s annual Pride celebration. It wasn’t exactly a surprise. According to the Human Rights Campaign, Tennessee has passed more antiLGBTQ legislation than any other state over the past decade. But Morgan Karr (better known by his stage name MORGXN) and Gabriel Starner decided they wouldn’t stand idly by and let their rural community miss Pride. The husbands and owners of Fruity Farm saw it as an opportunity to create their own affirming space and to let the community know that they are welcome. On Saturday, their Affirming Sumner Pride event returns with three times as many vendors headed to the 24-acre farm. Known for his time on Broadway in Spring Awakening, singing with Sara Bareilles and his album Heartland, MORGXN will sing a wedding song at the event while Metro Councilmember Olivia Hill officiates a vow renewal. The event will include family-friendly entertainment, live music, food trucks, a farmers market and more. Admission to Affirming Sumner Pride is free, but attendees must register online in advance; they will then receive the farm’s exact address in Bethpage. MARGARET LITTMAN 10 A.M.-4 P.M. AT FRUITY FARM, BETHPAGE
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NASHVILLE’S NONPROFIT FILM CENTER
Thursday, September 17
Sunday, September 20
INTERVIEW
MUSICIAN SPOTLIGHT
Margo Price and Producer Matt Ross-Spang 1:30 pm · FORD THEATER PRESENTED IN PARTNERSHIP WITH THE AMERICANA MUSIC ASSOCIATION
Audley Freed 1:00 pm · FORD THEATER Saturday, September 26
SONGWRITER SESSION
Lionel Cartwright NOON · FORD THEATER Sunday, September 27
Saturday, September 19 HATCH SHOW PRINT
Upcycled Flag Book Workshop with 2026 Hatch Show Print Visiting Artist Sarah Matthews
11:00 am HATCH SHOW PRINT SHOP Saturday, September 19 SONGWRITER SESSION
Parker Millsap NOON · FORD THEATER PRESENTED IN PARTNERSHIP WITH THE AMERICANA MUSIC ASSOCIATION
MUSICIAN SPOTLIGHT
The Grascals 1:00 pm · FORD THEATER Saturday, October 3
SONGWRITER SESSION
Jimmy Robbins NOON · FORD THEATER Saturday, October 3 POETS AND PROPHETS
Salute to Legendary Songwriter
Pat McLaughlin 2:30 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.
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FULL CALENDAR
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
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THEATER
[CELEBRATING THE SEASONS]
NASHVILLE CHILDREN’S THEATRE: A YEAR WITH FROG AND TOAD
ART
Autumn is quickly approaching, and it’s hard to imagine a more perfect way to honor the passing seasons than with Nashville Children’s Theatre’s charming new production of A Year With Frog and Toad. Based on Arnold Lobel’s delightful children’s books and adapted to the stage by brothers Robert (music) and Willie Reale (book/lyrics), this sweet musical follows the adventures of two amphibious friends — easygoing Frog and the often-grumpy Toad. Premiering at the Children’s Theatre Company in Minneapolis in 2002, A Year With Frog and Toad offers an eclectic, jazzy score, and earned three Tony Award nominations when it transferred to Broadway in 2003. Directed by NCT’s executive artistic director Jenilee Houghton (with musical direction by Sarah Michele Bailey), the cast features a wonderful mix of new and familiar faces, including Sh’Ahr Blackburn as Frog and Garris Wimmer as Toad, along with Chase Miller, Aleia Eagleton and Katie Bruno. As always, I’m eager to check out Joi Ware’s choreography, plus eye-catching costumes from William H. Ditty IV. Celebrating individual differences and the simple joys of friendship, A Year With Frog and Toad offers a worthy opener for NCT’s main-stage season. AMY STUMPFL THROUGH OCT. 18 AT NASHVILLE CHILDREN’S THEATRE 25 MIDDLETON ST. [SOUL SEARCHING]
WHAT IS THE SHAPE OF YOUR SOUL?
I’m constantly harping about how Nashville needs a gallery dedicated to contemporary photography, and an institutional space that collects and is dedicated to contemporary art
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
SUNDAY / 9.20 FILM
Women Like Sex. That’s both a true statement and the name of a podcast you should be listening to. Its host Natasha Senjanovic is devoted to destigmatizing women’s sexual pleasure, and we would all be better off if we followed suit. A great start would be to come to this live podcast event, The Sex Ed We Wished We’d Gotten. When Senjanovic reported for the Scene from the recent sex toy trade show Stimulate, she called it “a genuinely moving celebration of female pleasure.” Look for more of that energy at Actors Bridge on Saturday, when she’ll be joined by sex therapist Raven O’Rourke and sexual health liaison Cory Roroya. They will answer all your most thought-provoking questions, like, “Why do we think men like sex more than women do?” and, “Why do we tell people that it hurts to have sex for the first time?” If you’re feeling shy, you can ask questions anonymously, or just listen in. Because of the clandestine nature of sexuality, you’re bound to learn something, no matter who you are. LAURA HUTSON HUNTER 7 P.M. AT ACTORS BRIDGE ENSEMBLE 4610 CHARLOTTE AVE.
in general. Our scene is fortunate to have more galleries and institutional support than we used to, but a lot of the best programming we see in town still comes from independent artistcurators who find ways to get their work in front of audiences without waiting for the slow wheel of progress and the fickle finger of fortune. One case in point is What Is the Shape of Your Soul?, which opens this week during the Downtown Arts District Alliance Second Saturday Art Crawl at Arcade Gallery 56. The exhibition explores the relationship between our individual personas and our collective human consciousness vis-à-vis photography as well as sculpture and sound art. What Is the Shape of Your Soul? includes work from Anders Juhl, Michelle Eistrup, Caroline Allison, Sai Clayton and Marlen Lugo, who is also the exhibition’s curator. JOE NOLAN OPENING RECEPTION 6-9 P.M.; THROUGH OCT. 17 AT ARCADE ARTS GALLERY 56 223 FOURTH AVE. N.
[GAME OVER, MAN. GAME OVER!]
FILMMAKERS IN FRANKLIN: ALIENS
Never have two sequels been so different yet equally great. Alien, Ridley Scott’s groundbreaking 1979 sci-fi masterpiece, is a quiet, working-class slasher in space. Aliens, James Cameron’s just-asfantastic follow-up, is a bombastic Vietnam War allegory housed inside an action-thriller. Despite crash-landing in theaters 40 years ago, Aliens still looks incredible. The sets are gorgeously horrific, and the creature design is some of the most innovative in film history. Never has a franchise blockbuster looked so goopy. Luckily for local film fans, one of the people most responsible for the film’s iconic look — makeup and special effects artist John Rosengrant — will take part in The Franklin Theatre’s excellent Filmmakers in Franklin series on Sunday. Rosengrant will discuss the film’s top-notch VFX work after a screening of the film. LOGAN BUTTS 7 P.M. AT THE FRANKLIN THEATRE 419 MAIN ST., FRANKLIN
MUSIC
THE SEX ED WE WISHED WE HAD GOTTEN: WOMEN LIKE SEX LIVE
[GUITAR MAESTRO]
MUSICIAN SPOTLIGHT: AUDLEY FREED
Sunday, the Country Music Hall of Fame and Museum’s weekly Musician Spotlight series will feature acclaimed rock guitarist and songwriter
ART COURTESY OF NASHVILLE CHILDREN’S THEATRE
PODCAST
[TALK DIRTY]
LIVE MUSIC | URBAN WINERY | BAR RESTAURANT | PRIVATE EVENTS
AUDLEY FREED Audley Freed. For more than a decade, Freed has been the lead guitarist in Sheryl Crow’s band, but prior to that he worked with a number of well-known artists including stints with The Black Crowes, Peter Frampton, Jakob Dylan, Joe Perry, The Chicks and Trigger Hippy. He has also recorded with Kenny Chesney, Alison Krauss, Robben Ford, P.F. Sloan, Rodney Crowell and James McMurtry. His songs have been cut by Train, Lynyrd Skynyrd, Gary Allan, Chris Robinson, Gov’t Mule, The Wreckers and Gavin DeGraw. Freed first hit the national radar in the early to mid-’90s with his band Cry of Love, which scored a No. 1 Mainstream Rock hit in 1993 with a song he co-wrote, “Peace Pipe.” Freed tells the Scene he will perform some of his own songs, including from his Cry of Love days, as well as some songs he played on that were written by other people. “I’ll put together some things and try to tell some interesting stories surrounding those things,” he says. “Then I enjoy taking questions from people.” DARYL SANDERS 1 P.M. AT THE COUNTRY MUSIC HALL OF FAME AND MUSEUM’S FORD THEATER 222 REP. JOHN LEWIS WAY S.
PHOTO: MICHAEL WEINTROB
MUSIC
wrote, “She shifts from seductress to remorseful romantic to avenger without a slip in comic poise.” This week, the Belcourt will give you two chances to see if your knees get wobbly too. Visit belcourt.org for showtimes. CRAIG D. LINDSEY SEPT. 20 & 23 AT THE BELCOURT 2102 BELCOURT AVE. [I THOUGHT SHE WAS A SONG]
MARGARET GLASPY W/ANNA TIVEL
Margaret Glaspy has always been an honest writer, her past work an overflowing garden of self-realization. Her confessions are detailed and sincere, and her discography is full of complex storytelling that digs a dull kitchen knife deep beneath the skin of her listeners. She knows how to make things hurt in a way that feels meaningful. Her latest record, I Am Both, is distinct and modern, featuring naturally told stories folded into elegantly produced instrumentation. Her lyrics take the lead on this record, the music forming a scaffolding of support around her stories. From sensual dreams of metaphorical roses to the Excelsior plates of a past New York lover, Glaspy’s words paint images that cling to listeners like the pain of a newly lost love. Opening the show Sunday will be Portland-based songsmith Anna Tivel, a lyrical genius who is fascinatingly soft in her descriptions of the human condition. Her poetry dares to rip into the deepest, ugliest parts of humanity, making even an addict stripping copper to feed a violent addiction (as detailed in her song “Saint of Scrap Metal”) sound like the most beautiful thing you’d ever heard. Both Glaspy and Tivel are brilliant writers, and their show at The Blue Room will be powerful, emotional and true. I recommend bringing tissues. GRACE BRASWELL 7 P.M. AT THE BLUE ROOM AT THIRD MAN RECORDS 623 SEVENTH AVE. S.
MONDAY / 9.21 [MONSTERVISION]
The Lady Eve is one of two screwball farces in the Belcourt’s Weekend Classics: 1941’s Greatest Hits series that stars Barbara Stanwyck — the baddest of bad beeyotches — as a street-smart, fast-talking, lovesick temptress who can make men weak in the knees. (The other one, Ball of Fire, plays next week.) Writer-director Preston Sturges’ chaotic rom-com features Stanwyck as a classy con artist who falls for her latest mark (Henry Fonda), the snake-studying heir to a beer empire. Until a recent rewatch, I’d forgotten that the first 25 minutes consist of the effortlessly seductive Stanwyck giving Fonda (and every straight man who has seen this) the weakest of knees. Even when the movie descends into slapstick madness in the second half, she never loses her enchanting allure. As our late, great leader Jim Ridley once
Esteemed drive-in movie critic and The Last Drive-In host Joe Bob Briggs (aka the Robert Osborne of cult cinema) will be back in Nashville for a Music City Mondays double feature. (Let’s hope his trusty sidekick Darcy the Mail Girl is also present.) First up is Don Coscarelli’s Bubba Ho-Tep, a 2002 horror-comedy that ponders what would happen if an alive and elderly Elvis Presley (played here by B-movie hero Bruce Campbell) went toe to toe with an ancient Egyptian mummy in a Texas nursing home. Then we take it back to 1979 with the Roger Corman-produced Rock ’n’ Roll High School — the only teensploitation musical comedy that features a wall-to-wall soundtrack from punk icons/co-stars the Ramones as they help a teen fan (Halloween’s P.J. Soles) revolt against her rock-banning principal (Mary Woronov). Along with emceeing the festivities, Briggs will also
WEEKEND CLASSICS: 1941’S GREATEST HITS: THE LADY EVE
FILM
JOE BOB’S INDOOR DRIVE-IN GEEK OUT: CULT OF THE ROCK STAR NIGHT
FILM
[I NEED HIM LIKE THE AX NEEDS THE TURKEY]
9.19 AN ACOUSTIC EVENING WITH
LACEY STURM
9.20 WUSSY PRESENTS
TWILIGHT DRAG BRUNCH
9.22
EMMYLOU HARRIS & TOM RUSH
2 SHOWS
STELLA COLE
9.24 9.25 WOOFSTOCK AT THE WINERY WITH
NATE SMITH
9.20
9.27 9.27 9.28 9.29
DOLLY PARTON DRAG BRUNCH FREDDY JONES BAND CHARLIE HUNTER TRIO BACKSTAGE BRASS STREET BAND PLAYS 9.30 BEAST BRUCE SPRINGSTEEN 10.1 ISAAC SLADE (FORMERLY OF THE FRAY) 10.2 LUNA WITH SISTER RAY DAVIES 10.3 A FOREIGNER’S JOURNEY TO BOSTON MUSIC CITY STONES BRUNCH: 10.4 THE STONES WITH STRINGS! 10.4 DALEY - US TOUR QMA VIBES PRESENTED BY THE QUARTET 10.5 MUSIC AWARDS PURESOUL 10.6 JAMES BONDPRESENTS THE MUSIC OF 10.7 ELLE VARNER LIVE 10.8 ONE FUNNY LISA MARIE BEATLEDUDES CELEBRATE 10.9 JOHN LENNON’S BIRTHDAY
9.26
RUFUS WAINWRIGHT
10.10 R&B BRUNCH - DENIM FLY 10.10 THE BAD PLUS - FAREWELL TOUR LEVERT EXPERIENCE 10.11 THE A LEGACY REVIVED 10.12 GAELIC STORM 10.13 SILVANA ESTRADA
9.19 D’LAI - I BEG YOUR PARDON ARI HEST PERFORMS PETER GABRIEL’S 9.25 ‘SO’ ALBUM AND FAN FAVORITES 9.29 CURTIS SALGADO STEADMAN, TALL PAUL 10.1 &KITTY KRISTIE BOBAL PIERRE BENSUSAN: 10.3 THE INFINITE GUITAR TOUR 10.15 NELLIE MCKAY 10.17 SUE FOLEY
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
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[SHADES OF GUITAR]
ROBIN TROWER
Procol Harum’s 1969 album A Salty Dog is a landmark of early prog rock that sounds like a great soundtrack for a movie about a rock band that decides to cross the ocean by boat. Apart from keyboardist Matthew Fisher’s superb tune “Pilgrims Progress,” which rewrites the band’s famous 1967 hit “A Whiter Shade of Pale,” A Salty Dog works because of Robin Trower’s guitar. Whereas many English guitarists inspired by Jimi Hendrix rocked out, Trower played droll, understated lines throughout A Salty Dog. Both Fisher and Trower had left Procol Harum by 1971, and Fisher went on to produce Trower’s 1974 full-length Bridge of Sighs, a definitive slice of postHendrix blues-space-rock that turned Trower into a star. In a time of endless boogie, Bridge of Sighs epitomized one aspect of the early ’70s, when fans yearned for the return of The Beatles and mourned the passing of Hendrix, Jim Morrison and Janis Joplin. In other words, Bridge of Sighs and 1976’s Robin Trower Live sound better to me today than, say, similar efforts by fellow guitar rockers Mahogany Rush and Wishbone Ash. Trower, who’s 81, is a titan of the Stratocaster, and he has a new album, Shine, set for release on Sept. 25. EDD HURT
7:30 P.M. AT THE FISHER CENTER FOR THE PERFORMING ARTS 2020 BELMONT BLVD.
TUESDAY / 9.22 [THE STUFF THAT DREAMS ARE MADE OF]
FILM
WEEKEND CLASSICS: 1941’S GREATEST HITS: THE MALTESE FALCON
This month, the Belcourt is honoring the films of 1941 in its latest Weekend Classics series. The venerable year that brought us all-timers like The Lady Eve (also featured in this week’s Critics’ Picks section) and Citizen Kane (not featured in this week’s section since we just highlighted it in July)
is celebrating its 85th anniversary. Depending on the day, my favorite film from this stacked year is The Maltese Falcon, John Huston’s influential adaptation of Dashiell Hammett’s also extremely influential detective novel. Humphrey Bogart stars as private investigator Sam Spade. Of the many Spade iterations in film and TV history, Bogart’s is the most iconic. The colorful collection of side characters is just as fun, especially Mary Astor as Brigid O’Shaughnessy, Peter Lorre as Joel Cairo and Sydney Greenstreet as Kasper Gutman (what names!). The Maltese Falcon is a little more decipherable than 1946’s The Big Sleep — the other famed adaptation of an iconic detective novel starring Bogart (both are great) — so it should be easy to follow along with at the Belcourt if it’s your first time seeing this classic. LOGAN BUTTS SEPT. 22 & 26-27 AT THE BELCOURT 2102 BELCOURT AVE.
WEDNESDAY / 9.23 COMMUNITY
MUSIC
host a meet-and-greet and sell exclusive merch. Pop-up video store Emergency Movie Services will be right outside in the parking lot during the event. CRAIG D. LINDSEY 7:30 P.M. AT THE BELCOURT 2102 BELCOURT AVE.
[HISTORY REVISITED]
BEYOND THE COUNTER KICKOFF
When three of the city’s most prominent historians are in the same room, it’s pretty much mandatory to join them. In Beyond the Counter: Conversations on Civil Rights, Culture & Community, Elliott Robinson of the Civil Rights Room at the Nashville Public Library will moderate a conversation with Tennessee State University African American public history scholar Dr. Learotha Williams (recently named Davidson County’s official historian) and Dr. Taure Brown, director of the James Lawson Institute for the Research and Study of Nonviolent Movements at Vanderbilt University Divinity School. The trio is set to discuss the lunch counter sit-ins that took place at Woolworth’s — the very building where the discussion is set to take place — as well as the Nashville peaceful protest movement. For further education, check out the rest of the free events planned for the space in conjunction with the Nashville Public Library Civil Rights Room (including others focused on student leaders, gospel and protest music). And while you’re at it, check out the glorious Civil Rights Room in the main library itself. HANNAH HERNER 5:30 P.M. AT WOOLWORTH THEATRE 223 REP. JOHN LEWIS WAY N.
THE MALTESE FALCON
NOW OPEN
INTRODUCING NASHVILLE’S NEWEST DINING EXPERIENCE
Visit the nonprofit Croquet Cafe in scenic Centennial Park and explore locally crafted, Southern-inspired fare. COFFEE SANDWICHES SALADS ICE CREAM SMOOTHIES MORE CROQUETCAFE.COM
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
FOOD & DRINK
BEFORE THEIR TIME
What happens when restaurants open in neighborhoods that aren’t ready for them? Some business owners say those failures set them up for their next acts. BY MARGARET LITTMAN
INTERIOR PHOTOS: ANTHONY TAHLIER FOOD PHOTOS: BOKA RESTAURANT GROUP
MOMOTARO
ALLA VITA
MOMOTARO SUSHI
“THE ECONOMIC SYSTEM in restauMIDDLEMAN rants is often fraught with peril, and if you don’t run it exactly right, you can miss being successful by an inch,” says Kevin Boehm, under the umbrella of Boka Restaurant Group, co-CEO and co-founder of Boka Restaurant again to a developing neighborhood, this time Group. “It’s challenging. If you are one block Wedgewood-Houston, to open three spots: away, or one decade away, or a price point away Momotaro and Alla Vita — both restaurants from being successful, you won’t make it. That’s that Boka also operates in Chicago — and Midwhat makes it both fun and maddening at the dleman, a new bar that literally connects the same time.” two Houston Street restaurants. Momotaro is a Boehm knows of what he speaks. He’s opened modern, seasonal Japanese restaurant with an and closed many restaurants over the years, extensive whiskey collection. Alla Vita is a buzzy including 6 Degrees, a Manuel Zeitlin-designed spot — busy even at 5 p.m. on a weekday — with restaurant and bar in The Gulch. Open between wood-fired pizzas and pillowy ravioli. 1999 and 2001, 6 Degrees morphed from a Boka’s entry to Nashville — spurred by Ben restaurant to a nightclub, attracting the likes of Weprin, founder and CEO of AJ Capital, who Trisha Yearwood, Kim Carnes and Matraca Berg knew Boehm and his business partner Rob Katz to perform. in his Chicago days — is not just a salvation story Some people cite 6 Degrees as the first place for his ego of 25 years ago. It’s a look at what that showed people that The Gulch could be a happens to the people who were behind the neighborhood — not just a reimagined railroad restaurants that were ahead of their time. Most hub. But in his 2025 book The Bottomless Cup: A Nashvillians have a mental list of restaurants Memoir of Secrets, Restaurants, and Forgiveness, they loved but — because of the capriciousness Boehm details some of what caused 6 Degrees to of the restaurant industry, economic downturns, fail, and how embarrassed he felt leaving Nashproperty tax bills or, as Boehm says, just being ville afterward. (He packed up about two days “an inch” off — didn’t make it. after the restaurant was shuttered.) A few restaurant names regularly come This year Boehm returned to Nashville, now up when discussing these places. Le Sel, the
FOOD FROM ALLA VITA’S MENU
French restaurant Strategic Hospitality ran for four years in the Adelicia Building, came along before anyone imagined that Nashville could be a city that supports Once Upon a Time in France, The Yellow Table, Cocorico, Olala and Pastis. Strategic has gone on to garner James Beard Award nominations and Michelin stars. Germantown’s Lulu was open for about a year, but is mentioned fondly by many — particularly due to offering gluten-free options before they were readily available. (Its owner was behind the recently closed Burger Up.) In 2005, Jacque Schultz and her then-husband opened The YarD Shops connected to their home on Gallatin Pike. It was a challenge, she remembers, to get the necessary permits — Metro inspectors had a hard time seeing their vision for a gift shop with garden art, frozen custard, baked goods, coffee and Sunday live music jams, all from their yard and carport. They even hosted some weddings. “I feel bad for anyone trying to open a momand-pop-type situation today — it’s 10 times worse than when we did it,” Schultz says of the red tape and expense.
Schultz grew up in Nashville, but had lived in Wisconsin for years and was excited to make frozen custard available to folks. (Burger-and-frozen-custard chain Culver’s didn’t open locations in Tennessee until 2014.) The YarD Shops sold Bongo Java coffee and Provence baked goods, ultimately lasting about two years. It was hard, Schultz says, to get people to get out of their cars for coffee. This was long before Lost and Found, Earl Espresso and Elegy opened in the neighborhood. While The YarD Shops didn’t last, Schultz made lasting relationships there that have lasted, from the musicians who played in the yard who are now best friends to the coffee-and-custard regulars. One of the latter told her about Airbnb, which was starting just as The YarD Shops closed. Schultz turned part of her Inglewood home into a place to host visitors, and she says the hospitality she provides them is part of the skill she perfected at The YarD Shops. Showing off Nashville from her owner-occupied rental has been a good retirement project for her, and of course she makes sure everyone has lots of good coffee. In West Nashville, Salt & Vine was designed to make wine more accessible to folks without a wine education and to offer an Ottolenghi-style approach to food to Nashville. Hannah Schneider,
NASHVILLE SCENE •SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
PHOTOS: DANIELLE ATKINS
LE SEL
PHOTO COURTESY OF SALT & VINE
one of the owners of the shuttered restaurant, believes the spot was the first in Tennessee to have a wine bottle shop and a restaurant connected under one roof. The restaurant had a market counter with cheese and other dishes, so if you really loved something, you could take it and re-create it at home. The restaurant was led by women who have been essential to Nashville’s culinary scene, including Schneider, Mattie Jackson Selecman, Rahaf Amer and Molly Martin, the latter of whom went on to create Juniper Green. Schneider and Martin originally thought they would get more business from the growing number of apartments surrounding the Charlotte Pike restaurant. While locals did come in, it wasn’t on the regular grab-and-go takeout schedule that Schneider had seen in New York. “We wanted it to be a local watering hole, a place you could meet up with friends at any time of the day,” Martin says. But at the time, the other businesses around it, including a nail salon, a hot dog eatery and a dentist, did not support that vibe. That retail complex has been home to several spots, including the ill-fated Chaatable. That was all before Charlotte Pike’s L&L Market and Sylvan Supply, both of which
SALT & VINE
have demonstrated multiuse opportunities on Charlotte Pike. Still, Martin says, “That was an inflection point in my career. Before that, I never allowed anyone to call me ‘chef.’” “I think we were 10 years too early,” Schneider says. But she teases that all may not be lost for old Salt & Vine fans: She and Amer may have a Salt & Vine pop-up to announce in the near future. Rob Katz, Boehm’s co-CEO and co-founder at Boka, knows that returning to Nashville was “a concern” for Boehm, given 6 Degrees’ failure. When Boehm opened 6 Degrees in The Gulch, it was hard to picture people living in the neighborhood, or the streets filled with restaurants and shops, much less murals that engender lines. When Weprin first toured Boehm and Katz around Wedgewood-Houston, his proposed changes were hard to visualize. But Katz is confident that this time, he and Boehm are in for the long haul with Momotaro and Alla Vita. “Nashville is a different place than it was 25 years ago,” Katz says. “We are very deliberate about where we open restaurants. We are not looking to cash checks. We want to be part of the community.” ▼
FOOD AT LE SEL
NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
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NASHVILLE SCENE • AUGUST 19 – AUGUST 25, 2023 • nashvillescene.com
ART
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Ian Edward White photographs Middle Tennessee’s suburban/rural youth culture BY JOE NOLAN THUR 9pm 6PMRANDOM WHITE AJUKEBOX! NIMALS FREE THU 2.1 (COVER/JAM BAND) $10 9.17 FRI
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2.1 SAT 9.19 2.4
SIT-IN JAM SUN SAT 4pm 4PMSPRINGWATER KEVINWOLF FREE 9.20 2.3 JORDAN DAY,@NATHANIEL WED 9pm 5PMPM W RITERS WATER OPEN MIC 9 C ROCTOPUSS ,THE PUMP ARILEY, CTION 2.7 TOM BARRETT $10
& POPLAR CREEK S UN 5pm 4PMWRITERS JAY PATTEN BAND FREE AT THE WATER FREE! WED 2.4 115 AVE N. OPEN WED - SUN 11AM - LATE NIGHT 9.2327TH 9pm THE HAPPENING HIP HOP CYPHER $10
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SATURDAY, SEPTEMBER 19
SATURDAY STORYTIME
with HEATHER C. MORRIS at PARNASSUS Backyard Stew TUESDAY, SEPTEMBER 22 4:30PM
PEDRO MARTÍN
with PAT RUA-BASHIR at PARNASSUS Mexikid Dreams WEDNESDAY, SEPTEMBER 23 6:30PM
TANANARIVE DUE at PARNASSUS Mazywood 10:30AM
SATURDAY, SEPTEMBER 26
HORA DE CUENTOS EN ESPAÑOL SPANISH STORYTIME at PARNASSUS Beginners and fluent friends are all welcome
TUESDAY, SEPTEMBER 29 6:30PM
ASHLEY HERRING BLAKE with ASHLEY POSTON at PARNASSUS Take a Chance, Sasha Sinclair
3900 Hillsboro Pike Suite 14 | Nashville, TN 37215 (615) 953-2243 Shop online at parnassusbooks.net @parnassusbooks @parnassusbooks
@parnassusbooks1 @parnassusbooksnashville
PHOTOS COURTESY OF DAVID LUSK GALLERY
WED 5PM WRITERS @ THE WATER OPEN MIC 2.7 27TH AVE. N OPEN WED.-SUN. 11AM-LATE NIGHT 115
“UNTITLED, SHELBYVILLE, TN”
IAN EDWARD WHITE’S photography exhibition Townes Ferry Pike includes images made over the past four years while the artist has traveled throughout Middle Tennessee — Murfreesboro, Shelbyville, McMinnville, Columbia, Nashville — photographing the beauty in the banal and the marvelous in the mundane. White works in the Southern lyrical documentary tradition, presenting Middle Tennessee as both a real place and a state of mind, shaped by history, nostalgia and personal memory. The small photos in Townes Ferry Pike hang together in energetic connection, and they read like stills from a short film. With this new show at David Lusk Gallery, White stakes a claim for his take on Southern photography that connects to his forebears as well as his more recent peers. Like the works of William Christenberry, William Eggleston and William Greiner, White’s untitled images are photography of the everyday. Cars and trestles and rainbows and swimming holes all find their way into his frames. Like many contemporary Southern photographers, White is a realist — even a documentarian of a kind, but one with an eye for stylized composition. White’s images include elements of the actual and the magical, the candid and the contrived. Of course, this is what elevates a picture of a cyclone fence from a mesh of utilitarian industrialism into a web of inspiration. White’s framing positions a tree, a ladder and a black cat into an iconic scene charged with warning. The front door of a house becomes the portal to someplace otherworldly at the business end of White’s focus and flash. In the middle of nowhere, in some woodsy enclave in Murfreesboro, White photographed an arrangement of a bed of grass overlaid with a piece of plywood topped by three bright-green osage oranges in a triangular arrangement.
Ian Edward White: Townes Ferry Pike Through Oct. 3 at David Lusk Gallery Artist’s talk 6 p.m. Thursday, Sept. 24
The scene is ritualistic, kind of beautiful in a way. Kind of creepy. Did White construct the scene? Did one of his friends? Did he just happen upon this odd offering? Who knows? Who cares? For all of White’s concentrated capturing of detailed images of spaces and places, he’s also concerned with freeze-framing mystery and composing multiple ambiguities in every picture. Like his antecedents, White has an eye for the kitsch and charm of Southern sites and locales — storefronts, porches, cinderblock bars and cemeteries. That said, his images of young people in these spaces find Townes Ferry Pike more closely resembling the work of contemporary photographers like Ryan McGinley and former Nashvillian Mike “The Polaroid Kid” Brodie. These artists both broke through with gritty portraits of youthful subcultures — McGinley started out shooting skateboarders, and Brodie documented his community of train-hopping crust punks. White’s subjects are mostly still and thoughtful against
“UNTITLED, MURFREESBORO, TN”
backdrops that radiate suburban/rural ennui, but his poetic take on young people navigating distinct locales still shares a kinship with Brodie and McGinley. Like his photographs of spaces and places, White’s portraits balance realism with a distinctly stylized approach. As a young man himself, White innately understands that acting out and dramatizing are part of youth culture, and he has an eye for the performative moment that invigorates his frames with character and narrative. A young man sits on a fence playing an acoustic guitar in a springtime sunset. Through White’s lens, he’s the Orpheus of Shelbyville — a hero basking in golden-hour light, fingering an ode to Apollo on phosphor and bronze. In another image, two young women play with a plastic dollhouse on a wooden table on the back patio of a home in Nashville. One sits on the table dragging a cigarette. The other arranges tiny furniture while wearing a bright-red beret. It’s another image that might be completely spontaneous or totally staged, but it doesn’t matter. The overall effect is sexy and funny and nostalgic, with just enough melancholy to keep things from getting maudlin. In one of White’s photos taken in Murfreesboro, a tree looms over the edge of a river. The river is sparkling beneath blue skies on a sunny spring day. The left side of the image is framed by green foliage in the foreground, and signs of spring can be seen throughout the picture. The ground, though, is still partially covered by a half-melted snowdrift, and some of the same white stuff is seen clinging to the trunk of the tree. In ancient Greece, liminal spaces — a river’s edge, the transitions of seasons — marked intersection points between the mortal world and the mysteries of the divine and the supernatural. Ian Edward White’s best images capture both the real and concrete as well as the magical and poetic, and both are required to illuminate the complexities of place and people, history and heritage in the communities surrounding Nashville, the Athens of the South. ▼
“UNTITLED, MURFREESBORO, TN” NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
BEST TRADITIONAL BEST OVERALL MOST CREATIVE
FILM
TAKING FLIGHT
If I Go Will They Miss Me is a poetic, emphatic piece of inner-city melancholy BY CRAIG D. LINDSEY
If I Go Will They Miss Me NR, 95 minutes Opening Friday, Sept. 18, at the Belcourt and AMC Thoroughbred 20
RIGHT FROM THE jump, If I Go Will They Miss Me establishes itself as a sunnier, more colorful update on Killer of Sheep. The movie begins with a prologue set to executive producer Jon Batiste’s cover of Dinah Washington’s “This Bitter Earth,” which was practically the theme song for Charles Burnett’s low-budget, black-and-white 1970s masterwork. Just like Killer of Sheep, If I Go tells the story of a Black man having trouble being a father and provider for his Watts-based family. This time around, the emotionally stunted brotha is Big Ant (J. Alphonse Nicholson, who fans of HBO’s Lanterns might recognize as a
young version of character John Stewart’s dad), an ex-con who can’t seem to maintain his family-man duties. His girl Lozita (Danielle Brooks, all curves and compassion) encourages him to spend more time with his son Little Ant (the coolly precocious Bodhi Jordan Dell). Little Ant is a sensitive soul who reveres his old man, and usually draws his dad as a Pegasus-riding Poseidon. But Big Ant would rather be out in the street, engaging in sketchy activity and hanging out with his side piece. Part drama, part tone poem, If I Go delves into how difficult it can be for Black men to raise their sons, especially when they don’t know
how to be men their damn selves. Big Ant starts to worry about losing his son to the streets, especially when they both begin to have visions of white-shirt-wearing boys, taking off in the night like airplanes. (Yes, much like the missing kids in Weapons.) Flying vessels play a recurring role in the movie, whether they’re airplanes in the clearblue skies overhead or the toy planes Big Ant and Little Ant play with. I first thought the presence of planes represented the characters’ need to escape their dangerous surroundings. But when a friend tells Big Ant not to let his son “fly away,” I realized the flight stuff is more about Big Ant’s incessant
need to take off from his responsibilities — and Little Ant’s desire to soar above the drama. Just like Killer of Sheep, If I Go is a poetic, emphatic piece of inner-city melancholy. But while Sheep went cinéma vérité in its depiction of the impoverished, soul-crushing squalor darkskinned Angelenos had to live through back in the ’70s, this film is a visually ebullient affair. Expanding on his 2022 short, writer-director Walter Thompson-Hernández presents modern-day Watts as a hopeful, vibrant working-class neighborhood, filled with glowing Black faces. Much like when Barry Jenkins brought visually hypnotic layers to ghetto life in his Oscar-winning Moonlight, Thompson-Hernández and cinematographer Michael Fernandez work their Panavision equipment in capturing how beautiful (and powerful) Blackness can be. Thompson-Hernández clearly bites from many auteurs, including Terrence Malick (the movie does play like a Black Tree of Life — we even get a shot of a parent floating) and, of course, Spike Lee (you know there’s a double-dolly shot in this). The way he plays with colors and hues, especially when they bounce off the exquisite skin of the cocoa-colored cast (who all give authentic, understated performances), makes me wonder if he’s a fan of music video director Hype Williams’ one and only film, the hood classic Belly. Despite its cinematic familiarity, If I Go Will They Miss Me is an emotionally stirring experience — a sincere, occasionally surreal study of Black life that you don’t regularly see on these big pale screens. Rich Spirit, the film-distribution company that specializes in releasing artful works by BIPOCs (like the recent Black-diaspora bouillabaisse BLKNWS: Terms & Conditions), has once again given audiences a film in which Black people shine brightly, even during their darkest days. ▼
pragmatic Murphy is, Clancy offers him a deal too good
THE PRICE OF GOLD to refuse: If Murphy and three men of his choosing can The Weight is an old-school nail-biter BY LOGAN BUTTS THE WEIGHT, the directorial debut from journeyman editor Padraic McKinley, feels plucked straight from 1967. Film fans so often lament bygone eras and genres, but this old-school, 1930s-set gold-smuggling thriller feels like a forgotten Don Siegel or Stuart Rosenberg gem — something you’d catch on a Saturday afternoon on TCM with an intro from Robert Osborne. Ethan Hawke, following his Oscar-nominated performance in last year’s Blue Moon, stars as Samuel Murphy, a recently incarcerated widowed father. Murphy’s sole focus is finishing his sentence as quickly as possible so he can return to his daughter before she’s taken into state custody. He lands in a labor camp run by the baseball-obsessed Warden Clancy (a scenery-chewing Russell Crowe), who promises a day off each prisoner’s sentence for every two days of work. Seeing how
successfully transport a load of gold through the Oregon wilderness, Clancy will grant the four men their freedom. Hawke’s stoic determination is a full 180 from the self-loathing charisma factory that was his turn as Broadway lyricist Lorenz Hart in Blue Moon; it’s a testament to the range of one of our great leading men. Murphy’s trio of fellow prisoners — Rankin (Austin Amelio), Singh (Avi Nash) and Olson (Lucas Lynggaard Tønnesen) — are well-drawn and endearing, making the treacherous trip even more of a nail-biter. But the standout of the traveling party, which also includes a pair of gold-protecting goons, is Julia Jones as Anna, an Indigenous woman who joins the journey. Jones, likely best known for her appearances in the Twilight films, matches Hawke’s quiet craftiness. The expedition itself features obstacles from both nature and man. The set pieces will leave you white-knuckled, gripping your armrest. And the script, from Matthew Booi and composer Shelby Gaines, is lean and efficient.
The Weight R, 113 minutes Opening Thursday, Sept. 17, at the Belcourt and Regal and AMC locations
McKinley and company have crafted an old-fashioned adventure thriller in the vein of Sorcerer, but with characters lifted from a prison drama like Cool Hand Luke.
The Weight is nothing you haven’t seen before, but it’s probably been a while since you’ve seen it executed with this level of precision. ▼
NASHVILLE SCENE •SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
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917 Woodland Street Nashville, TN 37206 | thebasementnashville.com basementeast thebasementeast thebasementeast
10/9 8/25
10/11
ace - A Celebration of the Life & Music of Bobby Weir
Golden: a kpop kids party!
10/12 Russian circles
10/13
10/14
3/14
Mind enterprises W/ fred fancy
w/ pelican
olivia o'brien W/ maya donovan
just announced
brooke alex
Upcoming shows sep 17 americanafest: houndmouth, the brook & the oct 11 golden: a k-pop kids party! bluff, & more oct 12 russian circles w/ pelican sep 18 americanafest: Wynonna Judd & Avi Kaplan oct 13 mind enterprises w/ FRED FANCY sep 19 FREE SHOW! Eddie Slide & His Cowtown Dozen [2pm] oct 14 olivia o'brien w/ Maya Donovan sep 19 americanafest: julia barfield & more oct 15 ax and the hatchetmen w/ the hails sep 21 Adéla Sold out! oct 16 the renaissance Room sep 22 king mala w/ jayden hammer oct 18 After sep 23 world famous pets w/ Erick Slick oct 19 The linda lindas w/ grace bowers sep 24 the gringos w/ john wood band oct 21 aaron lee tasjan w/ madeleine kelson sep 25 post sex nachos w/ The Foxies and Fetch Tiger oct 22 chasing abbey sep 26 damien jurado w/ st. yuma and adam voith oct 23 Michigander w/ chapel sep 29 rebecca black oct 24 My so-called band: 90s Halloween! sep 30 the bros. landreth w/ Madeleine Roger oct 25 edgehill w/ palmer oct 1 juice w/ Claire Ernst oct 26 wednesday 13 w/ dead on a sunday and above snakes Oct 2 hot in herre: 2000s dance party OCT 27 PORCH LIGHT w/ HOTEL FICTION oct 5 bleach w/ pomegranate & meadowglade OCT 29 Donny BENÉT w/ OTNES oct 7 willi carlisle w/ dylan earl OCT 30 THE BENDS oct 8 finn wolfhard w/ malcy Sold out! oct 31 Early show! rock and roll playhouse: OCT 9 ace - A Celebration of the Life & Music of halloween spectacular for kids Bobby Weir oct 31 blade rave Stop by Lowbar located underneath the basement east for drinks, pool, darts, karaoke and more! Open 5pm-late
o
1604 8th Ave S Nashville, TN 37203 | thebasementnashville.com thebasementnash thebasementnash thebasementnash
9/25
9/26
Jason White & David Mead w/ daniel tashian
telescreens w/ connor kelly & the time wrap
COMING SOON 09.15 09.16 09.18 09.21 09.22 09.26 09.29 10.09 10.15 10.16 10.17
TOVE LO TAKING BACK SUNDAY DANZIG JUNGLE MUNA DYLAN GOSSETT & CHARLES WESLEY GODWIN BRAND NEW KYLIE CANTRALL OLE 60 JESSE WELLES INTERPOL
SCAN TO GET TICKETS AT THEPINNACLENASHVILLE.COM
NASHVILLE’S PREMIER SPECIAL EVENTS VENUE
Upcoming shows SEP 17 americanafest ft. river shook & more [7pm] SEP 18 americamafest ft. jackson and the janks [7pm] sep 19 commomwealth of Kentucky party [12pm] sep 19 americana fest ft. corey parsons & more [7pm] sep 20 the aniimeros [7pm] sep 20 bob log iii [9pm] sep 21 fat, evil children w/ james eichman [6:45pm] sep 23 MOTO, Liquids, The Sleeveens, Wesley & The Boys, and Part Time Filth [7pm]
sep 24 freddie mcclendon w/ bishop riley [7pm] sep 24 powerplant w/ knifey & cabletv [9pm] sep 25 jason white & david mead w/ Daniel Tashian [7pm] sep 26 maddie medley w/ ziona riley [7pm] sep 26 telescreens [9pm] sep 27 CASHVILLE TRASH PANDAS W/ AMELIA WHITE [7PM] sep 28 Unkl Sham w/ Hidden Sixes and Khris Glaring [9pm] sep 29 FREE SHOW! RACHEL CURTIS [5:50PM] sep 30 Brandon Jane w/ Stephanie Chapman [7pm]
Don't miss new faces Night every tuesday at 7pm!
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
FLEXIBLE SPACES FOR 100 TO 4,000 GUESTS
B O O K YO U R E V E N T
TRENT ALLISON tallison@aegpresents.com
MUSIC Nicole Atkins’ new album is a pop-rock work of art BY DARYL SANDERS
STROLLING ALONG Bradley Beach on the New Jersey shore while talking on the phone with the Scene, singer-songwriter Nicole Atkins ponders a question about why she titled her new album Drama. After considering it for a bit, she says ultimately it was just the obvious choice. “All of my feelings just felt so big while I was writing this record, and I wanted that reflected in the sound,” Atkins says. “No half measures. Big drama in the arrangements to reflect how I felt inside and what was going on everywhere outside. Maybe secretly hoping that this drama would cancel out all the rest. Just felt like a moment to call it what it is.”
NEW PHILOSOPHY
Edie Brickell jumps into a new era with supergroup World Famous Pets BY BOBBIE JEAN SAWYER THERE’S A CERTAIN magic in being a part of a band, when chemistry and creativity align to create something that could be born only out of collaboration. Singer-songwriter Edie Brickell, who rose to fame as leader of alt-rock jam band Edie Brickell & New Bohemians, knows that magic well. “That’s the addiction of improv,” Brickell tells the Scene. “You discover these ideas inside of you that you didn’t know existed. They didn’t exist before that day. They didn’t exist until the band started playing. The
The album — her seventh studio recording and first since 2020’s Italian Ice — will be released Friday via Sun Records. As Atkins envisioned, it sounds big and dramatic. The arrangements, which include horns, woodwinds, strings and a choir, are exquisite and set the stage for Atkins’ passionate, dynamic vocal performances. It’s not a concept album in the strictest sense, but it flows like one. Atkins connected with Sun through an old friend, Chris Isaak. They met in 2007 when she was the opening act on his summer tour and have been friends ever since. Isaak — who like Atkins has called Nashville home for a little
magic of creativity is it’s a reflection of what’s inside you — because we’re all such strangers to ourselves, and it’s just a colorful proof of your existence, hopefully. It is so much about surprising yourself, learning about yourself. And seeing the influence that other people and their creativity has on me, how it changes me and makes me better or stranger, it’s just pure magic.” While making New Bohemians’ second album, 1990’s Ghost of a Dog, Brickell formed a creative partnership with drummer, composer and producer Matt Chamberlain (who’s gone on to play with the likes of Brandi Carlile, Tori Amos and Pearl Jam, and was even in the Saturday Night Live house band for two seasons). When Brickell and Chamberlain reunited as part of Paul Simon’s Quiet Celebration Tour, they longed for the opportunity to create music together again. Chamberlain
more than a decade — signed a deal with Sun in 2021 that allowed him to bring artists to the label via his Wicked Game imprint. When he heard some of the songs she was working on, he suggested she sign with Sun. “I thought he was fucking with me,” Atkins says. He wasn’t. Isaak even makes an appearance on the record, duetting with Atkins on “Cue the Symphony,” one of the album’s two outstanding duets. The song is an homage of sorts to Roy Orbison, who is an important influence for both of them. After signing with Sun, Atkins began to consider which songs she would record. “I had more songs than I knew what to do with,” she recalls. “But once I had ‘Singing in the Mirror’ — that came after I knew I was making the record — that just helped me go through all of my songs and be like, ‘Oh, this one works with this, and this one works with this, and you know, this one is a twin for this.’” “Singing in the Mirror” is informed by the feelings of loneliness and isolation Atkins sometimes experiences in her marriage. It’s a theme that runs throughout the record. Her husband Ryan McHugh works as a tour manager, so they are often apart, with either one or both of them out on the road. “It’s definitely a weird life,” she says. “But it’s also how he makes his money, and it’s how I make my money. So there’re long stretches where we don’t get to see each other, and then we’ll see each other for like two months straight.” To help fulfill her sonic vision for the album, Atkins enlisted the help of producer and Wilco multi-instrumentalist Patrick Sansone. Sansone is a kindred spirit. They share a love for the orchestrated pop-rock masterpieces of the 1960s and 1970s — records like the ones Burt Bacharach and Hal David wrote and Bacharach produced for Dionne Warwick. “The reason that Nicole came to me about making this record in the first place was that she knows my love of ’60s and ’70s records … and she has a really deep love for that stuff too,” Sansone tells the Scene by phone from Rome, where he is on tour with Wilco. “We were not afraid to wear our influences and our tastes on our sleeves, but
PHOTO: DEANIE CHEN
DRAMA QUEEN
we also didn’t necessarily want to make a record that was like putting on a costume.” Atkins and Sansone collaborated on the sophisticated arrangements that give the record its big, dramatic sound. Sansone calls her “a tornado of ideas.” “I had a lot of ideas, and he helped me refine them,” Atkins says. “And it’s also great that he’s a multi-instrumentalist too.” Sansone played a variety of instruments on the record, including electric guitar, acoustic guitar, electric bass and various keyboards and percussion instruments. He played the majority of the album’s evocative guitar solos. “When Pat sent over the guitar solo on ‘Cue the Symphony,’ I just cried,” Atkins recalls. “I cried my eyes out. It was, like, so perfect.” They recorded the basic tracks over four days in early February at Creative Workshop. In addition to Atkins on vocals and Sansone on bass, those sessions included Dan Creamer on piano and organ, John Paul Keith on electric guitar and Davey Horne on acoustic guitar. Horne also shared vocals with Atkins on the album’s other duet, “Curtain Call,” which they co-wrote. Eric Slick and Danny Banks split the drum duties. Over the following weeks, additional recording — including horn, woodwind, string and vocal overdubs — took place at a few different Nashville studios. Then Sansone began work on the mix. “It was a big record to mix,” he says. “It’s not a simple record. So I spent a lot of time and care in getting the mixes together.” Sansone’s diligence was born from his great respect for Atkins. “I was very honored that she trusted me to kind of guide the ship,” he says. “Somebody like her, with that much creativity and with so many ideas herself. … Nicole is a force, you know. She is a true artist.” ▼
Drama out Friday, Sept. 18, via Sun Records Playing 10 p.m. Sept. 18 at Analog at Hutton Hotel during AmericanaFest Playing 7 p.m. Dec. 3 at Skinny Dennis
WORLD FAMOUS PETS NASHVILLE SCENE •SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
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MUSIC: THE SPIN sessions. She walked in to find him strumming, and she started singing along. “It just came right out,” she says. “I can’t really explain how that happens or why. A lot of people think that songwriting is autobiographical, and I think a lot of times it is. I think sometimes — or a lot of times for me — it’s just listening to what the music wants to say. That’s the part I can’t really explain.” World Famous Pets will make their live debut at The Basement East on Sept. 23, marking another new chapter for Brickell. When she released her 1988 debut album with New Bohemians, Shooting Rubberbands at the Stars — which features the ubiquitous hit “What I Am” — the Texas-born songsmith was only 22. “I loved making music and I loved being in a band, but I didn’t feel comfortable,” Brickell says of her early years. “That was tricky, because I knew how many people would love to be in that position. I felt that those people were more deserving at the time.” Following Ghost of a Dog, Brickell released the 1994 solo album Picture Perfect Morning and then took a nearly 10-year break from recording. But the music never left her. “What I recognized when I was out with my kids especially, is that I sang and made up songs all the time,” she says. “When I realized I was constantly thinking about music, I thought, ‘Maybe it’s not a fluke. Maybe I am a musician.’” In the early 2010s, legendary drummer Steve Gadd encouraged Brickell to return to the studio following work with his new group The Gaddabouts. This next phase of Brickell’s prolific career began with Love Has Come for You, her critically acclaimed 2013 bluegrass album with Steve Martin. Brickell says the opportunity to collaborate with friends new and old for World Famous Pets is the moment she’s been waiting for. “I always wanted to be in a classic band that could evolve together, album after album after album. I’m hoping that I’ve landed in that nest and that we can all fly out of it.” ▼
Playing 8 p.m. Wednesday, Sept. 23, at The Basement East
STOP ME IF YOU’VE HEARD THIS ONE: JULIEN BAKER
KATE TEAGUE
IT’S THE BEGINNING OF A NEW AGE BY JULIANNE AKERS
HAVING LARGELY BUILT her career in the world of melancholy indie music, Julien Baker is known for a lot of things. The Memphis-born singer-songwriter released her debut album Sprained Ankle — full of slow, heart-wrenching, rock-inspired melodies — in 2015 while studying at Middle Tennessee State University. She fleshed this out even more on her following LPs Turn Out the Lights and Little Oblivions. More recently, Baker’s star has risen along with her involvement in Grammy-winning indie trio boygenius. In 2025, she released the twangy, country-inspired record Send a Prayer My Way with TORRES. And now it appears a new, heavier era — perhaps her most raw and authentic yet — is on the way. In her first performance as a solo artist since 2024, Baker took to the stage for a surprise show (which sold out rapidly) at The Blue Room at Third Man Records Sept. 9.
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
PHOTOS: MARTIN B. CHERRY
enlisted multi-instrumentalist, producer and songwriter Kaveh Rastegar (whose CV includes work with Bruno Mars and De La Soul) and session guitarist and producer Mason Stoops (who’s played with Jackson Browne and Mumford & Sons, among many others), and World Famous Pets was born. The supergroup’s self-titled debut album (out Sept. 25 via Shuffle Records) is a freewheeling exploration of creative fluidity and improvisation, which Rastegar describes as a “trust fall.” “When you get together with people to improvise and just make something from scratch like this, there’s always a level of trust that you have to have,” Rastegar says, sharing the line with Brickell on our call. “I think everybody has to have their own amount of confidence in just trusting the other people that you’re in the room with, and then just getting to something. When you’re improvising, it’s all about leading and following, and then also being accepting of outcomes that you don’t have strict control over.” Though Brickell already had a kinship with Chamberlain, she got to know Rastegar and Stoops over the course of six days in the studio. “I felt sort of shy and a little bit scared,” Brickell recalls. “I couldn’t sleep the night before, because walking in and just not knowing what you’re going to do with strangers making music — it’s a vulnerable feeling. But when they start playing, the music takes over. And then the band, that’s what I love about a band. Four individuals become one entity, and that entity has a bigger personality than anything I could do on my own. It holds more surprises, more mystery, and I think more evolution.” During those six days, each band member contributed to the songwriting, often improvising the music and lyrics on the spot. The results run the gamut from the defiant, punk-inspired “I Will Say No” to the playful, buoyant “I Guess It’s You.” Discussing the origins of the second of those two, Brickell explains that Stoops was the first to return from lunch one day during the
Following an opening set by Nashville indie folk-rocker Kate Teague (who is also associate director of development at Nashville Public Radio), Baker began the intimate performance by debuting an unreleased song titled “Lathe.” The new number began with several minutes of ambient sounds before Baker and her band strode onstage. It was a slow buildup to a melodic outburst of powerful vocals, drums and bass — seemingly signaling a new, heavier sound for Baker that got the crowd banging their heads. She debuted even more unreleased post-hardcore-inspired music, though the titles haven’t been shared with the public: From what I could see of the set list, they were listed simply as “F,” “G” and “O.” Along with the new music, Baker also performed the dreamier (but still poignant) “Bloodshot,” as well as songs from across her discography like “Tokyo,” “Shadowboxing,” “Favor” and “Sprained Ankle.” She closed out the night with an encore performance of “Everybody Does.” Details surrounding a new album (which would be Baker’s fourth solo LP) have not been shared as of this writing, though Thursday morning Baker announced a tour of small venues to take place over the next several months.
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9.20 Bryan White
From Fr om platinum-selling pla pl a chart-toppers cha to underground icons, ic on s, household names to s, icon ons ons, t undiscovered gems, hi f’ N c co ommitte mmi eeple is h commi o ommi to bringing the very Chief’s Neon Steeple committed best national and regional talent alentt back to Broadway.
SEPTEMBER LINEUP 9.5 Sammy Arriaga 9.12 Kylie Morgan - Healed Cowgirl World Tour 9.16 Jamie O’Neal & Andy Griggs 9.18 Tristan Roberson FREE SHOW 9.19 Keith Anderson 9.20 Bryan White, Special Guest Rich O’Toole 9.21 Buddy’s Place Writer’s Round w/ Sam Palladio, Striking Matches, Gina Venier 9.23 Uncle B’s Damned Ole Opry 2nd Annual Songwriter Spectacular featuring Ashley Gorley, Jim Beavers, Shy Carter, Josh Osborne, Kat Higgins & Special Guests
WRITERS’ ROUNDS AT CHIEF’S
9.24 Audrey Spillman & Friends - Nightingale Album Release Show 9.26 Britnee Kellogg 9.27 Lawrence Rothman Here Lies Love/Sawdust Into Stardust Album Release 9.28 Tim Montana & Friends American Thread Benefit Concert, Benefiting Special Ops Xcursions
GET TICKETS AT CHIEFSONBROADWAY.COM
FOLLOW US @ChiefSBROADWAY
At Chief’s we understand that great music is born from the heart and soul of it’s creators, which is why our writers’ rounds are dedicated to celebrating the brilliant minds behind some of today’s most iconic songs.
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NASHVILLE SCENE • SEPTEMBER 17 – SEPTEMBER 23, 2026 • nashvillescene.com
37
The run includes multiple nights each at several much-loved small venues, like Cat’s Cradle in Carrboro, N.C., Middle East in Cambridge, Mass., and The 40 Watt in Athens, Ga., and tickets will be sold only in person at the box office of each club. A portion of the proceeds from the tour will go to The Ally Coalition, which supports LGBTQ youth. Much of Baker’s writing concerns the impact of addiction and the struggle to reconcile queer identity with Christian faith and its association with homophobia. With thoughtful writing on such heavy subjects, it makes sense that Baker would lean into a darker sound. And she did so while staying true to her writ-
UPCOMING SHOWS AT THE MUSEUM’S CMA THEATER
OCTOBER 1
SARAH JAROSZ
10 YEARS OF ‘UNDERCURRENT’
OCTOBER 27
JAKE SHIMABUKURO
NOVEMBER 1
BRUCE COCKBURN
WITH SPECIAL GUEST LIVINGSTON TAYLOR
NOVEMBER 13
THE JAYHAWKS
SANCTUARY PARK TOUR CELEBRATING 40 YEARS OF THE JAYHAWKS
NOVEMBER 14
SHAUN CASSIDY
UNWRAPPED: SONGS & STORIES FOR THE HOLIDAYS
NOVEMBER 21
AJ GHENT
AJ GHENT & HIS SINGING GUITAR
TICKETS ON SALE NOW Museum members receive exclusive pre-sale opportunities for CMA Theater concerts. Learn more at CountryMusicHallofFame.org/Membership.
BOOKED BY @NATIONALSHOWS2 • NATIONALSHOWS2.COM
The CMA Theater is a property of the Country Music Hall of Fame and Museum.
224 REP. JOHN LEWIS WAY S • NASHVILLE, TN CMATHEATER.COM • @CMATHEATER
1 38MKTG_Scene_1:2Page_PrintAd_Rolling_09.17.26.indd NASHVILLE SCENE • AUGUST 19 – AUGUST 25, 2023 • nashvillescene.com
9/10/26 9:45 AM
ing and singing style and gift for peeling back layers of herself in each lyric. Though she didn’t speak much between songs on Sept. 9 (aside from thanking the crowd and expressing her delight to be back playing live with her band), Baker summed up this commitment to authenticity when she referenced opener Teague. “An artist completely herself,” Baker said. “I love an artist that you can’t describe by comparing them to anyone. So beautiful.” While these words ring true for Teague, they’re also a perfect description of Baker at this point in her musical career. And they’re sure to be relevant to whatever Baker has coming next. ▼
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BENEFITING
BACK OF THE BOOK EDITED BY WILL SHORTZ 1
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Across 1 Take a quick turn 4 Sound from a monitor 8 One who’s definitely not being invited to the party 14 Letters indicating a texter’s P.O.V. 15 Fried side dish with catfish, perhaps 16 Cough drop brand whose name is yodeled in its commercials 17 Mafia members, e.g. 19 Gave a talking to? 20 Tiptoed, say 21 Bamboozle 23 Michigan, in Chicago: Abbr. 24 Messenger 26 Alimony recipients, say 28 Boil … or a sign of boiling 30 Important travel info, in brief 31 Dessert often eaten before the ides of March 33 Hold up 35 “Light” weapon 39 Verbalized shivers 41 Drinks at a pub 43 Kind of bean used in Egyptian falafel 44 ___ Ingebrigtsen, track gold medalist at the 2020 and 2024 Olympics 46 Teary-eyed expression
48 In need of training, say 17 49 Collect over and over, as resources 20 in a video game 51 Pass, as time doing 24 something 53 11th of a noted 12 57 Was especially wintry 31 32 60 Part of a slider 61 ___ Roy, 39 “Succession” role for which Kieran 44 Culkin won an Emmy 63 “It is not enough to be industrious; ___ the ants”: Henry 53 54 David Thoreau 64 Smallest member of 60 the genus Lynx 66 Evaluating, as an 64 opponent … or a hint to “fitting” 68 the answers to the italicized clues into the grid 71 68 Uncommon color on the red carpet 69 Draw together, as brows 5 Pull (out), as a 70 Decline cookies, narrow victory say, with “out” 6 Makes an oopsie 71 Soaked up the sun 7 Sticky stuff 72 ___ Pictures 8 Query for Claude, (media giant) e.g. 73 Last term in a math 9 Apple accessory lecture series? announced Down alongside the removal of the 1 0 iPhone’s headphone 2 Love of Bologna jack 3 Fly off the handle 10 Record label owned 4 They might have by 72-Across deposits 11 Littlest bits
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Puzzle by Killian Olson 12 Motrin alternative 13 Epitome of a hot place 18 Reacted to a bad taste, perhaps 22 Like a bike without wheels 25 “Gold” of the 21st century 27 Org. focused on cloud security? 29 Five stars on a scale, typically
31 Sandwich that may be a bit crunchy, for short 32 Apt name for an investor 34 A.I. that has been trained with massive amounts of text, in brief 36 Something to jump on 37 Many a sleepless night 38 Untapped, as talent 40 Casual gaming site?
42 Drains the life out of 45 Overwhelming stream 47 Compactness 50 Ran amok 52 Lunchtime, say 53 Monastic superior 54 Website that describes itself as “a place to share knowledge and better understand the world”
55 Allow to post on a forum again, e.g. 56 Uses caution while in public during flu season, say 58 Go off with a bang 59 Consideration when diving 62 El ___ 65 Channel that pioneered 24-hour TV reporting 67 Grape whose “white” wine is actually pink, informally
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ANSWER TO PREVIOUS PUZZLE T O N I I C E D E D D I E S A M E G R O OM A N O N JAM A I C A N R U M G A U N T P R I G R I S O T T O T R Y M E L E B R O N JAM E S M A R C O O L H A L H O T L A N T A S E S A M E T H O S E H U M P C L A N S P I T E S R E N D E R E D M I R O T A G A N D P A JAM A P A R T Y R O I D S W I L L E L M T R E E J A M P A C K E D P R I MO O N E G H E R A D I C E Y E T N A A D E N A C H E S Online subscriptions: Today’s puzzle and more than 9,000 past puzzles, nytimes.com/crosswords ($39.95 a year). Read about and comment on each puzzle: nytimes.com/ wordplay. Crosswords for young solvers: nytimes.com/ studentcrosswords.
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NASHVILLE SCENE • SEPTEMBER 17 - SEPTEMBER 23, 2026 • nashvillescene.com
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MAKING YOUR TRIP TO NASHVILLE A COSMIC EXPERIENCE SINCE 2002
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