Nashville Scene 11-16-23

NEWS:

NOVEMBER 16–22, 2023 I VOLUME 42 I NUMBER 41 I NASHVILLESCENE.COM I FREE

REPUBLICAN LEADERS CONSIDER REJECTING FEDERAL EDUCATION FUNDS

STREET VIEW:

WHAT ARE HISTORIC OVERLAYS PROTECTING?

>> PAGE 8

>> PAGE 7

How Antioch’s own Jelly Roll went from handing out mixtapes to taking home the CMA Award for New Artist of the Year

BY SEAN L. MALONEY

ON A

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11/13/23 2:38 PM

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NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

CONTENTS NEWS 7 Republican Leaders Consider Rejecting Federal Education Funds Tennessee could become the first state to turn down federal education dollars

BY KELSEY BEYELER

7 Pith in the Wind This week on the Scene’s news and politics blog

8 Street View: What Are Historic Overlays Protecting?

Housing advocates say overlays have negative consequences beyond just accidental violations

BY LENA MAZEL

10 Airport Hits Turbulence During Rapid Expansion

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Shorthanded board meets during banner year for BNA Random Sample • PHOTO BY ANGELINA CASTILLO

BY ELI MOTYCKA

COVER STORY 13 On a Roll

BOOKS

FILM

32 Dream or Nightmare?

How Antioch’s own Jelly Roll went from handing out mixtapes to taking home the CMA Award for New Artist of the Year

Molly McGhee’s debut novel takes a surreal look at modern employment

BY SEAN L. MALONEY

BY SARA BETH WEST; CHAPTER16.ORG

21 CRITICS’ PICKS

Peter Frampton, Mia x Ally, Holiday Lights at Cheekwood, John Cleese and more

FOOD AND DRINK 28 Whiskey Business Thanks in large part to the Tennessee Whiskey Trail, spirits tourism is booming

BY CHRIS CHAMBERLAIN

38 Red Card Taika Waititi fumbles his adaptation of Next Goal Wins

BY KEN ARNOLD

MUSIC 35 Crossing the Streams Arts and music space Random Sample champions interdisciplinary creativity

31 Sound and Vision Artist Raheleh Filsoofi talks about memory, ceramics and winning the Joan Mitchell Fellowship

NEW YORK TIMES CROSSWORD AND THIS MODERN WORLD

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MARKETPLACE

BY P.J. KINZER

36 Building a Legacy Nashville Symphony’s classical season continues with a live recording of Estévez’s Cantata Criolla

36 The Spin

SUBSCRIBE

The Scene’s live-review column checks out the launch party for Black Opry Records at Acme Feed and Seed

BY BEN ARTHUR

BY LAURA HUTSON HUNTER

ON THE COVER:

Jelly Roll. Photo by Andy Pollitt.

BY AMY STUMPFL

ART

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NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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11/13/23 5:44 PM

FROM BILL FREEMAN

WHO WE ARE

OFFICIAL WHITE HOUSE PHOTO BY OLIVER CONTRERAS

‘TERRIBLE NIGHT FOR REPUBLICANS’: TAKEAWAYS FROM LAST WEEK’S ELECTIONS

TO BORROW AN apt phrase from former Fox News anchor and MAGA lightning rod Megyn Kelly, last week’s elections were “a terrible night for Republicans.” In essentially every election across the country, the results convincingly show that Americans are growing increasingly weary of extremism. Even among those with supposedly bulletproof MAGA endorsements, nearly every extreme candidate lost — and lost big.

The first example is just across our northern border. In Kentucky, incumbent Gov. Andy Beshear, a Democrat in a red state and red region, won reelection solidly over his Trump-endorsed MAGA opponent. Examples like Gov. Beshear’s victory were echoed in other states, as reported by NBC News: “Democrats won critical races in Virginia and Pennsylvania — states seen as barometers for the 2024 vote — as well as in Kentucky, where the governor won by a wider margin in his reelection bid than in his first go-round, beating a rival backed by former President Donald Trump.”

That’s about as clear as you can get: Staunchly conservative Kentucky reelects a Democrat to the highest office in the state, despite having a Trump-endorsed candidate as an alternative.

Not only did Kentucky vote to keep Beshear in the governor’s office — voters also handed him election results that put him further across the finish line than he was in his first race for the office. It’s clear that moderation, hard work and listening to the will of the people are the right ways to govern. In this season of intense political messaging, these elections show us that they’re also the right way to campaign.

The election results also show us that Americans are growing tired of outside interference in matters that have no place in politics and legislation. Women’s reproductive health is a personal matter between a woman, her partner and her medical professionals. In red-leaning Ohio, voters established a woman’s right to choose her reproductive options, making it clear that the majority does not support a ban. It goes against America’s grain to ban basic freedoms like reproductive health choices. As Reuters put it: “Tuesday’s victory by Democratic incumbent Gov. Andy Beshear in Kentucky over a well-regarded Republican opponent, the passage in

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Republican-voting Ohio of a constitutional amendment guaranteeing abortion rights and Democratic wins in the battleground state of Pennsylvania showed the overall strength of Biden’s party.”

This comment leads me to question the results of recent polling that have suggested President Joe Biden is trailing Trump in key swing states. After all, this is the first presidential administration that has had to endure a vengeful former officeholder incessantly taking metaphorical swings at the current officeholder.

We have no precedent regarding the impact of Trump’s negative comments and social media influence on polling results. It is clear that Biden’s legislative victories and economic policies are methodically and carefully positioning our country for continued success, despite the instability in the world and the deepening chasm between the extreme political positions in our country. Biden has made it a foundational goal of his administration to bridge this divide and speak to the commonalities among us all, and he has made good progress toward that goal during his first term. These recent election results reflect this — people are tired of extremes. As the conservative-leaning editorial board of The Wall Street Journal even commented: “Democrats are buoyant about their Tuesday night election showing, and why not?

They handed Republicans another drubbing with their twin issue set of abortion rights and fear and loathing of the MAGAGOP. Republicans have a brand perception problem.”

Time will tell, but these election results are the first sign that, despite what someone may answer on a polling question, the voting booth is where it really matters: People are tired of extremes. President Biden said it best in his short-and-sweet social media post after the election results were counted: “Across the country tonight, democracy won and MAGA lost. Voters vote. Polls don’t. Now let’s go win next year.”

Bill Freeman Bill Freeman is the owner of FW Publishing, the publishing company that produces the Nashville Scene, Nfocus, the Nashville Post and The News.

EDITOR-IN-CHIEF D. Patrick Rodgers MANAGING EDITOR Alejandro Ramirez SENIOR EDITOR Dana Kopp Franklin ARTS EDITOR Laura Hutson Hunter MUSIC AND LISTINGS EDITOR Stephen Trageser DIGITAL EDITOR Kim Baldwin ASSOCIATE EDITOR Cole Villena CONTRIBUTING EDITORS DRINKING: Erica Ciccarone, Jack Silverman a flight at Diskin Cider STAFF WRITERS Kelsey Beyeler, Logan Butts, Stephen Elliott, Hannah Herner, Hamilton Matthew Masters, Eli Motycka, Nicolle Praino, William Williams CONTRIBUTING WRITERS Sadaf Ahsan, Ken Arnold, Radley Balko, Ashley Brantley, Maria Browning, Logan Butts, Steve Cavendish, Chris Chamberlain, Rachel Cholst, Lance Conzett, Hannah Cron, Connor Daryani, Steve Erickson, Adam Gold, Kashif Andrew Graham, Seth Graves, Kim Green, Amanda Haggard, Steven Hale, Edd Hurt, Jennifer Justus, P.J. Kinzer, Janet Kurtz, Christine Kreyling, J.R. Lind, Craig D. Lindsey, Sean L. Maloney, Margaret Littman, Brittney McKenna, Marissa R. Moss, Noel Murray, Joe Nolan, Betsy Phillips, John Pitcher, Margaret Renkl, Daryl Sanders, Jason Shawhan, Nadine Smith, Ashley Spurgeon, Amy Stumpfl, Kay West, Andrea Williams, Nicole Williams, Ron Wynn, Charlie Zaillian ART DIRECTOR Elizabeth Jones PHOTOGRAPHERS Angelina Castillo, Eric England, Matt Masters GRAPHIC DESIGNERS Sandi Harrison, Mary Louise Meadors, Tracey Starck PRODUCTION COORDINATOR Christie Passarello GRAPHIC DESIGN INTERN Kylie Taylor FESTIVAL DIRECTOR Olivia Britton MARKETING AND PROMOTIONS MANAGER Robin Fomusa PUBLISHER Mike Smith ASSOCIATE PUBLISHER Michael Jezewski SENIOR ADVERTISING SOLUTIONS MANAGERS Carla Mathis, Heather Cantrell Mullins, Jennifer Trsinar, Keith Wright ADVERTISING SOLUTIONS MANAGERS Teresa Birdsong, Maddy Fraiche, EATING: at The Inka Trailer Kailey Idziak, Allie Muirhead, Niki Tyree, Alissa Wetzel SALES OPERATIONS MANAGER Chelon Hill Hasty ADVERTISING SOLUTIONS ASSOCIATES Audry Houle, Jack Stejskal SPECIAL PROJECTS COORDINATOR Susan Torregrossa PRESIDENT Mike Smith CHIEF FINANCIAL OFFICER Todd Patton CORPORATE CREATIVE DIRECTOR Elizabeth Jones IT DIRECTOR John Schaeffer CIRCULATION AND DISTRIBUTION DIRECTOR Gary Minnis FW PUBLISHING LLC Owner Bill Freeman

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NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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11/13/23 5:29 PM

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

NEWS PITH IN THE WIND

REPUBLICAN LEADERS CONSIDER REJECTING FEDERAL EDUCATION FUNDS Tennessee could become the first state to turn down federal education dollars

PHOTO: HAMILTON MATTHEW MASTERS

NASHVILLESCENE.COM/NEWS/PITHINTHEWIND

BY KELSEY BEYELER

MEMORIAL AT COVENANT SCHOOL

NAPIER ELEMENTARY SCHOOL The Biden administration has proposed adding protections for transgender students into Title IX, though nothing has been made official. The considered changes would contradict Tennessee’s 2021 law requiring transgender students to play on sports teams that reflect the gender assigned on their birth certificate, as opposed to their gender identity. In 2021, Tennessee filed a related lawsuit.

The Sycamore Institute published and presented a report on what rejecting federal funds could mean for Tennessee. The report details what the funds are used for, what requirements are attached to them and the questions that would arise should the state reject federal funds.

It also highlights three programs that make up the bulk of federal funding allocation, each with its own set of processes and requirements. Child nutrition programs, which come through the U.S. Department of Agriculture, subsidize the cost of feeding qualifying students but require certain eligibility and food standards. Title I of the Every Student Succeeds Act supports students from low-income families through additional funding, but requires states to create a range of academic assessments, standards and accountability models, and Tennessee has had compliance issues with these testing requirements. The Individuals with Disabilities Education Act supports students with disabilities by requiring a “free appropriate public education”

— schools must create and follow individualized education plans, among other measures, to comply with these standards.

Broader requirements attached to federal funding include those of Title IX, and Title VI of the Civil Rights Act of 1964, which “bars discrimination based on actual or perceived race, color or national origin.”

Some of these assurances, such as protections for English learners and students with disabilities, would still be required through, for instance, the 14th Amendment, the Equal Educational Opportunities Act and the Americans with Disabilities Act — but the absence of federal funding would mean less accountability.

“That’s very scary,” says Candice Ashburn, a parent of a special education student. “When I think about layers of protections being taken away — because we don’t get what we need even with the current levels of protection. …

In Williamson County, we have to fight every single day to get our kids in special education — who are supposed to have the protection of the [Individuals with Disabilities Education Act] — to get what they deserve. And I’m in, supposedly, a county that is resourced.”

Ashburn continues: “I don’t trust them when they say, ‘We’ll cover it.’ … You can’t ask people to make budgets and plans based on the hypothetical ‘We’ll cover it.’”

Matt Masters contributed to this reporting. ▼

PHOTO: HAMILTON MATTHEW MASTERS

Images of three handwritten pages attributed to Covenant School shooter Audrey Hale were leaked somewhere between Metro police, the mayor’s office, Metro lawyers and two courtrooms, according to a memo from the city’s head lawyer Wally Dietz. MNPD Chief John Drake confirmed the images’ authenticity after conservative media host Steven Crowder released them online. Davidson County Chancery Court Judge I’Ashea Myles sealed the documents in May. Conservative commentators and politicians have argued that the journal should be understood as evidence of a motive, beyond just disjointed ramblings. Covenant School parents have pleaded to keep them out of the media.

PHOTO: DANIEL MEIGS

“IF YOU WANT to know how to make the left mad, just tell them you’re not gonna take federal money, or you don’t want to take federal money.”

That was state House Speaker Cameron Sexton (R-Crossville) at an Oct. 25 meeting for the Republican Women of Williamson County. Not long before, Sexton and Senate leader Lt. Gov. Randy McNally (R-Oak Ridge) called a joint task force to consider rejecting more than $1 billion in annual federal education funding. The committee, composed of eight Republicans and two Democrats, is tasked with gathering related information to determine the feasibility of turning down federal dollars and creating “a strategy on how to reject certain federal funding or how to eliminate unwanted restrictions placed on the state due to the receipt of such federal funds” to present to the General Assembly in January.

“There is no precursor to the outcome of what this committee is going to do,” said task force co-chair Sen. Jon Lundberg (R-Bristol) during his opening remarks — though he later expressed frustration that those testifying were being “defensive” about the matter. State leaders have said rejecting the funding wouldn’t mean schools have to go without it, as the state could replace the federal money with its own.

In its first week, the task force heard from Tennessee’s Office of Research and Education Accountability and the legislature’s Fiscal Review Committee, along with think tank The Sycamore Institute, Tennessee school leaders and the National Conference of State Legislatures.

According to Lundberg, the U.S. Department of Education was scheduled to testify, but declined to attend the meeting, instead offering only “technical assistance.” But as reported by Kimberlee Kruesi of the Associated Press, according to a DOE spokesperson, they were never invited.

No state has ever rejected federal education funds, and so the financial and procedural implications of this monumental move are unclear.

A major question lawmakers are discussing: What strings are attached to federal education funds, and how do they affect schools? It’s a question that four school leaders from across the state declined to answer when asked by Sen. Raumesh Akbari (D-Memphis). They focused instead on the many costs that arise within districts, and the need to address them through dedicated — and increased — funding. Republicans often mention the so-called strings, but in committee meetings they’ve never stated exactly what they’re worried about. Sexton, however, mentioned Title IX as one of the concerns at the October Republican Women of Williamson County meeting.

Title IX of the Education Amendments of 1972 “prohibits discrimination based on sex.”

Crowds at Centennial Park gathered for the second Saturday in a row to call for a cease-fire in the escalating war in Gaza. Palestinian terrorist group Hamas on Oct. 7 killed 1,400 Israelis, triggering a sustained counterattack on Gaza by Israel.

A month of bombings, evacuations and raids has cost both sides substantial civilian and military casualties, displacing thousands more in the area’s densely populated occupied territories. Tennessee’s Sen. Marsha Blackburn recently accused Democratic U.S. Rep. Rashida Tlaib, a Palestinian from Michigan, of supporting genocide against Jewish people.

The Metro Council debated license plate readers and new appointees to the Continuum of Care Homelessness Planning Council in its first November meeting. Nearly a year into its experiment with LPRs, the council is still struggling with its stance on regulation and oversight. Legislation from Councilmember Emily Benedict seeks to clarify when cameras are and are not in use around the city. Councilmember Courtney Johnston continues to ascend as the city’s contrarian conservative. Johnston is one of the vice mayor’s three appointees for the homelessness council, and a chief critic of how the Community Foundation of Middle Tennessee spent tornado relief money from 2020.

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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11/13/23 4:49 PM

NEWS: STREET VIEW

WHAT ARE HISTORIC OVERLAYS PROTECTING? Housing advocates say overlays have negative consequences beyond just accidental violations

BY LENA MAZEL

ON OCT. 18, the Metro Historic Zoning Commission held its monthly meeting to discuss a number of permit applications and violations.

Among the violations was a green garage at 3806 Central Ave. in the Richland-West End neighborhood belonging to Ben and Amy Rosenblum.

The Rosenblums’ garage looks like many other garages on their street: It’s a similar color to a garage at 3804 Central Ave., and has a similar design. But it’s also in a conservation overlay district, which means there are strict rules about property height. Because the Rosenblums’ garage’s eaves were 17 inches taller than the ones in plans approved by the Metro Historic Zoning Commission, the body issued a violation notice.

At the hearing, Metro told the Rosenblums that they could either change the height of the structure — a representative for the Rosenblums estimated this would cost about $100,000 — or remain in violation. According to the MHZC website, the next step would be appearing in environmental court or presenting their case to the MHZC with new information.

The Rosenblums were out of the country at the time of their hearing; Ben’s dad, Martin Rosenblum, flew in from Pennsylvania to represent the family.

Martin was in a unique position to speak to the commission: He has worked as a restoration architect for more than 50 years and specializes in historic preservation. He tells the Scene his interaction with the MHZC left him disillusioned about his work. “I called my colleagues and I said, ‘I don’t think I can do this anymore,’” Martin says. “That is how distressed I felt looking from the other side.”

“I tried to point out what I felt were not solid interpretations as someone who has done this my whole life and presented to numerous historical commissions … and they just didn’t agree.”

Martin says his son’s oversize garage was an error the family didn’t catch in time. This type of error is a fairly typical occurrence in historic overlay districts. Robin Zeigler, the historic zoning administrator for the MHZC, explains that many zoning violations come from lack of knowledge about the process.

“The applicant doesn’t always pass on the preservation permit to the contractor, which can result in unintended violations,” says Zeigler. “Contractors don’t always know to ask for the preservation permit from their client or to seek it online.” She says the MHZC has been holding contractor education courses online to combat accidental violations.

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PHOTO: ERIC ENGLAND

Street View is a monthly column in which we take a close look at development-related issues affecting different neighborhoods throughout the city.

3806 CENTRAL AVE. GARAGE At the commission meeting, Martin Rosenblum asked the MHZC for an exemption to keep the garage as is. During the public comment period, a Richland-West End Neighborhood Association representative urged the commission to issue the violation. They referenced a similar case at 3709 Central Ave., where the commission voted to have homeowners rebuild a similarly oversize garage.

“It is disappointing and frustrating that homeowners are building structures in violation to the guidelines,” reads the neighborhood association’s statement. “We as residents recognize the financial impact of having to correct violations. However, if the historic guidelines are to have any merit, the guidelines are to be adhered to.”

After hearing statements from both sides, the commission voted to issue the violation. The Rosenblums would have to rebuild the too-tall second floor and dormer, or appeal.

Nashville has eight historic preservation overlays and 27 less-restrictive neighborhood conservation zoning overlays. In both types of zoning, residents must apply for permits from the Historic Zoning Commission before building, modifying or demolishing any property. There are also guidelines about building heights, materials, windows, blinds and more. Nashville established its first Zoning Commission in 1974; that commission became the MHZC in 1977, and Edgefield became the city’s first historic overlay in 1978. Other neighborhoods soon followed throughout the 1980s and 1990s.

The MHZC’s handbook lists various benefits of zoning, like giving neighborhoods more stable property values, protecting urban housing stock

and conserving building materials. And sometimes, of course, overlays can prevent the creep of imposing development. But some housing advocates point out that overlays have negative consequences beyond the accidental violations.

One local developer, who requested anonymity, questioned whether the supposed benefits of overlays truly help the Nashville community.

“What are the trade-offs and what are the costs that we are paying as a city to have nice little Craftsman neighborhoods?” he asks. “These overlays are severely restricting the ability to produce housing in the most desirable neighborhoods — the neighborhoods that we really need to produce housing in.”

Historic zoning regulations have also in some cases prevented sustainable development. In April, Belmont-Hillsboro overlay regulations prevented a Nashville-based physics professor from completing plans for a highly energy-efficient “Passivhaus” because the energy-saving plans required external Venetian blinds. While the blinds would have significantly minimized the house’s environmental impact, the MHZC did not approve their construction because of overlay rules.

Martin Rosenblum also questions how sustainable conservation zoning can really be. “It’s not green if you ask someone to tear off a roof that was just built,” he says.

The Scene’s unnamed source also points out that the MHZC has sole authority over the permitting process — a lot of power. “MHZC has a total fiefdom over these historic districts,” he says. “There needs to be some sort of check and balance, some sort of democratic accountability for this organization, to try to align the guide-

lines of these historic districts with all of our other planning policy, which they’re often in conflict with.”

Zeigler tells the Scene that applicants can appeal commission decisions in Chancery Court or Circuit Court in Davidson County. The commission can also work with homeowners to “brainstorm alternatives to full ‘deconstruction’ of a violation,” Zeigler says.

Historic zoning has recently been a factor in nationwide discussions about equitable housing and sustainable construction. Some neighborhood groups leverage its protections to restrict development, while others have reinterpreted codes to accommodate new uses.

In Nashville, there’s also a bipartisan movement to update Nashville’s zoning code, as Stephen Elliott has reported via Scene sister publication the Nashville Post. Grievances with the city’s 25-year-old zoning code echo issues over historic overlay zoning: Outdated zoning can prevent developers from creating muchneeded affordable housing, and it can also prevent neighborhoods from adapting to demographic changes.

But updating codes can be a lengthy and complex process. In the meantime, the Rosenblums are working with the MHZC and the Richland-West End Neighborhood Association to reach some sort of compromise about their slightly oversize garage — one that hopefully won’t cost them $100,000.

“We were shocked, we were taken aback, and we are trying to work it out,” says Martin Rosenblum. “This is not exactly the welcoming committee that one would want to build a sense of community.” ▼

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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PASSENGERS HIT NASHVILLE International Airport’s growing pains well before checking bags or fumbling for a driver’s license in the security line. During peak hours on either side of the weekend, airport traffic clogs Exit 216A hundreds of yards up I-40 East. In a pinch, you might even see a desperate traveler saddled with luggage walking the highway ramp.

Airport planning documents refer to I-40 as an “incompatible object” that is outside the airport’s control — one of many stumbling blocks the airport contends with as it scrambles to update, upgrade and scale facilities to meet explosive demand. In December, Metro sold $600 million in bonds to support the airport’s breakneck expansion plans. A revamped main terminal, massive new garages, an on-site Hilton hotel and the new Concourse D are Nashville’s latest offerings, the culmination of “BNA Vision 1.0,” the $1.3 billion overhaul laid out in 2017 to keep BNA on pace as a modern metropolitan airport. A new six-gate international terminal pairs well with Nashville’s ambition to land more nonstop flights around the world, specifically direct flights to Asia, a goal that’s eluded BNA because its runways aren’t quite long enough.

Other renovations included a light rail station on top of Terminal Garage 1, a key hookup that could introduce the city to rail transit and relieve the I-40 traffic crisis that’s getting worse by the year. “The status of a future light rail is currently unknown,” BNA documents read, a polite way of saying that there is a need and an opportunity but no plan.

Knee-deep in a generational moment, BNA’s board has lost two veteran board members, Bobby Joslin and Jimmy Granbery, amid an ongoing governing battle for airport control. After state lawmakers moved to create their own MNAA Board of Commissioners in the spring, Joslin and Granbery — both prominent conservative businessmen in Nashville — jumped ship, betting on state lawmakers’ dubiously legal takeover attempt.

“I don’t want to say anything that might add more fuel to this fire,” Joslin tells the Scene, referring to the ongoing court battle. “Let’s wait and let the big guys handle it.”

Granbery did not return a request for comment left with his PR firm.

A three-judge panel sided with the city in a 36-page decision handed down on Halloween.

Nashville’s airport board is a domain of the city government, judges decided, and enjoys Home Rule protections from targeted legislation passed by the state. It was another win for Metro Legal’s Wally Dietz and a valuable precedent as the city fights an extremely similar case to keep control of its sports authority. The dual-board crisis also got the city crossways with the Federal

Aviation Administration, which alluded to BNA’s operating certificate in a letter sent to the city and state in the spring.

“Director Dietz clearly believes that those two members, in joining the other board, vacated their seats and has conveyed such to those individuals,” Mayor Freddie O’Connell told reporters in early November. “At this time, we would expect there are two vacant seats, and that is how this administration is assessing the situation.”

O’Connell’s office has not yet offered any names to the Metro Council to replace Joslin or Granbery. Both are still listed as board members on the airport’s website.

Meanwhile, BNA is busier than at any point in its 86-year history. The airport fully bounced back from a COVID-era decrease in air travel, serving nearly 22 million passengers in 2022, up from 18.5 million in 2019. Nashville does it all with relatively few gates — just 43 compared to Salt Lake City’s 71 or Baltimore’s 72, the country’s next two busiest airports. Nashville is firmly the territory of Southwest Airlines, which announced Nashville as a crew hub earlier this year and controls 53 percent of market share at BNA. Additional upgrades (including a second terminal) plan for 31 million annual passengers, the airport’s next big target.

“Are you going to start the next ‘Fortune 500’ company in a city with no air service, or one flight a day, to Orlando?” says Ganesh Sitaraman, a law professor at Vanderbilt University who has spent the past year writing a book explaining the importance of air travel to American cities. “People need to get to you. Employees need to be able to go home for Thanksgiving. Your suppliers need to get to you. Places need basic transportation services in order to grow and flourish.”

Sitaraman’s new book, Why Flying Is Miserable: And How to Fix It, explains how deregulation in the 1980s turned a stable airline industry into today’s much-hated oligopoly marked by spotty service and unpredictable fares. Air travel, he argues, can define the success of a city in today’s national and global economy. A bustling international airport goes hand in hand with a thriving metropolis.

Airlines run six nonstop flights from Nashville to New York City and five to LAX on a given day, as well as regular direct flights to Cancun, London and, seasonally, Yampa Valley, a regional airport in Colorado ski country. BNA has also signaled its intention to expand nonstop air service to Europe, Asia, Latin America and beyond. Connections to national and international centers of business and wealth reflect a city’s clientele. Seen through its airport, Nashville is punching above its weight.

To stay on course, city leaders have to steer BNA through a little bit of turbulence. ▼

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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11/13/23 4:50 PM

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NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

PHOTO: ANDY POLLITT

ON A

ROLL

How Antioch’s own Jelly Roll went from handing out mixtapes to taking home the CMA Award for New Artist of the Year

BY SEAN L. MALONEY

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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11/13/23 4:40 PM

IN NEAR DARKNESS, a local rapper stands on a Nashville stage. Backlit, he cuts an imposing figure, broad-shouldered and burly.

The lights come up to reveal a robe-clad chorus and a black-clad band behind Antioch native Jason “Jelly Roll” DeFord, his face tattoos and and mullet-hawk hairdo looking more Rock Block than Music Row — his leather jacket and flashy jewelry looking more Hickory Hollow than Green Hills. The seriousness of the mise-enscène is undercut by the ear-to-ear smile across Jelly Roll’s face.

Tonight are the 2023 CMA Awards at Bridgestone Arena, and DeFord is nominated for five awards: Music Video, Male Vocalist, Musical Event, Single and — in a delightfully ironic turn for a guy who has been grinding for more than two decades — New Artist of the Year. His circuitous route from the shores of Percy Priest Lake to country music’s biggest stage was long and hard, stacked with tragedy and challenges, prison stints, addiction and death. The fact that DeFord is alive at 38 goes against the odds, and the fact that he’s standing onstage, arm in arm with Wynonna Judd, singing his hit “Need a Favor” seems nothing short of miraculous.

“[IT’S THE] SAME approach that I’ve had from being a 15-year-old kid passing out fucking mixtapes in Antioch High School to right now, same approach,” DeFord tells the Scene by phone from the road. He’s on his way to show 50 of 55 on the Backroad Baptism Tour, a tour that has seen him sell out amphitheaters and arenas across the country. “Dealing with people the same way.

Creating relationships, loving all people, fucking just being who I am at all the time.”

DeFord’s Nashville roots are as deep as his success is unlikely. The first decade of his career was spent deep in the Tennessee hip-hop underground, during an era when the Nashville industry was dismissive if not openly hostile to hip-hop, homegrown or not. The outside world was not much more receptive to the idea of rap from the country music capital of the world. He was making stark, dark, confrontational Southern hip-hop while critics — this one included — were enamored with shutter shades and Daft Punk samples.

This decade of DeFord’s creative life was bookended by periods of incarceration — at age 16 for aggravated robbery and again at 23 for selling drugs — that only added to the challenge. Any gains made in street cred were diminished by the state-mandated restrictions on travel and economic access, two essential things for launching a long-shot career in music. But DeFord was still out there hustling, grinding — if you participated in Nashville nightlife at any point during the Aughts, he likely put a flyer in your hand.

“The wildest place I’m at in my life, Sean, is that I am making — I don’t even know how to talk about it — weird amounts of money to do something I’d do for free,” says DeFord. “We were losing money passing out [CD-Rs] out on Demonbreun Street, in front of Tin Roof when it first opened. Just trying to make [flyers], putting

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them on car windshield wipers and windows and fucking passing them out hand to hand.

“You were trying to get 50 people to come see you at the Kung Fu Coffee House — aka The Muse, which is now a fucking paint store and a Domino’s.”

The pride you hear in his voice when talking about performing at off-the-beaten-path venues like the now-shuttered Playing Field in Antioch or the long-running Rivergate saloon Silverado’s — “we played all those Tennessee clubs” — belies that fact that one year ago he sold out Bridgestone Arena, the same venue that hosted last week’s CMA Awards. Part of the reason this year’s Whitsitt Chapel — Jelly Roll’s latest, and his first foray into country music — is so successful as a work of art is because the songs and the album exist within these places, out of the way and off the radar.

The real Whitsitt Chapel is out by Percy Priest, off Bell Road, about as far from the downtown centers of fashion and power as you can get while still in Davidson County. The same can be said of the album’s spiritual center. “Need a Favor,” the January 2023 single that hit No. 1 on the Billboard Country Airplay and Hot Rock & Alternative Songs charts, is a stadium-sized singalong of gutter bravado and desperation, wavering faith and existential examination. It’s also a testament from a dude that done fucked up.

“Behind Bars,” a country-rap collaboration with Brantley Gilbert and DeFord’s longtime creative foil Struggle Jennings, feels like the last day of probation, a gallows-humor offering at once worried and relieved. And “Save Me,” which features fellow breakout star Lainey Wilson, is the kind of tear-in-my-beer belter that made this city great; it’s an anthem for anyone who has ever closed out a small-town karaoke night while trying not to cry. Throughout Whitsitt, country, rock and hip-hop moments break bread with classic revival inspirations and contemporary praise-and-worship underpinnings. It all feels more real, more connected to a place and time and people than the “Saturday nights dancing in headlights” stories we typically hear on country radio.

Genre is more about the industry’s need to organize product than a reflection of actual listeners’ actual listening, so Whitsitt Chapel popped off like buckshot, scattering songs all over the Billboard charts. Songs from the album ended up on the Hot 100, Hot Alternative and Hot Country charts, along with the aforementioned history-making twofer — “Need a Favor” landing in the top spot on both the Country Airplay and Hot Rock & Alternative charts. And just days before this story went to press, DeFord was nominated for a pair of Grammys — one for Best New Artist, and another for Best Country Duo/Group Performance for his collaboration with Wilson.

Not bad for a dude who sold his homemade rap CDs outside the Percy Priest Mapco.

“If they would’ve had a ‘Least Likely to Succeed’ in Cameron Middle School, I probably would’ve made it, you know what I’m saying?” says DeFord. “I’m having the time of my fucking life out here. I’m having a ball. It’s true.

It’s a real thing. I think that God blessed me,

y e n o m g in s lo e r e w “ We t u o ] s R D C [ t u o g in s s pa t, in e e tr S n u e r b n o m e D n o t s r fi it n e h w f o o R in T f front o ke a m to g in y tr t s Ju . d e n ope n o m e th g in tt u p , ] s r e y fl [ d n a s r e ip w ld ie h s d in car w g in s s a p g in k c fu d n windows a ” . d n a h to d n a h t u o them

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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11/13/23 4:41 PM

NOVEMBER 20

JANUARY 11

MARCH 20

CHRISMAS 4 KIDS

WITH SHENANDOAH, PHIL VASSAR,

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NOVEMBER 22

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JUNE 21 & 22

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DECEMBER 1 & 2

MARCH 1 & 2

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THE MAVERICKS

RANDY ROGERS BAND

O.A.R.

CHAPEL HART & MORE

WITH BLONDSHELL

WITH HOGSLOP STRINGBAND (12/1) AND MAGGIE ROSE (12/2)

ON SALE FRIDAY AT 10 AM

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EARL SCRUGGS’ 100TH BIRTHDAY CELEBRATION

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BRAD WILLIAMS

WITH LIVING COLOUR

ON SALE FRIDAY AT 10 AM

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NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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11/13/23 10:07 AM

“YOU WANT TO be a good songwriter, you start getting good around song 600, 700,” DeFord tells the Scene. “Same thing with shows, man. You don’t really understand how to work a crowd or what is and isn’t corny until you’re 500 in.”

A little more than a decade ago, DeFord was undergoing a rapid creative transformation.

Shortly after leaving the prison system for the second time, armed with a GED and a sense of urgency, he signed with Hypnotize Minds, the legendary Memphis label founded by DJ Paul and Juicy J. He released Year Round with Bluff City rapper Lil Wyte and BPZ. It was the first of three albums with Lil Wyte. There were also collaborations with fellow local rapper Haystak, and then, of course, there was The Big Sal Story.

That was the project where we really started to see glimpses of the enormodome-ready Jelly Roll we know today.

“The fact is that as I got older, I fell in love with the guitar, and I fell in love with the piano, and I fell in love with producing records,” DeFord explains. “I fell in love with the music side of things.”

The 2017 album Addiction Kills was the one that pointed toward DeFord’s future, a complicated take on a phenomenon that devastates country and city alike. DeFord dove deep into our city’s top export, country music, for four Willie & Waylon volumes with fellow product of the Tennessee corrections system Struggle Jennings.

After making still more solo albums, a decade out of lockup he’d established a sustainable career as an independent musician, built from internet savvy and boots on the ground.

And then “Save Me” happened. First released in June 2020, it’s a sparse and distraught song about struggling with addiction, grief and loss, and its rawness embodies the zeitgeist-defining desperation we were all feeling that summer. Something about the line, “All of this drinking and smoking is hopeless,” connected with an America that had been stuck at home, drinking and smoking for months. A live-performance video of “Save Me” shot at Sound Emporium Studios on Belmont Boulevard went on to generate 199 million views on YouTube and set the stage for a new decade of creative and commercial success.

“When I was in my jail sentence at CCA, I was in a program called Jericho by the Men of Valor,” says DeFord. “It’s a Christian faith-based program [that was] on Harding Place at the time, and I’ll never forget, there was a conflict in the dorm one day, and the head guy whose name was Kirk Campbell, walked in and he said, ‘Look y’all, I want to be clear about this. If I put 60 of the biggest pastors in America in this room and they slept together, ate together and lived together the way y’all do, there would be a fight.

For sure.’ And when he said that, that was such a real thing. He’s like, that’s just the nature of being in a submarine together.”

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PHOTO: ANDY POLLITT

because if God would’ve gave me this success and this platform 10 years ago, I’d have died of a drug overdose.”

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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DeFord takes serious pride in steering his huge ship. The Backroad Baptism Tour had a small army of 68 people traipsing with him across the country, and he brags about bringing a registered nurse on tour and keeping his crew and artists healthy on the road. He’s an artist who did everything himself for so long that being a good boss and crewmate is important, and he wants to make sure everyone — from the audience to venue staff — is having a good time. He is both Phil Margera and Bam Margera rolled into one, at once the wild child and the exasperated dad.

“Dude, we’re 11 weeks into a five-showa-week tour, and everybody’s still very harmonious,” DeFord says. “And if you’ve ever been a part of a tour like this, there’s normally a fistfight that’s happened in the parking lot by now.”

“I come from a culture where they used to use the term, ‘There’s no big I’s and no little you’s.’ I don’t know if you’ve ever heard that term. But it’s ‘no big me, small you’ thing. I feel like everybody should be treated the same way on a tour, and that’s important. It keeps the morale up. “

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FAST-FORWARD TO the first Monday in November, and DeFord is firing on all cylinders. He’s at Bridgestone, this time rehearsing for the CMAs, where he’ll be in the opening and closing numbers. He’s nominated for five awards — second only to his “Save Me” remix partner Lainey Wilson, who’s up for nine. The Scene has managed to score 15 minutes of junket time from a major television network’s promotional apparatus, and you can almost hear the quizzical looks from his handlers as we deep-dive into the history of Smyrna and La Vergne youth sports.

“I did that toy drive at the Antioch [Walmart] location, four minutes from the La Vergne [city limits], and I was talking to the store manager,” says DeFord. “I said, ‘You want to know how old I am?’ He said, ‘How old?’ I said, ‘I remember when this was a slab of dirt.’”

DeFord has been home from tour for a couple weeks, but he’s been busy launching the ambitiously named “Biggest Toy Drive in Nashville History.” He’s playing pop-up shows in Walmart, where his admission is a toy donation, cramming in a mini tour for charity before he heads out to the East Coast to headline iHeartMedia holiday shows. DeFord, who throws money at good causes like rock stars of yore threw televisions from hotel rooms, is a frequent visitor to juvenile offender programs and does a lot of prison outreach. He even paid to send a high school softball team to a tournament just because he saw them selling pizzas to raise money for airfare.

“I just think I’m so blessed I should be a blessing,” says DeFord. “I came from charity. I’ve been in the car that went to the food bank at the local church. … I’ve been indigent. I’ve been on the free lunch program. I’ve been into these things. I’ve been in jail. I’ve had to have a public defender. I couldn’t afford a lawyer. You get in

these situations in life.”

“My first Christmas home in 2009 when I got released from jail … I had a newborn daughter, a little bit over a year old, almost 2, and I couldn’t afford any Christmas presents,” he says. “I was living in a halfway house, and mentors donated gifts to that halfway house for our children. So I remember taking a car full of stuff that I didn’t buy for my daughter to drop off at her house with my name on it.”

DeFord is passionate about doing good things with the “weird” money that has stacked up since “Save Me” launched him into the stratosphere, and you can almost hear his Music Row, media-trained politeness strained to capacity when he talks about celebrities who do the bare minimum for charity. (“Quit being a cheap fuck. You’re a millionaire. Write a check.”) He talks about helping at-risk kids and what we as a music community can do to help (“We’re going to live to see that generation be our mayor — we need to start investing now”) before his publicist chimes in to keep us on topic and on schedule.

“So it’s a big night,” he says. “It’s going to be a lot of Jelly happening, man. Even if I lose, they still got to hear my name called five times.

[Laughs] We won being here, dude. The fact that we’re in the building was a win.”

“NASHVILLE! I ONLY got a second, and I’m gonna say a lot.”

That’s how DeFord opened his emotional one-minute speech accepting the New Artist of the Year trophy on Nov. 8. Beyond his show-opening performance with Wynonna Judd, who sounded incredible but looked like she needed a great big hug, DeFord would sing twice more, once with K. Michelle and once in the final performance. His “Save Me” duet partner Lainey Wilson took home the big trophy (Entertainer of the Year), but the hometown homeboy would not leave empty-handed. A long and winding journey from juvenile offender to unlikely country star culminated with DeFord onstage, surrounded by his team, clutching his trophy.

“There is something poetic about a 39-yearold man winning new artist of the year,” DeFord declared from the Bridgestone stage, just a short distance from Demonbreun Street — where he once spent so much time putting flyers in hands. “I don’t know where you’re at in your life or what you’re going through, but I want to tell you to keep going, baby. I want to tell you success is on the other side of it. I want to tell you it’s gonna be OK. … What’s in front of you is so much more important than what’s behind you.”

As he speaks, you can hear the adrenaline in his voice, pumping up each phrase with revival-preacher energy until it feels like the whole room is ready to explode. All of the hustle and hard work, from selling CD-Rs to conquering country radio, nearly two-and-a-half decades of forward momentum, has been building toward this moment.

“Let’s party, Nashville!” ▼

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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11/13/23 4:41 PM

WITNESS HISTORY This 1968 Fender Telecaster was played by Charlie Daniels on Bob Dylan’s Nashville Skyline and Self Portrait albums. After moving to Nashville in 1967 and before starting the Charlie Daniels Band, Daniels laid down tracks on recordings by Leonard Cohen, Flatt & Scruggs, Ringo Starr, and more.

From the online exhibit Dylan, Cash, and the Nashville Cats: A New Music City CountryMusicHallofFame.org/Experiences/Calendar/Exhibitions

RESERVE TODAY

artifact: Courtesy of Charlie Daniels artifact photo: Bob Delevante

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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11/9/23 4:43 PM

2023/24 SEASON

WE THIS EKE ND

NASHVILLE SYMPHONY COME HEAR EXTRAORDINARY NOV 17 & 18 | 7:30 PM | LIVE RECORDING

NOV 21 | 7:30 PM

COPLAND, PIAZZOLLA, AN EVENING WITH JEFFREY OSBORNE AND ESTÉVEZ & PEABO BRYSON Nashville Symphony & Chorus | Giancarlo Guerrero, conductor Tucker Biddlecombe, chorus director | Aquiles Machado, tenor Juan Tomás Martínez, baritone | Daniel Binelli, bandoneon

Presented without the Nashville Symphony.

NOV 28 | 7:30 PM | LOW TICKET ALERT

JOHN DENVER:

A ROCKY MOUNTAIN HIGH CONCERT CELEBRATION Nashville Symphony | Jason Seber, conductor Chris Nole, piano | Alan Deremo, bass | Nate Barnes, drums Mack Bailey, guitar and vocals | Jon Conley, guitar and mandolin

COMING SOON TO THE SCHERMERHORN NOV 29 | 7:30 PM Special Event

DEC 4 | 7:30 PM Presentation

“MERRY CHRISTMAS, LOVE” FEATURING JOSS STONE with the Nashville Symphony

SAMARA JOY: A JOYFUL HOLIDAY! Feat. the McLendon Family DEC 5 & 6 | 7:30 PM HCA Healthcare and Tristar Health Legends of Music

HOME ALONE IN CONCERT with the Nashville Symphony

A VERY DAVE BARNES CHRISTMAS

THE JACKSONS

Presented without the Nashville Symphony.

Presented without the Nashville Symphony.

DEC 15 & 16 | 7:30 PM DEC 17 | 2 PM Special Event

DEC 19 | 7:30 PM Presentation

THE HOLIDAYS WITH BOYZ II MEN with the Nashville Symphony

HANDEL'S MESSIAH with the Nashville Symphony & Chorus

JIM BRICKMAN: A JOYFUL CHRISTMAS Presented without the Nashville Symphony.

The Ann & Monroe Carell Family Trust MOVIE SERIES PARTNER

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DEC 18 | 7:30 PM HCA Healthcare and Tristar Health Legends of Music

Presented without the Nashville Symphony.

DEC 1 & 2 | 7:30 PM DEC 3 | 2 PM Amazon Movie Series

THANK YOU TO OUR CONCERT PARTNERS

DEC 8 | 7:30 PM Presentation

Giancarlo SCENE Guerrero, music director NASHVILLE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

NashvilleSymphony.org/Tickets

MUSIC LEGENDS PARTNER

WITH SUPPORT FROM

CRITICS’ PICKS: WEEKLY ROUNDUP OF THINGS TO DO Visit calendar.nashvillescene.com for more event listings

MUSIC

FRIDAY, NOV. 17 [PIPE DOWN!]

MIA X ALLY

Violin and bagpipes! That’s the pitch for Mia x Ally, two musicians who found individual success as performers and content creators, teamed up for a series of viral TikTok posts and are now on tour together throughout the U.S. The whole thing sounds a bit gimmicky at first, and their choice of songs doesn’t exactly help. Their best-known covers include tracks like “Free Bird,” “Cliffs of Dover” and “Through the Fire and Flames” — all of which, coincidentally, have featured in Guitar Hero games. First of all, though, those songs are fun! Is it a crime to have fun?

Second of all, both are legitimately talented musicians who have a genuine passion for their instruments. Mia Asano plays the more familiar violin, so her talent is perhaps more immediately obvious, but Ally CrowleyDuncan is a highly decorated competitive bagpiper. (Yes that is a thing.) They may become a sort of a Gen Z version of Lindsey Stirling, who found fame on YouTube and America’s Got Talent as the “hip-hop violinist” in the early 2010s but has leveraged that viral stardom into a long-running music career.

Also, before you ask: Of course Mia x Ally play “I’m Shipping Up to Boston” — it’s the name of their whole tour. COLE VILLENA 8 P.M. AT EASTSIDE BOWL 1508 GALLATIN PIKE S.

MUSIC

THURSDAY / 11.16

ARTIST’S PERSPECTIVE: DEREK FORDJOUR PAGE 22

BUCHANAN ARTS’ TREE-MENDOUS HOLIDAY FUNDRAISER PAGE 24

TECH N9NE & HOLLYWOOD UNDEAD PAGE 26

[RETURN OF THE PREACHERMAN]

ROD McGAHA

Nashville jazz fans will get a rare treat Thursday night when acclaimed trumpeter Rod “Preacherman” McGaha appears at the Jazz Cave at Nashville Jazz Workshop. The Chicago native studied under the legendary trumpeter and flugelhornist Clark Terry, one of the progenitors of the St. Louis school of “cool” jazz who influenced Miles Davis, among others. Recalling when he first heard McGaha play, Terry once said, “I got that same feeling I got when I first heard Wynton Marsalis. Some musicians just have that thing.” McGaha has performed with an array of recording stars, such as Lou Rawls, The O’Jays, Max Roach, Kirk Whalum and Take 6.

The trumpeter, whose music draws on a variety of sources, including gospel, funk, R&B and classic jazz, will be accompanied at the Jazz Cave

by Jody Nardone on keys, Rob Linton on bass, Josh Hunt on drums and Don Aliquo on sax.

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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11/13/23 12:56 PM

ARTIST’S PERSPECTIVE: DEREK FORDJOUR

One of the most distinguished artists included in the Frist Art Museum’s Multiplicity is Derek Fordjour. That’s saying something — there are multiple top-tier art-world luminaries on display in the expansive exhibition of contemporary American collage. Still, Fordjour stands out. Not only is his work great — layered, exciting and singular — but his understanding of the power of art and the role of the artist is exceptional.

In this free talk at the Frist, Fordjour will dig deep into the work he has on display in the exhibition, as well as the public art he recently produced at TSU. Here’s a chance to hear a uniquely brilliant mind discuss his practice, and also his childhood in Tennessee. Don’t miss it.

LAURA HUTSON HUNTER

NOON-1 P.M. AT THE FRIST ART MUSEUM 919 BROADWAY

FILM

FRIDAY / 11.17

MUSIC

McGaha, who has called Nashville home since the early ’90s, is also an acclaimed photographer and visual artist with a current solo exhibition at the Carl Van Vechten Gallery at Fisk University titled Regeneration. DARYL SANDERS 7:30 P.M. AT THE JAZZ CAVE 1012 BUCHANAN ST. [LIFE OF THE TROUBADOUR]

STEPHEN SANCHEZ

Crooning is cool again. Wait, was it ever cool? Was it ever not cool? Either way, Stephen Sanchez, appearing this week at the Mother Church, is a must-see act. Earlier this year, Sanchez released his major label debut, Angel Face — a collection of old-school pop- and rock-ish tunes that transport listeners to a midcentury sound characterized by quivering ballads and pomade-soaked dancers. Sanchez, a 21-year-old Northern California native who called Nashville home in the months ahead of releasing Angel Face, enlisted Music City albummaker Ian Fitchuk (who previously worked with Kacey Musgraves and Joy Oladokun) to produce much of the album. And as a major label debut, Angel Face doesn’t pull punches: It’s a loosely conceptual release about a troubadour seeking to escape the limelight with an unexpected love — the wife of a feared mob boss. The songs come soaked in longing (like alt-rock radio hit “Until I Found You”) and love-at-first-sight moments (like album standout “Evangeline”), a perfect mix for what could be an unforgettable night inside the Ryman. MATTHEW LEIMKUEHLER NOV. 16-17 AT THE RYMAN 16 REP. JOHN LEWIS WAY N.

22

MUSIC

ROD McGAHA

[WHERE THEY TURN BACK TIME]

AL STEWART

The evolution of folk-rock into yacht rock was a defining feature of the 1970s, and it could be that the work of Scottish-born singer and songwriter Al Stewart is the greatest example of that process. Stewart’s 1969 album Love Chronicles bears comparison to contemporaneous efforts like David Bowie’s “Space Oddity” and Fairport Convention’s Unhalfbricking. In fact, Love Chronicles features the backing of members of Fairport Convention, including guitarist Richard Thompson. Jimmy Page adds incisive licks to the album’s title track, an 18-minute examination of sexual love that seems to be the first mainstream rock song to use the word “fucking.” For my money, Stewart enters his classic phase on 1973’s Past, Present and Future, which peaks with one of his most focused compositions, “Terminal Eyes.”

Past, Present and Future fused the styles of The Beatles and Bowie on “Roads to Moscow” and “Terminal Eyes,” the latter a postscript to the Fab Four’s “I Am the Walrus.” His yacht-rock period commenced with the release of 1976’s Year of the Cat, produced by the late, great Alan Parsons, and continued through 1978’s Time Passages, also produced by Parsons. Year of the Cat and Time Passages amount to escapist pop that sounds better than just about anything George Harrison came up with in the ’70s. I don’t care what the songs mean — the decade was all about selling fake profundity to an audience exhausted by the turmoil of the ’60s. EDD HURT 8 P.M. AT CITY WINERY 609 LAFAYETTE ST.

[SENEGALESE MASTERWORKS]

RESTORATION ROUNDUP: SEMBÈNE 100: THREE NEW RESTORATIONS

Next month marks the 100th birthday of Ousmane Sembène, the Senegalese “father of African cinema” who passed away in 2007. To commemorate this centenary, Janus Films has all his movies and shorts available for arthouses and revival theaters to screen. The Belcourt has programmed three films that now have sparkling 4K restorations. While I’ve become the Sembène expert around these parts, I’ve seen only two of the three: Emitaï, a 1971 drama

in which a proud Diola village goes toe to toe with rice-jacking French forces during WWII; and Xala, the 1975 adaptation of Sembène’s satirical novel about a corrupt Senegalese businessman who goes broke trying to cure his erectile dysfunction. But don’t forget about his controversial 1977 drama Ceddo — the religious subject matter of that one got Sembène’s films banned from his homeland. If you want to know why Sembène still remains the motherland’s most provocative filmmaker, you can’t go wrong with this trio. Visit belcourt.org for showtimes.

CRAIG D. LINDSEY

NOV. 17-22 AT THE BELCOURT 2102 BELCOURT AVE.

SATURDAY / 11.18 MUSIC

ART

[COLLAGE KING]

[HOWL RAISERS]

WOLFMOTHER W/FEVER DOG

I first witnessed the mighty Wolfmother in Green Bay, Wis., during the summer of 2007, eight months after their self-titled debut album was unleashed into a cornucopia of fuzzy Aughts rock bands. On that sleepy Tuesday night inside a half-full casino ballroom, the Australian power trio electrified the small but avid audience. “We didn’t even know Wisconsin existed until we looked it up on a map!” announced frizzy-haired frontperson Andrew Stockdale before launching into his signature tirade of blistering guitar riffs and searing vocals. The band’s original lineup, including drummer Myles Heskett and bass player/organist Chris Ross, was ferocious that evening, leaving myself and the rest of the crowd mesmerized. Sixteen years on, only

WOLFMOTHER

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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11/13/23 12:56 PM

A N A L O G AT

HUTTON

HOTEL

PRESENTS

ARKANSAUCE AND FIRESIDE COLLECTIVE

MADISON RYANN WARD SOLD OUT

NOV

NOV

SOLD OUT

ANALOG SOUL

NOV

26 29

DOORS: 7 PM SHOW: 8 PM GA TICKETS: $15 DOS: $20

MADISON RYANN WARD

ANALOG SOUL

NOV

17 18 19

NOV

29

NOV

Arkansauce calls forth melodies of the Ozark Mountains' rolling hills and raging rivers with their distinct blend of newgrass. Joining them, is Fireside Collective, a band that has been on a roll since emerging from the fertile roots music scene of Asheville, North Carolina.

ARKANSAUCE & FIRESIDE COLLECTIVE

31

DEC

DEC

DEC

DEC

DEC

10 ANALOG SOUL 12 ELLA VOS 17 ANALOG SOUL HOROWITZ 19 JOE & FRIENDS NEW YEAR’S EVE SCOTT MULVAHILL & FRIENDS

DOORS: 7 PM SHOW: 8 PM GA ADV: $20 GA DOS: $25

20

FEB

06

FEB

UPCOMING

DOORS: 6 PM SHOW: 7 PM TICKETS: $20

ALL SHOWS AT ANALOG ARE 21+ 1808 WEST END AVENUE, NASHVILLE,

TN

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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*available for private parties!* 3245 Gallatin Pike • Nashville TN 37216 sidgolds.com/nashville • 629.800.5847

Est. 1896

11.16

6PM VINTAGE SOUL NIGHT

11.17

5PM THE MOTONES FREE 9PM BONNIE & THE MERE MORTALS,

11.18

4PM THE DOSSTONES FREE 9PM JOE LENTNER, DNR &

11.19

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SOVIET SHIKSA, CASSETTE STRESS

AMONG THE ENEMY 4PM SPRINGWATER SIT-IN JAM FREE 9PM LOS SWAMP MONSTERS, JESSE RAY & THE CAROLINA CATFISH, PATTY PERSHAYLA & THE MAYHAPS 5PM WRITERS @ THE WATER OPEN MIC FREE

115 27TH AVE N. OPEN WED - SUN 11AM - LATE NIGHT

THU 11.16 SAM DEROSA • TAYLOR BICKETT FRASER CHURCHILL FRI 11.17 TAYLOR ACORN PEOPLE R UGLY • SOLD OUT SAT 11.18 BLUPHORIA • NOAH VONNE • YEARB4 SUN 11.19 LEG! • KAEL JACKSON • CAMPANULA TUE 11.21 ULTIMATE COMEDY WED 11.22 THE DANGEROUS METHOD • SUNGAZE CREATURE COMFORT (SOLO SET) THU 11.26 MILES CONNER • MATTIE LYN AND THE MOCKING DOVES • SWEET LEONA

2412 GALLATIN AVE

24

@THEEASTROOM

[IN CAHOOTS]

TRIBUTE TO THE LAST WALTZ

You can understand why some fans regard the first two albums by The Band as protoAmericana. The quintet’s fusion of loose-limbed style and post-Bob Dylan songwriting — with three songs that Dylan himself had a hand in — on Music From Big Pink caught the ears of record buyers and musicians the minute after it was released in 1968, and the album made stars out of the group. By the time they released their self-titled 1969 album, they had perfected a modernist take on both rock dynamics and North American history that changed the course of popular music — and helped them sell plenty of records. I tend to look askance at anyone who claims The Band helped invent Americana. They were so influential that even The Beatles copped a little of their approach on Let It Be, and any group led by a rock hero as ambitious as Robbie Robertson wasn’t going to be satisfied working on the margins of the music business. Still, I guess you could say The Band provided a blueprint for certain aspects of Americana. Saturday’s show features a stellar cast of Nashville musicians who will pay tribute to the performances director Martin Scorsese captured in his celebrated 1978 film about the band’s final show in their original configuration.

(The Last Waltz will play twice Monday at the Belcourt, and we’ve got more on that below.)

On hand will be all-purpose popster Aaron Lee Tasjan, singer and producer Butch Walker and rock-Americana songwriter Lilly Hiatt, along with a slew of other acolytes of the only band cool enough to call themselves The Band. The show is a benefit for nonprofit Out of the Woods, which funds the rehabilitation and recovery of children who have sustained brain and spinal cord injuries. EDD HURT 8 P.M. AT THE BASEMENT EAST 917 WOODLAND ST.

HOLIDAY LIGHTS AT CHEEKWOOD treat. You can even get a jump on your shopping list at the Holiday Marketplace. (Don’t miss the 9-foot garden-themed ornament wall.) And if you do decide to head indoors for a bit, be sure to check out the mansion’s elegant decor, complete with candy canes, gingerbread and a 20-foot poinsettia tree. AMY STUMPFL NOV. 18-JAN. 7 AT CHEEKWOOD 1200 FORREST PARK DRIVE [ORNAMENTAL BEHAVIOR]

BUCHANAN ARTS’ TREE-MENDOUS HOLIDAY FUNDRAISER

One of the best holiday markets in Nashville is also the most specific. Buchanan Arts’ TreeMendous Holiday Fundraiser features more than 100 ornaments made by some of the area’s most celebrated artists, and it benefits the organization’s free after-school program for young artists. Come hang — you can participate in the local art economy, help some of Nashville’s best art education programs and get a cool ornament for your tree (or cubicle wall, or fireplace mantel). This year’s participating artists include Scene favorites like Alex Lockwood, Paul Collins, Yanira Vissepo, Julia Martin, Lindsey Rome, Gina Binkley, Elizabeth Williams, Sai Clayton, Jana Harper, Wendy Walker Silverman, Lindsy Davis and Vadis Turner, and prices start at $10. Plus, there will be beer provided by Tennessee Brew Works, and snacks from The Urban Juicer. Deck the halls. LAURA HUTSON HUNTER 5-7 P.M. AT BUCHANAN ARTS 1409 BUCHANAN ST.

[’TIS THE SEASON]

HOLIDAY LIGHTS AT CHEEKWOOD

Some of my favorite holiday traditions are those that keep me warm and cozy at home, whether snuggled up on the couch for a classic movie marathon, baking cookies or simply decorating the tree with family. But there’s nothing quite as magical as our annual trek to Cheekwood Estate & Gardens for the Holiday Lights experience. Decked out with more than a million glittering lights and plenty of artful displays, it’s truly a botanical wonderland. You can grab a hot cocoa or some other festive drink and stroll the one-mile walking trail, or perhaps stop by one of the s’mores stations for a sweet

SUNDAY / 11.19 [SKATER’S PARADISE]

SCOTT HAMILTON & FRIENDS: A SALUTE TO ’90s COUNTRY

Olympic medalist, cancer survivor, author and Ohio guy turned Nashville changemaker Scott Hamilton is bringing out an all-star lineup of some of the best figure skaters in the world (literally) for his seventh annual Scott Hamilton & Friends event. Performers include Nathan Chen, Kurt Browning, Elladj Baldé and pairs skaters Alexa Knierim and Brandon Frazier.

PHOTO: NATHAN ZUCKER

PIANO KARAOKE 8:30-12 w/Polina Senderova PIANO KARAOKE 6-9 w/Anna Lee Palmer PIANO KARAOKE 9-1 w/Kira Small SAT 11.18 ANNA LEE PALMER 7-9 PIANO KARAOKE 9-1 w/Benan SUN 11.19 SOUND OF MUSIC SINGALONG 7-8 PIANO KARAOKE 8-12 w/Kira Small MON 11.20 SHOW TUNES @ SID’S 7-9 PIANO KARAOKE 9-12 w/Benan WED 11.22 HAGS REEL TO REEL 6-8 BURLESK 8-9 ($7) PIANO KARAOKE 9-12 w/Ben Easton FRI 11.17

Even if you don’t know the figure skaters, there’s a good chance you know the country stars accompanying the routines — Trace Adkins, Jo Dee Messina, Deana Carter, Steve Wariner and others. If you haven’t gotten the chance to see this awe-inspiring sport outside of the winter Olympics — we have to wait until 2026! — here’s your chance. And if you feel so inspired, check out Hamilton’s ice rink in Bellevue for skate lessons. On top of it all, the proceeds for the event benefit the Scott Hamilton CARES foundation, which funds cancer research nationally. Money more than well spent.

HANNAH HERNER

5 P.M. AT BRIDGESTONE ARENA 501 BROADWAY

COMEDY

THU 11.16 GLEE CLUB w/Benan 7-8:30

ART

EAST NASH V I LLE

MUSIC

*Closed Tuesdays

MUSIC

6 NIGHTS A WEEK!

HOLIDAY

Live Piano Karaoke

Stockdale remains, continuing to captain the revolving members of Wolfmother further into the celestial planes of psychedelic rock on his latest single, the Hendrixian “Stay a Little Longer,” released in April. Coachella Valley’s unabashed glam-rock outfit Fever Dog kicks off the show, sparkly platforms, bell-bottoms and all. JASON VERSTEGEN 8 P.M. AT EASTSIDE BOWL 1508 GALLATIN PIKE S.

[NOW THAT’S WHAT I CALL A DEAD PARROT]

AN EVENING WITH THE LATE JOHN CLEESE

The post-WWII generation of U.K. artists gave the world so many gifts that we still carry with us today. One needs to look no further than the hype around The Rolling Stones’ recent Hackney Diamonds album or the controversial AI-assisted Beatles track “Now and Then” to see that British boomers still have the attention of fans and media alike. And at the age of 84, comedian John Cleese can still pack a theater with multiple generations of obnoxious fanboys. The British comic has been working onstage since 1961 — a year before Mick and Keef joined forces — and has not stopped collecting new accolades for his résumé ever since. Cleese’s work with the Monty Python troupe shattered the parameters of what satire could be, showcasing the dark wit of the rock ’n’ roll generation through their stage show, their stream-of-consciousness Flying Circus television show and a run of madcap surrealist films. As both a star and a black-comic mastermind, Cleese gave the world the BBC workplace sitcom Fawlty Towers, earned an Oscar nomination for the caper A Fish Called Wanda and appeared in iconic canons like James Bond, Shrek and the Muppets. His comedic legacy can be felt in the early SNL sketches, in the absurdist work of Adult Swim and in the endurance of generations of high school nerds saying “It’s just a flesh wound!” Now admittedly nearing the end,

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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11/13/23 12:57 PM

NOVEMBER 18

IV & THE STRANGE BAND

UPCOMING SHOWS AT THE MUSEUM’S CMA THEATER

DECEMBER 5 and 6

DECEMBER 7

GIRL NAMED TOM

ONE MORE CHRISTMAS TOUR

BEER & HYMNS PUB SONGS & CAROLS

SPONSORED BY BLACK ABBEY BREWING COMPANY

DECEMBER 15

RODNEY CROWELL

THE CHICAGO SESSIONS TOUR

DECEMBER 10

SUNDAY SERVICE

DECEMBER 20

DARREN CRISS

DRAG BRUNCH • 1-4 PM

A VERY DARREN CRISSMAS

AGES 21+ ONLY

DECEMBER 21

BIG BAD VOODOO DADDY

BIG BAD VOODOO DADDY’S WILD & SWINGIN’ HOLIDAY PARTY

FEBRUARY 25

November in...

CAT POWER

CAT POWER SINGS DYLAN: THE 1966 ROYAL ALBERT HALL CONCERT

MARCH 5

GEOFF TATE & ADRIAN VANDENBERG 11/17

BUFFALO NICHOLS

& THE IMPOSSIBLE TRUTH

with EVE MARET

CATHERINE COHEN

“ COME FOR ME!” COMEDY SHOW

with CHIKAH

DISCOVERY NITE with JARREN BLAIR, PRESSURE HEAVEN, + MORE

with CROW BILLIKEN

TICKETS ON SALE NOW Museum members receive exclusive pre-sale opportunities for CMA Theater concerts.

Learn more at CountryMusicHallofFame.org/Membership.

12/2 SATURDAY

TO-GO RECORDS PRESENTS

12/1

11/30 THURSDAY

WILLIAM TYLER

11/25 SATURDAY

11/21 TUESDAY

JACK KAYS

with WORK WIFE

FRIDAY

HUSBANDS

11/18 SATURDAY

1960s RARE & ELECTRIFYING RECORDS

FRIDAY

with WNXP NASHVILLE

11/16 THURSDAY

MUSIC TRIVIA

More info for each event online & on our instagram! See you soon!

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SATURDAY, NOVEMBER 18

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COURT STEVENS with REA FREY at PARNASSUS Last Girl Breathing 6:30PM

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BARBARA KINGSOLVER & LILY KINGSOLVER VIRTUAL EVENT with ELIOT SCHREFER on ZOOM Coyote’s Wild Home 6:30PM

TUESDAY, DECEMBER 5

ARIEL LAWHON with ERIN COX at PARNASSUS The Frozen River 6:30PM

MONDAY, NOVEMBER 27

HOLIDAY SPECIAL

with ANN PATCHETT & PARNASSUS STAFF at PARNASSUS Get gift recommendations for everyone on your list!

26

parnassusbooks.net/holidays23 3900 Hillsboro Pike Suite 14 | Nashville, TN 37215 (615) 953-2243 Shop online at parnassusbooks.net @parnassusbooks1 @parnassusbooks1

@parnassusbooks Parnassus Books

TECH N9NE & HOLLYWOOD UNDEAD

Stranger touring lineups exist, I promise.

Or … I think? This unconventional bill matches Tech N9ne (the powerhouse independent rapper who’s been storming stages for decades) with Hollywood Undead (the did-they-actuallyjust-say-that rap-rock band that turned a moment of MySpace-era fame into a longrunning touring career). Tech N9ne returns to Nashville nearly a year after surprising a soldout Bridgestone Arena audience as one in a long list of guests to support rapper turned country star (and this week’s cover guy) Jelly Roll at a blowout homecoming concert. This year, the Kansas City native brings his latest run to Music City in support of Bliss, a 2023 album that joins a line of studio releases spanning more than two dozen titles. (Yes, that’s a lot of fast-rapping songs.) Hollywood Undead tours in support of their 2022 album Hotel Kalifornia, a release that includes the aforementioned Jelly Roll as a featured guest on the deluxe edition released earlier this year. MATTHEW LEIMKUEHLER 7 P.M. AT MARATHON MUSIC WORKS 1402 CLINTON ST.

WEDNESDAY / 11.22 [LOVE YOUR WAY]

PETER FRAMPTON

Peter Frampton won a Grammy for his 2006 instrumental album Fingerprints, which gathered together a cast of famed sidemen that included Rolling Stones drummer Charlie Watts, jazz saxophonist Courtney Pine and legendary English guitarist Hank Marvin. It’s a diverting record that’s medium-snazzy and unpretentious, and Frampton acquits himself nicely. The longtime Nashville resident — he lived here in the 1990s and moved back a decade ago after spending 14 years in Cincinnati, Ohio — last played in town in 2019 after he announced he was retiring from the road.

(Frampton did a series of post-pandemic shows in 2022, including one in Las Vegas.) I’ve always thought of Frampton as an avatar of power pop who also made a lot of music that flirts with the concept without embracing it. For me, the pleasures of Frampton’s 1972 release Wind of Change and 1976’s Frampton Comes Alive! seem pretty mild in the context of what a bunch of relatively unheralded power poppers were

MONDAY / 11.20 FILM

PARNASSUSBOOKS.NET/EVENT FOR TICKETS & UPDATES

[NEW EMPIRE]

founding Band member Robbie Robertson’s death in August at age 80, these two screenings should be particularly poignant. D. PATRICK RODGERS 5:20 AND 8 P.M. AT THE BELCOURT 2102 BELCOURT AVE.

MUSIC

MUSIC

John Cleese has returned to the stage to offer fans an opportunity to celebrate his life as an entertainer. P.J. KINZER 7:30 P.M. AT THE GRAND OLE OPRY HOUSE 600 OPRY MILLS DRIVE

[TAKE A LOAD OFF]

MUSIC CITY MONDAY: THE LAST WALTZ

With the possible exception of The Beatles’ January 1969 performance on a Central London rooftop, The Band’s Last Waltz may well be the most famous farewell concert in rock ’n’ roll history. Taking place on Thanksgiving Day 1976, the concert at San Francisco’s Winterland Ballroom featured the iconic Canadian American band and a slew of marquee-name guests performing a set list of more than three dozen originals, covers and extended jams.

Filmed — albeit with some technical difficulties — by a then-34-year-old Martin Scorsese for a documentary of the same name, The Last Waltz featured a flurry of unbelievable talent (guests included Bob Dylan, Emmylou Harris, Muddy Waters, Neils both Young and Diamond, and The Staple Singers, among others) delivering performances that would live on in both fame and infamy. “Never mind the reports that close-ups of Neil Young had to be doctored in post-production to remove incriminating evidence from his nostrils,” the San Francisco Chronicle’s Joel Selvin once wrote about the allegedly rampant cocaine use at the Waltz, “his jaw-grinding intensity stands in stark contrast to the regal bearing of Muddy Waters.” As is tradition, the Belcourt will show The Last Waltz on Thanksgiving week — with Monday’s 8 p.m. screening set to include an intro from punk photographer Theresa Kereakes. Following

PETER FRAMPTON doing at the same time. What I miss in some of Frampton’s work is the rigorous approach I hear in Grin’s 1971 1 +1 and, for that matter, Cargoe’s Memphis-recorded 1972 debut album, which features a classic non-hit tune, “Feel Alright,” that power-pop nerds revere. At the very least, you might want to program “Feel Alright” with one of the Frampton tunes everybody knows, “Do You Feel Like We Do.” And then check out the great Wind of Change track “It’s a Plain Shame,” which belongs in the pantheon.

Frampton is one of the great classic rockers — don’t miss him. EDD HURT 7:30 P.M. AT THE RYMAN 116 REP. JOHN LEWIS WAY N.

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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11/13/23 12:57 PM

LIVE MUSIC | URBAN WINERY RESTAURANT | BAR | PRIVATE EVENTS

11.21

J. BROWN

11.26

YUSSEF DAYES

WITH THE SHINDELLAS

11.27 WOOFSTOCK AT THE WINERY

11.29 AN EVENING WITH

EMMYLOU HARRIS

WITH SHAWN CAMP AND VERLON THOMPSON

KANDACE SPRINGS

12.01

JJ HAIRSTON “JOY IS HERE” TOUR WITH ANTHONY HALL

CITY OF LAUGHS FEAT. TAIJA, AUTRY, BRAD SATIVA, 11.16 AMBER CHRISTOPHER COLUMBUS, RYAN MCCOMB, J.MCNUTT 11.16 AL STEWART SOLD OUT - JOIN WAITLIST 11.17 DEMOLA SOLD OUT - JOIN WAITLIST 11.17 MENTAL HEALTH NIGHT & KELLI’S 11.18 SWEARINGEN EP RELEASE SHOW QUEENS OF THE STAGE 11.18 DRAG BRUNCH SOUL FOOD POETRY CAFE PRESENTS: 11.18 POETRY HONORS ROSEN WITH ELLISA SUN 11.19 &LEON FIONA MAURA 11.19 JACOB SHARPE LIVE JESUS IN A BAR 11.20 THE BEAT OF LIFE TAKEOVER 11.20 DOMINE: FOR THE LOVE OF PINK FLOYD 11.24 MUSIC SOULCHILD SOLD OUT - JOIN WAITLIST 11.25

12.04 AN EVENING WITH

PATTERSON HOOD OF DRIVE-BY TRUCKERS

NASHVILLE IMPROV COMEDY 11.25 PRESENTS: T. HANKS GIVING NASHVILLE BEATLES BRUNCH 11.26 FEATURING THE YOUNG FABLES, FOREVER ABBEY ROAD AND MORE 11.27 WOMEN IN INDIE MUSIC LIV CAWLEY 11.28 WITH RIAHANNA ESTRADA WOOFSTOCK AT THE WINERY: INTIMATE EVENING WITH 11.28 AN EMMYLOU HARRIS FEATURING MARGO PRICE + MARY GAUTHIER 11.29 CALEB HEARN WITH MICHAEL GEROW 11.30 TANIA ELIZABETH MUSIC FIRST PRODUCTIONS INC. 11.30 PRESENTS: ACM NOMINATED GROUP 4RUNNER 12.2 ABBAFABULOUS HOLIDAY BRUNCH 12.3 CINDY ALTER 12.3 WINTER WONDERLAND DRAG BRUNCH

SATURDAY & SUNDAY 10:30AM-2:30PM

MIMOSAS, BLOODY MARYS & ROSÉ • PACKAGE AVAILABLE WITH PURCHASE OF ENTRÉE FROM OUR BRUNCH MENU

Taste • Learn • Discover | 12 PM to 5 PM • Wednesday - Saturday 609 L AFAYET TE ST. NASHVILLE , TN 37203, NASHVILLE , TN 37203 @CIT Y WINERYNSH / CIT Y WINERY.COM / 615. 324.1033

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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FOOD & DRINK

WHISKEY BUSINESS

Thanks in large part to the Tennessee Whiskey Trail, spirits tourism is booming

PHOTO: ERIC ENGLAND

BY CHRIS CHAMBERLAIN “When we first started the distillery, we didn’t realize the impact tourism would have on our business,” Kennedy recalls. “We built our distillery with tourism in mind and included an 1820s cabin to house our retail store and tasting room.

The interest in whiskey and its production has been growing tremendously in the last decade, and we knew from day one we would be giving tours. We didn’t know what to expect though.

In 2016 when we opened, our tourism numbers were double what we expected them to be. Now that we have been operational for seven years and have seen what a great bonus tourism has been, we have invested in an upgraded cocktail bar, outside entertaining areas, etc.”

Nelson’s Green Brier Distillery co-founder and head distiller Andy Nelson saw the growth in visitors and doubled down on his company’s investment. “We recently completed a multimillion-dollar renovation and expansion of our distillery, primarily focused on hospitality and tourism,” says Nelson. “We built a 100-seat restaurant and 22-seat bar, neither of which existed in the facility prior to the expansion, and improved the overall guest experience by rethinking the tour path, tasting room experience and mercantile.”

“The biggest investment we make to encourage tourism to our facility is our membership in the Tennessee Distillers Guild and the Tennessee

ANDY NELSON, NELSON’S GREEN BRIER DISTILLERY

FROM THE END of Prohibition until 1997, there were only two distilleries in Tennessee — meaning opportunities to visit a production facility were limited to Jack Daniel’s in Lynchburg and George Dickel in Tullahoma. These two behemoths had the market cornered on spirits tourism and welcomed thousands of visitors yearly.

With the proliferation of smaller distilleries in the state over the past 25 years, whiskey fans now have many more opportunities to explore the spirits production process and meet the personalities behind the brands. As a response to this increased access, the Tennessee Distillers Guild established the Tennessee Whiskey Trail in 2017 to encourage more spirits tourism across the state.

Modeled after the wildly successful Kentucky Bourbon Trail, Tennessee’s whiskey highway has quickly made a massive impact on the economy of the state. Executive director Charity Toombs realized it was time to quantify the anecdotal observations that tourism has increased greatly since the establishment of the Trail.

“We didn’t realize the scope of spirits tourism until we commissioned a study,” says Toombs.

“We partnered with Tourism Economics to track the impact of the Trail for 2022.”

The results were staggering. In 2022, visitors spent $2.05 billion at distilleries on the Trail and related off-site establishments like tasting

28

rooms, entertainment venues, restaurants, retail shops and lodging. Add in the direct economic impact of distillery employees, suppliers and operations expenses, and the spirits industry had a $3.45 billion economic impact in the state, including $441.1 million in tax revenue.

More than 8 million people visited Tennessee distilleries during the study period, making the collective industry the second-most-visited attraction in the state — landing beneath the Great Smoky Mountains National Park and above Dollywood. Tennessee distilleries hosted more visitors in 2022 than all the wineries, breweries and distilleries in California combined.

“We’re also impacting many communities that aren’t normally considered tourist destinations,” says Toombs, “and the industry has been a huge revenue generator to at-risk counties, both in agriculture and tourism.

“Now we’re honing into our data to harness it and figure out how to grow from those 8 million visitors,” she continues, “and how to continue to be a strong partner to more than 40 destinations across the state.”

While the Tennessee Whiskey Trail has been integral to the growth of spirits tourism, it was the specific distilleries that made most of the capital investments to welcome more visitors.

Even before the Trail started up, Lee Kennedy — president and chief distiller at Leiper’s Fork Distillery — was making the long bet on tourism.

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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Whiskey Trail,” says Nashville Craft Distillery president Bruce Boeko. “At the time the Trail launched, we noticed a significant increase in tasting room sales, including tours, tastes and bottle sales. It is hard to know exactly how much that growth can be attributed to the Trail vs. the general increase in tourism around Nashville, but it was evident then and now that the Trail is important to our business.”

This desire to increase visitation isn’t strictly altruistic, though — distilleries seem to see multiple benefits from interacting with their fans.

“Like with the Bourbon Trail, spirits travelers are really showing a strong interest in the personalities of the distillers, and they want to learn the histories of the brands,” says Toombs. “We’ve surveyed guests, and they tell us that they really appreciate visiting the rural communities and seeing the beautiful landscape of Tennessee, as well as meeting the distillers and discovering the craft behind the process. The distilleries are doing a great job at telling their stories and immersing guests into the experience.”

“The financial realities of starting a whiskey distillery from the ground up can be daunting if you’re doing things the hard way,” says Kennedy. “Unlike beer or other spirits, maturing whiskey takes time, which is a burden on the financial resources of a startup distillery. Tourism has helped us weather the initial storm of maturing and aging whiskey by providing a great revenue stream, while at the same time allowing us to create brand awareness. Because of tourism, we were able to get into the black financially a lot sooner than we were anticipating. As a family-owned distillery, that was a tremendous help.”

“As a small craft distillery making our spirits from scratch, having people come to our facility for tastes, tours, cocktails and bottle sales has a

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huge impact on our ability to operate and grow our business,” Boeko concurs. “During COVID lockdowns, large distilleries did very well, as home consumption was strong, but many small distilleries struggled because a significant percentage of revenue for these companies comes from direct sales to the public.”

“We opened for tours and tastings in 2014, but with a much smaller footprint,” says Nelson.

“From the beginning, we had plans for expansion that started with the hope of developing our gift shop and mercantile, but it quickly evolved into a full facility facelift. With revenues from tours and tastings, we were able to fund this expansion, which has already shown to be worth the investment, and most importantly, enabled us to provide an even better and more thorough guest experience.”

Drilling down into the numbers, Toombs has a better idea of who these tourists are and how they contribute to the communities they visit: “These 8 million visitors are mainly coming from more than 40 miles away, so they definitely contribute to ‘heads in beds’ for local hotels. The average consumer takes two years to complete the Trail, because it stretches over 500 miles.

We did find a father and son from Wisconsin who completed it in a week, but that’s certainly not the norm! People use the Trail for weekend excursions and can take part in music, nature and culinary experiences that are curated by the Trail and are featured on our website.”

“As our tourism has grown, it has allowed us to not only employ more people, but to grow our ability to enter new markets and service the markets where we were already present in a more impactful way,” says Nelson. “It all becomes this virtuous cycle, so to speak, that really starts with tourism at the beating heart of it all.” ▼

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NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

ART

SOUND AND VISION Artist Raheleh Filsoofi talks about memory, ceramics and winning the Joan Mitchell Fellowship

PHOTOS: ANGELINA CASTILLO

BY LAURA HUTSON HUNTER

“THIS IS THE day of the Islamic Revolution,” Raheleh Filsoofi tells me, pointing to a blackand-white photograph of a crowd of people piling inside a building’s scaffolding in Tehran more than 40 years ago. You can barely make out the little girl inside the red circle Filsoofi has drawn onto the photograph, but she’s there, holding her father’s hand. She still remembers it.

“I remember clearly the sounds of that crowd, but also the smell — this was an under-construction building near our house,” she explains. “I kind of developed sensory experiences during that time.”

Filsoofi has taught ceramics at Vanderbilt since 2020, and was recently appointed to the faculty of the university’s Blair School of Music.

The concrete walls of the university’s ceramics studio are lined with shelves full of clay wrapped in plastic bags and vessels that are in various stages of completion. Speaking with Filsoofi makes you want to pay attention to all that — the smell of clay, the sounds of mechanical pencil sharpeners and the hum of an overhead projector.

She can trace her autobiography on Iran’s political timeline. A toddler during the revolution, she came of age during the wars between Iran and Iraq. After finishing her undergraduate studies in ceramics in Tehran, Filsoofi moved to the U.S. in 2002. When she returned to Iran, she had also changed.

“I went back to Iran in 2012, but I didn’t go back as a native or a tourist — I went back as an artist.”

During her stay a decade ago, Filsoofi interviewed more than 30 women potters from Tehran to Northwest Iran, from major cities to tiny villages. She was interested in their work, but even more interested in how they interacted with the community.

“That was a career-changing moment,” she says. “I didn’t really go to see what these women were making — I learned how these women had impacted their communities. I traveled, stayed with these women, learned about their process.

They were making good money and supporting their village. It was mind-blowing. I thought, This is the importance of my medium — to have an impact on people’s lives and the community.

“Contemporary artists are often looking in museums for inspiration, or looking at books,” she continues. “My inspiration comes from the very humble storage rooms of these women’s studios.”

“To me, this was a multimedia installation.

I wanted my work to be this way — to impact people through sensory experiences and make them ask questions, just as I had been asking questions and contemplating these women’s lives. That’s when I knew I wanted to work with clay and make things that were impactful.”

Filsoofi makes clay vessels by using the traditional methods of the Iranian women she learned from, but she also experiments with 3D printing and using the earth she’s collected from multiple sites in and around Nashville.

“Even when I don’t work with clay directly,

the shapes, forms, patterns, the concepts of clay come through my work. So I’m very loyal to clay, even if it’s not my medium.”

When Filsoofi began incorporating sound into her work, the vessels became signifiers of not just the handiwork of an important community of artisans, but of the sensory impact that an entire culture can have on a person’s life. Filsoofi records sounds from Iran that function like white noise, but without the sterility the term might evoke. It’s more like the muffled buzz of a crowded space you might hear through a shared wall, or the sounds of a busy park on the other side of a stream.

“I went back to Iran and started collecting sounds from all the bazaars in various parts of the city,” she says. She walked the length of Valiasr Street, the longest road in the Middle East. It’s 20 kilometers long, and takes four or five hours to walk in good circumstances. It took Filsoofi eight — she stopped to record sounds that amused her, to talk with strangers, to listen to birdsong.

“Now, anytime I go back to Iran, I return to Valiasr and collect sounds.”

In August, Filsoofi received word that she’d won a Joan Mitchell Fellowship. It’s a prestigious recognition awarded via a multiphase jury process to 15 artists every year — this year’s pool included 148 applicants from 43 states and Puerto Rico. The award includes a $60,000 prize, which is divided into five years. Filsoofi is extremely forthcoming when talking about

the process of being awarded such an honor — perhaps that’s a side effect of being a working artist who knows the difficulty of navigating the system and the benefit her experience can have on others.

“My practice is so expensive because I travel a lot, and even though I might get grants locally or through the university, it still doesn’t cover most of the expenses. So this is a great opportunity to have some financial support — then you can get ambitious with your upcoming projects.

But also they support you for five years in your professional development. So we meet with them — there are people to help you if you have questions about navigating the contemporary art world, questions about your career and your work, they provide a network between you and the other awardees, as well as previous people who’ve received the award and curators. I think it’s a life-changing experience because it opens a network and possibilities.”

Filsoofi is open to all of it. Even as she plans a large-scale exhibition in 2024 that involves mapping and extracting clay from various locations across Nashville to create 25 clay musical instruments, her ideal art installation remains the humble storage rooms of the women potters in Iran, and her ideal collaborators may not even be making their best work yet.

“You’re not only connected with the group of people now and in the past, but also the future winners — those who are coming will become your mentors too.” ▼

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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the dream job, he takes a job at the hot dog stand where he first worked as a teenager. He acknowledges the indignity of the situation, even as he knows he has no choice but to submit and persevere. “Once his self dies (the ego-y, embarrassed part of him that feels things), he can do anything. He can work sixteen doubles, dumpster dive at midnight, walk three hours in the rain, you name it. Experience tragedy.

Homelessness. Loss. If there is no one inside him, if he vacates his body’s premises, there is no one to experience the humiliation that goes hand in hand with poverty.” McGhee employs this turn skillfully, taking readers from the relatively light humor of one moment to the darker realities of the next.

There are inconsistencies in the narrative voice here, which a generous reading could attribute to the dreamlike quality of the novel. For instance, the narration in the opening chapters slides between Abernathy’s point of view, delivered in close third person with a voice distinct to him, and a true omniscient narrator. The novel occasionally slips into the perspective and voice of secondary characters, as when Abernathy’s neighbor (and friend) Rhoda first appears: “Currently Rhoda part-times as a bank teller.

She hopes to go full-time soon, for the benefits.

Health care, you know? But she’s not so sure they’ll hire her.” In dreams, things often leap from one perspective to another with no transition, and here the technique is initially effective.

It becomes less effective as the novel progresses, but by then readers will be locked into the story, eager to learn whether Jonathan Abernathy will manage to claw his way out.

Even after Abernathy is hired to audit dreams, he stays on at the hot dog stand, making lunch for office workers by day and entering their dreams by night. The idea is that by identifying and removing aspects of the subconscious that reveal anxiety, the dream auditors keep employees from dangerous outcomes, “like murdering each other, or having poor workplace performance. The poor workplace performance especially.”

Abernathy turns out to be terrible at the job, but it doesn’t seem to matter as he manages to keep doing the work. He even advances, despite the toll it takes on his personal life and well-being. His blossoming relationship with Rhoda

deteriorates, and his mentor Kai disappears. The edges between dream and real life start to blur, but Abernathy persists.

He feels an increasing desperation, but it doesn’t overwhelm the scant but insistent hope that comes from having a real paycheck and some relief from the pressure of his substantial debt. “The truth of it — which, if he works hard enough, he can capture in his periphery — the real truth is that he would do just about anything to stop feeling dread.” And here is where the real familiarity might land, especially for the many who are similarly staggering under the weight of debt and economic precarity.

Jonathan Abernathy You Are Kind looks hard at work and money and debt and loss, but it also raises fascinating questions about how we want to be perceived and what motivates us, even — or perhaps especially — in desperate times. It forces us to consider: What happens when the American Dream turns into a nightmare?

For more local book coverage, please visit Chapter16.org, an online publication of Humanities Tennessee. ▼

Jonathan Abernathy You Are Kind

By Molly McGhee Astra House 304 pages, $27 McGhee will appear 6:30 p.m. Monday, Nov. 20, at The Bookshop

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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11/17 jake burman & co w/ the fbr & snowbird hollow

11/18 huron john w/ nickname jos & cosette

Upcoming shows nov 16 judy blank (6pm) nov 16 david borne (7:30pm) nov 16 Meredith Rounsley w/ genna matthew (9pm) nov 17 lillie mae (7pm) nov 17 jake burman & co w/ the fbr & snowbird hollow (9pm) nov 18 justin & the cosmics, elijah jones and the ccs (7pm) nov 18 huron john w/ nickname jos & cosette (9pm) nov 19 falllift w/ baerd & liv greene (7pm) nov 20 sonia leigh & friends nov 24 the josephines nov 25 nashville sings newman nov 27 the wonderlands (7pm)

nov 27 jack shields w/ joey beesley & derek luttrell (9pm) nov 28 upset boy & the queens nov 29 richard lloyd (of television) (7pm) nov 29 willy tea taylor, joe kaplow, turkey buzzards (9pm) dec 2 girlhouse dec 3 zach russell dec 4 meredith lane & Ac sapphire (7pm) dec 4 Zoe Cummins, Madeleine, Olivia Rudeen (9pm) dec 6 black venus dec 7 kashena sampson & lilly hiatt (7pm) dec 7 Taxiway w/ shlomo franklin & lb beistad (9pm) dec 9 ron artis iii w/ Kapali Long (7pm)

MUSIC

CROSSING THE STREAMS

Arts and music space Random Sample champions interdisciplinary creativity

Follow @rand0m_sampl3 on Instagram for updates

FROM LEFT: IVY WELSH, LINDA PARROTT, ANDIE BILLHEIMER THERE IS A STRIP of Charlotte Avenue that’s reminiscent of the old-time Nashville avantgarde. It’s flanked on one side by Richland Park, its library and the Sylvan Park neighborhood; on the other side there’s The Nations. The unassuming stretch seems curiously untouched by the developers who have otherwise drastically altered this sector of West Nashville. The largest location of local physical-media mainstay Great Escape is in a shopping center on the Nations side. Between 48th Avenue North and 50th Avenue North, there’s a trio of secondhand and vintage stores, a tattoo shop and Rhino Booksellers. Betty’s Grill, the local watering hole just off Charlotte on 49th, has long played an important role in Nashville music as a safe haven for troutmasked replicants and other musical freakazoids too weird to get gigs at your average bar.

And in a nook on 48th Avenue, tucked between an alleyway and office space, is a cinder-block box of a building, likely unnoticed by passers by. One person did take notice and immediately spotted the potential.

“I’ve always wanted to have a little place like this,” says Sylvan Park resident Linda Parrott, smiling as she looks around Random Sample.

The founder of the mixed-use art space recalls driving past the one-story brick cube back in

2021 and immediately circling the block for a second look. After a little investigation, Parrott learned the property had gone up for rent two days before.

“It seems like it was meant to be,” says Parrott.

“I was enthused that it was on this strip [of Charlotte] especially. I love how all these buildings are kind of weird — grandfathered in — for the most part.”

Sitting across from her are Random Sample’s two assistant directors, Andie Billheimer and Ivy Welsh. Surrounded by Spectre, an exhibition of masks created by artist Nicole Tatum, Parrott explains the vision for Random Sample.

“I really wanted to fill the void of approachable, small DIY,” she says. “We primarily want to be a visual arts space. I do photography and videography, and I do play music as well.”

That involvement in various parts of Nashville art and music is something Parrott — who played with too-short-lived punks Depression Breakfast, and whom you might have seen recently with Ornament — shares with her colleagues. Billheimer makes improvisational music as well as their eerie experimental art-pop project Body Electric. Welsh runs Renascence Books, a literature dealer and small-press publisher run out of a room just off the main gallery

in the building.

Each member of the trio makes art for its own sake. They explain that the organization wants to be a launching point and a vehicle for new artists of all stripes, working with those who may not have access to more established spaces for such things.

“It’s also the first time we have done anything like this too,” says Billheimer, “so it’s like DIY on both receiving ends — between the gallery and the artist.” Where their inexperience could be perceived as a hindrance, they’ve used it to their advantage by being adventurous in a way that has quickly made the space a vital part of our arts scenes. Random Sample has hosted raves, clothing swaps with Children of Compost and readings with the Nashville Radical Library — the sorts of events that build up communities but which often get overlooked by more established arts venues. Local and out-of-town musical talent has found a home in the space as well, from Nashville multi-instrumentalist and composer Robbie Hunsinger to Portland, Ore., synth minimalists Casual Decay, Colorado percussionist extraordinaire Sean Hamilton and imaginative Irish improv musicians Bonk.

Random Sample is a labor of love, and Billheimer notes that its mission is close to the

PHOTO: ANGELINA CASTILLO

BY P.J. KINZER

hearts of all involved. “[We wanted] a place where people can come and do things that we really haven’t been seeing around town as much as we’d like,” Billheimer says. “Especially on this side of town.”

“I think it’s important to emphasize the fact that having a show in this space is connecting visual artists and musicians,” says Welsh. “Because it’s two great scenes, and it’s not incorporated enough. Every month we have a different [visual art exhibit] up. And all the musicians that come in here go, ‘What is this?!’”

During November, the exhibit hanging in the gallery is Big Feelings, consisting of new work by Nashville muralist and illustrator Andie Peach. The gang also has a two-part linoleum-block-printing event — organized by artist Christie Verona and cleverly dubbed Block Party — in which folks of all experience levels will make prints that will be shown in the gallery following an opening reception on Dec. 9.

What makes Random Sample such a special place in the community is its fearlessly open approach. It is a rarity in Nashville that brings together ambient composers, video expressionists, poets and social activists.

“It’s like a little box,” Parrott says. “If you can dream it, we can make it happen.” ▼

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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11/13/23 12:55 PM

BUILDING A LEGACY

Nashville Symphony’s classical season continues with a live recording of Estévez’s Cantata Criolla

BY AMY STUMPFL IF YOUR EXPERIENCE with classical choral works is limited to holiday offerings such as Handel’s Messiah, you’ll want to check out Antonio Estévez’s Cantata Criolla, part of a marvelous program from the Nashville Symphony this weekend titled “Copland, Piazzolla and Estévez.”

“When we think of choral music, we usually think first of Europe, and we normally think of church music — whether it’s a mass or a requiem,” says Nashville Symphony music director Giancarlo Guerrero. “But Cantata Criolla is rather unusual because it’s a choral piece from Latin America, and more specifically Venezuela. And it was created for the secular concert hall.”

Based on a Venezuelan mythic poem, the 1954 work follows Florentino, a poor llanero — a plainsman, comparable to an American cowboy — who is forced to battle the devil for his soul.

But as demonstrated by the work’s subtitle — Florentino, Who Sang With the Devil — it’s really an improvised war of words, with each singer picking up the last line offered by his opponent to create a new verse.

“It’s basically the story of Faust — you know, the man who sold his soul to the devil in exchange for riches,” Guerrero says. “But in this case, the story is being told in the Venezuelan tundra. I actually lived in Venezuela for four

years, and the Cantata Criolla is a work that I have championed many times. It’s the great magnum opus of that country, and one of the greatest choral pieces of the 20th century in Latin America.”

Guerrero explains that the piece calls for a full orchestra and choir, with a tenor soloist playing the role of Florentino and a baritone playing the devil. The piece features a prominent harp and piano part, and also showcases the maracas, an instrument that is hugely important in Venezuelan culture.

“We’re actually bringing in a Venezuelan maracas player, who happens to be the bass clarinetist in the Atlanta Symphony,” Guerrero says. “I’ve known Alcides Rodriguez for many years, and he’s amazing. And of course both singers — tenor Aquiles Machado and baritone Juan Tomás Martinez — are also Venezuelan.

They’ve done the piece many times, so for the audience, it’s going to be a real treat. And more importantly, we’re putting it on record.”

That’s an important distinction for Guerrero.

Though he’ll be leaving the Nashville Symphony after this season, he has led the ensemble in becoming one of the nation’s most prolific recording orchestras — earning 14 Grammys and 27 nominations along the way. This season alone,

Nashville Symphony is live-recording four works for future commercial release, including John Corigliano’s Triathlon, Chick Corea’s Concerto for Trombone, and the upcoming One Sweet Morning, the poignant song cycle Corigliano wrote to mark the 10th anniversary of the Sept. 11 attacks.

“For me, it’s about building a legacy. In many ways, these recordings represent a snapshot — not only of the orchestra, but also of Nashville as a whole. The program and the repertoire that we are championing today — especially some of these living American composers — will at some point become the next Mozart, the next Beethoven or Brahms.

“And remember that a lot of these works were Nashville Symphony commissions, so we own them as a city. The orchestra, the audience, our supporters and volunteers — everyone did their part to make an investment in our art form for the future. And because we’re recording these works, they will become easily available for other conductors and orchestras in other cities. And they will hopefully pick them up and champion them as well. So in a way, this music becomes like a gift for all the orchestras around the world.

What an honor.” ▼

AQUILES MACHADO

Nashville Symphony’s ‘Copland, Piazzolla and Estévez,’ Nov. 17-18 at the Schermerhorn

MUSIC: THE SPIN

OPRY LAND

BY BEN ARTHUR

36

SHINE BRIGHT LIKE: NICKY DIAMONDS up Black and gay in the South in a lyrical gut-punch about false-intentioned relationships. With the lyrics, “I’m not a headline for your morning news report / Or a political debate you can retort / I’m a man who had some dreams that got cut short,” the crowd fell silent, listening to his honest, transparent songwriting. Exploring similar themes was Crystal Rose, whose song “Mad Black Woman” evokes the cathartic lyrics of Bessie Smith and the soulful voice of Alicia Keys. In the same way, Carmen Dianne and her acoustic bass took the R&B genre all the way, as she sang about the troubles that accompany a long-term relationship with a dynamic, moving range.

Also on the bill was Aaron Vance, who sought to capture the small-town living of Amory, Miss. His father was a preacher in that town of 6,000, and now that he lives in Nashville, Vance has settled into the local songwriter scene. The title cut from his 2016 album Shifting Gears tells his story with a brooding and powerful voice that commanded the stage: “I’ve been used to change / You can feel it in the songs I sing,” he crooned with the twang of George Strait or Waylon Jennings.

Representing the newer tide of country artists was Tylar Bryant, a former MMA fighter turned singer. With “That Ain’t Me,” he made a fun tune about bar-hopping feel right at home on Broadway. To end the night, singer-songwriter Denitia took the stage, accompanied by earlier performer Julia Cannon on background vocals. Hailing from Southeast Texas, the artist captured the “chaos that was 2020” with a succinct, beautiful group of

PHOTOS: H.N. JAMES

“I FEEL LIKE I’m a dog in the corner — I’m real lonely, I paid $50 for an Uber to the airport, and I couldn’t get eggs for breakfast this morning,” San Antonio-based singer-songwriter Nicky Diamonds told the crowd at Acme Feed and Seed on Nov. 7.

Diamonds came to Music City for the launch party of Black Opry Records, the newest venture from the blog turned traveling show. Founded in 2021 by music journalist Holly G, the Black Opry Revue acts as an escape from the country establishment and its exclusionary bias against African American artists. Ironically, the lights of WKDF and CMT were shining down on the rooftop at Acme during the show, acting as visual representation of that establishment. From the beginning, this racism manifested itself in the split between “hillbilly records” and “race records” — similar genres but ones that were split up in the name of profit. Now this dark side of the institution shows itself in more detached public incidents, from Morgan Wallen’s slur controversy to Jason Aldean’s incendiary single “Try That in a Small Town” earlier this year.

In the songs he performed at the revue — one of which he penned in his hotel room earlier that day — Nicky Diamonds’ emotive blues chops shone through. He’s able to capture the intense emotions of grief, desire and anger, all accompanied by his gutsy slide guitar. In his newest song (which he didn’t name), Diamonds harkens back to the notion of class solidarity, connecting the African American struggle with those of Native Americans or the poor. It’s reminiscent of the great poets of generations past — Langston Hughes or Woody Guthrie, for instance — pushing for social change through art.

Similarly, longtime Black Opry member Jett Holden captures these racial struggles poignantly. On “Taxidermy,” he expresses his experience growing

VANCE NOTICE: AARON VANCE songs. With Denitia and Cannon’s delicate vocals meshing with one another, the set evoked the cinematic nostalgia of travel and working through financial struggle.

After the show, the artists and their friends embraced and swapped stories on the rooftop: road stories, childhood stories and tales of their time spent in Nashville. Looking out onto the rest of Lower Broad, the event felt diametrically opposed to the exploits of the drunken masses below. In their weaving of complex social issues and forward-looking lyrics into a close-knit bond of artists, the Black Opry is an extremely rewarding experience, and one that redeems hope for the country music industry as a whole. ▼

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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Songwriting 101 Workshop Featuring Alex Hall

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Nashville’s Tradition of Music and Puppetry

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NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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FILM

RED CARD

Taika Waititi fumbles his adaptation of Next Goal Wins

BY KEN ARNOLD

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THERE WAS A TIME when New Zealand filmmaker Taika Waititi was a very acclaimed up-and-comer — from his sophomore success Boy (2010) to the even more widely acclaimed What We Do in the Shadows (2014) and Hunt for the Wilderpeople (2016). Then he had his forays into American film and television with various Disney properties such as The Mandalorian and the two most recent Thor movies. Somewhere in between he squeezed in Oscar-nominated TIFF People’s Choice winner Jojo Rabbit (2019). But over time, there’s been a steep drop in the quality of his filmography, and that unfortunately persists with Next Goal Wins.

Next Goal Wins is based on the true story of the American Samoan national soccer team, who suffered the worst defeat in the history of international soccer, losing to Australia 31-0 in 2001. Ten years later we meet coach Thomas Rongen (Michael Fassbender), who’s just been fired from the United States’ national team. He’s given a choice: go unemployed, or to take a job coaching the bottom-ranked international team — American Samoa. He takes the job with the aim of getting the team to score just one goal.

Let’s get some things out of the way upfront.

If you are a soccer fan, this isn’t for you. If you are here for queer sports icon Jaiyah Saelua, this isn’t for you. (If you’re tuning in for either of those reasons, I’d instead recommend the 2014 documentary of the same name, focusing on the same story, by Mike Brett and Steve Jamison.)

As with Jojo Rabbit, Waititi is taking real-life

events and turning them into something of his own. The plot of the film has little regard for the real-world events that inspired them. But even with that established, as an independent work detached from its source material, it suffers from many issues.

Next Goal Wins first and foremost tries to invert the white-savior trope. Waititi set out to make a movie in which, instead of the white man saving the day, a white man is changed by those around him, who lead him to grow as a person. But herein lies the biggest issue. The fictionalized version of Fa’afafine midfielder Jaiyah Saelua is mostly used in the film for her gender — to present conflict between the coach and Samoan culture. (Fa’afafine is a gender that exists in Samoan culture, in which an individual assigned male at birth later comes out as gender fluid and adopts both gender roles, sometimes taking on Western labels such as trans or nonbinary.) Jaiyah’s gender identity being tied to Rongen’s growth brings up many moments of discrimination and the worst oversimplification of gender dysphoria that wasn’t given the care it needed — especially with this being many audiences’ first experience with what are known as MVPFAFF+ identities.

Waititi has said that a goal of making this movie was to provide a representation of Indigenous people that is closer to his own experience.

Waititi is Maori, and he has indicated his intention is to break from the overly stoic depictions of his people seen throughout the medium.

Whether he succeeded is a question for the Pasifika community. After all, even though Waititi’s mother is Jewish, he still received a lot of backlash for his depiction of World War II Germany in Jojo Rabbit.

Next Goal Wins, save for Moana, may be many audiences’ first experience with Pasifika characters. It’s unfortunate that while Waititi had good intentions with his push for Indigenous/Pasifika inclusion, the final work is bogged down with the mishandling of gender identities and a seemingly uncaring attitude toward the source material that will leave many with a sour taste in their mouths when the credits roll. ▼

Next Goal Wins PG-13, 103 minutes Opening wide Friday, Nov. 17

NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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BACK OF THE BOOK ACROSS 1

“She Bee Stingin’” athlete

9

Answer to the riddle “I have one

67

China and environs DOWN

27

–

29

Retail apparel giant

30

Begat

bow but no arrows. What am I?”

1

Put (down)

33

Low in the pasture

14

H.S. course for College-Kredit

2

Mimic

35

Interstice

15

New York county that’s home to

3

Tennis champion Swiatek

37

Spurred

4

Gaston who wrote “The Phantom

39

–

of the Opera”

40

–

Restaurant chain named after its

41

“Just ___ with it”

42

Candy dispensed with a “nod” of

Binghamton 16

Scholar’s mug collection?

17

Run (to)

18

Groans equivalent to eye rolls

19

Sugar apple, by another name

6

Famous ___

21

Grade just above average

7

Mekong Valley language

44

–

24

___ Schwarz

8

Key part of a cephalopod’s

45

–

48

Words repeated in the title of a

25

Angle symbol, in trigonometry

28

What a cryptid might be

29

5

founders, the Raffel brothers

defense mechanism 9

Ones doing some heavy lifting before retirement?

10

Common aloe descriptor

31

“___ ready as I’ll ever be”

11

Sorority chaperone

32

Spinning speed: Abbr.

12

Captcha test affirmation

33

1974 John Wayne movie

13

Document that may contain

34

Gentlemen of Verona, in England

36

Choose

a microchip number and a veterinarian’s signature 15

Modern love

20

Pans that sound like strolls

innovation

21

X and Y

42

Vim

22

Dosed oneself

43

“Succession” airer

23

46

Lamar who played for the

38 39

Convertible One favoring imitation over

the head

15th-century headgear for a knight

Like the cleanup crew at closing

NO. 1012

Doris Day hit 49

Pre-euro currency of Finland

51

Leaves damaged

53

It might be a lot

55

Ninny

56

Panama’s Gulf of San ___

57

–

58

–

60

Mobile home: Abbr.

61

Morning glory goddess

62

Sch. in Troy, N.Y.

63

27- or 55-Down backward

PUZZLE BY JOHN NAGAMICHI CHO

time, typically

59-Across

24

Doc to consult when confused

47

Floored

26

–

49

“Is it just ___ is it hot in here?”

50

Good field for a smooth talker

52

Brief British P.M. ___ Truss

53

Donna ___, “The Goldfinch”

ANSWER TO PREVIOUS PUZZLE

author 54

Unrestricted audition

56

[It’s cold in here!]

57

MX-5 roadsters, e.g.

59

N.B.A. team with a 1980s “Showtime” era

64

Baby eels

65

Covert missions ... or what’s covert in eight of this puzzle’s answers

66

Navigates a slippery slope, in a way

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NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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1/4/2021.

1/4/2021.

1/4/2021. 1/4/2021.

Columbia 1006 Carmack Blvd Columbia, TN 931-398-3350

SUBSCRIBE TO THE NASHVILLE SCENE NEWSLETTER NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon ISRAEL MARTIN LUTHER MASON. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after November 16, 2023 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on December 18, 2023.

It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

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In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon ISRAEL MARTIN LUTHER MASON. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after November 16, 2023 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on December 18, 2023.

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NASHVILLE SCENE • NOVEMBER 16 – NOVEMBER 22, 2023 • nashvillescene.com

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NASHVILLE SCENE • NOVEMBER 16 - NOVEMBER 22, 2023 • nashvillescene.com

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NASHVILLE SCENE • NOVEMBER 9 – NOVEMBER 15, 2023 • nashvillescene.com