3-31-22 Nashville Scene by FW Publishing

MARCH 31–APRIL 6, 2022 I VOLUME 41 I NUMBER 9 I NASHVILLESCENE.COM I FREE

CITY LIMITS: RENT IS GOING UP, AND NONPROFITS ARE STRUGGLING TO STAY IN NASHVILLE PAGE 6

FOOD & DRINK: MELVIL ARNT IS BRINGING FRANCE TO EAST NASHVILLE, ONE STOREFRONT AT A TIME PAGE 30

Style ISSUE THE

SPRING LOOKS • STREET STYLE • VINTAGE RETAILERS cover_3-31-22.indd 1

3/28/22 4:39 PM

BE NASHVILLE. BE A TRAILBLAZER.

Sing Me Back Home: Folk Roots to the Present EXHIBIT NOW OPEN

DOWNTOWN MKTG_Scene Full Page_PrintAd_03.31_22 .indd 1

VISIT TODAY

3/23/22 1:17 PM

CONTENTS

MARCH 31, 2022

As Nonprofits Struggle to Remain in Nashville, Advocates Seek Solutions .......6

Crawl Space: April 2022

CITY LIMITS

Rent is going up for the organizations helping Nashville’s neediest people. Can the city offer help? BY ALEJANDRO RAMIREZ

Pith in the Wind .........................................6 This week on the Scene’s news and politics blog

Fair Enough.................................................7 A brief history of Nashville’s storied fairgrounds BY LENA MAZEL

COVER STORY The Style Issue

Spring Looks...............................................8 Street Style .............................................. 16 Our man on the street checks out some Nashville looks PHOTOS BY RAY DI PIETRO

Oldies but Goodies .................................. 18

THIS WEEK ON THE WEB:

ART

We pity the fools who miss April’s First Saturday happenings BY JOE NOLAN

Appeals Court Strikes Another Blow to Anti-Tax Effort

BOOKS

Prophetic Visions of the Body Robyn Henderson-Espinoza’s Body Becoming offers a prophetic vision for a ‘new democracy and democratic justice’ BY KASHIF ANDREW GRAHAM

MUSIC

Siren Song ............................................... 35 BY ALYSSA DONYAE

Stay Soft .................................................. 35

The Scene’s live-review column checks out Knoxville’s Big Ears Festival

In a Different Key, Soft Kill, Bright Eyes, Sparkle City Disco 10-Year Anniversary, Machine Yourself, Lorde, Princess Mononoke, Maxwell and more

FILM

38 Invasion of the Body Snatcher ............... 38 You Won’t Be Alone delivers on performances, but not on its premise

BY NADINE SMITH

Arnt You Glad? ........................................ 30

BY JASON SHAWHAN

Oenophile-entrepreneur Melvil Arnt is bringing France to East Nashville, one storefront at a time

Freedom ’68 ............................................ 39 Great Freedom is about maintaining queer dignity, with a free-jazz score

BY MARGARET LITTMAN

BY JASON SHAWHAN

Donelson taqueria offers a glimpse of streetfood glory BY ALIJAH POINDEXTER

CREDITS

STYLIST: Emmanuel J. LeGrair PHOTOGRAPHER: Daniel Meigs HAIR AND MAKEUP: Joey Manley | Green Pea West MODEL: Molly Mahaffey | AMAX Talent LOCATION: W Nashville ART DIRECTOR: Elizabeth Jones ASSISTANT: Tracey Starck

The Spin ................................................... 36 BY CHARLIE ZAILLIAN

Cheap Eats .............................................. 31

SKIRT: Emerson Grace SHOES: Emerson Grace

Mitski returns from hiatus with Laurel Hell

BY KELSEY BEYELER

FOOD AND DRINK

The Lost City Is a Pleasant Distraction at Best

Stellar songsmith Sierra Ferrell’s odyssey continues

BY JACQUELINE ZEISLOFT

CRITICS’ PICKS

Red Pebbles Hospitality Launches Nashville Sundae Club ON THE COVER:

Taking a closer peek at Nashville’s booming vintage scene

Map of Nashville’s Vintage Shops ......... 20

Tim Gent, Chuck Indigo and More Head to NMAAM

Strange Days Have Found Us ................. 38 Strange Days is a seminal text in speculative cyberfetish fiction

NEW YORK TIMES CROSSWORD

MARKETPLACE

James Gibson: A Life in Sculpture

Music Row’s Legendary Neighborhood Bar Hosting live music every week!

March 14-April 2, 2022

Open Everyday: 12pm-1am 9 Music Square S, Nashville, TN 37203 bobbysidlehour.com

A Retrospective Exhibition Exhibit Reception with the Gibson family, Saturday, March 19, 2 p.m., Todd Art Gallery, Todd Hall, Room 224A

Artist James Gibson Portrait

Negotiation of a Left Turn, 1971, Welded Steel

Hey Bird! 1978, Welded Corten Steel on Aluminum

nashvillescene.com nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

contents_3-31-22.indd 3

3/28/22 6:15 PM

PET OF THE WEEK! MONGOOSE IS A PICTURE PURRFECT FRIENDLY TABBY cat

Allison Batey

Maria Hite

Kayce Tutor

Lauren LeQuire

Karissa Paulk

Brittany Gooding

Michael Martin

Jana Taylor

Xanthi Diamond

Lane Williams

Celia Jenkins

Bethany Jahner

Laura Roark

Mariolga Ericson

Katelyn Hall

with lots of love (and purrs, and head butts) to give! He’s 2 years old, weighs 13 pounds and is as chill, laid back and handsome as can be. He’s got a lot of personality and a purr that may melt your heart! He is FeLV+ and has also tested positive for being 100% adorable. If you are interested in Mongoose and would like to learn more about his diagnosis, our Vet Services Team would be more than happy to discuss it at the time of his adoption. Though there is no known cure, please know cats who test positive for FeLV can live fulfilling and happy lives just like any other cats. Please give Mongoose a forever home chance with a visit to NHA. Trust Us: He’s worth it. And once you meet... You will fall in love with him too! Call 615.352.1010 or visit nashvillehumane.org Located at 213 Oceola Ave., Nashville, TN 37209

Adopt. Bark. Meow. Microchip. Neuter. Spay.

MELROSE SOLA BEAUTY PROS The independent business owners and beauty pros of the Melrose Sola. Please join us and change your life!

Editor-in-Chief D. Patrick Rodgers Senior Editor Dana Kopp Franklin Associate Editor Alejandro Ramirez Arts Editor Laura Hutson Hunter Culture Editor Erica Ciccarone Music and Listings Editor Stephen Trageser Contributing Editor Jack Silverman Staff Writers Kelsey Beyeler, Stephen Elliott, Hannah Herner, J.R. Lind, Kathryn Rickmeyer, William Williams, Katelynn White Contributing Writers Sadaf Ahsan, Radley Balko, Ashley Brantley, Maria Browning, Steve Cavendish, Chris Chamberlain, Lance Conzett, Steve Erickson, Nancy Floyd, Randy Fox, Adam Gold, Kashif Andrew Graham, Seth Graves, Kim Green, Steven Hale, Steve Haruch, Edd Hurt, Jennifer Justus, Christine Kreyling, Katy Lindenmuth, Craig D. Lindsey, Brittney McKenna, Marissa R. Moss, Noel Murray, Joe Nolan, Betsy Phillips, John Pitcher, Margaret Renkl, Daryl Sanders, Megan Seling, Jason Shawhan, Michael Sicinski, Nadine Smith, Ashley Spurgeon, Amy Stumpfl, Kay West, Abby White, Andrea Williams, Ron Wynn, Charlie Zaillian Editorial Intern Ashley Barrientos Art Director Elizabeth Jones Photographers Eric England, Matt Masters, Daniel Meigs Graphic Designers Mary Louise Meadors, Tracey Starck Production Coordinator Christie Passarello Events and Marketing Director Olivia Britton Marketing and Promotions Manager Robin Fomusa Publisher Mike Smith Senior Advertising Solutions Managers Maggie Bond, Sue Falls, Michael Jezewski, Carla Mathis, Heather Cantrell Mullins, Jennifer Trsinar, Keith Wright Advertising Solutions Managers Richard Jacques, Deborah Laufer, William Shutes, Niki Tyree Sales Operations Manager Chelon Hill Hasty Advertising Solutions Associates Jada Goggins, Audry Houle, Alissa Wetzel Special Projects Coordinator Susan Torregrossa President Frank Daniels III Chief Financial Officer Todd Patton Corporate Production Director Elizabeth Jones Vice President of Marketing Mike Smith IT Director John Schaeffer Circulation and Distribution Director Gary Minnis

WORK FOR YOURSELF, Not by Yourself

NEAL JOHNSTON

STEVE AUSTIN

FW PUBLISHING LLC Owner Bill Freeman VOICE MEDIA GROUP National Advertising 1-888-278-9866 vmgadvertising.com

Make your dream come true and be your own boss in your own private salon suite in the 10 Nashville area Sola Salon locations.

!! NEAW T DWES

BRO TION LOCA

For advertising information please contact: Mike Smith, msmith@nashvillescene.com or 615-844-9238

With over two decades experience working in Nashville we’d love to be part of your next addition, renovation, or custom build!

The Nashville Scene is published weekly by FW Publishing LLC. The publication is free, one per reader. Removal of more than one paper from any distribution point constitutes theft, and violators are subject to prosecution. Back issues are available at our office. Email: All email addresses consist of the employee’s first initial and last name (no space between) followed by @nashvillescene.com; to reach contributing writers, email editor@nashvillescene.com. Editorial Policy: The Nashville Scene covers news, art and entertainment. In our pages appear divergent views from across the community. Those views do not necessarily represent those of the publishers. Subscriptions: Subscriptions are available at $150 per year for 52 issues. Subscriptions will be posted every Thursday and delivered by third-class mail in usually five to seven days. Please note: Due to the nature of third-class mail and postal regulations, any issue(s) could be delayed by as much as two or three weeks. There will be no refunds issued. Please allow four to six weeks for processing new subscriptions and address changes. Send your check or Visa/MC/AmEx number with expiration date to the above address.

In memory of Jim Ridley, editor 2009-2016

QUA LIT Y TO S IN G ABOUT! 10 NASHVILLE AREA LOCATIONS | CALL AMY 615 481 0706 | SOLASALONSTUDIOS.COM

BIRDIECONSTRUCTION.COM

NASHVILLE SCENE | MARCH 31 – APRIL 6, 2022 | nashvillescene.com

letter_3-31-22.indd 4

3/28/22 5:45 PM

Join us as we

Unite for Ukraine:

An Interfaith Gathering of Prayer, Reflection and Song Sunday, April 3rd at 5:00pm at The Temple 5015 Harding Pike ~ (615) 352-7620 www.templenashville.org or thetemplehub.org

A Better Life for Their (African American) Children The Story of the Rosenwald Schools presented by Andrew Feiler Belmont University Chapel - Tuesday, April 5, 2022 – 7:30 p.m. On Tuesday evening, April 5th, Belmont University’s Rev. Charlie Curb Center, in partnership with The Temple, will host a multi-media lecture by Andrew Feiler to celebrate The Rosenwald School Project of the early 20th century. The Rosenwald School Project built more than 5,000 schools, shops, and teacher homes in the United States primarily for the education of African American children in the South during the early 20th century. Feiler’s newest book of photography, A Better Life for Their Children: Julius Rosenwald, Booker T. Washington, and the 4,978 Schools that Changed America, was recently published by the University of Georgia Press. This work is the first comprehensive photodocumentary of the program created by Washington and Rosenwald. From 1912 to 1937, this collaboration built 4,978 schools for African-American children across 15 southern and border states and transformed America. The Tuesday, April 5th, event will be held in Belmont’s Gabhart Chapel at 7:30 p.m. with a dessert reception to follow. The public is invited to attend.

The Temple

The Reverend Charlie Curb Center for Faith Leadership

Congregation Ohabai Sholom a congregation of the heart, a community of the spirit

nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

CITY LIMITS

AS NONPROFITS STRUGGLE TO REMAIN IN NASHVILLE, ADVOCATES SEEK SOLUTIONS BY ALEJANDRO RAMIREZ

fter 12 years of serving some of the most vulnerable people in Nashville, The Little Pantry That Could is closing down March 31. The nonprofit has offered not just a food pantry to the North Nashville community, but also a variety of outreach services, including assistance with housing, food stamps and health care. Founder and director Stacy Downey says the nonprofit served an average of 230 to 240 families a week, though at the beginning of the COVID-19 pandemic they saw as many as 300 per week. But when the lease expires on The Little Pantry That Could’s building at the end of the month, it all comes to an end — the nonprofit has nowhere else to go. Downey says the experience is a bit of déjà vu. The Little Pantry That Could moved to the center of North Nashville after losing the lease on its West Nashville location, where the organization spent the first six years of operation. However, Downey says she knew the North Nashville space was always going to be temporary — it was a fiveyear lease, and the landlord had plans to sell. Downey searched for a new property over that time, but prices continued to soar in Nashville. The pandemic exacerbated financial issues, with operating costs increasing as fewer donations rolled in and fewer volunteers came through their doors. The money that the nonprofit had saved up “wouldn’t buy some storage shed” in the current housing market, says Downey, noting that families and small businesses are struggling to stay in place as well. “We are one of thousands of

THIS WEEK ON OUR NEWS AND POLITICS BLOG: In spring, the young pols’ thoughts turn to running for office, and so it is once again. Metro Councilmember Delishia Porterfield and well-known organizer Justin Jones both announced they’ll seek the Democratic nomination in state House District 52. The district, which includes much of southern Davidson County and part of East Nashville, is currently represented by Mike Stewart, who announced he is not seeking reelection. Meanwhile, Maury County Mayor Andy Ogles announced he’ll seek the Republican nomination in the 5th Congressional District. More than a dozen Republicans have announced or picked up a petition to run in the race in the newly drawn district, once a safe seat

PEOPLE LOVING NASHVILLE’S MONDAY NIGHT OUTREACH BRINGS FOOD TO DOWNTOWN NASHVILLE EACH WEEK

PHOTO: ALAINA BROYLES

Rent is going up for the organizations helping Nashville’s neediest people. Can the city offer help?

casualties of this new city.” Another nonprofit, People Loving Nashville, was facing a similar situation. People Loving Nashville focuses on outreach to people experiencing homelessness, providing weekly meals to feed the unhoused population downtown. It’s currently based at an old church on Russell Street in East Nashville, but the owner has sold the building to develop a hotel. Ryan Lampa, founder and CEO of People Loving Nashville, says the location was meant to be a temporary spot, and the landlord had been helping the organization search for a new home. Whitney Pastorek is an advocate for several local causes who also works at World Central Kitchen, an organization that provides meals in response to crises. She felt the need to do something after learning about the two nonprofits losing their homes. Pastorek, speaking as a citizen and not on behalf of WCK, brought a proposal to the Metro Council meeting on March 15, during a public “pre-budget hearing” that let Nashvillians share what they wanted the city to prioritize. Pastorek’s pitch was to create a community care center that could house several nonprofits and offer services to Nashvillians in need. The place would allow people to walk in and find services ranging from help with unemployment benefits and housing applications to navigating health care and child care services. Pastorek sees the McGruder Family Resource Center in North Nashville as a good model for the proposed center and thinks the Buena Vista Elementary campus, slated to be used for public school administrative

offices, could be a great fit. “Instead of asking people to run around in circles trying to track down the resources they need to help them solve their problem, there’s just a welcoming, bright, warm building where they can walk in the door, get a cup of coffee and someone to say, ‘Hey, what do you need?’ ” Pastorek tells the Scene. At the pre-budget council meeting, Pastorek was proposing that federal American Rescue Plan dollars fund the effort in some way, which she believes could cost somewhere between $9 million and $30 million. Pastorek says she has reached out to all councilmembers individually and that the response has been positive. She is also trying to secure a meeting with Mayor John Cooper’s office. One councilmember, Courtney Johnston of District 26, offered an alternative use for the ARP funds that Pastorek appreciated: loans similar to the ones offered to small businesses. The loans wouldn’t solve all the organization’s woes, says Johnston, but they would “allow these nonprofits to breathe until we can get to a better place.” Johnston serves on the committee overseeing the ARP funds, and believes Pastorek’s plan needs a lot more details before it could be placed on the agenda. She also says getting the mayor’s office to back

the plan may be the better option. But she shares Pastorek’s sense of urgency, and says the idea of using an old school is “fantastic.” Pastorek is eager for more feedback and is seeking input from as many advocates and officials as possible. She has also been working with Lampa from People Loving Nashville on reaching out to local nonprofits. Lampa says other nonprofit leaders are interested in the idea, but there are concerns about how much they would need to ramp up their services at the new location, on top of the work they’re already doing. As for People Loving Nashville, Lampa says a new space has been found, and the details will be made public within the next few weeks. That’s welcome news, although rent is going to affect their operating budget. “It’s market rate … and we’re gonna feel that,” he says. The struggle to pay rent isn’t limited to nonprofits or small businesses — the city is facing an affordable housing crisis, as Nashvillians struggle to find places to live within the city limits. Just as nonprofits struggle to remain close to the communities they serve, Nashvillians are fighting to stay in their own neighborhoods. The issue is not lost on people like Lampa. “Although there’s awesome things that come from growth in the city,” he says, “it’s also inevitable that it’s going to affect those who are falling through the cracks.” EMAIL EDITOR@NASHVILLESCENE.COM

for Democrats and now tilting heavily toward the GOP. … Meanwhile, NewsChannel 5 reports that state House Speaker Cameron Sexton and other lawmakers have been subpoenaed by a federal grand jury. Federal authorities have been investigating campaign finance and fraud matters at the legislature, and state Rep. Robin Smith (R-Hixson) pleaded guilty to wire-fraud charges earlier this month. As part of the plea, Smith admitted that she worked with former House Speaker Glen Casada (R-Franklin) and a top Casada aide to conceal their campaign and legislative work. During a House session, Rep. Jason Hodges (D-Clarksville) thanked the FBI for all their hard work. Lol. … Meanwhile, both the state House and Senate passed different versions of a bill that prohibits state-funded colleges and universities from mandating training or classes which advocate for “divisive concepts.” It is similar to a bill passed last year that barred K-12 schools from teaching the “divisive concepts.” Republican lawmakers generally called these concepts part of “critical race theory” without defining them. … An attempt to repeal Metro’s property tax increase

via a charter amendment failed in the courts again. The Tennessee Court of Appeals ruled that 4 Good Government’s attempt to place a referendum on the ballot “is not proper under the cited statute. Moreover, because this appeal cannot serve as a vehicle to grant the election commission any relief, we consider the matter moot.” … Hedy Weinberg, the longtime executive director of the American Civil Liberties Union of Tennessee, is stepping down at the end of June, she announced Friday. Weinberg has led the civil rights organization for nearly four decades, having been named to the post in 1984. The group has grown from two staff members to 12 during her 37 years in charge. … Tennessee Gov. Bill Lee announced he will propose a one-month pause on the state and local grocery taxes in an effort to ameliorate the effects of inflation. Tennessee’s statewide grocery tax is 4 percent, and local governments can (and usually do) add as much as 2.25 percent. Legislators proposed a similar plan in 2020. That two-month pause would have cost the state $100 million, according to estimates. … Why doesn’t Charlotte Pike go to Charlotte the same way Gallatin

Pike goes to Gallatin and Nolensville Pike goes to Nolensville? Pith’s own Betsy Phillips digs into the history of the route, and as it turns out, it probably used to go to Charlotte and maybe still does if you travel the old roads. … Teachers’ union member Natalie Martin, who is running for the Metro Nashville Public Schools board, has missed out on an endorsement from her own union. The reason she missed it? She was too busy teaching, she says. Martin is running for the District 6 seat currently held by Fran Bush. … After divulging his intentions to help the Tennessee Titans with a potential new stadium project last week, Gov. Bill Lee is reportedly — as of press time — asking the state legislature to approve $500 million in bonds as part of his amended budget to be earmarked for construction of a new Titans stadium. The funding approval is contingent upon the stadium being enclosed with either a fixed roof or a retractable roof, to increase the city’s chances of hosting a future Super Bowl. NASHVILLESCENE.COM/PITHINTHEWIND EMAIL: PITH@NASHVILLESCENE.COM TWEET: @PITHINTHEWIND

NASHVILLE SCENE | MARCH 31 – APRIL 6, 2022 | nashvillescene.com

citylimits_3-31-22.indd 6

3/28/22 5:08 PM

CITY LIMITS

FAIR ENOUGH

A brief history of Nashville’s storied fairgrounds NASHVILLE ROOM POSTCARD COLLECTION, NASHVILLE PUBLIC LIBRARY

BY LENA MAZEL

AERIAL SHOT OF THE FAIRGROUNDS IN 1958, FROM NASHVILLE BANNER ARCHIVES

horses, and the grounds held many highprofile events. In 1920, a renowned 32-yearold champion horse named John R. Gentry was buried in the infield, where he still rests today, though the grave is unmarked. According to one account, the horse’s funeral had more than 100 attendees, and featured a eulogy by the state librarian and archivist, John Trotwood Moore (who, as it happens, was also a virulent and open racist). In 1906, Cumberland Park saw its first fair, a relocation of the already-popular Tennessee State Fair from what later became Centennial Park. Admission was 50 cents, and an early informational pamphlet notes the available nearby railroad stop on Wedgewood Avenue for people traveling from out of state. In 1910, the fairgrounds saw an aeronautics display from Charles K. Hamilton, who flew in the evening with a searchlight strapped to the bottom of his plane to the amusement of 20,000 attendees. Horse racing continued at the park until the late 1950s, and the Tennessee State Fair continued at the fairgrounds until 2019. But now, most people know the fairgrounds for its auto racing. In 1904, the track saw its first auto races, which featured cars driving about 60 mph. Auto races remained popular and coincided with horse racing events

until 1958, when the State Fair Lease Board paved over the dirt track. Once paved, the Fairgrounds Speedway hosted NASCAR Cup races, which saw wins from Richard Petty, Darrell Waltrip and Dale Earnhardt, among many others. The Cup left in 1985, but the track continued to host various racing events, including what’s now known as the Xfinity Series and the Camping World Truck Series races until the late 1990s. NASCAR races paved the way for other events. The Scene’s own J.R. Lind has written about the remarkable history of wrestling at the fairgrounds, which began in 1965 — just after a fire destroyed multiple buildings on the site. Fairgrounds wrestling would continue for 50 years, alongside the yearly Tennessee State Fair and ongoing speedway events. But after the wrestling came discontent. In the ’80s, there was a federal investigation into flea-market extortion and kickbacks, and a 1999 Scene article paints a picture of the fairgrounds that’s all too familiar: “Revenue is down, turnover is high, the fun, lucrative days of auto racing are coming to a close, vendors and farmers are up in arms, the buildings are falling apart.” In 2010, Mayor Karl Dean proposed tearing down the Fairgrounds Speedway and

other buildings to create a mixed-use development, but pushback from racing fans led to a 2011 Metro Charter amendment requiring the flea market, auto races and other events to continue at the site, despite few infrastructure investments on the track. This year, the fairgrounds will host Nashville SC at the soccer team’s new Geodis Park. And in March of last year, Mayor John Cooper signed a letter of intent with Bristol Motor Speedway to bring NASCAR back, though the plan was met with noise and financing concerns. So who are The Fairgrounds Nashville for? At the turn of the 20th century, it was a place to see thoroughbreds with Nashville’s well-heeled. A few years later, you could take a train from out of state to see popular exhibitions there and eat lunch on the sprawling grounds. For many, it was a way to experience auto racing. Even now, $15 will get you a ticket to see stock cars compete in the track’s 118th season. Yes, the infrastructure is indeed aging, and somewhere under the infield, there’s a champion horse in an unmarked grave. But the fairgrounds are a longstanding piece of Nashville’s character — a place that’s worn nearly as many hats as the city itself. EMAIL EDITOR@NASHVILLESCENE.COM

TENNESSEE STATE FAIR, 1970, FROM NASHVILLE BANNER ARCHIVES

nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

citylimits_3-31-22.indd 7

PHOTOS COUTESY NASHVILLE PUBLIC LIBRARY, SPECIAL COLLECTIONS

here’s been plenty of debate lately about the future of The Fairgrounds Nashville — and about its present, too. But not enough people seem to talk about how the Fairgrounds Speedway has a horse buried in its infield, or how in 1910, it saw one of the first nighttime airplane flights in America. What’s more, the racetrack has been operational since 1891 — it’s a year older than the Ryman Auditorium. While its present form is up for discussion, The Fairgrounds Nashville’s long, strange history deserves some attention as well. The land that became the present-day fairgrounds was taken from indigenous Tennesseans and given to John Rains — a Revolutionary War veteran and prolific swearer — by the U.S. government. Rains came to Nashville from what is now North Carolina with James Robertson and other war veterans. When Robertson built Fort Nashboro, Rains built his own fort on his 640 acres of land. When he died, his estate was split into lots that were given to his descendants. There is little information about what the lot containing the fairgrounds held between Rains’ death in 1834 and the construction of the racetrack. But the Metro Nashville Archives was able to retrieve a document recording the sale of Lot 11 to the Cumberland Fair and Racing Association on April 11, 1891 — the lot was originally willed to the heirs of John Rains’ daughter, Barbara Rains Condon. The document references a dirt track and grandstands under construction, preparations for upcoming horse racing. In 1891, the Cumberland Fair and Racing Association built the oval track, then called Cumberland Park — a precursor to the current racetrack. It was a dirt track, and built for Tennessee’s wildly popular horse-racing events. According to the book Nashville in the 1890s, the stalls could accomodate 350

3/28/22 5:08 PM

Style ISSUE THE

ON MOLLY:

TOP: Modiste SKIRT: Emerson Grace DENIM SHIRT: Billy Reid

CREDITS

STYLIST: Emmanuel J. LeGrair PHOTOGRAPHER: Daniel Meigs HAIR AND MAKEUP: Joey Manley | Green Pea West MODELS: Molly Mahaffey | AMAX Talent Jason Campbell | AMAX Talent Asia Harper | AMAX Talent LOCATION: W Nashville ART DIRECTOR: Elizabeth Jones ASSISTANT: Tracey Starck

NASHVILLE SCENE

coverstory_3-31-22.indd 8

3/28/22 5:12 PM

ON JASON:

POLO AND CHINOS: Billy Reid LEATHER JACKET: Savas

ON ASIA:

DRESS: Modiste LEATHER JACKET: Savas SHOES: Emerson Grace

coverstory_3-31-22.indd 9

3/28/22 5:13 PM

ON ASIA:

TOP: Modiste DENIM: Oil/Lumber SHOES: Emerson Grace

ON MOLLY:

JACKET: Savas TANK: Levy’s DENIM: Emerson Grace SHOES: Emerson Grace

NASHVILLE SCENE

coverstory_3-31-22.indd 10

3/28/22 5:17 PM

BELLE MEADE WINERY Nashville's Whiskey History.

Artisanal Cocktails.

The Bourbon Experience.

6 1 5 . 3 5 6 . 6 1 6 4

BelleMeadeWinery

nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

ON JASON:

JACKET: Billy Reid T-SHIRT: Imogene + Willie DENIM: Levy’s

NASHVILLE SCENE

coverstory_3-31-22.indd 12

3/28/22 5:17 PM

ON MOLLY:

DRESS: Emerson Grace SHOES: Emerson Grace

ON ASIA:

DRESS: Modiste JACKET: Emerson Grace SHOES: Emerson Grace

nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

coverstory_3-31-22.indd 13

3/28/22 5:22 PM

ON JASON:

SWEATSHIRT: Billy Reid DRESS SHIRT: Levy’s SHORTS: Oil/Lumber

NASHVILLE SCENE | MARCH 31 – APRIL 6, 2022 | nashvillescene.com

coverstory_3-31-22.indd 14

3/28/22 5:22 PM

stage sponsored by

Analog at Hutton Hotel 1808 West End Avenue (615) 712-2279 analognashville.com

30th Anniversary

stage sponsored by

Academy of Country Music

Aloompa

the bluebird cafe

The Lounge at City Winery

4104 Hillsboro Pike (615) 383-1461 bluebirdcafe.com

609 Lafayette Street (615) 324-1017 citywinery.com/nashville

Marc-Alan Barnette, Randy Brooks, Ronnie Brooks, Scott Southworth $10

Phil Barton, Cameron Bedell, Seth Ennis, Liz Rose $20

Chris August, Kat Higgins, Lance Miller, James T. Slater $15

101 20th Avenue N (615) 551-2700 graduatehotels.com

Lightning 100 Presents Songs from the Fringe

Twisted Christmas All Year ‘Round

Cross-eyed critters watering hole

Seth Alley, Johnny Dailey, Chase Martin, Paul Sikes $15

Taylor McCall, Sean McConnell, Ashley Ray, Brittney Spencer $15

Gary Burr, Peter Cincotti, Mark Hudson, Victoria Shaw $20

Alex Smith, CJ Solar, special guest $15

The Country Music Hall of Fame and Museum Presents “Bill Anderson & Friends”

No Show

Sheltered at the Analog

Acoustic Radio - Wire & Wood- Stories & Songs

No Show

Autumn McEntire, Neil Medley, Sarah Allison Turner, special guest $10

Michael August, Steve Dorff, HAVEN, Zach Top, Landon Wall $15

Jason Duke, Jason Massey, Matt Rogers, Keesy Timmer $15

Kelly Archer, Mark Irwin, Jenn Schott $15

Emma Brooke, Clara Calaway, Marcus Hummon, special guest $15

Cecilia Castleman, Jeff Cohen, Lera Lynn, Jeff Trott $15

Melissa Fuller, Bre Kennedy, Jordyn Shellhart, Alana Springsteen $15

88 Keys & 18 Strings

stage sponsored by

Hard rock cafe

100 Broadway (615) 742-9900 hardrockcafe.com/location/nashville

Austin Jenckes, Justin Klump, Quinn Loggins, Tori Tullier $15

stage sponsored by

The Listening Room CafE 618 4th Avenue s (615) 259-3600 listeningroomcafe.com

Girls Just Wanna Have Fun!(damental Human Rights) Victoria Banks, Emma-Lee, Karen Kosowski, Camille Parker $15

Pryor Baird, Josiah Siska, MaRynn Taylor $10

Real Music for Real People Tony Evans Jr, Ryan Kinder, Kalie Shorr, Fred Wilhelm $15

Jaron Boyer, Wil Nance, Jason Sever, Brian White $20

musicnotes

Trey Lewis, Patrick Murphy, Nate Smith, special guest $10

Good Times Don’t Care Smith Ahnquist, Jordan Gray, Lynn Hutton, Jenna Paulette $15

Bill Anderson, Jim “Moose” Brown, Buddy Cannon, Jeannie Seely $20

Cameron Jaymes, Alex Kline, Jenna LaMaster, Melissa Peirce, Jason Saenz $15

2105 Elliston Place (615) 324-1017 ellistonplacesodashop.com

Songs with Endurance

Emily Hackett, Hadley Kennary, Lydia Luce, Kashena Sampson $10

Northern Lights

Jerry Fuentes, Megan Linville, Hailey Steele, Bridgette Tatum $15

Elliston place soda shop

TN Entertainment Commission

the Station Inn 402 12th Avenue s (615) 255-3307 stationinn.com

Joseph Patton, Jessica Roadcap, Brett Sheroky, Dan Wilson $15

Rx Songs & Friends $10

Carter Faith, Graham Scott Fleming, Harper Grae, special guest $10

stage sponsored by

visit music city 3rd & Lindsley 818 3rd Avenue S (615) 259-9891 3rdandlindsley.com

Countrywide Country

All We Do Is Win

OGs

Hits From The Tape Room!

Angie K, Paulina Jayne, Walker Montgomery, special guest $15

Chris DeStefano, Emily Shackelton, Eric Van Houten $15

Clint Daniels, Jamie Paulin, Anthony Smith, Jon Stone $15

Brad Clawson, Ben Johnson, Taylor Phillips, Will Weatherly $15

Hot 106.7 Presents

SESAC Presents

Jessie James Decker, Dave Pittenger, Shane Stevens $20

Jimmie Allen, Rob Hatch, Jesse Lee, Jon Nite $20

Lyrics, Melodies, Harmonies & Hits

Songs to Get You Lost & Found Alissa Griffith, Kurtis John, Casey LeVasseur, Alissa Moreno $10

James Barker, Rodney Clawson, Erin Kinsey, Jordan Minton, special guest $15

Steve Bogard, Jesse Labelle, Andrew Peebles, Runaway June $15

Daniel Kim Ethridge, Tammy Rogers, Brenna Wheeler, Eli Wheeler $15

Bob DiPiero, JT Harding, Kelley Lovelace, Tim Nichols $20

Tom Gregory, David Hodges, Joe Kirkland, Sebastian Kole $20

Round & Round She Goes

Good Vibez

Wyatt Easterling, Robby Hecht, Paul Jefferson, Stephanie Lambring $10

Corey Crowder, Chris Loocke, RaeLynn, Redferrin $20

Adrienne Follese, Keith Follese, Jay Knowles, Anna McElroy $15

Phillip Lammonds, Lauren Lucas, David Tolliver, The Wildcards $15

Ben Burgess, Nathan Chapman, Natalie Hemby, Kevin Kadish, Jeffrey Steele $20

Thomm Jutz, Milan Miller, Tim Stafford, special guest $15

Mix 92.9 Presents Madison House Party

Country & Bluegrass Hits

Kris Allen, Nick Fradiani, Trent Harmon, Maddie Poppe $20

Timothy Baker, Irene Kelley, Steve Leslie, special guest $15

96.3 JACK FM Presents Rockin’ Da Country! Andrew Farriss, Marti Frederiksen, James Dean Hicks, Buck Johnson $15

Hits From The Tape Room! Ashley Gorley, Wyatt McCubbin, Hunter Phelps, special guest $20

No Show

“I’m a photographer too. My jacket was done by my friend Ellis (@e7es77_), and hers was done by Bay Limnios (@_noonbat_).” ARIANA BROWN, 20, and JOSH JOHNSON, 20, at Five Points Pizza on Woodland Street in East Nashville. Jan. 22, 1:10 p.m. Ariana’s Instagram: @solsistaaa Josh’s Instagram: @godsnephew_

“I grew up on John Denver! My prized possession growing up was my John Denver CD. I’m from Pittsburgh and just moved to Nashville a month ago.” SARAH GRIBBIN, 22, at Church Street and Fourth Avenue North. Jan. 5, 3:22 p.m. Instagram: @sarah_gribbin

STREET

Style

OUR MAN ON THE STREET CHECKS OUT SOME NASHVILLE LOOKS Photos by Ray di Pietro

“I’m on my way to Walgreens on my lunch break. I moved here at the end of November from New Orleans when I evacuated from Hurricane Ida and stayed after I got a job at IQTalent Partners. Before that I lived in NYC — Astoria/Bushwick. I got the dress on Poshmark. It’s by White House Black Market. Jacket is Vince Camuto. Jewel is vintage. Shoes Timberland.” HOPE ADLA PASZTOR, 29, at Rep. John Lewis Way North and Church Street. Jan. 12, 1:53 p.m. Instagram: @iamsintava

coverstory_3-31-22.indd 16

On his boots and his style inspiration: “They are Palladium. Being a ’90s kid, the cartoons had big, bold colors and style, so I like finding bold, colorful stuff.” KYLE YADLOSKY, 30, at Arcade Alley and Fourth Avenue North. Feb. 10, 10:25 a.m.

On her style inspiration: “What a child thinks a rich lady looks like or a celebrity looks like in a cartoon. I just love being overstated. I buy vintage. It started when we didn’t have too much money growing up, and then I realized it was way better.” FIONA EHRLICH, 19, at Church Street and Seventh Avenue North. Feb. 1, 12:08 p.m. Instagram: @fionski

3/28/22 5:23 PM

On her knit top and skirt: “I made this myself! I just finished last night! My mother is a teacher, and one of the classes she teaches is needle arts.” ELLA ALDRIDGE, 18, at the East Nashville Farmers’ Market. Feb. 15, 3:18 p.m. Instagram: @ella_echo

Hume-Fogg High School students, from left: REN, 14; SOFIA, 15; CAMILA, 15; MAX, 14; HANNAH, 15; at Sixth Avenue North and Church Street. Feb. 16, 3:32 p.m.

“I’m visiting from Chicago for the weekend. I’m a painter and possibly doing a project downtown. And we’re meeting up with friends. A buddy of mine found [my coat] and bought it. He’s tiny but he felt that someone had to have it, so he gave it to me. [This is] a friend’s camera. I just started. I’ve shot seven or eight rolls and developed four so far.” DAMIANE NICKLES, 28, at East Side Banh Mi on Gallatin Avenue, Jan. 29, 2:09 p.m. Instagram: @notaplantshop

“I’ve modeled since I was a kid, so I took inspiration from my work growing up. I moved to Nashville exactly a year ago from New York.” PAIGE PALMARI, 29, at Fourth Avenue North and Union Street. March 14, 1:13 p.m. Instagram: @paigepalmari

“I’m from Franklin, but I’m studying film in London at the University of Westminster. I’ve worked on a BBC documentary. I just went to the Frist Art Museum with my parents to see the Medieval Bologna manuscripts exhibit and now we’re heading to a Beatles symphonic concert at the Schermerhorn!” OLIVIA OTTS, 22, at the Frist Art Museum. Jan. 13, 5:13 p.m. Instagram: @oftwell

“This is my everyday look. If I’m doing errands, this is what I normally look like. Lil Nas X and Wiz Khalifa are my style influences!” RASHIDI ROBINSON, 28, at Fourth Avenue North and Church Street. March 14, 1:44 p.m. Instagram: @shidi.robin

nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

coverstory_3-31-22.indd 17

3/28/22 5:23 PM

OLDIES BUT GOODIES

TAKING A CLOSER PEEK AT NASHVILLE’S BOOMING VINTAGE SCENE

PHOTOS: ERIC ENGLAND

By Kelsey Beyeler

ANACONDA VINTAGE

SOME ITEMS AT Music City Vintage aren’t for sale. An old Apple computer, a pair of 1985 Jordan 1s and another pair of shoes that survived the March 2020 tornado are too meaningful for owners Trea Broyles and Justin Allman to part with. The duo’s original Music City Vintage location was destroyed in the tornado, along with most of their inventory. But they’ve since resurrected the shop and built a new collection, and now they have loads of items to sell — tie-dyed Grateful Dead T-shirts, a button-up shirt displaying old Playboy covers, shoes that have never been worn. At least, that’s what’s in stock when the Scene visits the shop on Gallatin Avenue in East Nashville. You never know how long a piece of clothing may last in a spot like this one before it finds a new home. Nashville’s vintage fashion scene is a popular one. The combination of Music City’s Southern honky-tonk style, the state’s large assortment of thrift stores and estate sales, and a big community of musicians looking for stagewear make for the perfect storm of supply and demand. It’s also a relatively affordable city in which to open a store — that may be changing as real estate prices soar, but it’s always been cheaper than places like New York City and L.A. There’s also an undeniable connection between vintage clothing and music. Most of the vendors the Scene spoke with for this story are also musicians. East Nashville’s Anaconda Vintage is located right behind Grimey’s, and is co-owned by musician and longtime Scene fave Tristen Gaspadarek — she used to sell clothing at beloved record and vintage shop Fond Object, which closed in 2019. Trisha Brantley is a longtime East Nashvillian, having opened her well-curated vintage shop Hip Zipper in Five Points back in 1999 — she’s a musician too. The owners of Backslide Vintage, whom the Scene spoke with in December, are also musicians,

start selling at Nelson Drum Shop in April. As a general rule, an item must be 20 years old or older to be considered vintage. Some vintage stores adhere to that rule more strictly than others. The owners of Backslide Vintage tell the Scene they aren’t opposed to selling newer items if customers want them. Some places lean into the Y2K aesthetic that’s back en vogue — of course, anything made in 2002 or before is technically vintage, though it may not feel that way. Gaspadarek doesn’t carry any items that were made after 1998 at Anaconda Vintage, because that’s “basically when manufacturing went to fast fashion.” With the fast-fashion model, many large clothing companies sell low-quality clothes for low prices. These clothes aren’t made to last, and instead perpetuate a cycle of tossing worn-out clothes and purchasing more fast-fashion pieces to replace them. This approach has a significant negative environmental impact. Many used garments end up in landfills, clothes that are made with spandex cannot be recycled, and according to the Princeton Student Climate Initiative, “the fashion industry consumes one-tenth of all of the water used industrially to run factories and clean products.” Plus, many fastfashion pieces are made overseas in shops with inhumane working conditions. Though vintage fashion may not be a singular solution to the fast-fashion problem, it is part of the answer. Folks like Gaspadarek

MUSIC CITY VINTAGE and neighboring shop High Class Hillbilly is owned by singer-songwriter Nikki Lane. Turns out, when you’re touring across the country and you have time to kill before shows start, thrifting is a solid option. It’s also a creative means of gaining supplemental income. Even outside of thrift stores and fashionresale chains like Buffalo Exchange, there’s a plethora of vintage clothing stores across town. Many of them are peppered along Gallatin Avenue on the East Side, though there are outliers like Starland Vintage & Unusual (formerly Pre to Post Modern) on Eighth Avenue South and Live True Vintage in Old Hickory. Some vendors sell vintage clothing at flea markets or antique stores, while others hawk their wares online and at pop-up shops. Madyson Williams, owner of Horse Girl Vintage, started selling her finds on Instagram and at pop-ups, and she plans to

can address these issues by providing sturdy clothing meant to last for decades, as well as ethical working conditions for employees. Compared to the “linear culture” of buying something, using it and then tossing it, vintage fashion “is a circular economy,” says Gaspadarek. “So the thing is made, it’s used, it’s sold back to us, we sell it back to people, they use it, they sell it back to us. … So hopefully not much goes into the landfill like that. We’re actually more of a recycling company.” Of course, some folks may be critical of the markup on vintage pieces — jackets, boots and even T-shirts can easily cost north of $100. But there’s a pretty compelling reason for that. Vintage clothing vendors put significant effort into curating their collections — finding clothes, washing them, mending them. Broyles points out that a lot of clothing is collectible too. “If you think of

any major event, there’s a T-shirt or there’s some kind of memorabilia from it,” he says. “It’s just wearable history.” Critics may also argue that the vintagefashion industry gentrifies thrift stores, diluting access to fashionable clothing and pricing out lower-income people. But according to nonprofit climate and culture magazine Atmos, the sheer amount of secondhand clothes in circulation somewhat negates that argument, and rising prices in thrift stores are a result of inflation, not scarcity — the majority of used clothing still ends up in landfills. “I have thought about it a lot, because I would never want to take away anyone else’s accessibility to cool clothes,” says Williams. “I really don’t think that vintage sellers are taking away [clothes]. There are so many clothes — I’ve especially seen that going to the Goodwill bins, just how much stuff gets dug through and then how much stuff still gets sent back after it’s been dug through.” It can take a lot of time and effort to establish a solid, consistent collection, and though many vendors enjoy it, there are also … let’s say, occupational hazards. Sifting through used clothes can be gross. Broyles and Allman say they have encountered sex toys and a snake when digging through used clothing. Williams has found rodent droppings on clothes she discovered at an estate sale. Some vendors typically look for clothing at estate sales or in the bins of a Goodwill outlet, which charge about a dollar a pound, while others shop online. “You’re either a clicker or a picker,” says Heather Scudder, a vendor who sells her Wild Knees clothes at Anaconda Vintage and her Lil Knees kids’ clothes online. “I like the picking. … A lot of people will just buy wholesale online, buy just an entire inventory on eBay. … And that’s an OK way of doing it, too.” True expertise is required when it comes to finding vintage wares and knowing how desirable and valuable certain pieces are. While there are some indicators of a solid vintage find — things like paper tags, metal zippers and general sturdiness — some pieces require research. “It’s hard to teach,” says Gaspadarek. Overall, the folks the Scene spoke to say the vintage fashion industry is a supportive one. Williams says some vintage stores host pop-ups for other vendors, and that when she sees fellow vendors at estate sales or sifting through the bins, they’re typically friendly and supportive of one another. It’s similar to the creativity and collaboration that enables the music industry to thrive here. But there is, of course, a bit of competition. “Everybody kind of has their little secrets,” says Scudder. “I know that I do.” Many within the local vintage scene also strive to keep it inclusive. “As someone who’s never been skinny, it was always hard for me to shop vintage, and I’ve been a wide range of sizes in my life,” says Williams. While she would like to see more plus-size options, Williams says she’s noticed many stores are trying to be more size-inclusive, and another East Side spot, Speakeasy Vintage, is a particularly great spot for that. “We want [Anaconda] to be accessible,” says Gaspadarek. “We want to have plus sizes, we want to have little sizes. We want everybody to feel like they can walk in and find something.” EMAIL EDITOR@NASHVILLESCENE.COM

NASHVILLE SCENE | MARCH 31 – APRIL 6, 2022 | nashvillescene.com

coverstory_3-31-22.indd 18

3/28/22 5:24 PM

3407 GALLATIN PIKE

LIVE MUSIC | URBAN WINERY | RESTAURANT | BAR | PRIVATE EVENTS

615●649● 8851

MORE THAN 12,000 SQUARE FEET OF MID CENTURY MOD FURNITURE ● RECORDS ART ● VINTAGE CLOTHING ● ACCESSORIES ● LIGHTING

3.31

4.01

WMOT Presents

Suzanne Santo

Shawn Colvin

with The Sea The Sea

Steady on 32nd Anniversary Tour

4.02

4.03

Nick Waterhouse

Tia Sillers

with McKinley James

A Benefit for Musicares

LOW TICKE T ALERT

4.05

4.06

WMOT Presents

f Event Kick-of -May 1 9 April 2 hville at Nas ject ro Food P

• Craving privacy in your home, and community at your doorstep? Maybe cohousing is what you’ve been searching for... • Cohousing offers private homes with shared amenities. • Burns Village & Farm has 15 acres of land to build a cohousing agrihood in Dickson County, TN.

Spyro Gyra

Joan Osborne 4.6

NASHVILLE STORIES TOUR 2022: AUTUMN NICHOLAS, MADELINE FINN, EMMA ZINCK IN THE LOUNGE

4.10

NASHVILLE BEATLES BRUNCH FEATURING FOREVER ABBEY ROAD

4.10

WMOT PRESENTS: AMY SPEACE “TUCSON” ALBUM RELEASE SHOW WITH SPECIAL GUEST ROBBIE HECHT

4.10

REALITY GAYS LIVE! WITH MATTIE AND POODLE!

4.12

THE MUSIC OF CREAM DISRAELI GEAR & CLAPTON CLASSICS TOUR WITH LILY WINWOOD

4.13

SPILLING TEA WITH ZACK PETER & ADAM NEWELL LIVE IN THE LOUNGE

4.15

RODNEY ATKINS FT. ROD + ROSE

4.17

ELLE VARNER PRESENTED BY LOVENOISE

4.20

MIKAELA DAVIS IN THE LOUNGE

4.20

BAND OF OTHER BROTHERS FT. JEFF BABKO, KEITH CARLOCK, JEFF COFFIN, NIR FELDER, & WILL LEE

4.21

TONY LUCCA IN THE LOUNGE

4.21

CANDLEBOX: UNPLUGGED TOUR 2022

LOW TICKET ALERT

April 17

• We value relationships, connected communities, and sustainable agriculture. • Check out our website to learn more about us and decide if we’re right for you and your family!

feat u ri ng

REBECCA SAYRE QUARTET 609 LAFAYETTE ST. NASHVILLE, TN 37203, NASHVILLE, TN 37203 @CITYWINERYNSH . CITYWINERY.COM . 615.324.1033

nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

6 11 2 4 1

Pik

3 14 10

5 East le l i v h s a N 7

nto

12 south 13 12

440

old hickory

ti a l l a G

Dow

ILLUSTRATION: MARY LOUISE MEADORS

Nashville’s vintage stores COMPILED BY ASHLEY BARRIENTOS

2 3

ANACONDA VINTAGE 1062 E. Trinity Lane, Suite 101 anacondavintage.com Instagram: @anacondavintage

BACKSLIDE VINTAGE 4606 Gallatin Pike Instagram: @backslidevintage

HIGH CLASS HILLBILLY

HIP ZIPPER

BLACK SHAG 1220 Gallatin Ave. blackshagvintage.com Instagram: @blackshagvintage

EAST NASHVILLE ANTIQUES AND VINTAGE 3407 Gallatin Pike Instagram: @eastnashvilleantiques

8 9

GOODBUY GIRLS 1108 Woodland St., Unit E goodbuygirlsnashville.com Instagram: @goodbuygirls

4604 Gallatin Pike highclasshillbilly.com Instagram: @hchvintage

1008 Forrest Ave., Suite A hipzipper.com Instagram: @hipzippernashville

LIVE TRUE VINTAGE

OLD MADE GOOD (OMG)

SAVANT VINTAGE

STARLAND VINTAGE & UNUSUAL*

STAR STRUCK VINTAGE

TRANSMIGRATION VINTAGE

103 22nd St., Old Hickory livetruevintage.com Instagram: @livetruevintage

MUSIC CITY VINTAGE 2503 Gallatin Ave., Suite 103 musiccityvtg.com Instagram: @musiccityvtg

NTHNG PRSNL 1003 Gallatin Ave. Instagram: @nthngprsnl.shop

3701B Gallatin Pike oldmadegoodnashville.bigcartel.com Instagram: @oldmadegood

2302 12th Ave. S. Instagram: @savantvintage

*Previously Pre to Post Modern 2110 Eighth Ave. S. Instagram: @starlandemporium

604 Gallatin Ave., Unit 109 starstruckvintage.com Instagram: @starstruckvintage

508 Davidson St., Suite 510B transmigration-vintage.business.site Instagram: @transmigration_vintage

NASHVILLE SCENE | MARCH 31 – APRIL 6, 2022 | nashvillescene.com

coverstory_3-31-22.indd 20

3/28/22 5:25 PM

tennessee

s ta n

rd P RO

nashville

ISK Y C E

Who said Whiskey couldn’t be

g n i h s e r f e R

APRIL 30

ARI SHAFFIR

WITH NATE BARGATZE, BIG JAY OAKERSON,

SHANE GILLIS & MORE MAY 10

GEORGIA ON MY MIND

HOSTED BY AMY RAY & BRENT COBB

FEATURING AMYTHYST KIAH, BUTCH WALKER, O.N.E. THE DUO & MORE

MAY 24

JOSS STONE

WITH SPECIAL GUEST KT TUNSTALL ON SALE FRIDAY AT 10 AM SEPTEMBER 11

LIVE AT THE OPRY HOUSE

COLLECTIVE SOUL & SWITCHFOOT ON SALE FRIDAY AT 10 AM SEPTEMBER 24

SPOON

ON SALE FRIDAY AT 10 AM OCTOBER 24

JOE SATRIANI

ON SALE FRIDAY AT 10 AM NOVEMBER 30

LIVE AT THE OPRY HOUSE

THE PIANO GUYS now offering private

Cocktail

ON SALE FRIDAY AT 10 AM

classes

Scan the QR code for more info. nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

coming soon

GUERRERO CONDUCTS

MESSIAH

MENDELSSOHN'S VIOLIN CONCERTO & DEBUSSY’S LA MER April 8 to 10

AN EASTER ORATORIO WITH THE NASHVILLE SYMPHONY

with the nashville symphony Nathan Aspinall, conductor

TCHAIKOVSKY, RAVEL & SIBELIUS May 6 to 7

THIS WEEKEND • April 1 to 3

SERIES PARTNER

April 14 to 16

HARRY POTTER AND THE HALF-BLOOD PRINCE™ IN CONCERT May 12 to 15

BALLET EXTRAVAGANZA

with the Nashville Ballet May 19 to 22

TOWER OF POWER

A Celebration of the Roaring ‘20s

PROHIBITION May 25 N A S HV I LLE S Y MPHO N Y Enrico Lopez-Yañez, conductor

WITH THE

Presented without the Nashville Symphony.

April 22

SERIES PARTNER

LESLIE ODOM, JR. May 26 to 28

April 28 to 30

CHAKA KHAN May 29*

THE MUSIC OF JOHN WILLIAMS

BEETHOVEN'S NINTH June 2 to 5

Y olanda a dams

90TH BIRTHDAY CELEBRATION WITH THE NASHVILLE SYMPHONY

WITH THE NASHVILLE

SYMPHONY

ABBA: THE CONCERT

A Gospel Mother's Day

ENRiCO LOPEz-YAñEz, CONDuCTOR

June 8*

DR. HENRY PANION III, CONDUCTOR

May 1

May 8

*Presented without the Nashville Symphony.

EXPLORE OUR CONCERT CALENDAR AND BUY TICKETS

NashvilleSymphony.org/Tickets | 615.687.6400

WITH SUPPORT FROM

CRITICS’ PICKS O F

T H I N G S

T O

D O

autism is like. Thankfully, a new documentary (which will also premiere on PBS in DUE TO CONCERNS December) gives a more ABOUT COVID-19 well-rounded view of the TRANSMISSION, PLEASE CHECK WITH VENUES ABOUT disorder and how it affects POTENTIAL CANCELLATIONS people. With In a Different BEFORE MAKING PLANS. Key, directors John Donvan and Caren Zucker follow up their 2016 book of the same name with this film companion. They talk to many individuals on the autism spectrum, including Zucker’s cat-obsessed son Mickey and Donald Triplett, a rural Mississippian who’s the first person ever to be diagnosed with autism. They also interview some family members of autistic people, getting their perspectives on how they cope and struggle with caring for loved ones with special needs. As someone who grew up with a severely autistic brother, I can attest that this doc is long overdue. Keivan Stassun, a Vanderbilt professor of astrophysics, will introduce the film. As always, International Lens screenings are free to attend. 7:30 p.m. at Vanderbilt’s Sarratt Cinema, 2301 Vanderbilt Place

MUSIC

CRAIG D. LINDSEY

PHOTO: CHAD COCHRAN

QUEERFOLK FEAT. MERCY BELL THURSDAY, MARCH 31

Dee’s Country Cocktail Lounge

[QUEER AS QUEERFOLK]

QUEERFOLK FEAT. MERCY BELL, SWEET PETUNIA, JOBI RICCIO & SKOUT

Nashville has no shortage of opportunities to see live music, but Queerfolk Fest is creating something special — a platform for queer musicians and a place for the queer community to gather. Queerfolk Fest was started in June of last year, Pride Month, by local contemporary folk artist Sara Gougeon. What began as a one-time virtual festival has since expanded into a regular in-person concert series. Each event features a few different queer-identifying artists, and there are two Queerfolk shows right around the corner: Thursday at Dee’s Country Cocktail Lounge ($5 cover at the door), and another show on April 6

FILM

MUSIC

THURSDAY / 3.31

at Vinyl Tap ($7 suggested donation). With Thursday’s installment including shapeshifting songsmith Mercy Bell, whose LP Golden Child was a highlight among 2021 releases in Nashville, good tunes are guaranteed; don’t miss Sweet Petunia, Jobi Riccio or Skout either. What’s more, you’ll find what might just be the most welcoming group of people you’ll ever meet. What more could you ask for? 8 p.m. at Dee’s Country Cocktail Lounge, 102 E. Palestine Ave., Madison MORGAN FLORSHEIM

[KILLING US SOFTLY]

SOFT KILL

As with Mudhoney or AC/DC, the biggest change from one Soft Kill record to the next is the cover. Newcomers to the Portland, Ore., group, which has been around since 2010, can look forward to exploring a catalog both vast and valuable — a deep vault of moody, dynamic reinterpretations of all things New Wave goth. Bandleader Tobias Graves & Co. showed up several years ahead of that style’s resurgence — fortified by mid2010s acts like L.A’s similarly downcast but radio-friendlier Drab Majesty — and have designs on the long game. If Disintegration is your favorite Cure record, Soft Kill has you covered. Graves has also cited Big Country as an influence — the Scottish band that came up alongside U2 and scored a hit in ’83 with “In a Big Country” — which is a surefire way to get my attention. The

group’s live shows are synesthetic, chorusdrenched, fog-shrouded serenades. Soft Kill’s fellow Rose Citians and obvious Wipers admirers Alien Boy, along with Bay Area shoegazers Topographies, round out the three-band bill. 8 p.m. at The End, 2219 Elliston Place CHARLIE ZAILLIAN MUSIC

R O U N D U P

[TAKE A DIP]

SOUND BATH MEDITATION

If you’re aware of everything happening in the world right now, you could probably use some help calming down for a few minutes. For me, a sound bath is a guaranteed way to chill out. I know it sounds kind of far-out, but just consider it — this is a city built on the power of sound, after all. A sound bath is a guided group meditation where crystal singing bowls, gongs and other instruments are used to produce reverberating sounds. I am able to feel the vibration in my body in a way I don’t with other kinds of meditation, so I was pretty excited to learn that Ann Sensing and Jo-Jo Jackson are leading outdoor sound baths in the Blevins Japanese Garden Pavilion at Cheekwood. The Japanese garden is one of the most serene places at Cheekwood, and to be able to experience an event from this pavilion allows you to have a different interaction than looking at the garden from a distance. Cost is $15 plus admission for non-members, $12 for Cheekwood members. Bring your own yoga mat or blanket. The sound baths are offered on Wednesdays, Thursdays and Sundays, and they’re just one part of Cheekwood’s Wellness 360 program, which continues through late May. Find out more at cheekwood.org. Through May 29 at Cheekwood, 1200 Forrest Park Drive MARGARET LITTMAN

FRIDAY / 4.01 MUSIC

W E E K L Y

[SOME SONGS TO PASS THE TIME]

BRIGHT EYES

It’s all too easy to lump Bright Eyes in with the rest of today’s emo-revival nonsense. After all, the band — founded and fronted by Conor Oberst and featuring

SOUND BATH MEDITATION

[FULL SPECTRUM]

INTERNATIONAL LENS: IN A DIFFERENT KEY

Were someone solely informed by media like Rain Man or The Good Doctor — entertainment that characterizes autistic people as intelligent, socially inept, ultimately adorable people — they might think they have an idea of what

nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

criticspicks_3-31-22.indd 23

3/28/22 4:09 PM

CRITICS’ PICKS

SPARKLE CITY 10-YEAR ANNIVERSARY FEAT. ELI ESCOBAR & VICKI POWELL

There were some great dance parties in Nashville a decade ago, but they were fewer and further between than they are here in the post-“It City” era. One of the recurring gigs that helped build up that scene is Sparkle City, a disco-centric DJ night born from the minds and vinyl collections of David Bermudez and Jonas Stein. To mark 10 years of reveling in the lush and funky sounds of dance music from the ’70s and early ’80s, they’re pulling out all the disco balls and fog machines to turn Brooklyn Bowl into a boogie wonderland on Friday. Joining them will be New York’s Eli Escobar, who shares the Sparkle City crew’s love of disco but also expands his crates to include that superb post-disco invention, house. Rounding out the lineup is Vicki Powell, who splits her time between her hometown of Atlanta, where she started her DJ career at her local roller rink at the tender age of 13, and NYC, where among other things she helped launch the Holy Rollers dance night for queer women. 8 p.m. at Brooklyn Bowl, 925 Third Ave. N. STEPHEN TRAGESER

MUSIC

SATURDAY / 4.02 [WE SALUTE YOU]

BULLY

Mercy Lounge, The High Watt and Cannery Ballroom — the Goldilocks suite of venues on Cannery Row — have collectively played a vital role in helping a slew of artists across an array of genres develop the skills to become widely loved around the world. Bully, the grunge-kissed band fronted by singer-guitarist-engineer Alicia Bognanno, is one of many groups that’s grown up with these rooms. Back in 2013 and 2014, they were opening shows at Mercy Lounge for bands like Those Darlins and Superchunk; when Bully returned home from a huge international tour following their debut album Feels Like, they headlined a three-nighter at Mercy. The trend has continued: Even after playing huge festivals, Mercy is the place Bognanno & Co. have chosen to play, though sometimes they’ve had to do multiple nights to meet demand. Back in September, the

THEATER

MACHINE YOURSELF

If you’re a fan of science-fiction — especially its subcategory cyberpunk — you’ll want to check out Machine Yourself this Saturday at The Barbershop Theater. Written by Wyatt Scott and choreographed by Bernadette Turnage, this new play is actually based on James Tiptree Jr.’s 1973 novella The Girl Who Was Plugged In. The haunting piece digs into everything from bodily autonomy to body and gender dysphoria, consumerism and more — themes that take on added significance when you consider that Tiptree was actually the pen name for an extraordinary woman named Alice Sheldon. A prolific writer and pioneer of the cyberpunk genre, Sheldon reportedly struggled with issues of identity and sexuality throughout her life, and chose to use a male pseudonym because it “seemed like good camouflage.” Tickets are by donation — $10 is suggested — and all proceeds go to Appalachian OUTreach, an East Tennessee organization that supports queer and trans youth in the rural South. You can also catch the live stream at wyattscott.org/machineyourself. 2 & 5 p.m. at The Barbershop Theater, 4003 Indiana Ave. AMY STUMPFL

SUNDAY / 4.03 [SECRETS FROM A GIRL]

LORDE

I wasn’t happy when Lorde released her third full-length album Solar Power

[FLEXIN’ AND PERPLEXIN’]

FLUMMOX ALBUM RELEASE W/ ISOLATION TANK ENSEMBLE & LOOK WHAT I DID

If you have even a passing interest in heavy music but aren’t aware of Flummox, now’s a perfect time to get on board. The group’s profile got a boost in 2020 when they released “Trans Girls Need Guns,” an art-metal barnburner protesting violence against transgender people. But per a recent interview with Louder Sound, singerbassist Alyson Dellinger and guitarist Drö Jones have been playing together since their early teens. The group’s new album

[BIG DAYDREAM IN THE MIDDLE OF THE NIGHT]

Rey and Finn battle the evil First Order in a fancier setting. If you’re not a fan of the Star Wars franchise or somehow haven’t managed to see the movie at some point over the past six years and change, this epic presentation just might force you to change your mind. April 1-3 at the Schermerhorn, 1 Symphony Place AMANDA HAGGARD

[FIGHT THE POWER]

[WHO’S THE GIRL]

STAR WARS: THE FORCE AWAKENS IN CONCERT WITH THE NASHVILLE SYMPHONY

The only thing more epic than hearing a John Williams score in a movie theater is hearing a John Williams score played live by a symphony orchestra. Friday through Sunday, Nashville Symphony assistant conductor Nathan Aspinall will lead an orchestral performance as 2015’s Star Wars: The Force Awakens also plays on the big screen. If you’ve already seen the movie, here’s your chance to see heroes

MACHINE YOURSELF

PHOTO: SARINA KURRIMBUKUS

MUSIC

Since April Fools’ Day falls on a Friday this year, the folks at Full Moon Cineplex must’ve realized this would be the perfect time to screen this dusty one-off slasher from 1986. Familiar ’80s faces (including scream queens Amy Steel and Deborah Foreman, Back to the Future bully Tom Wilson, and Griffin O’Neal, the tormented son of Ryan) populate April Fool’s Day, a mildly gory tale about a group of prankcrazy college students who spend a weekend together at an island mansion and eventually begin disappearing one by one. While it was produced by Frank Mancuso Jr., who gave us oodles and oodles of Friday the 13th movies back in the day, this killeron-the-loose flick (written by one of the guys who came up with Beverly Hills Cop) is more snarky and smart-ass than sinister — especially when you get to the surprise ending, one of the biggest get-the-fuckoutta-here finales ever put on film. And in case you were wondering, yes, a remake did come out in the Aughts. 7 p.m. at Full Moon Cineplex, 3455 Lebanon Pike CRAIG D. LINDSEY

Rephlummoxed, out Friday via Needlejuice, features fresh recordings of material they’d written and/or recorded, revisited after many more years of honing their chops. There’s a ton of ingredients in this prog-rock stew, from heavy psych to jazz to folk music and beyond, neatly balanced and blended together with a healthy dose of operatic grandeur. Flummox will celebrate this milestone release with help from Louisville, Ky., prog champions Isolation Tank Ensemble and Nashville prog-punk outfit Look What I Did. 9 p.m. at The Basement, 1604 Eighth Ave. S. STEPHEN TRAGESER

MUSIC

APRIL FOOL’S DAY

SPARKLE CITY DISCO

DANCE

[FOOL MOON CINEPLEX]

proprietors of the Mercy venues and their sister event space ONE announced that they wouldn’t renew their lease and would cease operations in May. Though the Mercy crew hopes to set up shop elsewhere, and the owner of the property has announced plans to open new venues on the site, this is it for now. An array of bands will be bidding farewell to the complex and saluting what it’s meant to them over the past 19 years with a final appearance there this spring; there were a few tickets left to this gig at press time, so you’ve got a chance to join Bully as they give the place a righteous sendoff. 8 p.m. at Mercy Lounge, 1 Cannery Row STEPHEN TRAGESER

FILM & MUSIC

FILM

multi-instrumentalists Mike Mogis and Nate Walcott — is co-headlining the nostalgiadrenched When We Were Young festival later this year, appearing alongside thirdwave emo superstars like My Chemical Romance, Paramore and Avril Lavigne. What’s more, the band’s related artists on Spotify are Dashboard Confessional, Jimmy Eat World and Taking Back Sunday — three acts I wouldn’t have dared to compare to Bright Eyes circa 2000, when albums like Letting Off the Happiness (1998) and Fevers and Mirrors (2000) felt like fearless explorations of young adulthood’s darkest corners. Jimmy Eat World, meanwhile, had a hit video with lots of hot young people in their underpants. THEY DO NOT COMPARE! However, it seems that time compresses everything. It eliminates context and nuance. Songs that felt poignant, deep and daring are now reduced to emo anthems for anyone who’s ever been sad. But do not let the algorithm rewrite history. Bright Eyes was different, and continues to be different. Even the most recent Bright Eyes release — 2020’s Down in the Weeds, Where the World Once Was, their first full-length studio album in nearly a decade — is filled with dramatic snapshots of the human experience as told through Oberst’s poetic lyricism, a full orchestra and, somehow, Flea. Christian Lee Hutson opens. 8 p.m. at the Ryman, 116 Rep. John Lewis Way N. MEGAN SELING

NASHVILLE SCENE | MARCH 31 – APRIL 6, 2022 | nashvillescene.com

criticspicks_3-31-22.indd 24

3/28/22 4:09 PM

thebasementeast basementeast thebasementeast

917 Woodland Street Nashville, TN 37206 thebasementnashville.com

OBITUARY // APR 9

THE DISTRICTS // APR 5

W/ FRANCIS OF DELIRIUM & VANILLAROMA

W/ GRUESOME & 200 STAB WOUNDS

KISHI BASHI // APR 10

GENESIS OWUSU // APR 12

W/ TALL TALL TREES

W/ BLAKE RUBY

just announced

FRUIT BATS // APR 14

THE SHEEPDOGS // OCT 25

W/ JOHANNA SAMUELS

Upcoming shows DOWNTOWN

Friday, April 1

Saturday, April 9

TIN PAN SOUTH SONGWRITERS FESTIVAL

SONGWRITER SESSION

Bill Anderson & Friends

PRESENTED BY THE COUNTRY MUSIC HALL OF FAME® AND MUSEUM

6:00 pm · BLUEBIRD CAFÉ Saturday, April 2 SONGWRITER SESSION

Teddy Robb NOON · FORD THEATER Sunday, April 2

TIN PAN SOUTH SONGWRITERS FESTIVAL

Love, Tom

Mary Gauthier NOON · FORD THEATER Saturday, April 16 SONGWRITER SESSION

CJ Solar

NOON · FORD THEATER Saturday, April 16

mar 31 apr 1 apr 2 apr 3 apr 4 apr 5 apr 6 apr 7 apr 8 apr 9 apr 10 apr 12 Apr 14 Apr 16 Apr 17 Apr 19 Apr 20 apr 21 apr 22 apr 23 apr 24 apr 25

ian noe w/ kimberly kelly sierra ferrell w/ chris acker sold out! sierra ferrell w/ mama's broke sold out! dorothy w/ joyous wolf & classless act cannons w/ madi sipes & painted blue the districts w/ francis of delirium & vanillaroma latto w/ saucy santana, and kali & asianae sold out! tate mcrae w/ mimi webb sold out! tate mcrae w/ mimi webb sold out! obituary w/ gruesome & 200 stab wounds kishi bashi w/ tall tall trees Genesis Owusu w/ blake ruby fruit bats w/ johanna samuels lights w/ tillie southern underground pro wrestling pedro the lion w/ oceanator hurray for the riff raff w/ anjimile elvie shane w/ frank ray penny & sparrow w/ lera lynn sold out! government cheese the lil smokies w/ michigan rattlers feelrs, the weird sisters & the reveal

apr 26 apr 27 apr 28 apr 29 apr 30 may 1 may 2 may 3 may 4 may 5 may 6 may 7 may 8 may 9 may 11 may 12 may 13 may 14 may 14 May 16 may 17

son volt w/ s. g. goodman helado negro nilüfer yanya w/ tasha and ada lea los lobos w/ ian ferguson the chats w/ mean jeans & thick gang of youths sheer mag & angel Du$t w/ snooper clinton kane w/ lexi jayde sold out! built to spill w/ itchy kitty & prism bitch the menzingers w/ oso oso & sincere engineer teddy swims w/ fly by midnight sold out! taylor swift night the band of heathens w/ chicago farmer & the fieldnotes

taya caroline spence north mississippi allstars william clark green w/ shaker hymns joy oladokun w/ bre kennedy sold out! joy oladokun w/ bre kennedy stryper w/ true villains the afghan whigs

FAMILY PROGRAM

DeFord Bailey HARMONICA SALUTE AND LESSON

With Carlos DeFord Bailey, Jake Groves, and Ketch Secor 2:30 pm · FORD THEATER

FEATURING TOM DOUGLAS

Saturday, April 23

2:30 pm · FORD THEATER

SONGWRITER SESSION

EMILY HACKETT // APR 1 W/ OLIVIA BARTON

Frank Ray

NOON · FORD THEATER

Check our calendar for a full schedule of upcoming programs and events. CountryMusicHallofFame.org/Calendar

Museum Membership

W/ ALAINA STACEY

UPCOMING SHOWS

mar 31 mar 31 apr 1 apr 1

lowen (7pm) multi-ultra w/ blackpool mecca & pepper said (9pm) emily hackett w/ olivia barton (7pm) flummox w/ look what I did

apr 2 apr 2 apr 3

troubadour blue (7pm) glove w/ snõõper (9pm) Tory grace, alisha pace, & the side chicks lawrence taylor madeleine kelson w/alaina stacey rob leines & the comancheros (7pm) nicholas jamerson & the morning jays (9pm)

apr 5 apr 6 apr 7 apr 7

MADELEINE KELSON // APR 6

& isolation tank ensemble (9pm)

apr 8 apr 8 apr 9 apr 9 apr 10 apr 11 apr 12 apr 13 apr 14 apr 15 apr 15

huntertones & jbm trio (7pm) 87 nights w/ sylmar & badculture (9pm) flarelight (7pm) boa boys w/ chrome pony (9pm) 76th street, cameron jayne, & stacey kelleher pindrop songwriters series brothers elsey ben chapman brody price w/ ellie turner kaitlin butts w/ meg mcree (7pm) joshua dylan balis, reed gaines, & lauren watkins (9pm)

Museum members receive unlimited Museum admission, concert ticket pre-sale opportunities, and much more. JOIN TODAY: CountryMusicHallofFame.org/Membership

1604 8th Ave S Nashville, TN 37203 thebasementnash

thebasementnash

nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

CRITICS’ PICKS dippie, sun-drenched pop album with breezy and romantic harmonies. Lorde cut out her heart and held it up for all to see, and then she rewarded herself with a beach vacation. Fair! The drastic sound shift is also evidence that Lorde isn’t afraid to wade into new waters. She’s in this for the long haul. As an artist, she’s going to evolve and experiment, and Solar Power, love it or hate it, is just one piece of Lorde’s larger puzzle. It’s hard to be unhappy about that. 7:30 p.m. at the Opry House, 2804 Opryland Drive MEGAN SELING

MUSIC

in August. My head was still very much spinning over 2017’s Melodrama, an utterly perfect breakup record that encapsulates all the dramatic passion and extravagance of a brokenhearted party girl. Solar Power is … very much not that. Songs like “Stoned at the Nail Salon” and the title track are slow, syrupy and driven by acoustic guitar instead of flashes of Champagne-drenched parties and dance beats. In “Secrets From a Girl (Who’s Seen It All),” Lorde sings about drinking responsibly and going to bed at a decent hour for chrissakes, which is a very different lifestyle than the one lived in Melodrama’s “Sober.” After my initial shock of hearing Lorde sing along with acoustic guitar wore off, I came to see Solar Power for what it is — a hippie-

[TAKE IT HOME]

DARYL HALL & TODD RUNDGREN

Here’s a bill featuring two great pop musicians whose forays into more

FILM

experimental territory are interesting. Like most people, I react positively to the sheer craft that went into the very popular 1980s singles by Hall & Oates, and I also love the duo’s 1976 hit “She’s Gone,” a landmark of post-soul. The duo’s singer, Daryl Hall, cut a record in 1977 with King Crimson guitarist Robert Fripp, Sacred Songs, that a lot of fans regard as a prescient synthesis of Hall’s soul side and the New Wave stuff that was around at the time. Apart from “NYCNY,” the album doesn’t work for me — what makes Daryl Hall great is his commerciality. Still, he’s a superb singer. Meanwhile, Todd Rundgren released two of the finest albums of the 1970s, Runt and Something/Anything? He was blithe, warm and funny throughout Something/Anything?, and there was nothing particularly fancy about super-catchy songs like “Saving Grace” and “Hello It’s Me.” After that, Rundgren became a technocrat, producing records by the likes of XTC and adding more goop to his basic sound on tracks like 1981’s “Compassion.” His records with Utopia are nice additions to the power-pop canon, with 1980’s “Take It Home” standing as a brilliant Beatles rip. Rundgren can do it all, and he has a new album, Space Force, set for release this year. 7:30 p.m. at the Ryman, 116 Rep. John Lewis Way N. EDD HURT

CUTLINE

[HOWL’S MOVING CINEPLEX]

STUDIO GHIBLI FEST 2022: PRINCESS MONONOKE

The Studio Ghibli Fest — that yearly film series in which Fathom Events and New York-based film distributor GKIDS bring back films from Hayao Miyazaki and his famed animation company — begins on a celebratory note this year. Things kick off with the 25th-anniversary return of his 1997 blockbuster Princess Mononoke, which held Japan’s box-office record until Spirited Away — another Miyazaki joint — knocked it out of its No. 1 spot a few years later. (Miramax brought Mononoke to the States in 1999, complete with an English cast that includes Billy Crudup, Claire Danes and Billy Bob Thornton reading dubbed lines rewritten by Neil Gaiman.) Best known for having images that are, as critic Elvis Mitchell once put it, “as startling and primal as the worst nightmare,” this high-flying, swashbuckling epic about a cursed man who tries to keep humans and animals from slaying each other in feudal Japan is not only a compelling, sometimes phantasmagorical piece of full-length animation, it’s also an anti-war movie that

NASHVILLE SCENE | MARCH 31 – APRIL 6, 2022 | nashvillescene.com

criticspicks_3-31-22.indd 26

3/28/22 4:09 PM

FRI 4.01  THREE STAR REVIVAL W/ THE STOOP KIDS & BCKHND

MERCY LOUNGE

WED 4.06  MELD

W/ AMANDA BROADWAY BAND & LAURA REED

MERCY LOUNGE

FRI 4.01  NAKED GIANTS

THU 4.07  BOY HARSHER

W/ WOMBO

W/ CLUB MUSIC

THE HIGH WATT

MERCY LOUNGE

S AT 4.02  BULLY

T HU 4.07  BREAKING SOUND: NASHVILLE

W/ BLEARY

W/ NATHAN COLBERG, KINGSTONE HYTHE, & MORE

MERCY LOUNGE

THE HIGH WATT

SAT 4.02  MATT MALTESE - SOLD OUT W/ GIRLPUPPY

THE HIGH WATT

FRI 4.08  LUCKY DAYE - SOLD OUT W/ JOYCE WRICE

CANNERY BALLROOM

MON 4.04  CRANKGAMEPLAYS

PRESENTS: I HAVE TO DO THIS SHOW

CANNERY BALLROOM

FRI 4.08  JACKSON BRUCK & THE DUKES OF O HUME

W/ JAKE BURMAN & CO.

THE HIGH WATT

MON 4.04  POINT NORTH

W/ LIL LOTUS, CONCRETE CASTLES, & CHERIE AMOUR

THE HIGH WATT

SAT 4.09  THE WILD FEATHERS W/ CAS HALEY

MERCY LOUNGE

TUE 4.05  DANNY G

TUE 4.12  HOT FLASH HEAT WAVE

W/ GRAHAM BARHAM & TASJI

W/ SMALL CRUSH & SIMILAR KIND

THE HIGH WATT

WED 4.06  WALDEN

W/ YOUR BEST FRIEND’S FAVORITE BAND

THE HIGH WATT

WED 4.13  BUFFALO NICHOLS THE HIGH WATT

SAT. 4/02

FRI. 4/01

bully

naked giants

w/ Bleary · mercy lounge

w/ wombo · the high watt

AT ASSEMBLY FOOD HALL

Apr 1

BIDI BIDI BANDA April 21

MOLLY HATCHET

NASHVILLE'S LARGEST ROOFTOP

Apr 8

BLACK STONE CHERRY May 13

JUSTIN FURSTENFELD OF BLUE OCTOBER

THU. 4/07

SAT. 2/23 4/09

boy harsher

mercy lounge · w/ club music

APR 23 That 90s Show

APR 1

Selena Tribute: Bidi Bidi Banda

APR 27 Brassville

APR 2

Rubiks Groove

APR 28 Boots Above Broadway Line Dancing Kickoff

APR 4

Seratones

APR 29 Sam McCrary & The Mix

APR 8

Black Stone Cherry

APR 30 Stairway to Zeppelin

APR 9

Donny Lee + Sara Spicer

MAY 6

Back In Black

APR 15 The Groove Line

MAY 7

Cinco de Mayo Weekend Fiesta

APR 16 Kayley Green + Flying Buffaloes

MAY 13 Justin Furstenfeld of Blue October

APR 20 Shy Carter

MAY 21 8 Tracks Band

APR 21 Molly Hatchet

MAY 27 Eagles Tribute: 7 Bridges

APR 22 A Springsteen Celebration + Hyndesight

JUN 3

Dee Jay Silver

MON. 4/25

homeshake

buffalo nichols

w/ babeheaven · mercy lounge

the high watt

4.21  JOSH ROUSE, JOE MARC’S BROTHER, & DAVID MEAD

THE HIGH WATT

4.26  MY SO-CALLED BAND MERCY LOUNGE

4.26  THE FELICE BROTHERS THE HIGH WATT

LIVE MUSIC EVERY FRI - SUN @2PM

Learn More at AssemblyFoodHall.com or Scan Here

W/ WALK THE WEST & MORE

5055 Broadway Pl, Nashville, TN 37203 Q E /skydeckonbroadway

MERCY LOUNGE

5.15  MAKAYA MCCRAVEN MERCY LOUNGE M

SAT 4.16  BOSTON MANOR

W/ TRASH BOAT, HIGHER POWER, & ANXIOUS

MERCY LOUNGE

THU 4.14  THE ZACH DAY TAKEOVER W/ LOU RIDLEY & JB SOMERS

SUN 4.17  LALA LALA W/ ELTON AURA

THE HIGH WATT

F RI 4.15  DANCEFESTOPIA

W/ FAME ON FIRE & GARZI

5.14  THE WEEKS

BROKEN HEARTS CLUB TOUR

THU 4.14  A BENEFIT FOR JR HAMMOND

FRI 4.15  ZERO 9:36

W/ LOMBARDY

THE HIGH WATT

CANNERY BALLROOM

THE HIGH WATT

YELLOW BRICK ROAD TOUR

5.13  THE FOXIES

5.18  SYD

5.11  THE PALMS

MERCY LOUNGE

Starting March 25

presented by joco shows w/ cas haley· ·mercy mercylounge lounge

WED. 4/13

THE ULTIMATE 90’S EXPERIENCE!

MAR 28 Eli Young Band

kendrick drake the wild vs feathers

TUE 4.19  KELLY SOULE EBERLE W/ JORDAN LINDLEY & MEG ELSIER

THE HIGH WATT

WED 4.20  JON FOREMAN MERCY LOUNGE

THE HIGH WATT

ONE CANNERY ROW NASHVILLE, TN 37203 · 615-251-3020 BOOK YOUR EVENT OR PARTY AT ANY OF OUR VENUES EMAIL SPECIALEVENTS@MERCYLOUNGE.COM FOR DETAILS MERCYLOUNGE

MERCYLOUNGE.COM

INFO@MERCYLOUNGE.COM

nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

CRITICS’ PICKS like. But rather than focusing simply on cranking out radio-ready hits, Maxwell put out LPs like BLACKsummers’night and its followup blackSUMMERS’night, which have not only included such songs as “Pretty Wings,” arguably his finest single, but also showcased his excellence as a guitarist and both acoustic pianist and electric keyboardist/synthesizer soloist. He’s won three Grammys, six Soul Train Music Awards and a pair of NAACP Image Awards, and he has penchant for including within his music uplifting themes and messages — that approach earned him a Lifetime Achievement Award for “his innovative contributions to the music industry as a singer, songwriter, and producer” from the Congressional Black Caucus Foundation and Congressional Black Caucus in 2019. His fine new single “Off” is the first release from the forthcoming blacksummers’NIGHT. The Maxwell tour promises to be one of the year’s biggest for contemporary R&B and neo soul, with Maxwell joined by Anthony Hamilton and Joe. 8 p.m. at Bridgestone Arena, 501 Broadway RON WYNN

EVERGREEN: STUFF YOU CAN DO ANY TIME

MUSIC

TUESDAY / 4.05 [CINCI BEEN GONE]

OPHELIAS

Seven years back, Joyful Noise Records recognized Ophelias as a diamond in the rough and gave the Cincinnati combo a record deal. The band’s four members are understudies to chameleonic singerrapper Yoni Wolf — aka Why? — and they didn’t find themselves overnight. But a propensity for woodshedding and their Los Angeles-based label’s willingness to play the long game are beginning to pay off. Ophelias’ latest, 2021’s Crocus, is intricate, expressive, and somehow simultaneously light yet weighty. That record’s dozen songs have garnered Hop Along and Liz Phair comparisons — those check out, and then some. Also on the bill: Slider — fronted by Mariah Schneider, spotted last year playing in Julien Baker’s band — and recent Atlanta transplant Bria McCollum (alias Ergo, Bria). 8 p.m. at Drkmttr, 1111 Dickerson Pike

MUSIC

CHARLIE ZAILLIAN

Your Best Yoga

L&L Market |3820 Charlotte Ave. 615-750-5067 nashville.bendandzenhotyoga.com

[DAYDREAM BELIEVERS]

MICKY DOLENZ CELEBRATES THE MONKEES

Time takes its toll on rock ’n’ roll, and it’s sobering to realize that there are now only three original members of The Byrds, three original Animals, two Beatles and one Monkee. Although I have never liked the Monkees’ 1960s television show or their 1968 movie Head, their music might stand in for the entire British Invasion for some listeners, just like Big Star’s does. They were manufactured, a condition that doesn’t bother me, and their singles — particularly

1967’s “Pleasant Valley Sunday” — hold up well. After all, if you work hard to provide top-notch material to a foursome who have skills of their own, and promote their television show as a version of all that running around and zaniness The Beatles displayed in their films A Hard Day’s Night and Help!, how can you miss? The so-called Smart Monkee, Michael Nesmith, who died late last year, helped invent country rock around 1970, and he was by all accounts a formidable figure as a musician and businessman. Tuesday at the Ryman, the remaining Monkee, Micky Dolenz, will pay tribute to the great pop band by playing the hits and album tracks, along with some of Nesmith’s country-rock material. Dolenz will talk about what it was like to be a Monkee and share some of his photographs of the band. The story of The Monkees is a tale of the limits of authenticity within art itself, and that’s a dichotomy worth thinking about. 7:30 p.m. at the Ryman, 116 Rep. John Lewis Way N. EDD HURT

WEDNESDAY / 4.06 MUSIC

2808 BRANSFORD AVE. @VIVANASHVILLEBOUTIQUE

preaches the importance of protecting the environment. 3 p.m. April 3, 7 p.m. April 4 & 6 at AMC and Regal Theaters CRAIG D. LINDSEY

[CONTEMPORARY MASTER]

MAXWELL

Singer-songwriter, producer and multiinstrumentalist Maxwell is one of the most ambitious artists to help popularize neo soul — a mix of classic and contemporary influences augmented by studio and technical advances. Maxwell can perform soothing and soaring heartache ballads or multilayered uptempo tunes with equal flair, and he’s penned incredibly memorable tunes. He also maintains creative control as writer/producer on his sessions. Maxwell’s 1996 debut release Maxwell’s Urban Hang Suite began a run of superbly crafted and performed LPs that, unfortunately, haven’t been as frequent as some would

OPHELIAS

[SPRING FLING]

WATCH BIG DREAMS, SMALL SPACES ON NETFLIX

People across the country took up gardening in 2020 as a safe at-home hobby and even to ward off food insecurity. If you find yourself gazing at those overgrown raised beds and wondering what the hell you were thinking — or if you’re a longtime gardener who has spent the past months dreaming up your plans — you can get jazzed about your loam with an entirely quaint British reality TV show. Big Dreams, Small Spaces, available to stream on Apple TV+ and Inside Outside House & Garden (via Prime), takes you on a tour of modest backyards of Britain, while a master gardener helps amateurs turn their pathetic patches of earth into lush, biodiverse havens. I love three things most about the show. The first is famed horticulturist Monty Don. He’s a soft-spoken gentleman who, when he appears on the doorsteps of some would-be gardeners, elicits shrieks of joy. Second, it’s the modesty of the people and their projects. They come to the table with as little as 500 quid or as much as 10,000, usually on the lower side. Monty guides them through the process of choosing materials and designing a workable plan in their budget. Third, it’s that the homeowners actually do the work themselves. Monty stops by a couple times to check in and teach a key pruning technique or a lesson about compost, but the folks on the show put in all the elbow grease, often with their families, neighbors and friends. Big Dreams, Small Spaces has all the transformative magic of other similar shows, but the spells are cast not by professionals or celebrities, but by regular folk. It’s a great place to get workable ideas for your own spaces — and jolly good fun, too. ERICA CICCARONE

NASHVILLE SCENE | MARCH 31 – APRIL 6, 2022 | nashvillescene.com

criticspicks_3-31-22.indd 28

3/28/22 4:09 PM

818 3RD AVE SOUTH • SOBRO DOWNTOWN NASHVILLE SHOWS NIGHTLY • FULL RESTAURANT FREE PARKING • SMOKE FREE VENUE AND SHOW INFORMATION

3RDANDLINDSLEY.COM GREAT MUSIC • GREAT FOOD • GOOD FRIENDS • SINCE 1991

THIS WEEK

TIN PAN SOUTH BRAD CLAWSON, BEN JOHNSON, 3/31 TAYLOR PHILLIPS & JORDAN ROWE ASHLEY GORLEY, WYATT MCCUBBIN, HUNTER PHELPS & SPECIAL GUEST

6:00

FRI BOB DIPIERO, JT HARDING, KELLEY 4/1 LOVELACE & TIM NICHOLS DAVID HODGES, JOE KIRKLAND & SEBASTIAN KOLE

6:00

THU

L&L Market | 3820 Charlotte Ave thisisthefinale.com

SAT

4/2

an independent bookstore

9:00

8:00

9:00 7:30

BACKSTAGE NASHVILLE!

12:30

HIT SONGWRITER SHOW

PAT MCLAUGHLIN BAND FEATURING KENNY GREENBERG, MICHAEL RHODES & GREG MORROW

8:00 8:00

THE CACTUS BLOSSOMS W/ ALEXA ROSE THE TIME JUMPERS

SUN

COLLIN RAY & THE RIFF RAFF (A SALUTE TO CLASSIC ROCK)

TUE

HANNAH BETHEL EP RELEASE W/ SEAN C. KENNEDY BO TILLMAN W/ VINCENT MASON & ADAM WARNER

WED

4/3 MON

4/4

4/5

4/6

THU

4/7

FEATURED for independent people

UPCOMING EVENTS

4/10

6:00PM

Nashville’s Family-Owned Boutique Music Shop

KIP WILSON

933fB WOODLAND STREET · 629.256.6092 caldwellguitarsnashville.com

2:00PM to 3:00PM

THURSDAY, MARCH 31

with NITA TYNDALL on FB LIVE & YOUTUBE The Most Dazzling Girl in Berlin SATURDAY, APRIL 2

6:00PM

MONDAY, APRIL 4

JENNY TINGHUI ZHANG with LINDSAY LYNCH at PARNASSUS Four Treasures of the Sky Nashville’s ONLY vinyl record store with full bar and 24 seasonal craft beers on tap.

6:30PM

Black Abbey, Blackberry Farm and Wicked Weed 4.2 4. 2 - Vinyl Night with The Sleestak 4.3 4. 3 - Bolos & Booze Writers Round 4.5 4. 5 - Friends of Mine Showcase with Hannah Delynn, Jess Nolan, Solomon Smith, and Charlie Treat 4.6 - Queerfolk Showcase 4.7 4. 7- Rock Your Socks Off with DJ Holm

6:30PM

vin

nashville ta p .c yl

TUESDAY, APRIL 5

AMANDA MCCRINA

with MARINA SCOTT at PARNASSUS The Silent Unseen WEDNESDAY, APRIL 6

FERN WATT at PARNASSUS Adventure Dogs 6:30PM

THURSDAY, APRIL 7

4/17 ROONEYS IRREGULARS

4/19

5/22 SAWYER BROWN

BOOK SIGNING with STEVEN WOMACK at PARNASSUS Fade Up From Black

3.31- Like You Mean It Records DJs 4.1- Beer Spindustry Night with

4/14 GABE DIXON WITH SHANNON LABRIE

PARNASSUSBOOKS.NET/EVENT FOR TICKETS & UPDATES

JD SIMO WITH KIRK FLETCHER

SLOTHRUST W/ CALVA LOUISE

7/1 JEFFREY STEEL (FULL BAND SHOW)

COMING SOON 4-8 & 4-9 RAY WYLIE HUBBARD SOLD OUT! 4-11 THE TIME JUMPERS 4-12 BACKSTAGE LAUGHS 4-12 COUNTRY OUTDOORS 4-13 TUNES, TALES & TROUBADOURS 4-15 1982: THE NIGHTFLY TURNS 40! 4-16 RESURRECTION : A JOURNEY TRIBUTE 4-21 ALYSSA BONAGURA 4-22 & 4-23 MIKE FARRIS 4-24 WE BANJO 3 4-27 THE CALIFORNIA HONEYDROPS

4-30 5-1 5-3 5-4 5-6 5-8 5-11 5-12 5-13

WORLD TURNING BAND ELLIOT ROOT WINE, WOMEN, SONG & LOVE MIDDLEMAN BURR THE CLEVERLYS MIDLAKE SARAH REEVES JON WOLFE 1971 - THE GREATEST YEAR IN MUSIC 5-14 VINYL RADIO 5-15 OLIVER WOOD 5-12 AVI KAPLAN

5-24 5-27 5-28 5-29 6-2 6-3 6-23 6-30 7-14 7-19

KINGS KALEIDOSCOPE SMOKING SECTION THE LONG PLAYERS THEM DIRTY ROSES + TANNER USREY MIKE & THE MOONPIES + TOWN MOUNTAIN THE PIANO MEN RUTHIE COLLINS DEAD LETTER OFFICE JESSE DANIEL WITH GABE LEE RYAN CLARK

LIVESTREAM | VIDEO | AUDIO Live Stream • Video and Recording • Rehearsal Space 6 CAMERAS AVAILABLE • Packages Starting @ $499 • Cinematic Focus Our partners: Nugs.tv

GRANT GINDER at PARNASSUS Let’s Not Do That Again

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

@parnassusbooks Parnassus Books

PRIVATE EVENTS

FOR 20-150 GUESTS SHOWCASES • WEDDINGS BIRTHDAYS • CORPORATE EVENTS EVENTSAT3RD@GMAIL.COM

nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

FOOD AND DRINK

ARNT YOU GLAD? Oenophile-entrepreneur Melvil Arnt is bringing France to East Nashville, one storefront at a time BY MARGARET LITTMAN

PHOTOS: DANIEL MEIGS

t started out modestly. Melvil Arnt wanted his parents to immigrate to Nashville from their native France so they could spend time with their two young grandsons. So the three of them opened a no-reservations bistro with a focused menu and limited hours. Once Upon a Time in France opened in December 2019, and even with the dining restrictions from the pandemic, the restaurant has been a success. On a recent Saturday afternoon, a line of more than 30 people snaked along Gallatin Avenue, waiting for doors to open at 4:30 p.m. As Once Upon a Time in France’s following has grown, so has Arnt’s vision — and it’s no longer quite so modest. In fact, he sometimes refers to his enterprises as “Arnt Empire.” The idea is the same, in some ways: to offer Nashville — and specifically East Nashville — businesses it doesn’t have, such as an authentic French bistro where you can get a kir royale and steak frites and sit elbow to elbow with your neighbors. But more than that, Arnt wants to provide a legacy for his sons — a business they can inherit, and a way to fulfill the American Dream. (His Instagram handle says it all: @MelsAmericanDream.) “I did not grow up with money,” Arnt says. “That is a lot of what motivated me. We had an apartment that was not as big as this space with my mom, my sister and me living in it.” He gestures to his living room, which features large Old World furniture, a fireplace and Odessa, his curious husky, who’s standing on a couch arm. “I dream of something that will last for five or 10 generations. I want to be the starting point of all that.” To make it happen, Arnt appears to rarely rest. The 31-year-old shares custody of his sons with their mother. He does construction and conceptualizes decor for his businesses himself, sourcing period pieces on the internet, writing menus and tasting wines. “My first job was in construction,” he says. “I learned a lot. I learned a love for hard effort, for seeing the results. When you do construction, the result is in front of your eyes. You lay a piece of wallpaper, and boom, wow. It’s real. It’s not like working on a computer. I take pride in doing things myself.” Arnt loves architecture and interior design and talks about opening a Westernthemed bar in part because he loves those iconic swinging half doors. Currently he runs two businesses — Once Upon a Time in France, which he owns and operates with his father Laurent Champonnois and his mother Valérie Le Rhun, and The Authentique, the small wine bar across the street. Even so, he’s launching two new businesses, and renovating a home that includes acreage for an ambitious vineyard project. (Champonnois has the background as a chef; Arnt is

MELVIL ARNT AT THE AUTHENTIQUE the wine guy.) Arnt opened The Authentique as a solo project in 2021. The decor is early-1900s Art Nouveau, the kind of aesthetic you’ve seen on some Paris Métro stops if you’ve been lucky enough to wander the streets of Montmartre. “It started because I was thinking about where I should go get a glass of wine,” he says. “There are many so-called wine bars, but they were serving a mediocre glass. I would go and it was almost $40 for two glasses of wine. I want to democratize wine like we do in France. I want to make it affordable.” The Authentique does have a few bites on the menu — charcuterie, cheese and macarons — because that’s necessary for a wine license. But the focus is the wine itself, and as a bonus to Once Upon a Time in France fans, you can come in, put your name on the list for a table at OUATIF, and then wait while sipping a glass or two rather than standing in the aforementioned line. “Every American city needs an Authentique,” he says. Cincinnati is one city he’s eyeing for expansion. But closer to home, this month Arnt’s longawaited Overlord opened just a few blocks

away from his other establishments. The European cocktail bar (there’s no Tito’s in stock) has a bohemian 1940s aesthetic while paying homage to soldiers who fought in World War II — the name is inspired by Operation Overlord, the Battle of Normandy. Customers are encouraged to bring photographs of family members who served in World War II, which Arnt intends to hang on the wall. Overlord features a VIP room available to be booked for private events, plus a billiards table and several different seating configurations, in addition to a long bar with stools. There’s a small bar-food menu. Overlord was supposed to open before The Authentique, but a number of issues — including a busted water pipe and complications with permitting — delayed it almost a year. That was a pricey delay as he continued to pay rent, but Overlord’s first days have been busy, and following the success of the other two spots, Arnt is confident it will work out. In late April, Mel’s Wine and Spirits, a wine shop adjacent to The Authentique, will start selling bottles of his favorite picks. That’s just scratching the surface of Arnt’s always entrepreneurial mind. There’s another not-quite-ready-for-a-public an-

nouncement project being negotiated, too. And then there’s the vineyard. He’s hesitant to talk about it, though he clearly really wants to share. For now, the fields are strictly experimental. He’s been told by experienced winemakers that the Bordeaux blends won’t grow well in Tennessee without an extensive irrigation system. But Arnt plans to try it without the irrigation. “The vine has to struggle to create a good immune system to survive,” says Arnt. “The vine is like a human. If you always give a lot of compost and a lot of water, if you feed the plant, it’s not going to search for food, it’s going to wait for food.” If the grapes don’t thrive, then it will have been a fun two- to three-year experiment. If they do, then Arnt plans to build a winery, welcoming visitors on tours to taste the wine people said couldn’t grow here. Arnt focuses his businesses in East Nashville because he likes the vibe of the neighborhood. He wants to see it become a more walkable destination with higher concentrations of businesses like, well, a neighborhood in Paris. But there are practical reasons, too. With all of his businesses close to each other, it’s easier to run across the street or next door. “I think East Nashville needs a little more Europe,” he says. “France, yes, but all of Europe. I think Europe is inside a lot of people’s hearts.” EMAIL ARTS@NASHVILLESCENE.COM

NASHVILLE SCENE | MARCH 31 – APRIL 6, 2022 | nashvillescene.com

food_3-31-22.indd 30

3/28/22 4:12 PM

FOOD AND DRINK

Fresh Ground. Hand Crafted. Locally Owned.

FRANKLIN

NASHVILLE

324 Main Street 615.472.8980

L&L Market 3820 Charlotte Ave. 615.730.8798

Call for take-out!

Authentic Mexican Cuisine & Bakery...Side by Side!

615-669-8144 PanaderiayPasteleriaLopez

PHOTO: ERIC ENGLAND

615-865-2646 TacosyMariscosLindoMexico

917A Gallatin Pike S, Madison, TN

Combining New England and Southern flavors ...for a unique, yet familiar seafood experience. Good stuff, $10 or less

 Fish & Chips 4 ways: Pub Style, New England, BC Signature, or British style

BIRRIERIA Y TAQUERIA ARANDAS — PAMBAZO — $9.50 Donelson taqueria offers a glimpse of street-food glory

estled in the heart of BNA country is Birrieria y Taqueria Arandas, one of Nashville’s finest and most underrated Mexican eateries. A squat building with scattershot parking and an endless lunchtime rush, Arandas would blend in perfectly had it opened a few miles southwest on Nolensville Pike. But as brave pioneers, the owners of Arandas chose a unique location, and it is there that foodBIRRIERIA Y TAQUERIA ARANDAS obsessed locals and airport-area wanderers 104 GRAYLYNN DRIVE alike find solace. ORDERBIRRIERIAYTAQUERIAARANDAS.COM The menu is vast, with mainstays and deep cuts battling for precious space. Choices range from classics like tortas ($8.25), mulitas ($2.50) and your-choice-of-meat burritos ($8.25), to pollo al carbon ($8.50) and a quesabirria (quesadilla dunked in beefy tomato broth, $12.99) — that one rivals a Delmonico’s ribeye for eye-popping decadence. But the obvious choice is the pambazo ($9.50), a grilled sandwich filled with chorizo and potatoes and dipped in an aromatic red sauce, best served with green salsa and a squirt of lime. When the pambazo arrives, the world knows. The steaming plate, the glowing bread, the luscious bits of sausage and pork fat, all cocooned in a rich red-pepper sauce. It’s impossible to eat sandwich-style, so a plastic fork and knife are necessary — though how you attack the sandwich is up to you. What is certain is that on a slow weekday evening, with the dining room empty and a telenovela buzzing on the flatscreen, there is no better place to be than 104 Graylynn Drive. ALIJAH POINDEXTER

 Spaghetti & Meatballs  Maine Lobster Roll

Now open for dinner Wed-Sun at 4:30. Reservations recommended for dining. Our bar is always open.

In Five Points at 1008 Woodland St, East Nashville | 615.226.9283 nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

food_3-31-22.indd 31

3/28/22 4:12 PM

ART

CRAWL SPACE: APRIL 2022

We pity the fools who miss April’s First Saturday happenings BY JOE NOLAN

ashville enjoyed a winter art calendar packed with highlights. But now it’s officially spring – arguably the busiest art season of the year — and April’s First Saturday events are blooming with colorful offerings.

VIVIENNE FLESHER AT ZEITGEIST for Soph Giampaolo’s unique sculptural wall hangings, shadow boxes and custom totes to haul all your art home in. Kevin Guthrie describes himself as the “Ken Burns of courtroom sketch artists,” and his paintings on reclaimed cardboard beer boxes have gained the attention of outsiderartist national press and placement in a

number of private Southern art collections. Guthrie’s exhibitions focus on historical narratives — his Bicycle Thieves display at Julia Martin Gallery in 2016 included portraits of every pro fighter who faced Muhammad Ali in the ring, and his June 13, 1972 exhibition in the space connected contemporaneous sports and pop culture

EAST NASHVILLE

Before artist Georganna Greene left Nashville to pursue an MFA at Boston University, she had established herself as a unique and valued voice among the city’s strong, broad roster of abstract painters. Greene came home to Nashville in the middle of the pandemic in 2021, and her new display at Red Arrow Gallery represents her last days in Boston and her return to Tennessee. Greene’s new works still mostly read like abstract landscapes, but they feature a more confident hand and a tighter conceptual focus. And the multimedia paintings in Limbic Slang feel more like a cohesive whole than just a display of recent works. Don’t miss this show’s opening reception at 6 p.m. Saturday.

AROUND TOWN

KEVIN GUTHRIE AT JULIA MARTIN GALLERY

“CHINESE CHEESE,” KEVIN GUTHRIE

For April, Zeitgeist returns to its more regular group-exhibition programming after hosting Vadis Turner’s epic multimedia display Window Treatments for the past two months. This three-artist show features a broad range of works, which makes it the most crowd-satisfying exhibition of the month. Vivienne Flesher’s paintings on canvas and paper feature a layered, abstract style that manages to conjure landscapes and even the occasional figure in colorful, contemplative compositions at modest scales that encourage intimate viewing. Ward Schumaker’s multimedia panels combine photographic images and stenciled text to create intuitive compositions that often explore and illuminate historical happenings, geographical phenomena and spiritual systems. Matt Schumaker is a composer who engages algorithms with his melodies, and renders 3-D digital forms of his music. The model-like forms are geometric abstractions recalling early modernist painting and sculpture. I love intermedia art practices that simply ignore the imaginary boundaries between creative spaces, and Matt Schumaker’s art encompasses avant-garde music, computer science and the contemporary art-gallery sphere simultaneously. During these past couple of years, we’ve all sought diversions to fill idle time at home or just to take our minds off of the collective bad news from around the globe. Kelly S. Williams’ new exhibition Diversion takes a closer look at the things we do to pull our minds out of our worries while living through a time when worries persist and multiply. In the process, the painter nods to trompe l’oeil traditions to investigate the various types of deception and misdirection that have characterized these days that many of us might rather just forget about. David Lusk Gallery will be holding an open house for the show on Saturday from noon until 3 p.m. Now that it’s officially spring, I expect the Free Nashville Poetry Library’s Show & Sell Open-Air Maker’s Bazaar to really hit its stride. FNPL founder and Show & Sell ringmaster Matt Johnstone and his loose band of DIY makers did a great job negotiating an inclement winter to provide plenty of outdoor offerings even during the most nerveracking days of the Omicron surge. Saturday’s open-air market will include Hey! Young Writer, Alee Anderson’s quarterly zine and online community dedicated to mentoring newbie scribes. And keep your eyes peeled

VIVIENNE FLESHER

WEDGEWOOD-HOUSTON

with the Watergate scandal. Guthrie’s latest series started as an investigation of the Lewis County, Tenn., commune The Farm before expanding into an epic exploration of fermentation and immigration that outlines A History of Tofu in America. Nowadays we take once-exotic “health food” ingredients like tofu for granted, and almost all the weird natural food stores and co-ops from the 1980s and 1990s were ultimately swallowed by Whole Foods. But it wasn’t until the 1970s that ingredients like tofu and carob started to migrate from the kitchens of the back-to-the-land longhair types who founded The Farm in 1971 to become regular staples on some mainstream American dinner tables. Guthrie’s fascinating narrative encompasses a cornucopia of colorful characters and cultural collisions to tell the story of the evolution of vegetarianism in the United States on his signature cardboard panels covered in pencil, crayon, gouache and acrylic. The gallery will hold an opening reception for the show on Saturday night at 6 p.m., and is promising a special musical performance on the front porch at 7 p.m. Rockwall Gallery’s Ryan Rado has organized the latest version of his Low Brow art series, which features paintings and drawings from a wide roster of Nashville’s tattoo artist community. Stop by the Houston Station space and see what nearly 20 artists including Adam “The Kid” Wakitsch, Mia Graffam, Courtney O’Shea, Daniel Hughes and more create when they’re not catering to customer commissions. Stop by and grab a rad drawing or a sick painting, and support local ink artists even if you don’t want to put your own skin in the game. The show opens at 6 p.m. Saturday night.

Crawlers who can’t wait to get their feet moving should check out Cameron L. Mitchell and Saran Thompson’s Branches of PoeTree, which was created in partnership with the Nashville Public Library and funded by a Metro Arts THRIVE Award. The pair held community poetry workshops resulting in verses that have been incorporated into visual displays at the library’s Main, East, Hadley Park and Edgehill branches. Crawlers can follow the poem between the branches in any order they choose while interacting with the project via QR codes. The first 50 participants to complete the circuit will receive a special giveaway. Branches of PoeTree opens on Saturday and runs throughout April, which is National Poetry Month. EMAIL ARTS@NASHVILLESCENE.COM

NASHVILLE SCENE | MARCH 31 – APRIL 6, 2022 | nashvillescene.com

art_3-31-22.indd 32

3/28/22 4:10 PM

BOOKS

PROPHETIC VISIONS OF THE BODY

Robyn Henderson-Espinoza’s Body Becoming offers a prophetic vision for a ‘new democracy and democratic justice’ BY KASHIF ANDREW GRAHAM

r. Robyn HendersonEspinoza embodies many things. They are a transmasculine Latinx activist, thought-leader, public theologian, BODY BECOMING: A PATH ethicist TO OUR LIBERATION and author BY ROBYN HENDERSONof Activist ESPINOZA Theology. They BROADLEAF BOOKS 236 PAGES, $27.99 are a person on the autism HENDERSON-ESPINOZA spectrum. They WILL HOST A BOOK RELEASE 5 P.M. are also the SATURDAY, APRIL 2, AT child of a loving THE CAFÉ AT THISTLE mother and FARMS. TICKETS fiancé to Erin ARE AVAILABLE VIA EVENTBRITE. C. Law, both of whom engage in somatic wisdom. But to these personal, occupational and relational qualifiers, we might also add that HendersonEspinoza is a prophet. While this designation may seem unusual to some, it is imperative to consider the role of the prophet. The prophet serves two major functions in any society — the business of foretelling and forthtelling. That is, they envision the future, and at other times offer a word of truth. In their latest book, Body Becoming: A Path to Our Liberation, Henderson-Espinoza offers a prophetic vision for a “new democracy and democratic justice.” The book is contoured around ideas of rupture, becoming, difference and repetition, all of which are imperative points on our journey toward becoming collectively embodied. For Henderson-Espinoza, embodiment “is about connecting with our own flesh, about becoming so very familiar with our bodies that we feel and understand that relationship. That’s our beginning place and leads us into collective work.” Regarding the prophetic work of forthtelling, Henderson-Espinoza engages with their body as truth. They recount their process of trans embodiment, offering their experience — wounds and joys included — as a paradigm for universal embodiment. In this way, the body is data, and the personal becomes political. In keeping with HendersonEspinoza’s efforts to teach outside of the academy, the language throughout the book is accessible, but not sterile. With cultural adeptness, HendersonEspinoza interweaves words and phrases born of Latinidad (a pan-Latinx solidarity). They employ phrases like en conjunto (togetherness) and give a translation, so the reader is invited into Henderson-Espinoza’s experience. They also act as a translator by demystifying the works of philosophers

like Gilles Deleuze and Félix Guattari for the everyday reader. Speaking to an American context, Henderson-Espinoza notes the ways in which white people are disembodied by their lack of historical memory. In 1985’s The Price of the Ticket, James Baldwin

asserts that the cost of whiteness is white people’s divorce from their Black counterparts. It is also their divorce from their own embodiment. For them to become embodied, Henderson-Espinoza writes, “They need to move beyond the transactional nature of human life.” It is also imperative to reconsider our relationship to appropriated forms of yoga and meditation that emphasize feeling over becoming. Feelings are ephemeral in that sense, and although they are an important part of the process, they are not the be-all and end-all. People of color and Black folks are also disembodied by historical trauma. In many cases, this appears as survival. People of color are socialized to participate in systems that accelerate and maintain disembodiment. Henderson-Espinoza does not write as an outsider to either of these groups. They describe their body as “one born of Mexican flesh and white flesh,” or mestizaje, which is a 20th-century term for mixed-race people used by cultural scholars like Gloria Anzaldúa. Mestizaje is about cultural and ethnic relationships — sometimes fraught — that exist in one body. How then do we experience embodied liberation? Henderson-Espinoza suggests that we can use food toward this end. This is not only about the taste of, say, garlic and cilantro on our tongues, but also about the rituals surrounding food. A meal can reunite us with our ancestral memories, and in sharing, with each other. We return to the business of breaking bread, this time with what we eat being just as important as how. Breathing is another method of embodiment. This is especially relevant during a pandemic that has attacked the respiratory systems of millions. It is also timely when we consider the recent cries of Eric Garner, George Floyd and Elijah McClain — I can’t breathe. Their gone breaths join those of trans people like Tony McDade and Layleen Polanco. We must do whatever we can to protect breath in this country if we truly intend to be free. Our collective breath can have unspeakable impact. In the chapter titled “The Journey to Becoming Embodied,” HendersonEspinoza calls forward a cloud of trans, nonbinary, neurodivergent and allied witnesses. Some of these witnesses practice embodied healing in Nashville, such as Kate Moore (a personal trainer) and Gert Comfrey (a marriage and family therapist). Their various stories attest that individual and collective embodiment is possible. When asked if love has a role in becoming embodied, HendersonEspinoza quotes Cornel West: “Love out loud is justice.” In this sense, love and justice will be the result of our effort to become embodied in the personal and political spheres. There is a weathered Old Testament scripture: “The people who walked in darkness have seen a great light.” Henderson-Espinoza shows us that this light is inward — in ourselves and each other. EMAIL ARTS@NASHVILLESCENE.COM

nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

books_3-31-22.indd 33

3/28/22 4:12 PM

NEXT WEEKEND!

KID + P E FRIEND T LY

TO FREE D N AT T E

APRIL 9 + 10 ONEC1TY / 8 CITY BLVD 37209 10 AM - 4 PM BOTH DAYS Shop from 100+ curated artisan craft vendors selling handmade goods and enjoy craft cocktails, beer, live music, kids activities and more! S P O N S O R E D BY

L I B AT I O N S F R O M

SCAN TO VISIT OUR WEBSITE AND LEARN MORE!

FOOD VENDORS

craftybastards.com // #CraftyBastards22 // @CraftyBastards

MUSIC

SIREN SONG

old-time, Eastern European folk and a touch of blues. But the most interesting, though not unexpected when you consider her work, is calypso — an Afro-Caribbean genre originating in Trinidad and Tobago. On tracks like “Why’d Ya Do It,” the syncopated groove immediately puts you in a trance. It’s incredible, really, her ability to transport you seemingly anywhere: “Silver Dollar” makes you feel right at home, having a drink on your porch. “At the End of the Rainbow” feels like catching one final dance during your favorite bar’s last call, and I would dare anyone to fight the urge to get to the nearest beach while listening to “Far Away Across the Sea.” Ferrell’s gifts as a vocalist are a

complement to her skill as a songwriter and storyteller. Some songs draw directly from her experiences — “Made Like That” references her hometown while giving a glimpse into her romantic life, and how she’s learning how to keep progressing and growing from her past mistakes. In other songs, she embellishes the stories of people she once knew. “Jeremiah,” a single from Long Time Coming, is the story of a married man who’s always out with no wedding ring, but whose wife chooses to stay with him in the hope that he becomes a better person with age. Pursuing her career wasn’t Ferrell’s only mission when she left home. She also had a quest to find her “musical people,” and thus

far, fate has been treating her pretty well. In the past year, she’s gone touring with Nick Shoulders, released an alt-countrytinged indie-rock track called “Ready or Not” with Shakey Graves and found a new love for touring with her band, which consists of fiddler Josie Toney, mandolinist Joshua Rilko and bassist Geoff Saunders. Ferrell has had the chance to play iconic venues like the Ryman and appear on the Grand Ole Opry. All of these opportunities have pushed her to new heights. “Playing with folks like Shakey has really shown me what seeds to plant and water, and has really helped me grow in this direction that I’m going,” she says. “Hopefully I can keep producing material that people like.” Ferrell notes that constantly being around musicians whose curiosity is as voracious as her own brings some additional kinds of opportunities as well. Whether someone’s playing something on one of their instruments or has their phone hooked up to the nearest speaker, the music never stops. It’s given her some ideas as to what other traditions she might work into her kaleidoscope of sounds. “Well, you know, I wouldn’t mind being in a rock band,” she says enthusiastically. “Like a surf-rock band or something, that’d be cool.” Surf-rock, folks. Expect nothing less from “Sea-erra.” (Her pun, not mine.) Ferrell recorded several of her releases in Nashville before making a move here a few years ago. Music City is home, but she spends much of her time on the road — especially since Long Time Coming came out in September. Finally, she’ll get to make a stop at The Basement East on April 1 and 2. The hometown crowd is clearly eager to see her; the first night sold out almost immediately, so a second night was added, and it too has sold out. This particular homecoming to the much-loved East Nashville midsize club feels like a rite of passage for Ferrell. “I’m pretty excited. A lot of my friends that I love and adore from around town have bands that have played there. And somehow I haven’t had a show there yet? So finally playing there is cool — it’s like I’m a part of the gang now.” EMAIL MUSIC@NASHVILLESCENE.COM

Nashville as a new home base, moving here in early 2020. In a recent interview with Vulture, she explains that one reason she chose the city is because it would offer her access to recording studios; she did some of the work on the new LP at The Bomb Shelter in East Nashville. In early February of this year, Laurel Hell debuted at No. 1 on the Billboard 200. Every date on her tour — which stops at the Ryman on March 31 — is sold out. In June, she’s opening for Harry Styles at the 90,000-capacity Wembley Stadium in London. These commercial feats signal new career heights for the already revered “alternative” artist. Laurel Hell acts as another chapter in the Mitski cinematic universe, and is an apt follow-up to 2018’s phenomenal Be the Cowboy. The songs on Laurel Hell are enormous, and the lyrics delve further into the isolation she has found in her cult status as the Sad Girl Supreme of TikTok, where fans have made more than 2.5 million videos using her songs. Along with being an articulate songwriter, Mitski gives fans exactly what so many of us want from our music — vulnerability. The raw honesty exuded in her work has

that rare power of being able to break you open and empty you of the feelings that seem too hard to face.

You could call it catharsis, but this is more than just music for wailing into a pillow.

Stellar songsmith Sierra Ferrell’s odyssey continues BY ALYSSA DONYAE

Mitski returns from hiatus with Laurel Hell BY JACQUELINE ZEISLOFT

n September 2019, Mitski played the final show of her tour at the Central Park SummerStage in New York. A few weeks earlier, she announced that this would be her “last show indefinitely.” The news sent shockwaves through her fan PLAYING THURSDAY, MARCH 31, AT THE RYMAN base. Was Mitski really quitting music for good? Over the next two years, she made one-off contributions to film soundtracks and an album accompaniment to a graphic novel. But in November 2021, she announced a new album called Laurel Hell, giving us a definitive answer to the question: nope, false alarm. Following five years of nonstop touring, Mitski chose

PHOTO: EBRU-YILDIZ

STAY SOFT

PHOTO: ALYSSE GAFKJEN

f Nashville were to find itself somehow in the middle of an ocean, Sierra Ferrell would be the lady on the shore whose voice is luring all the sailors to their deaths. I mean this in the absolute best way possible, PLAYING APRIL 1-2 AT of course. THE BASEMENT EAST The tomboyturned-countryglam-charmer was called to leave her home of West Virginia in her early 20s. She traveled from state to state, busking wherever she could — from alleyways to boxcars and street corners to truck stops, Ferrell spent years singing for anyone who would listen. Along the way, she pulled inspiration from everywhere she could. The one that stands out the most, though? The water. On her first couple of records, you’ll hear stories of tidal waves and the Snake River. Washington by the Sea is a whole project seemingly dedicated to Ferrell’s time in Seattle, on which you’ll find an earlier and faster version of “The Sea,” which opens her 2021 album and Rounder Records debut Long Time Coming. And in one of my personal favorite deep cuts, the Washington by the Sea track “My Name,” you catch the enchantress in the act of luring a poor soul away. “I lived in Seattle for a long time,” Ferrell says when we connect via phone, musing on the way water seeps and trickles into so many of her stories. “I was always at the beach all the time. The beaches up there are a little rockier and a little colder, but it still doesn’t take away how beautiful they are. I guess it was easy for me to write about the ocean because I was looking at it every day.” As the moon pulls the tide, water still has an effect on Ferrell’s music even when she’s not explicitly discussing it. Ferrell plays with plenty of sounds on Long Time Coming: bluegrass, traditional country,

nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

music_3-31-22.indd 35

3/28/22 7:07 PM

MUSIC

THE SPIN OPEN WIDE BY CHARLIE ZAILLIAN

f you look at the lineup for Big Ears Festival and don’t recognize many names, don’t feel bad. The festival’s name is no accident. Volunteer State concert impresario Ashley Capps — Knoxville native, founder of AC Entertainment and visionary behind Bonnaroo, among other things — launched Big Ears in 2009 as a celebration of experimental, improvisational and altogether left-of-center music one might not otherwise be exposed to. The fest is strategically scheduled while University of Tennessee students are on spring break: The college kids clear out, and the nerds swarm in. With musicians and listeners of an array of ages, backgrounds, tastes and disciplines all occupying Knoxville’s downtown and adjacent Old City area, the surreal becomes common. There’s Patti Smith hitting up the bulk foods aisle of the local co-op. Here I am rounding a corner, nearly bumping smack into modern jazz master Makaya McCraven. Night One of most fests is a soft opening of sorts. Not the case here. I only caught one set on Thursday, but I made it count. Taking in the grand, gorgeous dronescapes of electronic-experimental guru Fennesz from the pews of St. John’s Episcopal Church — one of two sanctuaries on Big Ears’ venue map — was practically an out-of-body experience. Stoic and businesslike while playing, the tall, bespectacled Austrian artist born Christian Fennesz built up his synth-andlaptop-based pieces, let them breathe, then punctuated them with disembodied, wallrattling electric guitar. An expanded iteration of the New York outfit 75 Dollar Bill opened Friday’s proceedings at The Mill & Mine just outside the part of Knoxville called Old City — it’s a proper rock venue, a newer iteration of something like Exit/In. The psych-jazz duo fortified its primordial guitar-and-drums setup with strings, brass, upright bass, 12-string electric and multiple hand percussionists. The ensemble numbered 10 onstage, but moved and breathed as one. Meditative and progressive, it was a study in repetition, and a testament to the power of a good groove. An hour later and a couple blocks away at The Standard — in non-Big Ears times, more a wedding venue than a concert venue — I caught singer-musician-composer Leyla McCalla’s five-piece band, with whom she toggled between banjo and electric guitar. They delivered mournful, soulful treatises

critical look at the grind of life and creativity. In a morose voice, she sings: “I cry at the start of every movie / I guess ’cause I wish I was making things, too.” The angst comes through as she parses how her identity is closely bound to her ability to work and make music that’s meant to be sold. It’s a humanizing moment, and a relatable one, too, for anyone frustrated with making art or supporting capitalism. What’s new on this record is Hall & Oates-inspired pop production with lots of frantic synths and thumping beats. What’s missing is any indication of Mitski’s

on forgotten histories, including the strife in Haiti, where McCalla’s parents were born. Following a particularly charged song, McCalla told the rapt audience, “I felt the big ears on that one.” The Tennessee Theatre is one of Marble City’s crown jewels. Capps helped save the ornate 1,500-capacity room from extinction in the early Aughts, and the performances there this past weekend affirmed just what a treasure the gorgeous theater is. Grammynominated singer-songwriter Arooj Aftab’s Friday afternoon set there was a must-see, and one of the fest’s most-anticipated. Aftab delivered. With harpist Maeve Gilchrist’s contributions tugging aggressively at the heartstrings, the band’s performance at its most epic recalled the orchestral-punk greatness of Australia’s Dirty Three. You could hear a pin drop as the Pakistani-American bandleader belted out brooding, sultry songs mostly in Urdu, but with one notable foray into English: “Last Night,” which is an evocative and visceral musical setting of a poem by the great mystic poet Rumi. Elsewhere, Texan-Canadian experimental composer Claire Rousay’s midday set at Old City Arts, a black-box theater space, was reminiscent of Nashville’s Circuit Benders’ Ball, in that it felt like any source of sound is fair game for making art. While Rousay tore down her gear after the performance, a computerized voice broadcast random tour-diary entries, jumping from ephemeral observations to deep feelings, the lack of punctuation lending comic relief. Meanwhile, Chicago musician Damon Locks — who was once in post-punk band Trenchmouth with Fred Armisen, then later introduced dub music to the post-hardcore crowd in The Eternals — helped maintain morale during the midday lull. His Black Monument Ensemble, part poetry and part R&B with a full-on choir in its ranks, wasn’t heavy on traditional songs. But as energy and passion were concerned, they delivered. Patti Smith has been making vital contributions in music and poetry for half a century — she quite literally defined punk rock in the East Village. But she can still conjure up the fire-breathing intensity of her youngest days: The set list for Friday’s show at the Tennessee Theatre, brimming with influential songs, reached a fever pitch with the seething “Free Money” from her 1975 debut Horses. Regardless of how many times I’ve heard “Because the Night,” Smith’s co-write with Bruce Springsteen and probably her most widely known recording, hearing it straight from her mouth made my hair stand on end. The interplay between longtime Smith collaborators Lenny Kaye on guitar and Tony Shanahan on bass, plus Smith’s guitarist son Jackson

fuzzy DIY roots: Gone are the crunchy guitars and screamed verses from old fan favorites like “Drunk Walk Home” and “My Body’s Made of Crushed Little Stars.” But this new direction isn’t devoid of fun. She provides dance vibes on the standout “Stay Soft,” a song that makes a case against heart-wide-open vulnerability. “You stay soft / Get beaten / Only natural to harden up,” she sings; toughen up, or bear the consequences. Mitski’s most mature record yet, Laurel Hell considers the trappings of culturally anointed binaries.

We see ourselves as either soft or hard; in love or heartbroken; working or not working. The record considers whether the gyrations we go through to fit into these rigidly defined states are ever worth it. On the deceptively peppy “Should’ve Been Me,” Mitski sings, “Must be lonely loving someone trying to find their way out of a maze.” Besides being a stellar pop album that sees an already brilliant artist top herself, Laurel Hell is a companion for moving through life’s mazes — a guide for fans in a world on fire. EMAIL MUSIC@NASHVILLESCENE.COM

PHOTO: DEREK BEISTAD

Mitski deals in endings like breakups and rockbottom realizations, and does so with an unflinching honesty. On the elegiac Laurel Hell track “I Guess,” she mourns a relationship, singing: “I guess this is the end / I’ll have to learn how to be someone else / It’s been you and me since before I was me.” The lines are simple, but they offer empathy and a sort of deliverance from deep sadness in a way that only Joni Mitchell or Mitski can. With this album cycle, she’s spoken openly about the pressures of fame and the impulse to quit the music machine. In “Working for the Knife,” she takes a

BELONGS TO US: PATTI SMITH

Smith, was nervy and electrifying. Smith & Co. flew multiple Ukrainian flags onstage, as well as the red-black-and-yellow Australian Aboriginal flag. She also paused between songs to examine current events. “It’s important to have a sense of humor in the worst of times,” she remarked while introducing “Beneath the Southern Cross,” a song from 1996’s stellar Gone Again LP. “This song is dedicated to life. But in life … we remember our immediate departed. … [So] tonight we are remembering those who’ve lost their lives these past couple weeks because of ludicrous, senseless war that seems so outdated in the 21st century.” A few hours later, on the same stage, Sonic Youth co-founder and bass goddess Kim Gordon and her band tore through songs from No Home Record. The album, Gordon’s first solo release, came out in late 2019 and was robbed by COVID of a proper tour, which might have had a bit of a chilling effect on the show. The set began late and never quite crystallized, with Gordon coming off oddly tentative. It didn’t feel like the right room for the band either: They’re making a brutalist noise-punk assault, which got all murky in the big room and lost all its nuances. I turned in early on Friday to ensure I didn’t miss out on Saturday morning’s collaborative performance from Nashvilleborn guitar traveler William Tyler and his fellow current Los Angeles resident, harpist Mary Lattimore. At the Tennessee Theatre, they played against a video backdrop put together by Knoxville filmmaker Eric Dawson, an archivist at the Tennessee Archive of Moving Image and Sound. The piece, called Electric Appalachia, looks at how the region changed as the Tennessee Val-

ley Authority brought electricity to remote parts of the mountains. Lattimore operated like an orb weaver on the harp, while Tyler coaxed rich, atmospheric sounds from his electric guitar; together, they filled the cavernous hall with a peaceful, spellbinding, almost-symphonic sound. I had to head home before the fest wound down, but not before catching masterful young acoustic guitarist Yasmin Williams at the First Baptist Church. The 25-year-old Washington, D.C., native is riding a wave of momentum following her debut Urban Driftwood, a refreshing, clear-eyed take on hyper-melodic acoustic songcraft. It turned out Williams is just as gifted of an entertainer as she is a player. The room was packed to the rafters, yet anyone there will tell you she made it feel as if she was playing just for them. The pandemic put Big Ears on hold for two full years, and judging by the length of the lines outside the venues, people were clearly excited for its return. To put in perspective how stacked the 2022 lineup was, here are just a handful of the greats I wasn’t able to catch during my limited time in town: Mdou Moctar, John Zorn, Saul Williams, Sparks, Kronos Quartet, Sons of Kemet and Low. Tyler and Lattimore each had an additional show during the fest, as well. Overall, Big Ears remains a potent reminder of just how much music there is out there, waiting for you to tune into it. EMAIL THESPIN@NASHVILLESCENE.COM

VISIT NASHVILLESCENE.COM/MUSIC TO READ OUR REVIEW OF TAME IMPALA AT BRIDGESTONE ARENA

NASHVILLE SCENE | MARCH 31 – APRIL 6, 2022 | nashvillescene.com

music_3-31-22.indd 36

3/28/22 7:07 PM

A Plant-Based Bistro & Bar

10% OFF DINE IN TOTAL BILL

$5 OFF TO GO ORDERS ON PURCHASE OF $25 OR MORE

BRUNCH 10:30 am 3:00 pm Dinner All Day 10:30 am 9:00 pm

MUST BE PRESENT AT SITAR (EXP 5/19/22)

WE DELIVER WITH GRUBHUB | POSTMATES DOOR DASH | UBER

116 21ST AVE. N. | 321-8889 | SITARNASHVILLE.COM CLOSED ON TUESDAY

TO ORDER CALL 615-321-8889 E PARKING FRE

Serving Brunch & Dinner 7 Days A Week 1888 EASTLAND AVE.

GRAZENASHVILLE.COM

600 9th 9th Ave Ave SS #100, #100, Nashville, Nashville, TN TN 37203 37203 600

SCENERY

Arts and Culture News From the Nashville Scene Looking for the latest on art and culture in Nashville? Subscribe to Scenery, our weekly newsletter that covers visual art, theater, comedy, books, film and more.

Subscribe at nashvillescene.com/subscribe

GUITAR LESSONS

with former Musicians Institute and Austin Guitar School instructor

MARK BISH.

704 18th Ave S. Nashville, TN 37203

ENTRANCE AND PARKING LOCATED IN THE BACK OF BUILDING

615.712.7227

@BOURBONANDBARBER

Jazz, Rock, Blues, Country, Fusion, Funk, Flamenco, etc. Technique, theory, songwriting. Programs available. 40 years exp.

512-619-3209

markbishmusic@gmail.com

APRIL 14 TENNESSEE PERFORMING ARTS CENTER TICKETS: TPAC BOX OFFICE 615-782-4040 | TPAC.ORG

nashvillescene.com | MARCH 31 – APRIL 6, 2022 | NASHVILLE SCENE

FILM

INVASION OF THE BODY SNATCHER

You Won’t Be Alone delivers on performances, but not on its premise BY NADINE SMITH

t’s safe to say that Macedonian is a language heard very infrequently in American movie theaters, but that changes with the new horror fable You Won’t Be Alone. The film is receiving a surprisingly prominent release from Focus Features given its YOU WON’T BE ALONE R, 109 MINUTES; IN unique language and MACEDONIAN WITH cultural context. But ENGLISH SUBTITLES to call You Won’t Be OPENING FRIDAY, APRIL 1, Alone a “Macedonian AT THE BELCOURT film” is not quite right — as so many media productions are today, it’s the product of a truly global network of artists and investors. Though Alone is set in the harsh countryside of Macedonia in the 19th century, you couldn’t be blamed for taking the world as almost medieval. Debuting director Goran Stolevski and much of his creative team hail from Australia, though the filmmaker’s roots are in the Southern European country his period piece studies. The cast is international as well, featuring most recognizably Swedish star Noomi Rapace, but also performers from Romania, France, Portugal and Australia. The pastoral hills of Romania are haunted by a witch named Nevena, described by residents of the region as the “wolf-eater,” who feasts on souls and steals the physical form of their previous owners. When her sharp nails dig into flesh, her victims lose their ability to speak, as she takes possession of their body and awakens in a new form. At first, she is a feral young girl without a tongue, unaware of the world beyond the woods or the human society around her. Her first contact with humankind accidentally becomes her first victim — she has no idea

STRANGE DAYS HAVE FOUND US

Strange Days is a seminal text in speculative cyberfetish fiction BY JASON SHAWHAN

ooted in a police surveillance technology that has become an underground means of democratizing every aspect of the human experience, 1995’s Strange Days is all too conscious of poSTRANGE DAYS lice militarization, instiR, 145 MINUTES tutionalized racism and SHOWING TUESDAY, APRIL 5, the dumb shit people AT THE BELCOURT do for people they think they still love. Here the anxieties of Rodney King-era America are extrapolated just a little bit down the road, where the internet hasn’t quite happened and footage of police committing murder actually changes society.

how to respond to human presence or touch other than to strike back, inadvertently killing a peasant woman and wearing her body as her own. The family of Nevena’s new vessel is unsurprised to find her completely mute, now responding to the world with a kind of childlike wonder and confusion — her monstrous husband has beaten her so much, the women around her whisper, that she lost her mind from all the blows. Nevena intimately observes interaction and interlocution, studying the human face and mimicking its expressions. The voice inside her head describes what she has observed, in her own unique and stunted way: “When crying or laughing, your mouth is always open. When the man is around, the mouth is never open. But when women are in the room, your mouth should never stop opening.” She understands emotions not as a sensation or feeling, but as a series of actions and reactions, almost like a ritual. When she sees a woman crying, she interprets the wetness on her face not as tears, but as the more practical “eyewater.” The context might be specific, but the film’s style is strung together from a wide array of influences. The potential appeal of You Won’t Be Alone to a more mainstream audience of horror fans is evident, as it recalls in equal measure the so-called elevated horror of A24-distributed genre movies like The Witch and Under the Skin as much as it does the unsettling fantasies of Greek filmmaker Yorgos Lanthimos. Maybe the most blatantly obvious aesthetic reference point is Terrence Malick, an artist evoked in almost every creative choice, from the pastoral golden-hour images, the tight handheld close-ups of characters caught in introspection, the constantly whispering internal

Lenny Nero (Ralph Fiennes) is yet another point on director Kathryn Bigelow’s continuum of vulnerable male protagonists, coming just after she created Keanu Reeves, Action Star in Point Break. Lenny is somehow both squirrelly and lovestruck like a Tennessee Williams heroine as he pines for the unattainable Faith (Juliette Lewis channeling Polly Jean Harvey). He’s a glorious beta serving full Peter Lorre realness who understands that Mace (Angela Bassett, along with her exceptional arms and force of will) is running things just fine. There is an obscene horror at play in this film’s most infamous scene, wherein we witness the blackjack tape that documents the rape and murder of Iris (Brigitte Bako) via the memories and experience of the rapist channeled back into the victim’s consciousness. It’s about as horrifying a confrontation with sexual violence as mainstream cinema gets, and it — and the film — served as a veritable fragmentation grenade at its opening-night appearance as the 1995 New York Film Festival’s Centerpiece. Bigelow does not gloss over any of the implications that the film raises, and it is precisely too much.

monologues, and an overbearing neoclassical score that nudges our sentiments where it should guide. The film’s sense of time is frequently elliptical — faces age, and the witch’s spirit ventures from one host to the next with the shifting of the wind. As soon as we begin to truly know a face and voice, they have vanished from our grasp. Stolevski’s cast, particularly Rapace, gives at-timesastonishing performances with little more than the face, expressing a genuine sense of alien wonder and confusion at the most commonplace tasks and ordinary occurrences. But Stolevski often seems reluctant to fully trust his actors, as incessant cutting, music and poetic voiceover frequently shoulder the emotional weight that should be carried by the actors. Though You Won’t Be Alone is pure fantasy, it tilts brutally and uncomfortably into reality with its depictions of gendered relations. In this world, as in so much of our own, relationships are arranged and abusive, and the only sex or even touch that women experience is either bloody murder or violent rape. When Nevena is raped and fights back in self-defense, she takes on the body of her assailant, who is then flogged and whipped to cast the demons out. The

This is a loud sci-fi/action film (from a treatment by Bigelow’s ex James Cameron) that pulls no punches and maintains the kinesis of a playful apocalypse — gritty and sweaty like sweltering L.A. nights but mentholated and smoove like its occasional Deep Forest soundtrack. Always the semiotician, Bigelow stokes the film’s soundtrack with a synecdoche for itself, with the fierce Deborah Anne “Skin” Dyer, lead

only relief she finds in her many lives is a young girl, frolicking in the grass and communing with butterflies. Life in this world is otherwise marked only by painful events — torturous childbirths, violent marriages, sudden death from putrid illness and funeral rituals. Like so many recent horror films, You Won’t Be Alone seeks to use the tropes and iconography of fantasy to explore the trauma of women, but in doing so risks reinforcing the idea that to be a woman is to always be a victim, whose life and interiority is defined by nothing more than violence suffered at the hands of men. There’s an almost queer sense of fluidity to how Nevena moves through bodies of different types and genders, but the film interprets the world through a binary lens, hardly exploring the potential for self-realization contained in its premise. Not unlike a fairy tale or scary story that’s been worn out, You Won’t Be Alone does not offer much more to our understanding of gendered violence that hasn’t already been said before, aside from supplying us with more images of gendered violence. The aesthetic exterior might be intriguing, but like a body drained of its lifeforce, the thematic core is mostly hollow. EMAIL ARTS@NASHVILLESCENE.COM

singer and songwriter of Skunk Anansie, seizing the apparatus of rawk and serving it up better than one would get from a similar band fronted by some dude. Strange Days was a box-office flop, released on the same day as the messy-but-interesting Jade and a whutnow remake of The Scarlet Letter. The intervening 27 years have bolstered the film’s reputation as a singular vision of the not-too-distant future. Part of the Lightstorm library, it’s been in streaming and home-video limbo for ages now, making it to a non-anamorphic DVD and no further. And honestly, after the 2010 Oscars (which intermittently became a relitigation of the Bigelow/Cameron divorce), it is safe to say that Strange Days is not a high priority for proper remastering. So chances to experience this seminal text in speculative cyberfetish fiction aren’t exactly numerous. But seeing Kathryn Bigelow at the top of her game with a peerless cast, with a guest scientist and on 35 mm, is not to be missed. EMAIL ARTS@NASHVILLESCENE.COM

NASHVILLE SCENE | MARCH 31 – APRIL 6, 2022 | nashvillescene.com

film_3-31-22.indd 38

3/28/22 4:08 PM

FILM

PRI NTERS ALLEY

NASHVI LLE, TN

Kitchen & Spirits | L ive music

Hide out tonight in Printer’s Alley, with a scratch, local kitchen and the next generation of bluegrass and Americana virtuosos. ja n e s h i d e away. c o m

FRIDAY, MAY 20 6-9 PM ONEC1TY

TICKETS ON SALE NOW!

PRESENTED BY

ince Great Freedom opens with 16 mm footage observing clandestine hookups in a public men’s room, you could almost think there was some sort of Brian De Palma-ish voyeurism at play. But while director/ GREAT FREEDOM NR, 116 MINUTES; IN co-writer Sebastian GERMAN WITH ENGLISH Meise has a similar SUBTITLES OPENING FRIDAY, APRIL 1, iron hand of tonal control over the maAT THE BELCOURT terial, this footage is actually revealed to be evidence against Hans Hoffman (Franz Rogowski). As part of Paragraph 175, the German criminal code’s proscription of homosexual activity between males, Hoffman is sent to jail. We begin in 1968, before subsequent timeslips to 1945 and 1956. These shifts in time hit with the force of a brick to the chest, each subsequent jump the reopening of a wound, with mustache and skin as the signifiers — the sets are the same. So are the attitudes, as Hans endures (and that is the correct word for the situation — he and countless other gay men had no other option but to take whatever society dished out) the contempt of the whole damn world. But he still manages to find the kindness to keep an eye out for other Paragraph 175ers who aren’t capable of hanging in there. What are your addictions? For some, it’s drugs. For some, it’s sexual freedom. For others, it’s survival. In Hans’ on-again, offagain cellmate Viktor (Georg Friedrich),

BY JASON SHAWHAN

Great Freedom is about maintaining queer dignity, with a free-jazz score

it’s a two-form habit of heroin and (the illusion of) respectability. And in Hans, we’ve got a character whose hunger for justice and decency just can’t be extracted from his erotic self. Rogowski is probably best known to American audiences from Petzold’s Undine and Transit and Malick’s A Hidden Life, but real arthouse-heads know him as the guy who stole Schanelec’s I Was at Home, But… (though he’s in only two scenes). It’s overly limiting to call him the most exciting actor in German-language cinema, because he has a quality that invites the most analytical of audience eyes. A dreamier Joaquin Phoenix, sure, but also a performer with a gift for liminal incarnation, capable of handling genre shifts and unconventional narrative choices with an ease that no one else in contemporary world cinema has. You’ve got to respect any film about maintaining queer dignity in the face of omnipresent prejudice and the vicissitudes of an unjust system with a free-jazz score — just as it makes one of its foundation points the kindness and decency of tattoo artists. This is a different kind of film, not interested in prison clichés or noble gay martyrs. It stays in the subconscious, popping up unexpectedly long after seeing the film — or viscerally and immediately when you read some of the anti-gay bullshit being shoveled in statehouses throughout the country. Great Freedom is spare and deliberate and focused on the strength required to soldier on in a hopeless place. What Meise and Rogowski accomplish here is deeply moving and ultimately shattering. Apart from all the usual signifiers that we as viewers associate with prison cinema, Great Freedom gradually builds its resonance like a Bresson film, but horny. Paul Schrader would probably dig this. Hopefully you will too. EMAIL ARTS@NASHVILLESCENE.COM

FREEDOM ’68