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JULY 1–7, 2021 I VOLUME 40 I NUMBER 22 I NASHVILLESCENE.COM I FREE

METROPOLITIK: DAVIDSON COUNTY ELECTION COMMISSION CHAIRMAN IS HELL-BENT ON GETTING HIS WAY

CITY LIMITS: THE REAL IMPACT OF TENNESSEE’S PRISON CELLPHONE BAN

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A M E R I C A N C U R R E N T S : S TAT E O F T H E M U S I C EXHIBIT NOW OPEN

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NASHVILLE SCENE | JULY 1 – JULY 7, 2021 | nashvillescene.com

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CONTENTS

Metropolitik: The Election Commission Chairman Is Hell-Bent on Getting His Way ..... 6

Crawl Space: July 2021

CITY LIMITS

Jim DeLanis wants to repeal the property tax badly enough to spend a lot of our tax dollars doing it BY STEVE CAVENDISH

What’s the Real Impact of Tennessee’s New Prison Cellphone Ban? ......................6 Advocates say the crackdown will mostly restrict vital communication BY STEVEN HALE

Pith in the Wind .........................................7

This week on the Scene’s news and politics blog

ART

July brings fireworks to Nashville’s art gallery displays BY JOE NOLAN

BOOKS

Tales of a Preservationist

A new collection of essays highlights Silas House’s life and work BY EMILY CHOATE AND CHAPTER 16

MUSIC

COVER STORY Drink Up!

Life and Work .......................................... 28

Beer Me ......................................................9

Mary Gauthier tells her story through the lens of her music in Saved by a Song

From Jackalope to TailGate and Yazoo, here are five local brews that are great for summertime

BY BRITTNEY McKENNA

BY J.R. LIND

The Scene’s music writers recommend recent releases from Rachel Baiman, Bren Joy, Sara Bug and more

The Can Can ............................................ 10

No glass on the boat or by the pool means canned cocktails are king of the summer outing BY CHRIS CHAMBERLAIN

Drink What the Experts Are Drinking .... 12 Talking to four local cocktail experts about their favorite drinks and where to get them BY D. PATRICK RODGERS

Lipstick’s Staying Power ......................... 14 East Nashville’s The Lipstick Lounge is one of few remaining lesbian bars in the U.S. BY MARGARET LITTMAN

Drink It Dry .............................................. 16 With zippy Italian sodas, a bevy of ‘beer’ and a boatload of fausé, sober summer has never looked better

JULY 1, 2021

THIS WEEK ON THE WEB: Starlito, Brian Brown and Brassville to Kick Off Live on Buchanan Concert Series Tennessee Republicans’ Ongoing Bathroom Bigotry Nashville Cocktail Festival Returns, and It’s Coming in Hot! Zola,Tampa, Nashville and Development ON THE COVER:

Another Look ........................................... 29

Photo by Eric England

The Spin ................................................... 30 The Scene’s live-review column checks out Old Crow Medicine Show at Brooklyn Bowl Nashville BY ABBY LEE HOOD

31 FILM

Extremely Online ..................................... 31 Based on a Twitter thread, Zola gives birth to a new kind of storytelling BY SADAF AHSAN

Family Affair ............................................ 32 A new documentary from Questlove sheds light on an unrecognized milestone in Black music

BY ASHLEY BRANTLEY

BY CRAIG D. LINDSEY

CRITICS’ PICKS

Thelma and the Sleaze w/Gyasi & A.J. and the Jiggawatts, Essential Fellini: Nights of Cabiria / La Dolce Vita, The Brass Menagerie: Let’s Do It Live!, The Avett Brothers at Concerts on the Farm, Sparkle City Ninth Anniversary feat. Ken Sable & Carousel, The Travelin’ McCourys w/ Sierra Hull, Hot White Heist podcast and more

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FROM BILL FREEMAN GOV. LEE IGNORES FIRST LADY’S VISIT, TENNESSEE STILL RANKS LOW IN VACCINE ROLLOUT Vaccine hesitancy remains prevalent in Tennessee, which is why First Lady Jill Biden came to Nashville on June 22, encouraging Americans in the South to get vaccinated and talking about vaccine safety and effectiveness. Among those welcoming Mrs. Biden at the airport were state and local officials and country star Brad Paisley … but not our governor. Since our First Lady took the time to visit out of care for our health and well-being, it seemed overtly discourteous — and a little embarrassing — that Gov. Bill Lee didn’t show up. Though he may have little in common with the Bidens, it’s common courtesy to extend a welcome. Even if he didn’t want to stick around to visit, his presence at the plane would have shown due respect and appreciation for the First Lady’s commitment to the welfare of Tennesseans, who have not embraced the COVID-19 vaccine. Lee’s behavior was a little too reminiscent of former President Donald Trump, and the governor’s action — or lack thereof — shows that he chooses to play politics instead of concerning himself with the lives and welfare of his fellow Tennesseans. The governor’s ill manner aside, the First Lady’s visit was appreciated. It showed the lengths to which she and President Biden will go to ensure the health and wellness of everyone in our nation. Mrs. Biden and Paisley appeared and spoke to a crowd at the Ole Smoky Distillery at 6th & Peabody in downtown Nashville on Tuesday afternoon. The event offered on-the-spot vaccinations and was organized by Kroger Health and the nonprofit Made to Save. Mrs. Biden reminded the crowd of the importance of the life-saving COVID-19 vaccines, but noted that Tennessee is behind on vaccinations. Only 41 percent of Tennesseans have received at least one dose of vaccine so far — at press time, that’s the sixth-lowest percentage nationwide, according to the Centers for Disease Control and Prevention. USAFacts.org reports that just 35 percent of Tennesseans have been fully vaccinated as of June 24. The most concerning aspect of recent statistics is that nearly all COVID-19 deaths occur in unvaccinated individuals, as reported by the Associated Press. The AP article points out that this is a “staggering demonstration of how effective the shots have been and an indication that deaths per day … could be practically zero if everyone eligible got the vaccine.” The whole purpose of the First Lady’s visits to communities across our country is to help boost vaccination rates. Though the Biden administration had originally hoped to see 150 million Americans fully vaccinated by July 4, it appears the country won’t reach that number until closer to midJuly, which is still a sign of progress. For Tennesseans, however, we’re not doing our part to keep the nation protected. In states like Hawaii and Massachusetts, more than 80 percent of adults are at least partially vaccinated. This is due in part to those states’ campaigns to encourage vaccination while explaining its safety and effectiveness. Those states also have government leaders who are on board with

DR. JILL BIDEN PHOTO: OFFICIAL WHITE HOUSE PHOTO BY CAMERON SMITH

PET OF THE WEEK!

the vaccines’ importance. It builds trust within communities, and residents feel safe getting vaccinated. Some states are even offering incentives. Tennessee has no such incentive or plans for any incentives. There is at least a campaign that would include public service announcements to encourage vaccinations. The Tennessean on May 18 reported that Gov. Lee’s excuse for not pushing out PSAs sooner was because the state wanted to wait until there was evidence of hesitancy, and until the time “when we don’t have any more appointments and when there is availability for everyone.” The same article notes that vaccines have been available for months and appointments have gone unfilled, and that “health officials have struggled to overcome communities’ distrust of the vaccine.” Gov. Lee himself has been vaccinated, but he has failed to encourage others to follow suit despite data supporting its effectiveness. The science is there, but our governor is ignoring it — just like he ignored meeting the First Lady’s plane. He’s placing politics over science — parroting Trump — and in doing so, is costing people their lives. The mixed messages Tennesseans get from the state’s leadership are not inspiring anyone to action. As Americans, we all want freedom of choice — I get that. But we also make laws and regulations that require compliance for our safety and for the greater good of our communities. Examples that come to mind include seat belts, child car seats, speed limits and motorcycle helmets. Laws requiring precautions like these protect both the individual and those around us. But the governor has his vaccine — maybe he figures as long as he’s OK, it’s OK if everyone else just goes along any way they wish. Despite the governor’s obvious disregard for the First Lady and the welfare of his fellow Tennesseans, the Biden administration continues to work diligently to get vaccination numbers up. They are speaking to groups large and small across the nation, trying to get everyone in America safe again. It’s a shame the governor doesn’t care more about Tennesseans than he does about politics. His actions — or lack thereof — speak that loudly.

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, Nancy Floyd, Steven Hale, Kara Hartnett, J.R. Lind, William Williams Contributing Writers Sadaf Ahsan, Radley Balko, Ashley Brantley, Maria Browning, Steve Cavendish, Chris Chamberlain, Lance Conzett, Marcus K. Dowling, Steve Erickson, Randy Fox, Adam Gold, Seth Graves, Kim Green, Steve Haruch, Geoffrey Himes, Edd Hurt, Jennifer Justus, Christine Kreyling, Katy Lindenmuth, Craig D. Lindsey, Brittney McKenna, Marissa R. Moss, Noel Murray, Joe Nolan, Chris Parton, Betsy Phillips, John Pitcher, Margaret Renkl, Megan Seling, Jason Shawhan, Michael Sicinski, Nadine Smith, Ashley Spurgeon, Amy Stumpfl, Kay West, Abby White, Andrea Williams, Cy Winstanley, Ron Wynn, Charlie Zaillian Editorial Intern Kahwit Tela 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 Promotions Coordinator Caroline Poole 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 Olivia Bellon, William Shutes, Niki Tyree Sales Operations Manager Chelon Hill Hasty Advertising Solutions Associates Aya Robinson, Price Waltman 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 For advertising information please contact: Mike Smith, msmith@nashvillescene.com or 615-844-9238 FW PUBLISHING LLC Owner Bill Freeman VOICE MEDIA GROUP National Advertising 1-888-278-9866 vmgadvertising.com

©2021, Nashville Scene. 210 12th Ave. S., Ste. 100, Nashville, TN 37203. Phone: 615-244-7989. The Nashville Scene is published weekly by FW Publishing LLC. The publication is free, one per reader. Removal of more than one paper from any distribution point constitutes theft, and violators are subject to prosecution. Back issues are available at our office. Email: All email addresses consist of the employee’s first initial and last name (no space between) followed by @nashvillescene.com; to reach contributing writers, email editor@nashvillescene.com. Editorial Policy: The Nashville Scene covers news, art and entertainment. In our pages appear divergent views from across the community. Those views do not necessarily represent those of the publishers. Subscriptions: Subscriptions are available at $150 per year for 52 issues. Subscriptions will be posted every Thursday and delivered by third-class mail in usually five to seven days. Please note: Due to the nature of third-class mail and postal regulations, any issue(s) could be delayed by as much as two or three weeks. There will be no refunds issued. Please allow four to six weeks for processing new subscriptions and address changes. Send your check or Visa/MC/AmEx number with expiration date to the above address.

In memory of Jim Ridley, editor 2009-2016

Bill Freeman Bill Freeman is the owner of FW Publishing, the publishing company that produces the Nashville Scene, Nfocus, the Nashville Post and Home Page Media Group in Williamson County.

NASHVILLE SCENE | JULY 1 – JULY 7, 2021 | nashvillescene.com

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REFLECTION CAN CHANGE EVERYTHING. Chicago-based artist Bethany Collins explores the intersection of language and race in her conceptually driven practice. She alters existing documents to critique the truthfulness and completeness of the official record. In addition to other works, her new artist book features one hundred versions of “The Star Spangled Banner,” written from the 18th to the 21st centuries in support of specific political or social causes—from temperance and suffrage to abolition and even the confederacy. Come view an exhibition that offers multiple and contradictory interpretations of historic texts, and see how they offer opportunities to reflect and better understand today’s world.

THROUGH SEPTEMBER 12 Downtown Nashville, 919 Broadway, Nashville, TN 37203 FristArtMuseum.org @FristArtMuseum | #TheFrist #FristBethanyCollins

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Bethany Collins. The Star Spangled Banner: A Hymnal (detail), 2020. Book with 100 laser-cut leaves (Edition of 3, 2 AP), 9 x 6 x 1 in. | JULY 1 – JULY 7, 2021 | NASHVILLE SCENE nashvillescene.com Courtesy of the artist and PATRON Gallery, Chicago. © Bethany Collins. Photo: Evan Jenkins

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CITY LIMITS

METr0P0LITIK

THE ELECTION COMMISSION CHAIRMAN IS HELL-BENT ON GETTING HIS WAY Jim DeLanis wants to repeal the property tax badly enough to spend a lot of our tax dollars doing it BY STEVE CAVENDISH

he contempt in Davidson County election commissioner Tricia Herzfeld’s voice was no longer veiled as she made her motion. A well-respected attorney, Herzfeld for the past two months has been one of the two Democrats on the receiving end of Davidson County Election Commission Chairman Jim DeLanis’ efforts to force an anti-property tax referendum onto the ballot, no matter the constitutionality of it. And when Chancellor Russell Perkins struck down the referendum and canceled the July 27 election it would have required, DeLanis promptly called a meeting and laid the groundwork for an appeal. During the June 25 meeting, Herzfeld asked what conversations had been happening between DeLanis and the DCEC’s outside counsel, Jim Blumstein and Austin McMullen. Since the attorneys were the commission’s lawyers, Herzfeld had a right to know what was going on. She made a simple motion to the body to be kept in the loop, something that their high-paid lawyers — Blumstein’s standard rate is $800 per hour; McMullen’s is $460 — ought to be capable of. DeLanis kept asking for clarification. How often should they call her? What should they share with her? Wouldn’t this violate the Tennessee Open Meetings act? (Staff lawyers said it would not.) Finally, Herzfeld made her motion for a fourth time and demanded a vote on it. “If you call Chairman DeLanis, you can then call me,” Herzfeld said, clearly frus-

WHAT’S THE REAL IMPACT OF TENNESSEE’S NEW PRISON CELLPHONE BAN? Advocates say the crackdown will mostly restrict vital communication BY STEVEN HALE

trated by the stonewalling. “That has absolutely not happened. I have been left almost completely out of any communication that has been going on, for strategy or decisions or otherwise.” The chairman called for the vote. Herzfeld and fellow Democrat A.J. Starling quickly voted yes. The commission’s two newest members, Republicans Dan Davis and Ross Evans, paused and looked at DeLanis. After a few seconds, the three GOP members all voted no. So, here’s where we are: For a second time, 4 Good Government has attempted to put a charter amendment on the ballot to repeal a 2020 property tax increase. For a second time, a judge has ruled that substantial parts of it are facially unconstitutional. But this time, the DCEC — now chaired by DeLanis — is instructing its outside counsel to appeal the ruling. And also, don’t worry about keeping Herzfeld and Starling in the loop. At least now there’s no pretense that this is anything more than a partisan operation. DeLanis has been pulling the strings for months to make this happen. First he had Davis and Evans appointed and himself elected as the new chair. Then he got former state Supreme Court Justice Bill Koch, a Republican, removed as the commission’s outside counsel when DeLanis didn’t agree with Koch’s opinion about the amendment. Before the DCEC had even taken a vote, DeLanis instructed the commission’s staff to ready a press release touting the “unanimous” decision of the commissioners to put 4GG’s amendment on the ballot. (The actual

mong the long list of new state laws going into effect on July 1 is one that will allow incarcerated people to be charged with a felony if they are caught in possession of a cellphone. The Tennessee Department of Correction trumpeted the new law last week as a way to “increase public safety and security inside Tennessee prisons.” “Contraband cellphones are a significant security threat that makes possible the type of illegal activity that leads to criminal conspiracies between people inside our correctional environment and those on the outside,” TDOC Commissioner Tony Parker said in a media release. “Inmates use these cellphones to engage in drug operations, sex trafficking, and other organized criminal activities that cause devastating consequences for public safety, and empower these criminals to continue a life of crime.” Previously, the act of smuggling contraband like cellphones into a prison was a felony, while possessing a phone inside a prison was not a criminal offense. In pushing the law at the state legislature,

vote was 3-2, along party lines.) DeLanis’ efforts will have a substantial bill for taxpayers. Before they ever entered a courtroom, Blumstein, McMullen and attorneys at Bradley Arant Boult Cummings had racked up more than $50,000 in fees. And once inside the court, Blumstein and McMullen made a decision that could prove even more expensive. When the litigation was filed, it landed in Chancellor Perkins’ courtroom. Blumstein and McMullen viewed this as the most favorable draw of the four potential chancellors: Pat Moskal had already recused herself, leaving Perkins, Anne Martin and Ellen Hobbs Lyle, who had already ruled against 4GG’s last attempt in the fall. In drawing Perkins, courthouse observers say, the Republicans probably got their best chance at winning. And they knew it. On May 19, 4GG attorney Jim Roberts made a motion to intervene in the case. But on May 20, Roberts suddenly withdrew his motion. Blumstein and McMullen called Roberts and told him to get out of the case, otherwise Perkins — who is widely understood to have a standing order of recusal for any Roberts case — would send the case back to the assignment judge and either Lyle or Martin would hear it. Here’s why that decision was important: Because Roberts and 4 Good Government were not party to the decision at the trial court level, it is unlikely that any appellate court would grant them standing at the next level. This is the DCEC and DeLanis’ case alone. And because of that, the only way that Perkins’ opinion could be appealed is if the DCEC — and taxpayers — are the ones carrying the freight. And DeLanis seems unfazed by how much money it will cost to get his way. During the meeting, Blumstein opined that he believed there are several avenues for appeal and encouraged DeLanis and the Republicans to vote to continue. Of course Blumstein, like DeLanis, has been involved behind the scenes for months before the matter ever came to the commission. Responding to questions from Herzfeld, Blumstein admitted that 4GG attorney Roberts had sent a draft copy of the second petition to him before the organization started gathering signatures. The relationship goes back

decades — Roberts was a student of Blumstein’s at Vanderbilt. Blumstein has operated in ethical gray areas before. In 2016, a federal court blasted the professor for reviving a 1970s-era classaction suit against Metro without consulting his clients. Judge Aleta Trauger wrote, bluntly, “This conduct violates ethics rules.” The other piece of this gray area is McMullen’s firm. Bradley Arant Boult Cummings provided support for Koch on the litigation for the first petition in the fall. Now McMullen and other associates are supporting Blumstein. But there’s a clear conflict of interest at the firm: Partner Jim Murphy has long provided legal advice to the Titans around development issues, and the Titans, through the Nashville Business Coalition, are party to a separate suit against the DCEC and this petition. They have lawyers on both sides. This is what happens when an official body like the election commission commits itself to one side. They could have sought a declaratory judgment from the court instead of taking a position, an action that the DCEC voted to do in the case of the Metro Council’s proposed alternative to 4GG’s charter amendment. But DeLanis is hellbent on getting the anti-tax provision onto the ballot, and he’s willing to spend your tax dollars to do it. EMAIL EDITOR@NASHVILLESCENE.COM

TDOC officials argued that criminalizing cellphone possession would assist them in their efforts to investigate and stop the proliferation of phones on the inside, as well as the crimes they claim the devices lead to. At a Senate committee meeting in March, the department’s senior counsel and legislative liaison, Torrey Grimes, told lawmakers that the status quo meant that seized contraband cellphones could not be entered into stolen phone databases and that service providers often wouldn’t cooperate with investigations because possession of the phone itself wasn’t a crime. The bill ultimately passed the House and Senate with no opposing votes. But attorneys and advocates say the department’s talk of crimes aided by cellphones is overstated. Instead, they say, the criminalization of cellphone possession is far more likely to further isolate incarcerated people and make it harder for them to report abuse and misconduct. Indeed, many news stories on the conditions inside Tennessee prisons — including many Scene stories on the topic — rely at least in part on information obtained because somebody on the

inside had a contraband cellphone. “Cellphones are key for having any sort of meaningful transparency, often,” says Jeannie Alexander, a longtime advocate for incarcerated people. “We understand and have learned things about what’s taking place in prisons like South Central and Trousdale because there are cellphones, and people are documenting things.” Daniel Horwitz is a Nashville-based attorney who is currently representing an incarcerated person in a lawsuit against Tennessee-based CoreCivic related to conditions at Trousdale Turner Correctional Center. He agrees. “Contraband cellphones are a lifeline to the outside world, and they afford people who are incarcerated an indispensable means of communicating in real time without fear of retaliation,” Horwitz tells the Scene. “If you’re wondering how it is that photos of moldy prison food or videos of frozen prison cells reach the public, the answer — every time — is via a contraband cellphone. If one’s goal were to prevent effective whistleblowing about dangerous or other-

THE ONLY WAY THAT PERKINS’ OPINION COULD BE APPEALED IS IF THE DCEC — AND TAXPAYERS — ARE THE ONES CARRYING THE FREIGHT.

NASHVILLE SCENE | JULY 1 – JULY 7, 2021 | nashvillescene.com

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CITY LIMITS wise deplorable prison conditions, one of the most effective ways to do that would be to ratchet up penalties for contraband cellphone possession. Doing so does not actually address the underlying problems, of course; it just prevents the public from seeing and hearing about them.” Horwitz and Nashville-based criminal defense attorney Amanda Gentry both note the challenges attorneys also face in ensuring that their privileged discussions with clients are kept truly confidential. Each cites instances of attorney-client conversations being illicitly recorded. TDOC says its Office of Investigations and Conduct confiscated more than 2,500 cellphones from its facilities between July 2020 and March 2021. Spokesperson Sarah Gallagher notes to the Scene, however, that many of those devices were discovered by TDOC staff before they made it to an incarcerated person. So how do phones and other contraband make it there? “Cellphones and other contraband enter TDOC facilities in a variety of ways,” Gallagher says, “thrown over a perimeter fence, smuggled in with a shipment of facility supplies, concealed on a visitor, volunteer, or staff member, etc.” Her answer subtly acknowledges what advocates and attorneys inevitably emphasize when the topic of contraband phones comes up — the role staff members and correctional officers play in bringing them into prisons in the first place. “It happens every single day that COs are bringing in the contraband,” Gentry says. “I’ve represented correctional officers accused of that,” she adds. “Depending on the location, the correctional officers make anywhere from $12 to $14 an hour, if they’re lucky.” Low pay contributes to an incentive for officers to

sell contraband. Meanwhile, incarcerated people often turn to cellphones as a way to communicate with family and loved ones on the outside without paying the exorbitant rates charged by the prisons. “If you don’t want people to use cellphones, then stop charging people between $2.30 for 30 minutes up to $7 for 30 minutes or more,” Alexander says. “How are people supposed to maintain contact with those kinds of insane phone rates?” Continued connection with the outside world while people are incarcerated has been shown to reduce recidivism, Gentry notes. And so the new law, she says, makes that connection harder to maintain while also creating another criminal charge that carries collateral consequences even after a person’s release. “A felony strips people of multiple constitutional rights — the right to carry a firearm, the right to vote, the right to live in certain places, the right to work in certain places,” she says. “Why does it have to be a felony? Why does it have to be so harsh?” TDOC highlights the role phones play in facilitating crime. In March, federal prosecutors charged 27 individuals with crimes related to a violent drug distribution ring they say was orchestrated by a Tennessee prisoner using contraband cellphones and encrypted messaging apps. But opponents of the new law argue that its overly broad language will ensnare people who aren’t using contraband cellphones to plan criminal activity. “What TDOC claims is that cellphones are being used to traffic drugs and so-called prostitution, and therefore you have to stop the use of cellphones,” Alexander says. “If that’s the case and if that’s what they were actually concerned about, then that statute could’ve been more narrowly drawn to make it a Class C felony if they could prove that the cellphone was being used in furtherance of a crime.” EMAIL EDITOR@NASHVILLESCENE.COM

THIS WEEK ON OUR NEWS AND POLITICS BLOG: Davidson County Chancellor Russell Perkins wrote that 4 Good Government, the group pushing for a charter referendum over Nashville’s property tax, did not follow proper procedure when it suggested two possible election dates for the referendum rather than one. The Davidson County Election Commission decided to set the election on neither of those dates but instead for July 27. Perkins ordered the election commission to cancel the election entirely. Read more on all that in this week’s Metropolitik on p. 6. … Arguing that the mandate is a First Amendment violation, the American Civil Liberties Union of Tennessee filed a lawsuit asking a federal court to block enforcement of a new law requiring businesses and government buildings to post warning signs if they allow transgender people to use bathrooms that match their gender identity. “Forcing businesses to display a stigmatizing message for political expedience is unconstitutional,” ACLU of Tennessee executive director Hedy Weinberg said in a release. “Furthermore, by targeting the transgender community, these government-mandated signs marginalize and endanger transgender individuals. Tennessee should be embracing and protecting all Tennesseans, not passing unconstitutional discriminatory laws.” It’s not clear how the bill would be enforced anyhow. Davidson County District Attorney Glenn Funk announced in May that he wouldn’t be trying. The plaintiffs in the ACLU’s lawsuit are Kye Sayers, owner of the Sanctuary performing

arts and community center in Chattanooga, and Bob Bernstein, owner of Fido restaurant in Nashville. The ACLU is asking the court to enjoin the law, which is scheduled to go into effect July 1, while the case is underway. … Contributor Betsy Phillips asks a good question about the aforementioned law and the legislators who pushed for it under the guise of preventing sexual assault: “I’m sure someone somewhere once did wait in a restroom to try to assault a stranger, but it’s very, very rare. Most people are sexually assaulted by someone they know — perhaps a trusted basketball coach, or a teacher, or a minister, or their dad’s friend, or their friend or their dad. And I’m not sure what sign is going to fix that problem. And if men’s bathrooms are such a danger — if rapists just skulk around bathrooms waiting to assault people — why aren’t there more bathroom rapes in men’s bathrooms? Men are so horny and daring that they’ll prey on women and children in a public restroom, but not so dangerous that other men have to be concerned? I find that very hard to believe.” … Metro officials estimate that 60 percent of the people experiencing homelessness in Davidson County are fully vaccinated — higher than the overall vaccination rate in the county. … The Davidson County grand jury indicted prominent activist Justin Jones on two additional charges, bringing the total number of charges he’ll face related to last summer’s protests in the wake of the murder of George Floyd to 14. The new charges — a pair of reckless endangerment counts — stem from what the district attorney’s office called “a traffic cone incident.” A video shows a person resembling Jones blocking a pickup truck from driving toward a handful of protesters and putting a traffic cone inside the cab of the truck. NASHVILLESCENE.COM/PITHINTHEWIND PITH@NASHVILLESCENE.COM • @PITHINTHEWIND

the entire community is invited without charge to

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a taste of Judaism Everything you always wanted to know about Judaism in three easy lessons . . . with Rabbi Rami Shapiro Join us Virtually via ZOOM on Tuesdays, July 6th, July 13st & July 20th at 6:00 pm Please register for the class at: thetemplehub.org or templenashville.org nashvillescene.com | JULY 1 – JULY 7, 2021 | NASHVILLE SCENE

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In our annual drinking issue, we ask Nashville bartenders for their favorite cocktails, check out great summer beers, recommend some nonalcoholic options and more coverstory_7-1-21.indd 8

PHOTO: DANIEL MEIGS

Drink up! 1 6/28/21 5:38 PM

BEER ME

From Jackalope to TailGate and Yazoo, here are five local brews that are great for summertime BY J.R. LIND

B 1

BEARDED IRIS MANIC MUSE FRUITED SOUR, 8.4 PERCENT ABV

Sour beers are an old style — originally, and often still, the product of wild yeast doing its magic — and can be off-putting to drinkers who aren’t used to beer with wine character. They aren’t for everybody, but for the adventurous drinker looking for something with a boat-drink character without the alcoholic oomph of a cocktail, they are perfect. Manic Muse includes all the fruit flavors of a beachside cocktail: citrus from a tangerine, pineapple, cherry and some pear (as a treat). Plus, it packs plenty of wallop on its own, checking in at north of 8 percent ABV. A bit of lactose smooths it out, adding a creamy touch. Stick an umbrella in it and crank the Buffett.

PHOTO: ERIC ENGLAND

eer obsessives often face the crisis of choice. The microbrew boom and increased interest from brewers in niche styles and previously unforeseen flavor combinations provide a seemingly endless number of options for quaffing. Sure, it’s easy to simply cycle through examples of your preferred style (you like IPAs, we know, we get it), and admittedly, even in the swelter of summer, an interesting-looking porter is hard for me to refuse. But there are other ways to attack the beer board: alphabetically, geographically or, as in days of yore, seasonally. Some styles of beer are perfect for certain seasons (indeed, in the old days, some beers were brewed specifically for seasonal drinking). It’s not early fall without Märzen, for example, and there’s little better than a winter warmer in Yuletide. When summer is icumen in, the young zymophile turns his thoughts to the easily quaffable (yes, we heard, you like hazy IPAs, stick with me), something to sip while grilling meat or sitting poolside. Here are five local brews to beat the heat (and yes, there’s an IPA).

JACKALOPE LOVEBIRD

FRUITED WHEAT, 4.4 PERCENT ABV

Jackalope’s raspberry-and-strawberry wheat is more or less a summer staple in Nashville now. Light in body and on the alcohol, it’s a perfect refresher for those busier days outside, tossing the Frisbee or the ol’ horsehide or paddling a local watercourse. But because it won’t drop you off before you know you got on the bus, it’s also a great match for front-porch sitting on the sultry nights with your bae. And if That Person who is always looking for a Blue Moon is coming around? Toss ’em one of these — it’s accessible to the drinker who is already familiar with wheat styles, but far more interesting than its mass-produced cousin.

EUROPEAN LAGER, 4 PERCENT ABV

One of the best tests of a brewer’s proficiency is the quality of its pilsner. Defined by its straw color and crisp, clean taste, the pilsner and other similarly crystalclear lagers cannot rely on an extra scoop of hops or a distracting adjunct. It’s easy to botch an IPA or even a milder pale and cover up the mistake with a heavy hand at the hop spider. There’s no such corrective measure with a style so naked. By that measure, Yazoo — one of the city’s most reliable brewers — is very good at what it does (not that you needed me to tell you). It’s on the European side of the lager spectrum, so it’s a little more Grolsch than Budweiser (or more Budvar than Budweiser, if you prefer). Consider an elevated (or Bohemian) lawnmower beer.

PHOTO: DANIEL MEIGS

YAZOO CZECH LAGER

TAILGATE PINK LEMONADE SHANDY LAGER SHANDY, 5.2 PERCENT ABV

Like Jackalope, TailGate already nailed summer with its Orange Wheat and Lime Lager, but this option — which was released in a limited run of cans but is available on draft at all three locations — has become a taproom favorite. Most shandies — bottled or made at the bar — are a simple mix of lager and lemonade (or lemonlime soda or ginger ale or, well, you get the idea), which, of course, dilutes the alcohol of the typically already low-alc lager. At TailGate, they made a beer with lots (and lots) of pink lemonade in the mix during brewing. It tastes like a shandy (and glows hot-pink like a ’90s teen sitcom fever dream), but it drinks like a full-strength big-boy beer. Not too sweet, not too sour, and there’s nothing better than one of these when the late afternoon heat breaks just a smidge as the sun tucks behind the western hills.

IPA, 6.9 PERCENT ABV

For my hopheads, here’s an IPA that fits in just fine on the red-and-white checkerboard summer cookout tablecloth. Based on the actual ambrosia salad recipe from Black Abbey’s lead brewer’s grandmother, yes, Nice Nice Very Nice is brewed with vanilla and lactose, echoing the whipped cream and marshmallow of the potluck staple. A combination of hops brings the fruit flavor — pineapple, orange and coconut. And for those who believe that IBUs are a real thing, this one checks it a respectable 29. Perhaps a bit low for the guys who like to see how far their mouths can pucker into their larynx, but the delightful dessert flavors more than make up for it. ■

PHOTO: DANIEL MEIGS

BLACK ABBEY NICE NICE VERY NICE

5 nashvillescene.com | JULY 1 – JULY 7, 2021 | NASHVILLE SCENE

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THE CAN CAN

No glass on the boat or by the pool means canned cocktails are king of the summer outing BY CHRIS CHAMBERLAIN

or Cranberry Lime for an alternative to LaCroix that packs just a little bit of a punch but doesn’t veer into the crowded hard-seltzer market. Speaking of the ubiquitous White Claw and its clones, if you’re going that route, at least consider a local option. DISKIN CIDER is best known for its fermented apple drinks, but Diskin has also created an offshoot brand of what they’re calling “cider spritzers” under the Lola brand. Instead of starting with a fermented sugar malt base like most drinks in the category, Diskin starts with fresh-pressed juice bases, just like with its ciders. The resulting Berry, Citrus and Peach varieties of Lola feature the flavors of real juices like strawberry, blackberry, blueberry and tart cherry, instead of whatever the hell is being added at those huge industrial seltzer factories. OLE SMOKY takes advantage of the moonshine made in its East Tennessee distilleries and small still downtown at 6th & Peabody for a line of canned cocktails, so they’re pretty much vodka drinks. Not that there’s anything wrong with that. Look for the Blackberry Lemonade, Apple Pie Ginger, Mountain Mule and Mountain ’Rita flavors in four-packs of 12-ounce cans at the distillery’s gift shops and at liquor stores. Regional favorite CATHEAD DISTILLERY

in Jackson, Miss., has jumped into the ready-to-drink cocktail party locally with the release of four Cathead Sparkling flavors available in slim 12-ounce cans. The vodka-based soda drinks are available in Cranberry, Limeade, Satsuma Mandarin and Strawberry Lemonade and in a convenient eight-can sampler pack, just in case you can’t make up your mind. While most of these canned cocktails are about as strong as your average light beer, POST MERIDIEM SPIRIT CO. out of Atlanta comes much closer to putting an actual full-strength cocktail in a can. These potent potables range from 23.5 percent alcohol by volume for the 1944 Mai Tai up to a knee-buckling 37 percent for the Double Old Fashioned. In between are a Real Lime Juice Margarita, a Lemongrass Vodka Gimlet and a No. 4 Daiquiri that is an ode to the classic Hemingway version of the tropical treat. Because of their higher proof levels, these drinks come in precious 100-milliliter cans (which is about 3.4 ounces for those of you who never caught on to the metric system). Made from authentic recipes using real juices, syrups and premium spirits, these are the easiest solution to offering a mess of premium cocktail options to a crowd. Just add ice and stir! ■

PHOTO: ERIC ENGLAND

ome people say we’re kicking off a “Hot Vax Summer.” (Not me — I will not say that, not ever.) It’s true that our emergence from the pandemic cocoon will probably lead to many festive gatherings as the days get hotter, but since glass is verboten around pools and on boats, you need to seek out other alternatives for anything that traditionally comes in a bottle. Besides, who wants to schlep all the accoutrements to assemble a proper cocktail into the great outdoors or poolside? That’s where the recent surge of actually palatable canned cocktails comes in handy. Keep in mind that you won’t be able to find most of these options at your local grocery. But that’s a good thing, because it means they are made using real spirits and thus prohibited from grocery sales. Did you ever wonder why you could buy a Bartles & Jaymes wine

cooler at the grocery store in the 1980s long before you could legally purchase wine there? That’s because they were made with malt liquor instead of actual wine. And, you know, ew. Luckily, Nashville is awash with local and regional canned cocktails that actually deserve some room in your cooler, so they’re ready to be served over ice in a Solo cup or straight out of the can. Here are some of our favorites. Nashville’s PENNINGTON DISTILLING CO. produces the popular Pickers Vodka brand, an excellent spirit in its own right and the base for a series of canned cocktails and premade vodka-soda drinks. Four different canned cocktails each showcase a distinct flavor of the base Pickers Vodka. The original unflavored Pickers is blended with real lime and fresh ginger root to create the zingy Music City Mule. A tart Lemon and Blues option features Pickers Blueberry and lemonade, while those who prefer sweeter cocktails can opt for a Porch Picker or a Honky Tonk Hurricane made with Pickers Blood Orange and Pineapple, respectively. For a lighter option, Pickers has capitalized on the vodka-soda craze with four canned drinks with only 96 calories apiece and no sugar. Choose from Raspberry, Tangerine, Grapefruit

NASHVILLE SCENE | JULY 1 – JULY 7, 2021 | nashvillescene.com

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nashvillescene.com | JULY 1 – JULY 7, 2021 | NASHVILLE SCENE

DRINK WHAT THE EXPERTS ARE DRINKING

Talking to four local cocktail experts about their favorite drinks and where to get them BY D. PATRICK RODGERS

ith things returning to normal, most of us are finding ourselves back out at bars and other foodand-drink establishments more and more often. Perhaps you’re in the market for a new favorite watering hole or cocktail. Well then, who better to ask than the brains behind some of Nashville’s best drinking spots? For our answers, we looked to the experts at four totally unique and popular bars in four different parts of town: Rosemary & Beauty Queen in East Nashville’s Five Points neighborhood, Flamingo Cocktail Club and Falcon Coffee Bar in WedgewoodHouston, L.A. Jackson on the top floor of the Thompson Nashville in the Gulch, and The Whiskey Shot in Printers Alley downtown. We learned plenty — including the fact that Nashville’s drink experts seem to really, really like Attaboy and Mother’s Ruin. Read on to find out what else we uncovered.

RESPONDENTS:

Alise Marie Alicardi, beverage director at Rosemary & Beauty Queen Angela Laino, owner of Flamingo Cocktail Club/ Falcon Coffee Bar Paul Morrison, head bartender at L.A. Jackson Akinde Olagundoye, president of the Nashville Chapter of the United States Bartenders’ Guild; bar manager at The Whiskey Shot

WHAT’S YOUR FAVORITE DRINK AT YOUR OWN ESTABLISHMENT? IF YOU COULD RECOMMEND JUST ONE THING FOR A FIRST-TIME CUSTOMER, WHAT WOULD IT BE? HOT MOVES is my personal fave — whiskey, cacao, turmeric honey, peach, lemon. Just a delightful li’l take on a whiskey sour. But, your first drink at RBQ should be the AVALON — gin, Midori, cucumber, lime, mint. Truly my greatest contribution to the bar community ... so far. —Alicardi At FLAMINGO, THE DILL (tequila, cold-pressed cucumber juice, dill, lime). At FALCON, the ESPRESSO MARTINI. For a first-timer, I would highly recommend The Dill and our plantbased nachos. —Laino

PIÑA COLADA AT PEARL DIVER

PHOTO: DANIEL MEIGS

THE SOCIAL MEDIA INFLUENCER. This is currently my favorite drink on the menu. It’s a riff on one of my favorite classic cocktails, a paloma. It splits the base spirit with tequila and mezcal, which are my two favorite spirits, combined with a little Aperol and pamplemousse. It’s a refreshing low-sugar cocktail that everyone has been loving up here at L.A. JACKSON. —Morrison

NASHVILLE SCENE | JULY 1 – JULY 7, 2021 | nashvillescene.com

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GIN-AND-TONIC AT BAR SOVEREIGN

PHOTOS: DANIEL MEIGS

MOTHER’S RUIN

My favorite drink at THE WHISKEY SHOT is called SOUTH COLLEGE STREET. It’s a variation on the classic Old Fashioned cocktail, using Tennessee whiskey, spiced cherry bitters and vanilla. A lot of people ask what the best shot is that we have or that I make. I suggest trying a shot of whiskey. Get it? Whiskey Shot. Try something local or something that you’ve never had. If you’re not sure, ask the bartender for a recommendation. —Olagundoye

WHAT’S YOUR FAVORITE COCKTAIL AT A NASHVILLE BAR OTHER THAN YOUR OWN? PEARL DIVER’S PIÑA COLADA, HAPPINESS STYLE (with coffee and sherry floater). 10/10, five stars. No joke, 55 SOUTH has the best marg I’ve ever had. —Alicardi If I’m really in the mood for a cocktail, I go to ATTABOY in East. Every drink I’ve ever gotten there has been amazing. Go there, tell them what you like, what you don’t like, and you will not be disappointed. —Morrison

ATTABOY is probably one of my favorite cocktail bars here in Nashville. You can know exactly what you want or have no clue. Either way you’re getting a solid cocktail. —Laino

This is a hard one, because I generally don’t remember the names of cocktails at bars. But that’s because I’m more of a classics guy. My favorite cocktail is probably a GIN-AND-TONIC at BAR SOVEREIGN. They use Jack Rudy tonic, which is delicious, and they don’t make them too sweet. They also know that the choice of gin matters, and ask me every time. THE DUKE at SKULL’S RAINBOW ROOM is also up there, along with anything made at THE FOX, PEARL DIVER or ATTABOY. —Olagundoye

or met them that night; or an ex, because somehow I always wind up back there. —Laino

WHAT’S YOUR FAVORITE BAR TO HANG OUT AT OTHER THAN YOUR OWN?

bar to hang out at. The bartenders are friendly and fun. The drinks and food are good. And the vibe is not too serious. You can get a quality cocktail while in a laidback atmosphere, and that does it for me. —Olagundoye

URBAN COWBOY has such a vibe, and everyone is so friendly — not to mention good-looking. It’s a choose-your-ownadventure type hang: Party inside the Public House, drink wine in the garden, eat a pizza on the porch, the possibilities are endless. —Alicardi

MOTHER’S RUIN in Germantown. The staff and the atmosphere feel like home every time. They do a great job of that. I’ve always referred to Mother’s as one of two things: Cheers, because there’s always friends there, whether you’ve known them for years

MOTHER’S RUIN. Hands-down. Food and drinks are on point, and they serve both till 1:30 a.m. But the real reason I’m there three to four nights a week is the people that work there as well as the people that go there. It feels like home every time I’m there. —Morrison MOTHER’S RUIN has become my favorite

WHAT’S ONE TIP YOU’D LIKE TO GIVE NASHVILLE BAR PATRONS? I wish more people understood that bartenders are amazing resources. Need a dinner recommendation? Got you. Emergency tampon? Hold please. Does that creep need to leave you alone? WITH PLEASURE. Oh, and just open a tab. We both know you’re going to have more than one drink. —Alicardi

From a hospitality standpoint, as a guest you should always be treated like you’re the most important person in the room, but not act like it. Also, Lambrusco is definitely something to try out. It’s an effervescent chilled red wine, and it’s classic year-round. —Laino As all of our bars get back to normal, I think some patrons have forgotten about bar etiquette over quarantine. So if I could give any piece of advice when ordering at a busy bar, it’s that if you’re going to get more than one drink, start a tab. Most bars give you your card back, and it’s much easier that way. Also have your order, card and ID ready. But above all of that, just be nice. —Morrison Trust your bartender. Be polite. Understand that most places are shorthanded right now, so you might have to wait a little longer than normal. It’s OK. It’s just food and drink. Enjoy yourself. Try something new. Enjoy the night. —Olagundoye EMAIL EDITOR@NASHVILLESCENE.COM

nashvillescene.com | JULY 1 – JULY 7, 2021 | NASHVILLE SCENE

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PHOTO: ERIC ENGLAND

CHRISTA SUPPAN (LEFT) AND JONDA VALENTINE

LIPSTICK’S STAYING POWER

East Nashville’s The Lipstick Lounge is one of few remaining lesbian bars in the U.S. BY MARGARET LITTMAN

ike many creative types, New York filmmaker Erica Rose was facing March 2020 with “nothing to do but reflect on the importance of gathering and safe spaces.” She started thinking about the lesbian bars “that helped me become comfortable with who I am. The Cubbyhole, it knew I was gay before I did,” she says of the Manhattan bar. Rose read research about the closures of LGBTQ bars. She was shocked to learn that there were perhaps only 16 lesbian bars in the entire United States, down from more than 200 in the 1980s. “Only 16 left in the country?” Rose says. “Alert the community! I consider myself pretty entrenched, and I didn’t know it was that bad.” Rose and co-director Elina Street created The Lesbian Bar Project, which first unveiled a two-minute PSA designed to call attention to the precarious situation for lesbian bars in the country as the pandemic kept them shuttered. One of those bars was East Nashville’s The Lipstick Lounge. Rose learned that Lipstick Lounge had sustained damage

from the March 3, 2020, tornado. The bar reopened after some basic repairs only to close a few days later due to the COVID-19 shutdown orders. The Lesbian Bar Project teamed up with Jägermeister’s global #savethenight initiative to raise funds for the bars during the pandemic. In 2020 they raised more than $117,000; Lipstick Lounge received about $7,000. “That money was a lifesaver for us,” says Christa Suppan, co-owner of Lipstick Lounge. The bar opened in September 2002, because “there was not a space for us to be comfortable in,” says Suppan, speaking of herself and business partner Jonda Valentine. (The two dated in the past, and while their romantic relationship didn’t last, their friendship and business partnership did.) “We wanted to build a bridge in the community. We wanted a space where we could set the rules. Most of the comments we get are, ‘Thank you for having a safe space. You saved my life.’ ” As Rose and Street humanized the staggering statistic of lesbian bar closures, they were able to show how these spots were more than just places to get a drink. In June of this year they released a 20-minute documentary short — executive-produced and narrated by Lea DeLaria (known for her performance on Orange Is the New Black) — focused on three cities (New York, Mobile, Ala., and Washington, D.C.), listing all of the bars, including Lipstick Lounge, at the end. With the creation of that short film, The Lesbian Bar Project launched a second round of fundraising, again with Jägermeister, hoping to raise an additional $200,000.

After the first PSA was released, Rose and Street determined that there were a handful more lesbian bars than they initially believed — perhaps 21 in the country. Some are well-funded and therefore have opted out of participating in the fundraising portion of The Lesbian Bar Project, leaving 19 bars, including Lipstick Lounge, to split the next round of funds. In the future the project may become an episodic series highlighting each bar. For now, Rose hopes it helps prevent queer spaces from being erased. Suppan, who received two rounds of PPP funding and put many expenses on her credit cards in addition to getting The Lesbian Bar Project money, acknowledges that things were hard last year. Repairs were needed to the 125-year-old building on Woodland Street, even before the tornado damage. Without knowing if operating at reduced capacity would bring in the funds they needed and facing inventory and staff shortages, they discussed permanently closing the bar. Suppan and Valentine decided to pray about it on their own, and when they regrouped, they learned that they had come to the same conclusion. “We weren’t done,” Suppan says. “If it were totally a monetary thing, we would have closed the first year.” Given the so-called bathroom bills and other anti-trans legislation in Tennessee, she says, “To leave it now would be a disservice. This is why we are not done.” Suzy Woods, an East Nashvillian who describes herself as a “karaoke junkie,” is relieved. She’s been a customer at Lipstick Lounge since it opened. “It is not like a bar, it is more like a safe space for people,” says

Woods, who participated in some pandemic Facebook Live karaoke to raise funds for the regular DJs who couldn’t work during lockdowns. “I was genuinely worried that they were not going to be able to open up.” “I was weirdly proud that Nashville had one,” Woods says of how few lesbian bars are left in the country. “It is a magical unicorn in our city.” Rose says the reasons why there are so few are complex. Part of it may be the wage gap: A household with two men is likely to have more disposable income than a household with two women. Assimilation has led to queer women, trans and gender-nonconforming folk — particularly the younger generation — hanging out at bars that aren’t specifically billed as lesbian bars. Older patrons may be frequenting bars less often in general, as they raise kids and have different social circles and responsibilities. Over the years Suppan and Valentine have adapted Lipstick Lounge, so they are not intimidated by changes that may come next. “People will tell you what they want, if you listen,” Suppan says. That has meant changing the decor — it used to have more of a lounge vibe, both in the room layout and the menu. They tried to offer brunch multiple times (it finally stuck) as well as lunch (it didn’t). Benjamin Slinkard, who performs drag under the stage name Kennedy Ann Scott, is now the bar’s show director, emceeing karaoke and hosting game shows. The demographic has changed too. A decade ago, Suppan says she knew everyone who came in the bar, knew everyone’s dog’s names. Younger patrons, she says, don’t know what it was like to not be able to go inside a club without a male escort. Suppan appreciates that she and her wife can go into any bar in East Nashville and feel welcome. But she also acknowledges that they don’t necessarily feel comfortable acting like a couple at bars downtown. And for that reason alone, it is important to keep Lipstick Lounge open and to support others who are doing the same. One unexpected upside of The Lesbian Bar Project has been new connections among bar owners. Some bars, like Slammers in Columbus, Ohio, have reached out to do a merch swap. Suppan has heard from folks who are visiting all 21 bars, the same way some people hit up all Major League Baseball stadiums. “It has all been so amazing.” ■

NASHVILLE SCENE | JULY 1 – JULY 7, 2021 | nashvillescene.com

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DRINK IT DRY

With zippy Italian sodas, a bevy of ‘beer’ and a boatload of fausé, sober summer has never looked better BY ASHLEY BRANTLEY

hampagne and oysters. Ice-cold Sapporo and ramen. A dry martini and a juicy steak. You know what doesn’t belong on that list? Diet Coke and lobster. Sprite and uni. Sweet tea and foie gras. If you’re an adult who doesn’t drink alcohol, pickings are slim for thoughtful, well-crafted drinks. The restaurant industry often forgets you, or throws a dusty Buckler on the beer list and calls it a day. But take heart, teetotalers: The tide is changing. With more people opting to live that sober life, the nonalcoholic-beverage industry is growing, which means now is a great time to drink dry — if you know where to look.

BEER

WINE

Ugly-truth time: It’s tough to make nonalcoholic wine that doesn’t taste like juice. Fermentation gives wine its mouthfeel and complexity, and when you cut the alcohol, sometimes you cut those too. To counteract that, many makers carbonate, which is great for an N.A. mimosa but not for a Malbec. Until science bridges that gap, sparkling, fermented and dealcoholized wine are your best bet. My first brush with good N.A. wine was Sean Brock’s GELINAZ! Dinner. It introduced me to Jörg Geiger, a chef who makes N.A. wine from his family’s apple and pear orchards in Schlat, Germany. His PriSecco has a depth and herbal punch that puts ARIEL to shame. For an afterdinner drink, try the warming CUVÉE NR. 7 made with plums, spicy bronze fennel and chocolate mint. Having seafood? Grab the acerbic AECHT BITTER, made from pear juice, gooseberry and bitter herbs. In the white-wine department, try DU MINOT’S LE CLOS, a dealcoholized apple-andhoney cider that offers crisp minerality without cloying sweetness. For pink stuff, try my dry-girl summer go-to: WOLFFER ESTATE PETITE ROSÉ VERJUS. Made with Pinot Meunier red-wine grapes, it’s lightly fizzy and just tart enough to stand up to burgers and brats. Its bottle is also so ’grammable you’ll feel like a Goop model. When it comes to red wine, everything in liquor stores is sad and waterlogged. Instead, order JUKES 6 cordial, made from wintry fruits (plums, black currants) and tart apple cider vinegar. Jukes can be diluted to your preference, so it can pinchhit for sangria when topped with soda or

even Port when sipped straight. (JUKES 8, their rosé riff with melon, pomegranate and rhubarb, is also tasty.) Another go-to is PROTEAU LUDLOW RED, which is actually a botanical aperitif. With notes of blackberry and black pepper, Red’s got savory undertones and a rich mouthfeel, and it operates like an earthy red despite tasting nothing like one. That last bit sounds ridiculous, I know. But many good sober substitutes taste nothing like the drink they’re replacing, and weirdly, that works. In my experience, N.A. drinks either need to be a dead ringer for their boozy counterport or they need to go so far in the other direction you forget what you’re missing. So keep your mind and your mouth open.

LIQUOR

Most N.A. liquors are atrocious. One reason liquor is delicious is that its high alcohol content causes it to evaporate quickly when sipped, which fast-tracks flavor to your palate. When you ax the alcohol, you pull that punch, creating a high hurdle for N.A. drinks to clear. What’s worse: Many N.A. liquor manufacturers also remove sugar and calories, which leads me to ask, have we not sacrificed enough? To quote Uncle Jesse, HAVE MERCY. If you’re going to take my tequila, leave me my sugar! Which is why I say skip BAX BOTANICS and SEEDLIP. People go apeshit for both, but personally, I find them bland and think they taste nothing like booze. RITUAL does an OK job adding burn to their tequila alternative, but it’s still not enough for a decent mock-arita. For my money, THREE SPIRITS is the best of the bunch. Their LIVENER (guava, ginger, ginseng) is billed as an “invigorating elixir” and actually is because it’s made with guayusa, or caffeinated holly tree leaves. Their NIGHTCAP is a tasty way to wind down with lemon balm and adaptogenic ashwagandha, which sounds

like influencer nonsense but is actually a root that’s been scientifically proven to reduce stress. Another top mark for relaxation is SACRÉ. Made from coffee and maple syrup aged in bourbon barrels, it’s surprisingly unsweet, so it pairs well with desserts. Finally, there’s the best in show: SANBITTER. Made by SAN PELLEGRINO, Sanbitter is a bright-red Italian soda that’s basically a cane-sugar-sweetened nonalcoholic Aperol. It is hands-down my No. 1 sober-summer find, whether sipped from its tiny 3.5-ounce bottle or served over ice with soda. San Pellegrino also makes other sodas such as ARANCIATA ROSSA (blood orange), LIMONATA (lemon) and CRODINO, an herbal aperitif that acts like white vermouth when topped with a little fizz. It goes to show, the Italians will never steer you wrong when aperitifs are on the line.

ORDERING OUT

A few places in Nashville have stellar nonalcoholic rosters — CAFE ROZE/ROZE PONY, THE FOX BAR & COCKTAIL CLUB, THE CONTINENTAL — and many bars have at least one craft N.A. beer. Still, purposefully crafted nonalcoholic drinks are a weak spot in Nashville, and one I hope gets filled soon. In the meantime, a few tips: First, housemade virgin bloody marys are excellent, especially if you replace the vodka with an extra shot of olive juice. Secondly, fresh house-made margarita mixes can be virginized with a splash of soda or ginger juice in place of tequila. Finally, if you’re ordering off-menu mocktails, pick a cocktail you like the look of and ask for those flavors. I’ve had success with that at HENLEY and THE OPTIMIST, but it works anywhere bartenders know their stuff. You know they’re packing sweet-pea syrup and cola cordial and all kinds of weird mixological stuff back there. Why not give them a new way to use it? ■ EMAIL EDITOR@NASHVILESCENE.COM

PHOTO: ERIC ENGLAND

Beer is the easiest beverage to sobrietizeTM. For Nashville’s best selection, stop by CRAFT BREWED and try any can of their dozen-plus N.A. beers before picking a pack to take home. With beer, the stronger the flavor, the bigger the real-beer vibes, which means opting for IPAs. My favorites are BROOKLYN BREWERY’S SPECIAL EFFECTS IPA and WELLBEING BREWING COMPANY’s lightly tropical LIQUID RAIN IPA. You should also check out ATHLETIC BREWING COMPANY, which makes one of the few N.A. Mexican beers. To scratch the sourbeer itch, try NON 5 LEMON MARMALADE & HIBISCUS, which looks like a faux sparkling wine but tastes like a citrusy sour, or tap into

local WALKER BROTHERS KOMBUCHA. When it comes to big retailers, skip the O’Doul’s and opt for Heineken 0.0, which is low-key pretty close to the original.

NASHVILLE SCENE | JULY 1 – JULY 7, 2021 | nashvillescene.com

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CRITICS’ PICKS W E E K L Y

R O U N D U P

O F

T H I N G S

T O

D O

THELMA AND THE SLEAZE

THELMA AND THE SLEAZE W/GYASI & A.J. AND THE JIGGAWATTS

Recorded over a two-month period during COVID-19 lockdown at frontwoman Lauren “LG” Gilbert’s home studio, Thelma and the Sleaze’s December EP Sacred as Hell is a collection of songs just itching to be played live. Gilbert and her crew have always managed to cook up a hearty mix of sludgy, punkish Southern rock and Carsindebted power pop, and tunes like Sacred’s “Good Girl” and “Makin Me Hot” very much keep that tradition alive. Over the past yearand-change, Gilbert has stayed active with livestreams and projects like her music podcast Queen of Shit Mountain, but it’ll be a treat to see her once again delivering her specialty — rocking for a live audience. On Thursday evening, Thelma and the Sleaze will do just that at Exit/In’s outdoor Out/ Back space, where they’ll be supported by a pair of fellow locals: flashy glam rocker Gyasi, whose recent single “Burn It Down” is very much made in the image of Zeppelin by way of New York Dolls; and funk-fueled neo-soul ensemble A.J. and the Jiggawatts. 7 p.m. Out/Back at Exit/In, 2208 Elliston Place

FILM

D. PATRICK RODGERS [THE SWEET LIFE]

ESSENTIAL FELLINI: NIGHTS OF CABIRIA / LA DOLCE VITA

The Belcourt’s Essential Fellini series, in aiming for a distillation of the director’s opulent and resonant body of work, has created a major event for Nashville as it figures out what returning to the movies even means. Two can’t-miss films in the series are 1957’s Nights of Cabiria and 1960’s La Dolce Vita. The former, an earthy drama about a sex worker who still believes in the narrative of love, won the Oscar for Best Foreign Language film (and was remade as a successful stage musical and film adaptation of that musical, Sweet Charity, several years later) and rightfully claimed

[ALL IN FOR IMPROV]

THE THIRD COAST STAND-UP SHOWCASE, COMEDY SHOW & CHERRY BOMB: AN IMPROVISED MUSICAL

Situated inside Nashville’s historic Marathon Village building, Third Coast Comedy Club plays host to a full range of performances — from sketch comedy and improv to stand-up and even kids’ shows. This weekend’s lineup kicks off on Thursday with The Third Coast Stand-Up Showcase, which is curated and hosted by local comedian John Hickok. Then, The Third Coast Comedy Show takes place on Fridays and Saturdays, serving up both short- and long-form improv comedy with the help of audience suggestions. And later on Saturday, you can check out Cherry Bomb: An Improvised Musical, which builds an entire musical —  complete with songs, scenes and big dance numbers — in roughly 60 minutes. Other upcoming shows include Piano Fondue: A Dueling Piano Show and Freak Pony, which showcases an all-female cast. And that’s not to mention SheHaw, a campy drag show featuring artists such as Miss Tammy Whynot, Mitzi Pennington, Orchid and Anita COXX. Ticket prices vary. To learn more, visit thirdcoastcomedy.club. Third Coast Stand-Up Showcase 8 p.m.

FRIDAY / 7.02 [TOP BRASS]

THE BRASS MENAGERIE: LET’S DO IT LIVE!

The year 2019 was an incredible time for women in film. Critically lauded movies like Lulu Wang’s The Farewell, Greta Gerwig’s Little Women and Céline Sciamma’s Portrait of a Lady on Fire dominated discussions about the year’s films. I loved all three. But what surprised me the most was Lorene Scafaria’s Hustlers — the crime drama in which smart strippers make bank by drugging Wall Street douchebags — due in part to J.Lo absolutely dominating the pole. The flexibility! The ab strength! She showed pole dancing to be an athletic sport worthy, I propose, of inclusion in the Olympics. In Nashville, you can see such feats at The

FILM

Thursday; Third Coast Comedy Show 7 p.m. Friday and Saturday; Cherry Bomb 9 p.m. Saturday at Third Coast Comedy Club at 1310 Clinton St., Suite 121 AMY STUMPFL

THEATER

[SLEAZY RIDER]

the Best Actress award for star Giulietta Masina at that year’s Cannes Film Festival. And as for La Dolce Vita, it’s a landmark in international cinema, a winner of the Palme d’Or at Cannes and an enduring document of the beauty and brutality of the good life. An existential picaresque stuffed to the gills with all the emotions, it’s a dive into the human condition where everyone is all too conscious of the moment the party ends, and the dawn always smells like cigarettes. Nico is there. If you’re looking for the right body of cinematic water to dip a toe in to get a feel for the cinema of Fellini, these two are a grand place to start. Nights of Cabiria July 1-3; La Dolce Vita July 7-10 at the Belcourt, 2102 Belcourt Ave. JASON SHAWHAN COMEDY

MUSIC

THURSDAY / 7.01

Barbershop Theater, where local poledancing showcase The Brass Menagerie will put on a new show. Featuring Mel Hyde, Marie Merlot, Lucee McFly, Schatzi Love and others, Let’s Do It Live! will combine pole dancing and burlesque in a variety show. All performers have that sexy vax card, and the ’Shop is seating at limited capacity. If you can’t make Friday’s show, Hyde will be back Saturday night with the Carys Grant Dance Co. Red, White, and BOOM (it’s a cannon) features Hyde, Carrie Gant and Sarah Fye in a variety show they describe as “grown-ass ladies dancing in eighth-grade talent show choreography.” Sounds like fun to me. Learn more and buy tickets at thebrassmenagerierevue.com. 8 p.m. at The Barbershop Theater, 4001 Indiana Ave. ERICA CICCARONE [WHO THE HELL PUT THIS ON?]

SHAUN OF THE DEAD & BUBBA HO-TEP

Who’s ready for a smart-ass, tonguefirmly-in-cheek Friday night horror/comedy double bill at Full Moon Cineplex? Things will definitely start off on a madcap note with Edgar Wright’s 2004 zombie ride Shaun of the Dead — the first volume in Wright’s Cornetto Trilogy — with star and co-writer Simon Pegg as a man-child who springs into action when the zombie apocalypse comes to London. (Full Moon will also screen the movie on Saturday night.) This will be followed by Don Coscarelli’s 2002 festival favorite Bubba Ho-Tep. Cult horror icon Bruce Campbell stars as the one and only Elvis Presley, who — according to this film — has been languishing in a Texas retirement home after faking his own death. He also springs into action (along with the late Ossie Davis, playing an old dude who thinks he’s John F. Kennedy) when the home gets terrified by an ancient Egyptian mummy who feeds on the souls of the residents. 7 p.m. at Full Moon Cineplex, 3455 Lebanon Pike CRAIG D. LINDSEY

THE BRASS MENAGERIE

nashvillescene.com | JULY 1 – JULY 7, 2021 | NASHVILLE SCENE

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CRITICS’ PICKS

EVERGREEN: PODCAST

STUFF YOU CAN DO ANYTIME

MUSIC

Writing in The Village Voice about The Avett Brothers’ 2009 album I and Love and You, Brett Gladstone summed up the band’s appeal:  “Whereas punk employed anger to conceal its more earnest underpinnings, these guys more or less turn that logic inside out.” As Gladstone points out in his review, The Avetts exemplify one strain of Americana. The famed North Carolina band plays folk rock with a punk edge on I and Love and You, which is one of their best albums. I have to admit I find it difficult to square the cosmopolitan approach of punk with the Avetts’ homages to the ur-folk canon. The Avetts come across as sincere, but their work extols the virtues of home in a way even John Lydon couldn’t match. I and Love often registers as a rather uncomplicated rock album, as on the track “And It Spread,” which could be an acoustic Badfinger outtake. Meanwhile, their 2019 full-length Closer Than Together sports a track titled, ahem, “C Sections and Railway Trestles.” I have to admire songwriting like this: “Me in the nosebleeds / Mama in the saddle / Brave like a Sioux brave / Going into battle.” The song turns out to be about the joys of parenthood, and who can knock that? The band will play three shows over the weekend as part of Bonnaroo’s new concert series, Concerts on the Farm. July 2-4 at The Bonnaroo Farm, 1560 New Bushy Branch, Manchester EDD HURT [FUTURE ’GRASS]

THE TRAVELIN’ McCOURYS W/SIERRA HULL

The jam-band tendencies of bluegrass band The Travelin’ McCourys don’t bother me too much, since I recall how fervently

my bluegrass-obsessed friends tried to tell me about the greatness of David Grisman and Jerry Garcia in the late 1970s. I was mostly listening to soul music, rock ’n’ roll and punk back then, so the prospect of a bluegrass picker going on at length didn’t excite me very much. These days, I’ve come to appreciate the late stages of bluegrass, although I still prefer Jim & Jesse, who likely didn’t jam out to the Dead’s “Dark Star” back in 1970 (though Jesse did release an album of Dead tunes in 2010). Ronnie and Rob McCoury are the sons of bluegrass giant Del McCoury, and their fusion music takes in Garcia & Co. and The Allman Brothers. Meanwhile, Sierra Hull is a Tennessee-born 29-year-old mandolin player and singer who just might be the future of bluegrass — if a musically conservative form like bluegrass can keep changing. Hull is an amazing musician and fine singer, and her 2020 release 25 Trips amounts to mildly experimental roots music. The album’s title track works off a stop-start rhythm that finds room for her post-’grass licks, which go places Jimmy Martin didn’t envision. 25 Trips isn’t as arty as you might fear, because Hull comes across as energetic and adventurous — she can play. 8 p.m. at Brooklyn Bowl, 925 Third Ave. N. EDD HURT

SATURDAY / 7.03 [WE KNOW HOW TO DO IT]

SPARKLE CITY NINTH ANNIVERSARY FEAT. KEN SABLE & CAROUSEL

They say time flies when you’re having fun, which makes it less difficult to believe it’s been nine years since rockersslash-disco-heads Jonas Stein and David Bermudez launched their vinyl-centric dance party Sparkle City Disco. The duo had

a long pandemic-induced hiatus, but they’re back to mark the milestone by spinning platters embedded with the lushest of prehouse disco grooves and conjuring up a fog bank from the hazers at the newly opened Brooklyn Bowl Nashville on Saturday. The dynamic DJ duo Hustle & Bump, DJ Blkcir and DJ Maggie Wells — Bermudez and Stein’s co-conspirators in the Carousel dance party, which you might’ve enjoyed at Five Points’ Rosemary and Beauty Queen — will be along to aid and abet. Also joining will be Ken Sable, a composer and producer of dance tracks built around ’80s electronic music technology and techniques and conjuring glistening hedonism. So far in 2021, Sable has released two EPs, Salicious Crumbs Vol. 1 and Retro Porn Vol. 1; they sound like what they say on the label. Go ahead and send your white suit to the cleaners now. 8 p.m. at Brooklyn Bowl, 925 Third Ave. N. STEPHEN TRAGESER [BOOGIE-WOOGIE-WOOGIE]

EVE MARET W/NASHVILLE AMBIENT ENSEMBLE, ABSTRACT BLACK & MORE

Since COVID-19 swept in last March, so many performances you’ve been able to see happened at someone’s home. Standout electronic musician Eve Maret is still playing at home on Saturday, but this time it’s an in-person hangout with a smorgasbord of her friends and collaborators. The most recent addition to Maret’s ever-evolving catalog is the track “Feel Your Way,” produced by Sewaneeby-way-of-Memphis experimental and experiential music legend Linda Heck, who’ll be performing work from her project Infanta Silhouette on Saturday. Champion wind-instrument composer and improviser JayVe Montgomery, aka Abstract Black, will

LISTEN TO HOT WHITE HEIST PODCAST

Actor-writer Bowen Yang has earned a loyal following on Saturday Night Live over his first two seasons as a cast member, playing everyone from Kim Jong Un and Fran Lebowitz to the embittered iceberg that got canceled for sinking the Titanic. (“It’s one very small part of me, but there’s so much going on beneath the surface that you can’t see.”) Now you can catch the hilarious Yang in a new six-part podcast called Hot White Heist. This fast-paced story follows Jude “Judy” Fink (played by Yang), who is recruited by a lesbian separatist group to steal samples from a secret government bunker storing “sperm samples from our best and brightest” under Seattle’s Space Needle. (So yeah, it’s a sperm-bank heist.) HWH was created and written by Adam Goldman and directed by Alan Cumming, and the cast includes a terrific lineup of queer artists in addition to Yang, including Cynthia Nixon, Abbi Jacobson, Jane Lynch, Margaret Cho, Bianca Del Rio, Mj Rodriguez, Shannon Woodward, Stephanie Beatriz, John Cameron Mitchell, Tony Kushner, Cheyenne Jackson, Jonathan Bailey, Peppermint and Brian McCook. Hot White Heist is currently available via Audible. AMY STUMPFL

PODCAST

THE AVETT BROTHERS AT CONCERTS ON THE FARM

MUSIC

[HOME TRUTHS]

MUSIC

THE TRAVELIN’ McCOURYS

[A STICKY SITUATION]

[BOY HOWDY]

LISTEN TO OLOGIES PODCAST

Hear me out: Learning about science can be fun — you just have to know how to do it right. Reading textbooks and listening to passionless lectures? Not the best. Listening to experts geek out about their niche fields of study on comedic podcasts? Really awesome. A prime example of this is the Alie Wardhosted podcast Ologies. Every week, Ward interviews experts about myriad topics — some more scientific than others — like pinnipedology (seals and walruses) or Indigenous fashionology (Native clothing). Some episodes will fill your brain with trivial yet interesting knowledge — like jellyfish metamorphosis and blood-sucking vampire moths. Others will provide insightful information that can change the way you see the world. The economic sociology episode, for example, gave me a new perspective on finances, and various COVID-19 episodes helped me navigate the pandemic with greater insight. If you’re listening with children, here’s a tip: You can find the bleeped-out episodes on the website. And if you become totally enthralled in the Ologies world, check out the spinoff Facebook groups that provide miles’ worth of scrolling through charming, nerdy banter. Browse episodes at alieward.com/ologies, or find it on your favorite podcast streaming service. KELSEY BEYELER

NASHVILLE SCENE | JULY 1 – JULY 7, 2021 | nashvillescene.com

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nashvillescene.com | JULY 1 – JULY 7, 2021 | NASHVILLE SCENE

TORA TORA // JUL 9

SAVED BY THE 90S// JUL 13

RMR // JUL 24

w/ nordista Freese and Namir Blade

w/ Buck johnson

TAYLS // JUL 30

CRITICS’ PICKS

LET FREEDOM SING! FEAT. BRAD PAISLEY MUSIC CITY HOT CHICKEN FESTIVAL

SPAFFORD // AUG 3 & 4

BLACK PISTOL FIRE // AUG 1

PHISH AFTER PARTIES

Upcoming shows jul 2 Jul 3 jul 9 Jul 10

Traveling Wilbury's Tribute SOLD OUT! The Emo Night Tour SOLD OUT! Tora Tora w/ Buck Johnson Ronnie James Dio Tribute & Birthday Bash Jul 12 The Songs of Cameo & Con Funk Shun Jul 13 Caitlyn Smith (full band); Round ft. Tenille Townes, Alex Hall, Emily Falvey & Tigirlily Jul 15 Weird Pals - A Tribute to Weird Al Yankovic Jul 13 Saved By The 90s jul 20 noise pollution: tribute to AC/DC Jul 24 RMR Jul 30 Tayls w/ Nordista Freese and Nadir Blade Jul 31 Walk The West & John Jackson and the Rhythm Rockers Aug 1 Black Pistol Fire Aug 3 & 4 Spafford (PHISH AFTER PARTIES) Aug 5 Kendall Street Company & The Aquaducks Aug 6 Becca mancari w/ annie Dirusso

Aug 7 Aug 8 Aug 11 Aug 12 Aug 13 Aug 14 Aug 24 aug 27 aug 31 Sep 1 Sep 8 Sep 9 Sep 10 Sep 11 Sep 17 Sep 20 Sep 27 Sep 28 Sep 30 Oct 1 Oct 2

Jerry Garcia 79th Birthday Celebration Gemini Syndrome w/ A Killer's Confession, OVTLIER & Pushing Veronica

Blink 182 vs Weezer Tribute Leah Blevins Kody West Drivin N Cryin w/ LORE John 5 w/ Jared James Nichols & Black Satelitte space capone hellzapoppin Brandon "Taz" Niederauer Kashena Sampson Sam Fischer The Foxies w/ Wild Love Nikki Lane w/ Joshua Hedley Summer Salt w/ Covey and Breakup Shoes Jordy Searcy Gary Numan w/ i speak machine Wild Rivers Fozzy w/ Through Fire, Royal Bliss & Black Satellite Jukebox the Ghost Perpetual Groove

also play, as well as found-sound sculptor and composer Kim Rueger, alias Belly Full of Stars. Somewhat post-punkish duo Neon Black and the expansive Nashville Ambient Ensemble round out the bill. There’s no cover, but donations ($5 is suggested) will be collected for North Nashville community organization Gideon’s Army. 7 p.m. at Electric Shed, 254 Morton Ave.

Jul 7 Jul 8 Jul 14 Jul 15 Jul 15 Jul 15 Jul 19 Jul 21 Jul 22

w/the ophelias

UPCOMING SHOWS

Drea Gordon w/ Becca Tremmel & Stevie Rae Stephens

Red Clay Strays SJ McDonald, Clayton Mann & Natasha Blaine Lovely World (6pm) Thomas Csorba w/ Beau Turrentine (7pm) Mule Kick Records Night

ft. The Hawthorns, Side Pony, Desert Hollow (9pm) Rocky Bottom w/ Afton Wolfe & Slowforce

Hasting & Co., Morgan Johnston & Aaron Clafton Whoa Dakota w/ Creature Comfort

Jul 31 The Rad Trads w/ S. Grant Parker Aug 14 Samuel Herb w/ Bonner Black Aug 20 & 21 Sierra Ferrell Aug 27 Darrin Bradbury aug 28 Rett Madison w/ Liv Greene Sep 1 Valley Maker w/ The Ophelias Oct 8 Samia w/ Savannah Conley SOLD OUT! Oct 21 Satsang w/ Tim Snider and Wolfgang Timber Oct 27 The Texas Gentlemen Nov 12 & 13 Wheelwright (Formerly Jared & The Mill) Dec 16 William Elliott Whitmore

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FOOD & DRINK

VALLEY MAKER // SEP 1

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[OH SAY CAN YOU SEE]

LET FREEDOM SING! FEAT. BRAD PAISLEY, LILLY HIATT, NASHVILLE SYMPHONY

Celebrating the Fourth of July is so much more fun with Trump out of office. But what isn’t? This is especially true considering that last July 4 was all but canceled — there was a fireworks display dedicated to COVID first responders that was broadcast live on TV, but gathering downtown was prohibited. Time to up the ante with our first post-Trump, post-social-distancing Independence Day. Country superstar Brad Paisley is headlining, alongside East Nashville rock ’n’ roller and Scene fave Lilly Hiatt and legendarily inventive local jazz guitarist Regi Wooten. But as always, the showstopper will be the fireworks and the synchronized accompaniment from the Nashville Symphony. This year’s display is going to be the biggest in Nashville history, and the whole downtown area is set to celebrate all day long — all for free. Festivities start at noon, with fireworks scheduled to begin at sundown in downtown Nashville LAURA HUTSON HUNTER

STEPHEN TRAGESER

SUNDAY / 7.04

WHOA DAKOTA // JUL 22

MUSIC

917 Woodland Street Nashville, TN 37206 thebasementnashville.com

[SLOW BURN]

MUSIC CITY HOT CHICKEN FESTIVAL

Since its humble beginnings 15 years ago, the Music City Hot Chicken Festival has grown into one of the city’s Independence Day mainstays — a good way to get a solid base down in the early afternoon before a day of steady boozing and patriotism. But like so much else, we missed out on our annual burning-birdbased bash in 2020 — as if the coronavirus could possibly stand up to hot chicken. (Makes more sense than drinking bleach!) Anyway, the fest returns to its usual environs in East Park this year, kicking off with the beloved fire-engine parade at noon before the gates swing open for cayenne-soaked fun with free samples for the first 500 folks. There’s entertainment, beer and the tough competition of the amateur cooking contest. Let us now praise the famous hen. Details are at hotchickenfestival.com. Noon-4 p.m. at East Park, 700 Woodland St. J.R. LIND

MUSIC

thebasementeast basementeast thebasementeast

[YOU ARE ENOUGH]

INDEPENDENCIA FABULOSA: AN LGBTQ+ INDEPENDENCE

The Fourth of July is fraught. “Independence for whom?” you may well ask. Lots of folks living in the newly birthed nation two-and-a-half centuries ago did not have freedom — and many more would be denied it. But what if, instead of paying patriotic tribute to a country that often builds walls instead of bridges, we celebrate our personal liberation from the systems and attitudes that seek to keep us from thriving and being fabulous? Independencia Fabulosa: An LGBTQ+ Independence will go down at Bucanas Night Club. The tagline — “You are ENOUGH!” — sets the evening’s theme. The party will feature performances from drag and pageant royalty, including RuPaul’s Drag Race star Alexis Mateo, Miss Gay USofA 2013 queen Shae Shae LaReese, and Mr. Universo Latino 2019 king Carlos Roque. Show up and show proud! 9 p.m. at Bucanas Night Club, 3810 Nolensville Pike ERICA CICCARONE

NASHVILLE SCENE | JULY 1 – JULY 7, 2021 | nashvillescene.com

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RUBIKS GROOVE

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THE EAGLEMANIACS

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FLYING BUFFALOES

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THE TIME JUMPERS

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FRI

7/9

SAT THE MUSIC OF DON HENLEY AND THE EAGLES 7/10

7/11 7/12

JUST ANNOUNCED

LARRY CARLTON July 16-17

MARY GAUTHIER

in conversation with ALLISON MOORER Saved by a Song

6:00PM

WEDNESDAY, JULY 7

7/7, 14, 21, 28

CHRISTINA BAKER KLINE

in conversation with JOHN SEARLES MIKE FARRIS

THURSDAY, JULY 8 in conversation with MARY COBB Kill All Your Darlings

MONDAY, JULY 12

JIMMIE ALLEN

in conversation with MARY BETH ADAIR My Voice is a Trumpet

JASMINE GUILLORY

in conversation with HEATHER COCKS & JESSICA MORGAN While We Were Dating

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APPALACHIAN ROAD SHOW July 25

TUESDAY, JULY 13 6:00PM

WEDNESDAY, JULY 14

MATT HAIG

in conversation with JENNY LAWSON The Comfort Book

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MAGIC CITY HIPPIES

TOMMY CASTRO & THE PAINKILLERS

COMING SOON

July 22

DAVID BELL

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9/11

STEVE CROPPER NASHVILLE SUNDAY NIGHT

The Exiles

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7/25

BRASSVILLE

ALSO PERFORMING The Issacs

July 9

James Gregory

July 10

Farewell Angelina

July 29

Backroads and Bridges: John Ford Coley, Billy Dean & Tom Wurth

August 5

Allie Colleen

August 6

7-14 WILDHEART WEDNESDAYS : AARON RAITIERE & MORE 7-15 BRENT MASON 7-16 THE CLEVERLYS 7-17 1971 – THE GREAT YEAR IN MUSIC REVUE 7-18 JOHN R. MILLER 7-24 THE LONG PLAYERS : BRUCE SPRINGSTEEN ‘RIVER’ 7-27 SONIA LEIGH + CURT CHAMBERS 7-29 DEAD LETTER OFFICE: A TRIBUTE TO REM 7-30 JIM LAUDERDALE 7-31 12 AGAINST NATURE : A STEELY DAN EXPERIENCE

8-3 RACHEL LOY’S HITLIST FEATURING SINCLAIR, EMILY EARLE, WILLIAM CLARK GREEN, TOM BUKOVAC AND MORE! 8-4 HURRICANE RUTH 8-6 BARRACUDA - AMERICA’S HEART TRIBUTE + ABSOLUTE QUEEN 8-8 JEREMY IVEY 8-13 SAM RIGGS W/ JOEY GREEN 8-14 WORLD TURNING BAND : THE LIVE FLEETWOOD MAC EXPERIENCE 8-15 JONATHAN TYLER & THE NORTHERN LIGHTS + QUAKER CITY NIGHT HAWKS 8-26 BONNIE BISHOP W/ BEN DANAHER

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VODKA YONIC

IN DEFENSE OF BACHELORETTES

If women want to gather here in Nashville and be messy together, I say welcome BY HANNAH HERNER Vodka Yonic features a rotating cast of women and nonbinary writers from around the world sharing stories that are alternately humorous, sobering, intellectual, erotic, religious or painfully personal. You never know what you’ll find in this column, but we hope this potent mix of stories encourages conversation.

y office is located on a route traveled by various vehicles that cater to bachelorette parties visiting Nashville. Throughout the day, groups of women are carried along by convertible school buses, tractors and party barges. Some dangle their legs in hot tubs. Others hang precariously out of the beds of pickup trucks. They are taking in a city that’s not their own, elevated above the downtown crowds. They scream their songs into the void. They are unashamed. They feel untouchable. Actually, women don’t get to feel that way very often. And many locals take any opportunity to bring them down a peg. Complaining about bachelorettes is meant to be a point of bonding — like, “We may have our differences, but at least we’re not them.” But it never quite feels that way to me. I say, “It’s just women having fun — why does it bother you so much?” Nashville has its issues: rapid gentrification, a lack of affordable housing, racism, unjust evictions, insufficient transportation infrastructure, education inequality. The list goes on. Too many of the city’s dollars have gone away from addressing these problems and toward making Nashville a hospitable place for tourists. A bachelorette party that pops in for a weekend of fun does not rank among Nashville’s most pressing challenges — but locals use the women as scapegoats, blaming them for problems they didn’t create and can’t solve. When I hear the passing party bus blasting “Save a Horse (Ride a Cowboy),” bachelorettes are not interfering with my work — which is at a nonprofit that seeks to elevate the voices of people experiencing homelessness in this city. The brunch spots, boutiques and bars that have grown to support bachelorette business are easy to find, and also easy to avoid if you wish. Maybe the discomfort among locals is because Nashville has become a place lots of people want to be. Hell, I’m one of them. I moved here four years ago. Like many of the women on the buses, and many of the people I meet here, I came from my home state and wanted to be a part of something bigger, something different from my reality growing up. Seeing the influx of tourists as well as transplants has to be difficult for people who are from this city, but those who are truly left behind by Nashville’s growth have bigger fish to fry — they’re trying to

A BACHELORETTE PARTY THAT POPS IN FOR A WEEKEND OF FUN DOES NOT RANK AMONG NASHVILLE’S MOST PRESSING CHALLENGES — BUT LOCALS USE THE WOMEN AS SCAPEGOATS, BLAMING THEM FOR PROBLEMS THEY DIDN’T CREATE AND CAN’T SOLVE. figure out how to survive. The outfit-coordinating, fringed, blinged, cowboy-hatted and boot-clad women are not the problem. To some, they represent what’s wrong with Nashville, but to me, they represent a monumental experience for womankind. Anytime I see a bride-to-be wearing a veil at the bar, I stop to congratulate her. She deserves this opportunity to wear it and cut loose with her friends. She’s found someone she wants to love, who wants to love her. I think of the heartbreak she must have endured to get there, and the heartbreak that’s part of my story as I long to be in the same position as her someday. Things are about to change for her in a big way, and it’s not wrong for her to mark that. For the women who have gathered with her — who come from different parts of her life to try to get along, who pay for the flights and the overpriced Airbnb and the brunches and the matching outfits — they know everything is about to change, too. When that friend gets married, someone else is going to come first in her life. I’m planning my first bachelorette party for a close friend. I know it’s the first of many I’ll participate in. My closest people are preparing to enter a new phase of life, and I have no idea how soon I’ll get to follow them. As much as they may promise me that things won’t change, our relationships will change, at least a little bit. With all of those dynamics and emotions, bachelorette outings get messy. The women drink, they fight, they scream the lyrics of Shania Twain songs, and they lose their shoes as they try and work through it all. If women want to gather here in Nashville, a city that’s not their own, and be messy together, I say welcome. At most, it’s a sacred experience marking a big change. At the least, it’s just women having fun. EMAIL ARTS@NASHVILLESCENE.COM

NASHVILLE SCENE | JULY 1 – JULY 7, 2021 | nashvillescene.com

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ART

“PICASSO FIGURE LIBRARY PAINTING,” JONATHAN EDELHUBER

“PICASSO/CALDER LIBRARY PAINTING,” JONATHAN EDELHUBER

CONTEMPORARY ART HISTORY AT CHANNEL TO CHANNEL

CRAWL SPACE: JULY 2021 July brings fireworks to Nashville’s art gallery displays BY JOE NOLAN

any of Nashville’s art galleries will be opening new shows during Fourth of July weekend. The downtown crawl has been canceled due to the holiday, but there’s lots of new art displays going up on gallery walls across the city this month. Now that it’s officially summer, Nashville’s First Saturday happenings are starting to look more like the events we remember. Nashville’s daily COVID-19 cases are way down. You love to see it, and the cratering numbers bode well for the summer art season, which is hitting its stride this month.

WEDGEWOOD-HOUSTON

Channel to Channel opens Contemporary Art History Saturday night. This two-person show

reflects on the people who have defined the visual art space since Modernism. Jonathan Edelhuber’s sculptures and paintings mix motifs and tropes from foundational modernists like Matisse and Picasso with palettes and techniques borrowed from comic book art. Edelhuber’s illustrations picture stacks of art history books along with images from works by various historically significant artists. The illustrations serve as picture-plane primers that place various artists in context

with their creative peers and periods. José Lerma deploys a candy-colored palette of acrylics mixed with industrial silicone to create luscious portraits that combine art historical references with personal mythology. They send up the grand traditions of painted portraiture by ironically celebrating lukewarm bureaucrats like John Kerry and pop celebrities like Julio Iglesias. Lerma also includes everyday folk and family in his portraits, elevating unknown people and mundane accomplishments through the ritual of portraiture. We see art about art all the time, but the self-conscious twists this pair brings to their historical investigations make this colorful display more playful than pedantic. Channel to Channel will be open at 11 a.m. Saturday, and host an opening reception from 5 until 7 p.m. Coop will welcome Shohei Katayama to Wedgewood-Houston on Saturday night. Katayama uses materials like iron shavings, magnets and oil-based Sharpie markers to illuminate unseen connections between natural systems. The pandemic made the connections — and weak links — between our human systems more apparent, and Katayama’s investigations into the complexities of global ecology feel immediate and of this particular moment. Coop will hold an

opening reception on Saturday night from 6 until 9 p.m. Also on Saturday, Unrequited Leisure will continue its women video artists group exhibition, Memory Work. The gallery will also be flying a new flag made by local artist M Kelley on its AIR_(space) flagpole. Kelley made a rad series of boldly colored flags for We Count: First Time Voters, the 19th Amendment anniversary exhibition at the Frist Art Museum last spring. I’m intrigued by what Kelley might have planned for this new display, but I have my fingers crossed for a banner that connects back to the artist’s ongoing interactive transmedia fiction project, Inbound Lands. Zeitgeist Gallery will open In the Gallery, Looking at the Past, Present and Future on July 10. Zeitgeist’s space-sharing with Manuel Zeitlin’s architecture studio makes reopening the space to public events extra challenging, but it won’t feel like the old days until we can begin our crawling at Zeitgeist just like we used to. Nashville native, artist and curator Carlton Wilkinson’s In the Gallery art space was a staple of the North Nashville art scene from 1987 to 2007. Wilkinson’s curatorial ambitions have now morphed into his Wilkinson Art art brokerage business. Wilkinson is a founding figure of North Nashville’s contemporary art scene, and his decades of work as an artist, curator and educator give him an insider’s perspective on what the Jefferson Street art scene has been, and where it might be going. In the Gallery is both an overview of Wilkinson’s work as a curator and community builder as well as a creative com-

mentary about one of Nashville’s most vital creative scenes by the people who built it and continue to evolve it. The show includes work from a long roster of artists including

Samuel Dunson, David Driskell, Barbara Bullock, Sammie Nicely, Sam Gilliam, Craig Brabson and more. The show also includes a display of works representing the broader spectrum of the art of the African diaspora — a thoughtful addition that brings clarity and context to Wilkinson’s visual storytelling. Zeitgeist will be open for a preview of the show this Saturday from noon until 6 p.m., and the show will officially open during those same hours on Saturday, July 10. The gallery can also be visited by appointment. Masks are required. David Lusk Gallery opened Emily Leonard’s latest display of bigger-than-life botanicals on June 29. The gallery will host a daytime open house on Saturday, July 24, from noon until 3 p.m. Hem will also be open to gallerygoers this Saturday during Lusk’s regular hours — 10 a.m. through 5:30 p.m.

EAST NASHVILLE

Last but not least, The Red Arrow Gallery has officially synced its opening calendar to First Saturdays, but conflicts with the holiday weekend mean that we’ll be getting at least one last Second Saturday East Side Art Stumble on July 10. Danielle Winger’s bold, impressionistic flower paintings allude to paradisiacal gardens in her mellow, melancholy meditation, Between Two Gardens. The show runs through July 31. EMAILS ARTS@NASHVILLESCENE.COM

nashvillescene.com | JULY 1 – JULY 7, 2021 | NASHVILLE SCENE

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torytelling is in our blood, as Appalachians,” says Silas House in an interview included in Silas House: Exploring an Appalachian Writer’s Work. “It is part of us. The act of telling a story is the act of preservation, so I often think of myself as a preservationist by being a writer. In a way that’s my ultimate goal.” A native of Eastern Kentucky, House has gained a unique degree of respect and adoration among his fellow Appalachian writers for his luminous novels, prolific music journalism and theatrical works, as well as his activism. That activism led to Something’s Rising: Appalachians Fighting Mountaintop Removal. Co-edited with his spouse, esSILAS HOUSE: EXPLORING AN APPALACHIAN WRITER’S WORK EDITED BY SYLVIA BAILEY SHURBUTT UNIVERSITY PRESS OF KENTUCKY 208 PAGES, $32.95 sayist Jason Kyle Howard, Something’s Rising contains essays and oral histories from the fight against exploitation of mountain communities and ecosystems by coal companies. The essays collected in Silas House reflect the notably high regard in which House is held by his peers. Editor Sylvia Bailey NASHVILLE Shurbutt has brought together a thoughtful group of Appalachian scholars and literary writers. Their detailed reflections and literary analysis provide a deep dive into House’s body of work. Several of the essays, including Shurbutt’s opening chapter, focus on House’s Appalachian Trilogy, which includes 2001’s Clay’s NASHVILLE Quilt, 2002’s A Parchment of Leaves and 2004’s The Coal Tattoo. These three novels follow a multigenerational story of two interconnected families in the Kentucky mountains. A wide-ranging essay by scholar Donna Summerlin, a Chattanooga native, shows how the trilogy’s nuanced depictions of gender, race and spirituality challenge the harmful stereotypes so often projected onto the lives of Appalachians. “In place of the nostalgic and often negative images of a backward region locked in the past,” Summerlin writes, “House offers a contemporary perspective on the strong religious roots, deeply ingrained values, and diverse ethnicities that have shaped life in the mountains.” Poet Maurice Manning contributes a graceful essay on the lyrical prose in Parchment. Manning writes that in the novel’s

most lyrical passages, “the attention of the reader is deepened, drawn down into a dimension of feeling and significance that exists under the surface of the story.” Jennifer Adkins Reynolds — who, her bio notes, is a 10th-generation Appalachian — chooses the trilogy’s many musical references as her subject, tracing the significant effect of music on the characters, plotlines and thematic threads within the trilogy. House, a former writer-in-residence at Lincoln Memorial University and founder of the Mountain Heritage Literary Festival, has addressed the complexities of LGBTQ Appalachian experience in a number of his works, perhaps most movingly in his 2018 novel Southernmost. Writer, musician and storyteller Adam Booth offers a delightful exploration of the slightly broader concept of “Quare”-ness in House’s work, a local term that House has said his community used “when referring to a person they accepted as part of their world but didn’t quite fit in, whether he was socially inept or actually queer in the most modern sense of the word.” Other genres of House’s writing also receive close examination, with particular attention to the ways House depicts marginalized characters. West Virginian writer Natalie Sypolt examines House’s theatrical works. Ohioan scholar Jacqueline Yahn focuses on House’s novels for young readers, 2009’s Eli the Good and 2011’s Same Sun Here (co-authored with Neela Vaswani). Yahn argues that these novels should be taught in Appalachian public schools, providing these young readers with narratives that reflect their “lifeworlds,” which are rarely found in mainstream YA literature. Kentucky-based poet Marianne Worthington addresses House’s body of journalistic work. Along with House and Howard, Worthington co-founded the Appalachianfocused online literary magazine Still: The Journal. Her essay provides a detailed analysis of House’s approach to music journalism and his activist writings, as well as an annotated inventory of House’s notable essays from the past decade. Worthington argues that, through his immersive prose, House “creates a sense of identification with his ‘story-hungry’ audience. Readers who identify with a storyteller can walk into the tale, live it, remember it.” Every writer included in Silas House communicates a powerful identification with House himself. Each thoughtful argument illuminates the rich, indelible beauty of House’s work. For more local book coverage, please visit Chapter16.org, an online publication of Humanities Tennessee. EMAIL ARTS@NASHVILLESCENE.COM

NASHVILLE SCENE | JULY 1 – JULY 7, 2021 | nashvillescene.com

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nashvillescene.com | JULY 1 – JULY 7, 2021 | NASHVILLE SCENE

MUSIC

LIFE AND WORK

Mary Gauthier tells her story through the lens of her music in Saved by a Song BY BRITTNEY McKENNA

n the first chapter of her new memoir Saved by a Song, Mary Gauthier recounts one of the more harrowing moments from her early adulthood. At 28, as a young chef who had just opened her second restaurant, Gauthier was arSAVED BY A SONG rested for drunk BY MARY GAUTHIER driving. She spent ST. MARTIN’S ESSENTIALS a night in a jail cell, 256 PAGES, $27.99 where she experienced a minute flash of clarity. “I had a problem,” Gauthier writes. “A serious problem.” That moment is a particularly low point in both Gauthier’s life and her far-reaching book, out July 6 via St. Martin’s Publishing Group. As she quickly explains, it’s one that led to her discovery of songwriting as an outlet, which would eventually become a career yielding a widely celebrated body of work. Saved by a Song centers on songwriting, but is compelling for anyone who believes in the transformative power of creating and sharing art. Substance abuse and trauma dealt by homophobia are among the challenges Gauthier has faced, and finding ways to cope with them is something of a through-line in the book. “I wanted to use examples from my own life when songs have really been an important part of me coming deeper into recovery from a whole lot of things I needed to recover from,” Gauthier tells the Scene in a phone call. Songwriting played a major role in Gauthier’s recovery from addiction. Each chapter begins with full lyrics from a song, including some of the best-loved entries in Gauthier’s catalog, like “Mercy Now,” “I Drink” and “Drag Queens in Limousines.” Rather than creating constraints, this structure frees Gauthier to write her own story as she understands it, presenting her life as a collection of personal epiphanies rather than a chronological series of events. The aforementioned first chapter, appropriately centered on her 1999 Drag Queens in Limousines song “I Drink,” plainly describes circumstances Gauthier hoped to never live through again. The experience of writing it, and discovering the power of creating what she calls “complex simplicity” from such a real, raw moment, was life-changing. “It took nearly two years to boil down, reduce, and find the essence of this song,” she writes in the book. “But our patience paid off. … Years later, Bob Dylan played it on the first installment of his Theme Time Radio Hour show, read the lyrics, and talked about me, introducing me to legions of his listeners all over the world.” Gauthier has never been the kind of writer to shy away from difficult subjects in her songs. She’s tackled substance abuse, growing up as a “lonely queer kid in a screwed-up family” and, with help from United States veterans on 2018’s excellent Rifles and Rosary Beads, the experience of war. It’s no surprise that her book expresses the same level of candor. It’s able to do so

with even more detail than her songs, and with an eye toward how Gauthier eventually incorporated these events into her everevolving understanding of herself. “People who are struggling with addiction and trauma, with a tough story or a tough childhood, many times become fractured,” she says. “They bring a different person to different environments. The goal and hope of recovery itself is integration of these different personas into a single personality that consistently appears in every environment. … Becoming one person, becoming consistent — that’s what songwriting helped me with. And my story is not all that unique.” While most chapters begin with lyrics from one of Gauthier’s own songs, an exception is the third, which spotlights the late John Prine’s long-beloved 1971 song “Sam Stone.” Though it does it in an oblique way, the chapter is especially revealing about Gauthier. It allows her to write not just as one of our foremost songsmiths but as a passionate fan of and believer in honest, quality writing. She also shares her own connection to the Vietnam War, which Prine’s titular character fought in. The war claimed the life of Gauthier’s cousin Philip and was a violent backdrop to her own troubled life at home. “In the pantheon of American songwriters, John is one of the greats,” Gauthier says. “He was a friend. But long before that, I was just a superfan who went to see him any time I could, way long before I ever wrote a song or imagined myself as a songwriter. What I wanted to get to in that chapter was how prescient that song was for me. I was drawn to it, but it was also predictive of many things in my life — one of which was my own addiction and the other was, one day, working with wounded veterans who were struggling with all kinds of monsters. … It taught me the power of what a single voice can do.” Throughout our conversation, Gauthier frequently references her songwriting with veterans. She’s worked with vets for about a decade now, and Rifles and Rosary Beads was a beautiful showcase for some of that work. Her time writing with and getting to know veterans was a major guiding force in how and why she wrote Saved by a Song. “I was asked to write with wounded soldiers, who had PTSD and multiple layers of trauma,” she explains. “I instinctively felt a sense of calm in that environment. It was like, ‘Oh, I see, I use songs and songwriting to work through my own traumas, along with recovery from addiction, and I have a sense that this can be useful for them.’ That gave me a perspective to look back at what I was doing all along through a different lens.” Gauthier originally envisioned Saved by a Song as a how-to guide for people hoping to write good, honest songs. That idea soon evolved, thanks both to a larger publisher expressing interest and to Gauthier’s realization that so much of what makes her

songs powerful comes from the life experiences that birthed them. “To me, this is a much better book and bigger vision,” Gauthier says. “So I tied stories of my life into songwriting instruction, and the overarching idea that developed as

I went along was that I think songs can be — if you need them to be — far more than entertainment. That’s where I’m coming from as a songwriter. That’s where I’m coming from as a songwriting instructor.” At the end of the book, Gauthier offers a short epilogue touching on her role as a writer and her hopes for how her music can change the lives of others. Writers like her, who care more about someone being touched by their work than them just hearing it, “aren’t the kind of songwriters who try to write songs for hit-driven marketplaces.” It’s a sentiment brought to life in the myriad examples of how her work has fostered healing — for herself and for others — throughout the book. “People ask me if I believe songs can change the world,” she writes in the book’s introduction. “My answer is yes, absolutely. Here’s how: A song can change a heart by creating empathy. A changed heart has the power to change a mind. And when a mind changes, a person changes. When people change, the world changes.” EMAIL MUSIC@NASHVILLESCENE.COM

NASHVILLE SCENE | JULY 1 – JULY 7, 2021 | nashvillescene.com

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MUSIC

ANOTHER LOOK

The Scene’s music writers recommend recent releases from Rachel Baiman, Bren Joy, Sara Bug and more BY EDD HURT, STEPHEN TRAGESER, DARYL SANDERS, CHARLIE ZAILLIAN AND JACQUELINE ZEISLOFT

ou’ve got an array of choices for in-person shows these days, but sometimes you just want to sit down with a good record. Our writers have nine new titles to recommend from musicians across the spectrum in FIND LINKS TO STREAM AND BUY THESE RECORDS AT Music City. Add NASHVILLESCENE.COM/MUSIC ’em to your playlist for that road trip you’re planning or get a physical copy from your favorite record store. Or drop them on your wish list for #BandcampFriday, the promotion in which the platform waives its cut of artist fees on the first Friday of the month — the next installment of which is July 2.

SARA BUG, SARA BUG (EGGHUNT) Of all that there is to love about indie rocker Sara Bug’s self-titled debut LP — her Dolly-esque warble, her cutting lyrics haunted by heartache, the lush, layered guitars and warm percussion — what’s most impressive to me is her persistence to keep creating in the face of discomfort and self-doubt. The Mississippi-born, Louisianaraised musician, who describes herself as the “world’s finest Southern-kitsch artist,” moved to Nashville in 2013 with textbook Music City dreams of success. Soon after her arrival, the idealism wore off and selfconsciousness moved in. In an article for FrontView Magazine, she described the complexities of creating in Nashville to journalist Margaret Farrell: “It feels hard sometimes to do your craft and your thing in a real way without feeling super judged, or feeling if you’re not at a certain level your art doesn’t matter.” But after seven years of writing and recording, she has a beautiful — dare I say perfect — album on her hands.

JACQUELINE ZEISLOFT

D’WYNTER COLD, LOVE YOU LATER (CAPITOL MINDS) You might have heard D’Wynter Cold — whose name is among the best in local music — contributing her rich, wide-ranging vocals to local hip-hop and R&B releases. Her new five-track EP puts that emotive instrument front-and-center in a collection of R&B songs that look at the way relationships evolve, sometimes resulting in them coming to a natural end. It sounds great as is, but as a bonus, several of the tracks (particularly “All the Feels”) are prime candidates for a mind-blowing dance remix. STEPHEN

TRAGESER

SALLOW, CLOUD OF THOUGHT (SELF-RELEASED) There’s a crew of six local indie-punkmetal musicians that counts Shibby Poole as its common denominator, and they’ve had a huge year. Metal trio Yautja gained hard-earned recognition with its watershed LP The Lurch on Relapse Records, and hardcore foursome Thirdface joined the Exploding in Sound label with its raw yet intricate Do It With a Smile. Sallow’s Cloud of Thought is the moodiest, slowest-burning and — heard in the right headspace — best of the three. Last year, the Scene previewed Cloud of Thought with a premiere of the standout track “Claw,” but you can now buy the whole album via Bandcamp. The long-completed record is powerful, angry, melodic, catchy, beautiful, expertly crafted and — must I go on? OK. There’s Unwoundstyle gnarliness in the intuitive bass-drumsguitar interplay, Albini-esque rawness in the harsh separation between instruments in the recording and Maddy Madeira’s sweetyet-sour vocals, likened by one Bandcamp customer to Garbage’s Shirley Manson. Some synonyms for “sallow” are “pale” or “weak.” Cloud of Thought is the polar opposite of that. CHARLIE ZAILLIAN

DAVE JACQUES, WHAT WAS I THINKING! (HENOLA SOUND RECORDINGS) Solo records by Nashville sidemen tend to be somewhat insubstantial affairs, but that’s not the case with bassist Dave Jacques’ What Was I Thinking! Jacques, whose credits include a 25-year stint with John Prine, explores the intersection of soundtrack music, blues and rock throughout the album, and the results are as interesting as anything on, say, Charlie McCoy’s 1977 album Country Cookin’ or Jerry Kennedy’s From Nashville to Soulsville from 1965. Like those storied session cats, Jacques is a versatile,

imaginative musician. What Was I Thinking! finds Jacques playing all the instruments, and his take on Booker T. & the M.G.’s style, the original “West Memphis Blue,” rocks out as effectively as does his surf-music pastiche, “Sunrise Surf.” The only thing Jacques doesn’t do is sing, but his music satisfies without the distraction of lyrics.

EDD HURT BREN JOY, TWENTIES (DELUXE) (WARNER BROS.) I am very excited by the possibility of a gigantic show featuring a lineup dubbed Nashville’s New Kings of R&B. I’d love to see Houston Kendrick, R.LUM.R, Bryant Taylorr and Pink $weats on the same bill. Without a doubt, Bren Joy belongs there too. In the spring, Joy dropped a deluxe edition of his 2019 record Twenties featuring a heap of excellent singles that were released in the interim. “Freezing,” a bouncy jam about being prepared to handle challenges in a relationship and “Lil Rich,” a meditation on the tension between liking nice things and knowing that money can change a person, are just a couple of the thoughtful additions to the original release that make the deluxe version a must-listen. STEPHEN TRAGESER

ALTERED STATESMAN, FOUR EASY PIECES (FEISTY) Every time they record, the band of ringers led by Steve Poulton comes across a bit different, though what you can always expect is for the result to push against established boundaries in soul and R&B. Their latest EP Four Easy Pieces brings dubby, trip-hoppy sonic elements into the mix — comparisons to Portishead aren’t inaccurate in this case, even if we music journos tend to overuse them. As always, the sound comes in support of Poulton’s narratives, which consider how we could make our world a better one by focusing on being better to each other. STEPHEN TRAGESER

BILL DeMAIN, VAUDEVILLE (TIN PANDA) Pop singer-songwriter Bill DeMain, who many will know from much-loved duo Swan Dive, has a nostalgic new EP called Vaudeville that’s a delightful diversion in these trying times. There are six originals and a Harry Nilsson cover that give “a tip of the hat to vaudeville, swing and jug & jive.” DeMain’s vocals have never sounded more relaxed and assured — he even does a bit of scatting on the opener, “Everything Old Is New Again.” He’s backed by a number of well-regarded Nashville musicians, most notably multi-instrumentalist Jim Hoke. Hoke appears on every track, playing bass

and a variety of woodwinds and horns, and he contributes swinging, whimsical arrangements that perfectly complement the material’s romantic optimism. Celebrated jazz pianist Larry Goldings contributes piano on the closer “Shut-Ins”; DeMain dreamed he wrote the song with his friend Goldings, and then he did it. DARYL SANDERS

RACHEL BAIMAN, CYCLES (SIGNATURE SOUNDS RECORDS) Some of the music on singer-songwriter Rachel Baiman’s Cycles owes a debt to a generalized idea of country music, but Baiman’s voice is pure pop-folk, with the emphasis on pop. Thematically, Cycles registers as classic confessional singersongwriterdom, right down to the way Baiman sings about the joys of “chasing down every goddamn dime” in the record’s most striking track, “Joke’s on Me.” Sometimes the folk-country-pop backing seems a bit too stylized, but Cycles, which was recorded in Australia, manages to combine what I call Indie Rock Lite with Joni Mitchell-style chord changes. Check out “The Distance,” which suggests Baiman has been listening to Pavement along with The Hissing of Summer Lawns. It’s a pained, carefully conceived and often beautiful record. EDD HURT

ROADBLOCK, ROADBLOCK (SELF-RELEASED) As a sage observer recently pointed out, various projects that include Nathan Vasquez — who you’ll know from late, great Aughts punks Be Your Own Pet — deserve way more attention. Among those musical endeavors is Roadblock, a currently inactive outfit whose hook-laden tripleguitar attack and ferocious rhythm section make them sound a bit like Dinosaur Jr. got ahold of Guided by Voices’ four-track tape deck and decided to follow the lead of White Light/White Heat-era Velvet Underground. Roadblock compiles sweet-and-sour songs about confusion and frustration recorded between 2013 and 2019. If nothing else, get it for the gnarly, rollicking opus “Animal Alley.” STEPHEN TRAGESER EMAIL MUSIC@NASHVILLESCENE.COM

nashvillescene.com | JULY 1 – JULY 7, 2021 | NASHVILLE SCENE

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MUSIC

THE SPIN

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yelled to big cheers from the stage of the new Brooklyn Bowl Nashville on Friday night. “That was a whole lot of fun when we got that second vaccination!” It might seem like all the mismatched pieces of the show shouldn’t fit together. Traditional bluegrass and old-time butted up against rock ’n’ roll and Beastie Boys covers. Tons of guest stars made appearances, punctuated by the crack of bowlers knocking down pins on the lanes right next the stage. But the buckdancing crowd was proof that the delightful contradictions simply worked.

Jereme Brown on banjo. Guest fiddler Bronwyn Keith-Hynes joined in for the closing number, sawing up a twin-fiddle storm with Orshaw. The group is known for its sartorial savvy as much as its picking prowess, and they delivered there too, with blinged-out Western ties and floral shirts. Plus, they know their audience well enough to carry a kit for seasoning your cast-iron skillet at the merch table. Old Crow’s lineup has changed a few times since the Grammy-winning roots band with the wild stage show began as a troupe of buskers back in 1998. In addition to co-founder Secor on vocals, fiddle and harmonica, Friday’s show featured Morgan Jahnig on bass, Cory Younts on keys and vocals, Jerry Pentecost on drums, Mike Harris on guitar, dobro and banjo, and Mason Via on guitar and vocals. But that’s really an oversimplification; by the end of the night, most everybody had played most every instrument onstage. Mo’ joined in while Pentecost led the sweet blues duet “C.C. Rider,” and Hedley brought out his fiddle and sang lead on the Oak Ridge Boys’ “Bobbie Sue” (with sax by local-music

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Friday’s gig was the kickoff of a twonighter celebrating the opening — originally scheduled for March 2020 — of the midsize venue and bowling alley. The space is a joint venture of ticketing and touring giant Live Nation and the founders of New York’s original Brooklyn Bowl, and it backs up to First Horizon Park in Germantown. Throughout the night, Old Crow called on guests like bluesman Keb’ Mo’, songwriter and masterful bluegrass picker Molly Tuttle, and ace country songsmith Joshua Hedley. They blasted through staples of the band’s catalog like “Tell It to Me,” a highly danceable tune that laments a lover’s drug addiction and is just barely not a hoedown. The set also included slower, sweeter tunes like “Caroline” — and yes, of course, they played that one song you were probably wondering about. More on that shortly. While Old Crow might’ve been the headliner, the couple to my left said they’d driven more than three hours from Martin, Tenn., just to see The Po’ Ramblin’ Boys open the show. The Grammy-nominated neo-trad bluegrassers didn’t disappoint, warming up the crowd with danceable tunes like “Next Train South.” Founder C.J. Lewandowski sang and played mandolin, with Laura Orshaw on fiddle, Josh Rinkel on guitar, Jasper Lorentzen on bass and

MVP Robbie Crowell). The crowd cheered wildly when Tuttle came up to do a few tunes. One standout from her segment was the Tom Petty-Stevie Nicks classic “Stop Draggin’ My Heart Around,” which Tuttle covered with Nathaniel Rateliff on her recent ...But I’d Rather Be With You, Too EP. The show closed out precisely how I thought it wouldn’t. I was so sure that “Wagon Wheel” — the tune with the convoluted Bob Dylan connection, and Old Crow’s best-known song — would be their encore, but it appeared much earlier in the set. Instead, they wrapped by paying homage to Brooklyn Bowl’s New York origin with the Beasties’ “(You Gotta) Fight for Your Right (to Party),” followed by a final jam with The Po’ Ramblin’ Boys on “Will the Circle Be Unbroken.” Reader, I saw not a single still mouth in the room. I loved that they chose to close with something besides “Wagon Wheel.” The band seemed to be saying, “Forget the past, let’s move on if we can.” They made sure the crowd got the message, mentioning half a dozen times how grateful they were to be playing and for the return of in-person shows in general. It certainly felt fitting in a night full of picking — and most importantly, grinning. EMAIL THESPIN@NASHVILLESCENE.COM

NASHVILLE SCENE | JULY 1 – JULY 7, 2021 | nashvillescene.com

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film_7-1

FILM

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.

ZOLA R, 90 MINUTES NOW PLAYING AT THE BELCOURT

EXTREMELY ONLINE Based on a Twitter thread, Zola gives birth to a new kind of storytelling BY SADAF AHSAN

“Y

’all wanna hear a story about why me and this bitch here fell out? It’s kind of long, but full of suspense.” With that hell of an opener, in walks 6-inch-heeled Zola, the titular character in what is being billed as the first feature film based on a Twitter thread. The premise definitely presents cause for concern — but no need. Writer-director Janicza Bravo’s film is a glittery tale all its own, a modern-day Odyssey revolving around the real-life A’Ziah King, aka Zola, who became online famous in 2015 for 148 tweets in which she detailed one crazy Tampa weekend that included everything from sex work to Florida gangsters, a pimp, a possible suicide, a kidnapping and more. The thread itself was a superior feat of storytelling, and with their adaptation, cowriters Bravo and Tony Award-nominated playwright Jeremy O. Harris came up with something that feels equal parts throwback and entirely new. The film remains incredibly faithful to King’s original account, with a few embellishments thrown in. Waitress-by-day and stripper-by-night Zola (Taylour Paige) meets and befriends a woman named Stefani (Riley Keough) and is persuaded to join her on a weekend of partying and dancing for extra cash. They’re joined by Stefani’s notso-bright boyfriend Derrek (Succession’s Nicholas Braun, who — looming at 6-foot-7 — doesn’t fit in most frames) and her pimp,

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an always close-to-the-edge X (Colman Domingo). But quickly, Zola discovers she has agreed to spend 48 hours in hell, where she’s expected to sell more of her body than she planned to. Zola walks a fine line between terror and hilarity. There is no mistaking that this was a traumatic experience for King, who is a producer on the film, or that this is the lead recasting her narrative in a way she can share it and own it. So while it is laughout-loud funny, there’s palpable anxiety and discomfort. That combo is no simple task, but Bravo has pulled it off by bending genre to her will. In the same way many Black filmmakers have taken to the horror genre to process the traumas of racism, a few female filmmakers have been satirizing grindhouse B-movies to process the traumas of sexism and objectification. It’s ironic, yes, but also deliciously satisfying. If there was anything those films were known for in the 1960s through to the ’80s, it was the exploitation of women’s bodies and people of color. In this way, Zola calls to mind Anna Biller’s 2016 film The Love Witch, which follows the title character as she magically seduces men, scheming to make them satisfy her desperate need to be loved. But her spells work a little too well, revealing the ways in which men view and fear women and the great cost of the male gaze. Zola expands those themes using the eyes of a Black lead and director. With Paige’s masterful side-eye, the character observes the unrelenting band of white clowns around her in a way that will feel familiar to people of color. We often find ourselves in rooms full of people who don’t resemble us, saying or doing things we would never, and through Zola, we see exactly the way we would process that — low-key disapproval. Keough plays Stefani to tremendous repugnance — she’s essentially in blackface throughout, most pointedly via an inescapable blaccent. Zola never once regards her without looking straight through her. It’s one example of

how Bravo never hits us over the head with the racial element of the film. In fact, it may only really be apparent to viewers of color. Much like The Love Witch, Zola is softcore-lit, drenched in washed-out neon, as the singular Mica Levi’s ’80s-esque score either amps up the dread or blitzes through it like a coked-up night at the disco. And like its source material, it protects the women at the center of its story. Despite the subject matter, neither Paige nor Keough are ever nude — unlike the men in the film (finally, a bit of role reversal). These women are granted a sense of dignity and an emotional weight, their choice of work never once critiqued or judged. That even comes down to the way their use of social media is embedded throughout the film. In fact, Zola may very well be the first time a film has nailed how to incorporate this element without a hint of corniness. Sounds of a tweet “chirping” as it’s published are peppered throughout the movie, each time forebodingly, and Derrek never seems to be able to look away from a TikToklike app, which he claims to use to distract himself from the disaster around him (relatable). In one particularly delightful scene, Zola and Stefani swipe through shots of potential johns’ penises as if thumbing through Tinder on an average lazy afternoon. Bravo has crafted a story that is of this moment, uncensored, hysterical and devastating all at once, because if we can’t laugh at the things we’ve experienced, how else do we get through them? By its end, Zola feels like a hazy dream sequence, complete with a kitschy aesthetic — surreal in its storytelling and satisfying in its representation. When King’s tweets first went viral six years ago, it was as if we read and laughed along with the story in a vacuum, just as it seemed she lived it. By creating art from a troubling moment in her life, it seems King — and Bravo — have given birth to a new kind of storytelling and storyteller. More, please. EMAIL ARTS@NASHVILLESCENE.COM

nashvillescene.com | JULY 1 – JULY 7, 2021 | NASHVILLE SCENE

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hen it comes to memorable concerts in 1969, it always comes down to Woodstock and Altamont. It’s always all about either that weekend-long, New York-based peace-and-love fest where nearly half a million people got naked and partied in the mud, or that day-long bummer over on the West Coast, where The Rolling Stones tried to throw a free show but got upstaged by Hells Angels bikers (aka the event “security guards”) beating people with pool sticks and ultimately killing a Black guy.

working hard to make themselves heard. Throughout the film, Thompson splices archival news footage and interviews amid the performances, turning every performance into a mini Black history lesson set to music. (It’s almost as if Thompson found a way to teach critical race theory that won’t piss off white folk.) But even with Thompson hipping his audience to everything from the origins of gospel music to how Black people really felt about the Apollo 11 moon landing, it’s still about the surprisingly sharp, clean performances. It’s hard to believe that a lot of this footage has been wasting away in a basement somewhere for half a century. Producer Hal Tulchin spent years trying to package the whole thing as a “Black Woodstock” show, but no one bit. (According to a 2007 article by Smithsonian magazine, local New York affiliates did air hour-long specials on Saturday nights during the summer the festival took place.) Considering what Thompson — who has admitted that until recently he didn’t know much about this fest — pulls out of the foot-

But no one seems to talk about the Harlem Cultural Festival, a series of free concerts that took place in Harlem’s Mount Morris Park during the summer of 1969. Hundreds of thousands of people attended. No one died. No one had to be pulled out of there via helicopter. Hell, the Black Panthers were the security — and everything was still copacetic. Yet for many readers, this is likely the first time you’ve heard about this event. Thankfully, Ahmir “Questlove” Thompson — drummer for hip-hop ensemble and The Tonight Show Starring Jimmy Fallon house band The Roots — is here to educate you with his new documentary Summer of Soul (... Or, When the Revolution Could Not Be Televised), which is coming to both the Belcourt and Hulu this weekend. The film landed both the Grand Jury Prize and the Audience Award at this year’s Sundance Film Festival, and it’s easy to see why it won over viewers. Culling from 40 hours of footage, Thompson rounded up exuberant performances from such legends as Stevie Wonder, Sly and the Family Stone (who memorably played Woodstock), Gladys Knight and the Pips, The 5th Dimension and B.B. King, just to name a few. Thompson also includes interviews with some of the performers as well as some of the audience members who were in attendance, with several of them getting mistyeyed when they catch footage of the event and the joy and excitement going on. Organized by the flamboyant mover-and-shaker Tony Lawrence (dude was constantly putting on extravagant outfits all through the fest), the festival served as a place for Black people to enjoy themselves after a decade of

age, it’s damn near unsettling how no one bothered to jump on this until now. (I’m so not looking forward to those pedantic, Black-music know-it-alls who’ll be claiming they knew all about the festival and we’re all just late to the party.) I mean, here is a festival where you have gospel great Mahalia Jackson getting a young Mavis Staples (then a part of The Staple Singers) to join her in singing “Take My Hand, Precious Lord.” You have Sly and the Family Stone, who — even though they got onstage late as usual — managed to get the crowd jumping with tunes like “I Want to Take You Higher.” You have ousted Temptations frontman David Ruffin performing “My Girl” all by his damn self and still killing it. You have Ray Barretto and Mongo Santamaría winning over the crowd with their Afro-Cuban jazz grooves. And you have Nina Simone, looking like a Nubian princess and urging Black people to rise up during her set. You also have comedians Moms Mabley and Willie Tyler and Lester. (I had no idea Tyler was balding in the ’60s and has worn a wig in the years since.) The Harlem Cultural Festival may not have had the reckless abandon of Woodstock or the reckless endangerment of Altamont. But as Summer of Soul shows, it was still a joyous moment in time when African-Americans — young and old — felt Black, proud and free. No wonder the networks didn’t want that shit shown. EMAIL ARTS@NASHVILLESCENE.COM

NASHVILLE SCENE | JULY 1 – JULY 7, 2021 | nashvillescene.com

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Richard R. Rooker, Clerk L. Chappell Deputy Clerk Date: June 3, 2021 L.R. DeMarco Attorney for Plaintiff NSC 6/10, 6/17, 6/24, 7/1 Non-Resident Notice Third Circuit Docket No. 21 D230 GARY LYNN MCELROY, SR. vs. MARY TAYLOR LEWIS In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon MARY TAYLOR LEWIS. It is ordered that said Defendant enter HER appearance herein with thirty (30) days after July 8, 2021 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on August 9, 2021. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville. Richard R. Rooker, Clerk M. De Jesus, Deputy Clerk Date: June 9, 2021 Paul E. Tennison Attorney for Plaintiff NSC 6/17, 6/24, 7/1 & 7/8/2021

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Rocky McElhaney Law Firm

In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon DIANA MARIE BURKE. It is ordered that said Defendant enter Her appearance herein within thirty (30) days after July 1, 2021 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on August 2, 2021. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon MARY TAYLOR LEWIS. It is ordered that said Defendant enter HER appearance herein with thirty (30) days after July 8, 2021 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on August 9, 2021. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

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Nashville is a diverse city, and we want a pool of freelance contributors who reflect that diversity. We’re looking for new freelancers, and we particularly want to encourage writers of color & LGBTQ writers to pitch us.

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Whatever you call it, find yours in the Rental Scene. Nashville Scene’s Marketplace on pages 34 - 35.