NEWS: PROPERTY TAX INCREASES PROMPT ADVOCACY FROM LOCAL BUSINESS OWNERS
>> PAGE 7
FOOD & DRINK: TAKING A TOUR OF THREE BRAND-NEW WATERING HOLES
>> PAGE 22
ART: RANGE AND REMARKABLE SCALE MAKE THE FRIST’S
IN HER PLACE A SUCCESS >> PAGE 25
Six weeks after Winter Storm Fern, NES is facing the fallout of extended storm-induced power outages BY ELI MOTYCKA
Lainey Wilson wore this custom Montana Silversmiths belt buckle, engraved with the brand of her family’s farm in Baskin, Louisiana, to the Country Music Association Awards in 2022, where she won both Female Vocalist of the Year and New Artist of the Year.
From the exhibit Lainey Wilson: Tough as Nails
artifact: Courtesy of Lainey Wilson artifact photo: Bob Delevante
Concerns about massive property tax increases have prompted advocacy from local business owners BY MARGARET LITTMAN
Six Criminal Justice Bills to Watch
This Legislative Session
Legislation about bail, body cameras and prison reform is up for debate BY JULIANNE AKERS
Pith in the Wind
This week on the Scene’s news and politics blog Parties Clash on Legislation
Targeting Pregnant Mothers
State Republicans lose footing on bill to make abortion homicide; Dems look to protect emergency care BY HANNAH HERNER AND HAMILTON MATTHEW MASTERS
COVER STORY
After the Storm
Six weeks after Winter Storm Fern, NES is facing the fallout of extended storm-induced power outages BY ELI MOTYCKA
CRITICS’ PICKS
Kashus Culpepper, Best Picture Marathon, Gay Ole Opry, DinoTrek, Tim Easton and more
FOOD AND DRINK
Triple Shot
Taking a tour of brand-new hot spots Love’s Alibi, The Hitchcock and Charmers BY CHRIS CHAMBERLAIN
ART
Big Waves
Range and remarkable scale make the Frist’s In Her Place a success BY CAT ACREE
MUSIC
Nashville Spy Boys
Rougarou brings the big beat of New Orleans brass-band music to Rudy’s
BY SEAN L. MALONEY
Natural Order
Rock Eupora personalizes power pop on Rev BY EDD HURT
The Spin
The Scene’s live-review column checks out The Runarounds at Brooklyn Bowl BY CHARLIE ZAILLIAN
FILM
Hello, Dolly
Nashville director Rod Blackhurst talks Tennessee-shot horror film Dolly
BY LOGAN BUTTS
Just Deserts
Gut-wrenching Oscar nominee Sirāt will shock you BY D. PATRICK RODGERS
Tin Pan South The Nashville Scene is thrilled to host a stage at Love & Exile during the 2026 Tin Pan South Songwriter Festival, March 24-28. Settle in for an evening of powerful songs, behind-the-lyrics stories and even better company.
Tickets and lineup details at tinpansouth.com
Win a Pair of Four-Day VIP Passes to Bonnaroo The electric Bonnaroo Music & Arts Festival returns to Manchester, Tenn., June 11-14, with performers including Skrillex, Noah Kahan, The Strokes, Rüfüs Du Sol and many more. Enter to win two free four-day VIP passes at nashvillescene.com/promo/freestuff.
A Red Carpet Evening Benefiting the Belcourt Theatre
The Nashville Scene is a proud media sponsor of A Red Carpet Evening at the Belcourt Theatre on March 15. Enjoy an elegant event benefiting the Belcourt on one of Hollywood’s biggest nights. Tickets at belcourt.org/redcarpet.
FREE STUFF LOOKING AHEAD
Hiroaki Umeda at OZ Arts Nashville
The Nashville Cream With Stephen Trageser Dive into the Nashville Cream newsletter for the latest on the city’s music scene, featuring concert reviews, artist profiles, interviews and sharp analysis by music editor Stephen Trageser and our music writers. Sign up at nashvillescene.com.
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OZ Arts presents Hiroaki Umeda, March 26-28. Choreographer and performer Hiroaki Umeda redefines the boundaries of dance and performance through his inventive use of multiple video projections and immersive sound art. Purchase your tickets at ozartsnashville.org.
Power of the Purse at OZ Arts Nashville Step into a celebration of generosity at Power of the Purse on April 16 at OZ Arts. Enjoy an evening benefiting the Women’s Fund at the Community Foundation of Middle Tennessee, featuring auction items and an experience. Visit cfmt.org/ calendar-events for tickets.
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EDITOR-IN-CHIEF D. Patrick Rodgers
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Explore the legacy of Impressionism from its origins in 1874 through the early 20th century in The Impressionist Revolution: Monet to Matisse from the Dallas Museum of Art. Through nearly 50 paintings and sculptures, this exhibition reveals the rebellious origins of the independent artist collective known as the Impressionists, who redefined what constituted cutting-edge contemporary art. The Impressionist Revolution invites visitors to see the unique innovations of core members like Edgar Degas and Claude Monet who set the foundation for generations of avant-garde artists that followed, from Paul Gauguin and Vincent van Gogh to Piet Mondrian and Henri Matisse.
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Concerns about massive property tax increases have prompted advocacy from local business owners BY
MARGARET LITTMAN
LAST MONTH, TomKats Hospitality founder Tom Morales posted on social media a letter he wrote to Mayor Freddie O’Connell. In the letter, Morales asked for a face-to-face meeting to discuss the effects of property tax bill increases on independent businesses in Nashville. And with that post, seemingly everyone in the online Nashville bubble stopped talking about the ice storm and the Winter Olympics, and all conversation turned to property taxes.
In the letter, Morales explains that Acme Feed & Seed — the music venue and restaurant TomKats runs on Broadway — may have to close due to a property tax bill that has increased from $129,000 to $589,000. (Lester Turner and Currey Thornton own the building itself and lease to TomKats, which pays the property’s annual property taxes, maintenance and insurance under what’s known as a triple-net lease.) Morales and his team have brought multiple historic Nashville spots back to life, including The Loveless Cafe.
Morales and his daughter Lauren Morales, COO of TomKats, say Acme isn’t closing immediately, but because of the property tax increase, closure is “imminent” if they cannot find a solution.
Morales’ letter and TomKats’ situation hit a nerve. (So did the mayor’s response: In a Fox 17 story about the situation, O’Connell was partially quoted as saying, “It’s not up to me whether [Morales] is going to keep that business open.” The mayor’s office later released the full transcript of his conversation with Fox 17, though that did little to calm the storm.) The Moraleses are not alone. Small business owners across the city — restaurant and bar owners, retailers, venue operators and a new coalition of them — say something has to happen, or Nashville will lose independent businesses.
“You cannot sell enough beer to cover this,” says Rob Mortensen, a lobbyist representing Broadway Entertainment Association, an organization advocating for Broadway business owners. In Davidson County, properties are reassessed every four years, meaning this is the first post-pandemic assessment. Some believe properties were under-assessed during COVID, contributing to the large increases in 2025. Both the state and the city have issued statements saying they think the Broadway assessments, including that of Acme, are accurate.
Business owners know the city isn’t solely responsible for fixing the problem, but they want the mayor to help them work with the state to examine ideas for Nashville’s long-term benefit. Given that both the state and the city have offered tax benefits to major corporations — Amazon and Oracle, in particular — they feel certain something can be done.
Mortensen estimates that about half of the 37 businesses in the Broadway Entertainment Association rent their space, many with triple-net
leases like Acme’s.
Owning property outright hasn’t sheltered other business owners from the problem of a high property tax bill. Carey Bringle (owner of Peg Leg Porker in The Gulch and Bringle’s Smoking Oasis in The Nations) and Rose and Kahlil Arnold (owners of Arnold’s Country Kitchen) are facing the same pressure. Rose and her husband Jack opened Arnold’s in 1982, operating from a rented building on Eighth Avenue South. When she saw the Music City Center being built nearby, she knew the neighborhood was about to change. In 2012, she bought the building that houses the restaurant, thinking that would insulate her from the cost of growth. Property taxes then were around $1,100 per year. By 2016, they had increased to $40,000; in 2020, they were more than $79,000, and now they are around $131,000 per year.
In 2023, Jack Arnold died. Rose sold their house, the house she raised her kids in, and moved in with a friend, using the proceeds from the sale to pay the business’s property taxes. She and her son Kahlil decided to close the beloved meat-and-three and sell the building. But when the deal fell through, they reopened, much to culinary Nashville’s delight. But now they are trying to figure out how to increase revenue to make it work. Kahlil Arnold says there have been proposals from developers to build high-rises with Arnold’s on the ground floor.
“I’ve thought about it — I go back and forth,” Kahlil Arnold says. “It wouldn’t feel like Arnold’s.” (Due to historic protections, some buildings don’t have the option of building multiple stories in order to increase revenue.)
Bringle and Lauren Morales have heard feedback that, as business owners, they simply need to budget for such property increases. They both say they did, but neither could have conceived of these increases. Lauren Morales budgeted for
a 40 percent increase.
“That’s a lot, and we had heard this was coming,” she says. “But when I opened the envelope and saw the number there, I don’t know if anything could have prepared us for that, for it to quadruple. That’s a 400 percent increase, and nobody prepared us for a 400 percent increase.”
Because of the Tennessee Constitution, some initiatives that provide relief elsewhere may be difficult to implement in Tennessee. As previously reported by the Scene, a program in Toronto offers indie music venues a 50 percent reduction in property taxes. Landlords are obligated to pass on the savings to their tenants. An incremental tax increase on other types of businesses made up for the lost revenue due to the decrease.
The state does not collect property tax, but the State Board of Equalization establishes policies and procedures for local property assessors. The state constitution — Article II, Section 28 — mandates uniformity in property taxes, meaning carve-outs like Toronto’s are not possible without a change to the constitution, a multiyear process.
Other possibilities include a change to calculate property taxes on realized value — the cost at which the property was purchased.
“Assessments say that your property is worth five, 10, 20 times more than you paid for it, and now you’re paying taxes on that,” Bringle says. “That’s taxing on future speculative profits. It’s just insane, and there’s no way that a business can keep up with that.”
In an announcement timed with the Feb. 28 due date of commercial property taxes, a group of nearly 100 locally owned businesses formed the Nashville Property Tax Coalition. Their goal is not to address the state limitations but instead encourage Metro Nashville to use the tools available at the local level to prevent these busi-
SMALL BUSINESS OWNERS ACROSS THE CITY — RESTAURANT AND BAR OWNERS, RETAILERS, VENUE OPERATORS AND A NEW COALITION OF THEM — SAY SOMETHING HAS TO HAPPEN, OR NASHVILLE WILL LOSE INDEPENDENT BUSINESSES.
nesses from closing. Under the current system, businesses must pay their new tax bills while waiting for an appeal hearing. Many businesses do not have their hearings scheduled until this summer or fall. The Nashville Property Tax Coalition wants businesses to be able to make previous-year payments or receive some other type of extension while waiting for appeals to be heard. They also ask for an expedited appeals process, and request that commercial properties be valued using an income-based approach rather than assessments based on estimates of current real estate values. The revenue-based model is one that Mortensen sees working for the Broadway Entertainment Association.
The Tennessee General Assembly, during its current session, is considering multiple property-tax bills, including House Bill 2607, which would cap increases at no more than 2 percent annually. While politicians will have to be involved to help solve the issue, those speaking out span both sides of the political spectrum and see it as a bipartisan concern.
In fiscal year 2026, property taxes accounted for 57 percent of the Metro Nashville budget. So if there is a reduction in fees collected, the budget would need to be adjusted. Publicly, the mayor has said caps on property tax increases could hurt the city’s long-term finances. Business owners have a long list of ideas of where the city can trim the budget.
“If we lose [Broadway honky-tonks], we’re all in trouble — it’s a downfall that nobody wants,” says lobbyist Mortensen. “What will eventually end up happening is Starbucks will come in and go, ‘Hey, yeah, we’ll spend $80 million for that building.’ They don’t care if they make money or not. Or McDonald’s or fill-in-the-blank. It’s not going to matter if they’re selling anything. They just want their name on Broadway. And we lose the authenticity of who we are and what we’re about.” ▼
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BY JULIANNE AKERS
U.S. Sen. Marsha Blackburn coordinated with NES CEO Teresa Broyles-Aplin for special treatment during the January ice storm that left 230,000 customers without power across the Nashville area. Blackburn requested a specific timeline and attention to her Brentwood mansion in the early days of the storm, according to emails reviewed by the Scene. While NES’ limited crews scrambled to get houses back online, BroylesAplin kept tabs on Blackburn’s home, at one point reaching out directly to a repair supervisor who had just left the area. Less than an hour later, crews returned to Blackburn’s neighborhood, a wooded enclave near hard-hit Forest Hills, which later regained power. Blackburn later slammed NES’ handling of the storm in a public letter and specifically questioned Broyles-Aplin’s competence to serve as CEO. Blackburn again made the news last week for announcing that DHS will not move forward with a proposed ICE “mega center” for immigrant detention in Lebanon Residents and immigration activists publicly opposed the ICE buildout at a Wilson County Commission meeting on Feb. 17.
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FRIDAY, MARCH 6
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SATURDAY, MARCH 7
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with KIM BALDWIN at PARNASSUS Adult Braces: Driving Myself Sane
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with BETSY WILLS at PARNASSUS Morning Leaves
SUNDAY, MARCH 15
AMID DEBATES ABOUT immigration, LGBTQ rights and education vouchers, criminal justice reform is not always the most hot-button issue at the Tennessee General Assembly. But as bills related to law enforcement, sentencing and jails are discussed in committees, there are rare glimpses of bipartisanship — as well as intraparty debate.
From bail and body cameras to prison reform and criminal records, here are several pieces of legislation to watch in the coming weeks as they make their way through various committees.
House Bill 2232/Senate Bill 2380, sponsored by Rep. Vincent Dixie (D-Nashville) and Sen. Raumesh Akbari (D-Memphis), would allow the criminal records of a person who has committed a misdemeanor to be sealed after they complete their sentence and at least five years without being convicted of a new offense. The bill would exclude those who have been convicted of domestic assault or driving under the influence from having their records sealed.
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Sen. Brent Taylor (R-Memphis) and Rep. Charlie Baum (R-Murfreesboro) are pushing legislation that puts a cap on the amount of bail provided by organizations or entities in a year.
HB 1450/SB 1708 would prohibit entities other than a defendant’s family members, their employer or a professional bondsman from posting bail for more than three people in a calendar year, or for a single defendant more than one time per calendar year.
however, argue that the legislation would limit the ability of churches and other community organizations to provide aid.
Sen. Tom Hatcher (R-Maryville) is pushing HB 1718/SB 1820, which could be the first step in equipping correctional officers in Tennessee prisons with body cameras. The legislation would require the Tennessee Department of Correction to study the cost of running a pilot program with the cameras at Trousdale Turner Correctional Facility — known for being among the state’s most dangerous prisons — and report its findings to the General Assembly by July.
The bill hasn’t made much progress since it was introduced in January, and TDOC Commissioner Frank Strada has said it would be too expensive for the state to implement body cameras in all of Tennessee’s prisons. Strada is instead pushing for drone detection technology with a $1.7 million price tag.
Akbari is the Senate sponsor on HB 2436/SB 1976, which would require all law enforcement agencies using body cameras to adopt written policies for the use of the technology.
Committees will soon consider HB 2111/SB 2531 from Hatcher and Rep. Clark Boyd (R-Lebanon). The legislation would create a family advisory board within TDOC in an effort to increase communication with people who are inside — legislation that has been pushed for by families of incarcerated people.
Maryland man Kilmar Armando Abrego García again appeared in downtown Nashville for his latest federal court date. In May 2025, Middle Tennessee prosecutors charged Abrego with human-smuggling charges related to a 2022 traffic stop in Cookeville. Abrego was erroneously deported to a maximum-security prison in El Salvador in March 2025 by the Trump administration, exposing DHS’ overly aggressive tactics, which have violated civil protections for people in the United States. Homeland Security Investigations Special Agent Rana Saoud explained that she reopened an investigation into Abrego after reading a news article about his stop by state troopers in Tennessee, which did not initially prompt an investigation, and fast-tracked the case to U.S. prosecutors. Former U.S. Attorney Rob McGuire testified that, after receiving a call from Saoud at his home, he coordinated with high-ranking lawyers in Trump’s Department of Justice to quickly build the case against Abrego. Aided by a team of criminal defense attorneys, Abrego has consistently pleaded not guilty to the charges.
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“What this is getting at is to prevent the gangbangers from showing up and bailing their compatriot out of jail and going right back out and committing additional crimes,” Taylor said in a February committee meeting. Democrats,
Rep. Harold Love (D-Nashville) is sponsoring the “Proximity Placement and Family Visitation Incentive Act” (HB 674/SB1159), which would allow eligible incarcerated people the ability to transfer to correctional facilities closer to their families. ▼
Vanderbilt women’s basketball capped a historic season on Sunday with a win over rivals Tennessee, the program’s second-ever win in Knoxville. Last week, the No. 5-ranked Commodores completed the first undefeated home record in program history with a win over Alabama Star sophomore guard Mikayla Blakes posted another 30-plus-point game and leads the NCAA with more than 27 points per game. The team next competes in the SEC tournament quarterfinal, scheduled for Friday at 5 p.m. in Greenville, S.C. National rankings project that the Commodores will be a top-2 seed in the NCAA March Madness tournament and host one — possibly two — home games at Memorial Gymnasium later this month.
State Republicans lose footing on bill to make abortion homicide; Dems look to protect emergency care
BY HANNAH HERNER AND HAMILTON MATTHEW MASTERS
BILLS CLASHED IN the Tennessee General Assembly last week as Republicans pushed for abortion to be classified as homicide and Democrats pushed for expanded guarantees of health care for pregnant people.
The “Human Life Protection Act,” sponsored by Rep. Jody Barrett (R-Dickson) and Sen. Mark Pody (R-Lebanon), was filed as a caption — or placeholder — bill in 2025, with the official language added last month via a House amendment.
The bill would allow homicide charges — including first-degree murder — to apply in cases involving “unborn children.” As it was originally presented, this means fetal homicide charges could ostensibly be brought against a person for receiving an abortion. Those charged with first-degree murder in Tennessee can be sentenced to life imprisonment, life without parole or, in certain cases, the death penalty. The bill also adds “notwithstanding” language, meaning that these provisions prevail over any conflicting provision of law. This would elevate assault and homicide statutes above abortion law.
Bill co-sponsor Pody told the Scene he’s struggled to find support in the Senate for the bill to move it along, but his position on the matter is clear.
“I’m going to support whatever pro-life legislation I think would save babies’ lives,” says Pody. “I’m not trying to put more people in prison or anything like that, I’m just trying to save babies’ lives. Absolutely there’s life in that womb, and I believe when we take that life, it is murder.”
Barrett confirmed to the Scene that the amended bill, if it became law, could result in someone facing the death penalty for obtaining an abortion.
“Is it possible?” Barrett said. “Yes. Is it likely? No.” He argued that most people who commit homicide in the state aren’t sentenced to death, especially women.
According to a report released in September by advocacy nonprofit Pregnancy Justice, prosecutors in 16 states charged more than 400 people with pregnancy-related crimes between June 2022 and June 2024, following the Supreme Court’s decision in Dobbs v. Jackson Women’s Health Organization, which overturned Roe v. Wade. In 268 cases, substance use was the only allegation made against the pregnant person. In nine cases, a person was charged with possession of abortion medication or attempts to obtain an abortion.
State Sen. Charlane Oliver and state Rep. Aftyn Behn — both Nashville Democrats —
brought the “Maternal Health Care Protection Act” last week, a bill by Planned Parenthood of Tennessee and Northern Mississippi.
“Tennessee is facing a maternal health crisis, and it’s one that we no longer can ignore,” Oliver said during a press conference Feb. 24. “While we stand here pushing for the ‘Maternal Health Care Protection Act,’ we have other lawmakers in this building pushing to put women to death simply for having an abortion. They are focused on the wrong things, and we are focused on the right things.”
Behind this bill is the “Medical Ethics Defense Act,” which went into effect in 2025 and allows medical professionals to deny care that goes against their “conscience.” Behn shared testimony from a woman who was recently denied a scheduled sterilization procedure in Nashville to protect her “sacred fertility.” Bill co-sponsor Rep. Gloria Johnson (D-Knoxville) said an East Tennessee woman was denied care from an OB-GYN because she was unmarried.
There are very slim exceptions to Tennessee’s ban on abortion. Davidson County Chancery Court has ruled that Tennessee doctors who provide abortions during a medical emergency to protect the life of the mother will not be punished.
The “Maternal Health Care Protection Act” mirrors another bill from Sen. London Lamar (D-Memphis), which passed the Senate last week and is due to be heard in a House subcommittee this week (after this issue went to press). Senate Bill 1681 would prohibit hospital emergency departments from denying medical care to a pregnant woman who is in active labor or experiencing an emergency medical condition — part of a slate of maternal-health-related legislation that Lamar has focused on during her tenure at the legislature.
“If we truly value life, that value must extend beyond the unborn,” Oliver said. “It must include assurance that a mother survives pregnancy and childbirth. It must include assurance that she survives complications, and it includes protecting her health in the same way that we claim to protect fetal life.”
Rep. Monty Fritts (R-Kingston), a co-sponsor of the “Human Life Protection Act,” is explicit about his beliefs — he has called for the execution of those who obtain or provide abortions, as first reported by TN Repro News. He also teased additional legislation on the “sanctity of life,” although the details of that yet-to-be filed bill are unclear.
“Unfortunately, decades of an error, Roe v. Wade, has brought up a culture of people that look at the life of the unborn much differently,” Fritts tells the Scene. “I want women and their husbands and their boyfriends and the doctors to know that they’re committing murder when they’re doing abortion, and that we should stop them.”
Fritts continues, citing scripture as the reasoning for his beliefs: “Doctors who knowingly discard little babies that have been conceived as part of an IVF process ought to face life in prison. I think those that play a role in an abortion — doctor, nurse, mother — ought to face that same kind of sentence.” ▼
Six weeks after Winter Storm Fern, NES is facing the fallout of extended storm-induced power outages BY ELI MOTYCKA
LISA BOYLE REMEMBERS the trees cracking on Sunday morning.
“We had so many trees fall, and I was getting scared of that too, because we kept hearing them,” Boyle tells the Scene. “We lost power Sunday and spent one night freezing our butts off under a million blankets, sleeping in our coats. It was Monday when we finally left around 6:30 in the evening. At 3 o’clock in the morning, I got the call.”
For the second time in 13 months, Boyle’s house was on fire.
“The reason I got the call is that I’ve become so friendly with my neighbors — they were able to alert me,” explains Boyle, who recently moved back to Nashville from Los Angeles.
The Boyle family lost their home in the Pacific Palisades fire that tore through a residential section of the Californian coast in January of last year. Boyle had been in her new Forest Hills home for a few weeks when Winter Storm Fern — or as she calls it, the Great Freeze — swept across Davidson County. After losing power on Sunday, Jan. 25, alongside more than 200,000 Nashville households, she and her son lit the home’s fireplaces for the first time since moving
in. They snuffed out the fireplace before leaving for a hotel, but a trapped ember stayed lit somewhere near the roof.
The house burned from the top down.
“The first time I lost my house in California, our whole community lost their homes together — it was painful, but it was a shared pain,” Boyle tells the Scene two weeks after losing her second house. “This is much more selective. But I did learn that I sure picked the right place to be. Even before the fire, my neighbors reached out in ways that I hadn’t experienced before — it was refreshing to get back here and to feel that neighborly love.”
The few family treasures that survived the Palisades fire in a bank vault burned in Nashville a year later. An environmental lawyer by trade, Boyle stresses that more frequent and intense natural disasters have followed humans’ destabilization of the earth’s climate. She brings up a recent Instagram post by Tennessee’s former U.S. Senate Majority Leader Bill Frist, a Republican, that explains how a destabilized climate has allowed freezing Arctic air to spill into North America.
During 20 minutes of recounting her story
with effervescent optimism, Boyle’s voice cracks just once.
“Even with the loss of those things that I held so dear, my son and I could have been asleep upstairs in that house,” Boyle says. “I’ve learned, twice in a row, that material things really don’t matter. The thing that you’re left with is an incredible gratitude for your life, for your community, for the people that you love.”
On the Saturday before the power outages began, a citywide snow day — complete with partying on Lower Broadway, $2 martinis in Sylvan Park and all-ages sledding on the city’s golf courses — turned dark when the sun went down. With temperatures below freezing and a layer of snow already blanketing trees and roads, semi-frozen precipitation began building a thick coat of ice on nearly every outdoor surface.
“That night, while we were just working with routine typical snow, more snow moved into the county,” the Nashville Department of Transportation and Multimodal Infrastructure’s newly named acting director Phillip Jones explained to the mayor’s Winter Storm Response Commission on Feb. 23. “Lower temperatures,
PHOTO: HAMILTON MATTHEW MASTERS
freezing rain, sleet — it changed the whole ball game to how we were responding to this event. Sunday the 25th, tree failures, power outages, signal damage begins. We began to activate in a completely different manner.”
Windshields turned translucent and icicles hung like stalactites from bumpers. Nashville’s tall trees — which would soon become the storm’s main tool of duress on homes, cars and city powerlines — began splitting under the weight. Uncertainty began to creep in, threatening the sense of order that separates civilization from survival. Branches and limbs fell with no regard for the organized human life below. Entire trees crashed down, surfacing massive root balls, sometimes along main roads or onto cars and homes. Power lines came down with them.
“The combination of freezing rain and ice has impacted the NES service territory overnight, with trees being weighed down by ice causing them to snap and take down power lines,” reads Nashville Electric Service’s first storm update, issued on Jan. 25. “Right now more than 188,000 customers are currently without power. Our teams are fully staffed and already in the field
assessing damage and beginning repairs, and contract crews have been called in to assist.”
More numbers followed. One-hundredtwenty NES line workers in the field, with 40 more contractors on shifts of 14 to 16 hours. Executives expected 155 reinforcements by Monday morning. It took several more days for NES to fill out its ranks, which eventually peaked at 1,900 lineworkers. Residents refreshed NES’ online service map, which showed outages in real time. More than 230,000 customers were without power at some point, making Winter Storm Fern the biggest single outage event in NES history.
The utility was scrambling to respond to the extent and severity of ice damage. NES CEO Teresa Broyles-Aplin later described these days as “much more akin to a system rebuild than a storm restoration.” Initial grid reports became obsolete as wind and fallen branches took out more lines or, in some particularly frustrating cases, took recently repaired lines back offline. Brent Baker — NES’ executive vice president and chief operations and innovation officer, who was largely responsible for coordinating the utility’s storm response — appeared with the mayor and other department heads in Metro’s storm briefings.
Ice and falling branches became just two of a growing list of active dangers that revealed how close Nashville is to chaos. Without power, individual households — like the Boyles’ — searched for ways to meet basic needs with the materials they had on hand. City leaders linked five deaths in Nashville to the storm, two of which were attributed to carbon monoxide poisoning — a hazardous risk of running generators indoors or near ventilation intakes. (Monroe Carell Jr. Children’s Hospital at Vanderbilt reported that dozens of children, who are more sensitive to respiratory irritation, were treated for carbon monoxide poisoning during the storm.) Fire, burst pipes, hunger, toxic fumes, bitter cold, roadways without traffic signals and live electrical lines all unspooled the city’s typically comfortable relationship with physical, mental and emotional safety. Rumors and misinformation about the mayor and NES further unsettled the city and sowed anger among residents desperate for a clear forecast as they made choices about whether to risk car travel, and how to provide for children and pets.
BAKER AND BROYLES-APLIN are now fighting for their careers. The public, state lawmakers and local elected officials are pointing at NES for mishandling its storm response, and many see firings as the best way to restore public trust. As they condemn NES leadership, officials are careful to praise the union line workers who, at times, endured freezing temperatures for up to 16 hours overnight, returning power to neighborhoods.
Sentiment turned against the local power company when daily restoration totals slowed to a crawl. The utility at first struggled to efficiently assess the widespread damage — described privately by one NES board member
as a “carpet bombing” — and directed crews in the field to prioritize grid work that had the highest impact, often translating to denser areas with less tree coverage, to bring the most people online the fastest.
At a media briefing on Wednesday, Jan. 28, Mayor Freddie O’Connell reported that 100,000 customers were back online. It was the last storm briefing in which O’Connell appeared publicly with NES’ Baker, as calls for clear timelines and information were met with equivocation from the utility’s leadership.
Behind the scenes, Broyles-Aplin was accepting the gravity of the storm at the same time as the city. “Time to ask for more help?” she wrote to herself in a two-line email at 5:53 a.m. on Sunday. A professional accountant, she had ascended to executive leadership first as CFO. She had delegated the technical storm response strategy to operations employees under Baker in favor of higher-level work. On Tuesday evening, Broyles-Aplin personally fielded a call from U.S. Sen. Marsha Blackburn’s office about when crews would restore power to the senator’s Brentwood home, forwarding the request to NES operations manager Kevin Phelps and requesting updates until Blackburn got power back. It was Thursday before Broyles-Aplin took questions directly from reporters. NES’ two public faces kept communicating in confusing executive speak. Baker specifically preferred to recount how much work had already been done, even while tens of thousands remained without power. When discussing NES updates, he spoke in general terms like “stabilization,” “acceleration” and “scaling.” A typical sentence came out in robotic bursts.
“Taking care of this community is paramount — it is the most important to us, and making
sure our customers are restored,” said Baker at NES’ first press conference separate from Metro officials, on Jan. 29. “We are working hard to get scaled up continually until we can hit the speed to restore.”
Broyles-Aplin, the CEO, frequently deferred to Baker in public appearances. She leaned on phrases like, “I commit to you that we will take a look.” At the height of the storm, Baker often avoided giving yes-or-no answers to reporters, promising that more information waited just around the corner.
Baker is a trained engineer and has done utility work his whole career; his expertise is not behind a microphone, especially during a period of extreme stress and a media spotlight. But the episode broadly exposed that NES was not prepared to communicate clearly — the mayor described the utility as “unequipped to communicate about a crisis” roughly one week after the outages began. NES, which is not a government entity, does not have a public information officer — a role that helps government agencies communicate with the media. It does have contracts with high-profile public relations firms FINN Partners and Hall Strategies, cumulatively worth more than $10 million. Both were in place before the storm. During these critical hours, getting information from NES was a mess. Communication between the utility and its reputation team seemed even less organized as individuals involved clearly understood how badly NES’ image was suffering in real time. One NES communications consultant, who responded via email to a Scene information request, said he would “take matters into his own hands” if the Scene didn’t honor a request for anonymity.
Soon after the storm, a pervasive rumor
claiming that NES — whose workforce is represented by the Service Employees International Union — turned away linemen from the International Brotherhood of Electrical Workers did lasting damage to the utility’s corporate image. The accusations flew across social media as supposed proof of NES incompetence and were bolstered by a Tennessean article before being denied publicly by IBEW vice president Brent Hall. Still, Baker struggled to explain publicly why so few line workers were ready to respond when the storm hit.
Rob McCabe, a senior NES board member, confirmed with Broyles-Aplin at a Feb. 25 meeting that the utility has about 240 linemen on payroll — meaning that NES reported that just half of its own frontline workforce were in the field when trees began falling Sunday morning. That is to say nothing of the slow ramp-up of contractors, which Baker attributed to two factors: Linemen were staged in Memphis, where worse storm damage was expected, and NES’ grid demands hours of specified training before a lineman can get in the field. Media also seized on annual reports and statements that indicated NES backed away from sufficient tree-trimming in recent years, strengthening critics’ case that better preparation could have mitigated the citywide disaster.
Thousands of households were primarily frustrated that they were left in the dark. Many Nashvillians had neither electricity nor a clear power restoration timeline. The company’s remote alert systems were not functioning properly, sometimes incorrectly telling customers that power had been restored. The information vacuum fueled armchair social
media investigations into NES practices like lineman numbers, vegetation control and why more lines weren’t underground. (NES buries many new power lines but has not retrofitted the existing grid, citing prohibitive costs.) Some of the worst-hit areas — Belle Meade and its adjacent siblings Forest Hills and West Meade, full of large residential plots and covered in a contiguous thick old-growth tree canopy known as the Western Highland Rim Forest — are also among the city’s wealthiest, oldest and best-connected, all accustomed to prompt service from the city.
“The reality is that our leadership failed throughout the storm and has been failing throughout many storms,” said Metro Councilmember Sandra Sepulveda, turning to face Broyles-Aplin at a Feb. 10 special joint committee meeting. “I don’t understand how we continue to be in this position given the amount of storms we’ve had in this city since I began this term.”
Councilmembers slammed NES at this special-called meeting, their first chance to directly question individuals involved with the city’s storm response. Criticisms of NES united political enemies on the council. One resolution, a legally toothless demand that BroylesAplin be fired, is co-sponsored by outspoken East Nashville liberal Emily Benedict and conservative Courtney Johnston of Crieve Hall. The mayor, who has direct power to appoint NES board members, hasn’t faced as much public blowback. Starting on Thursday, Jan. 29, O’Connell did not include NES officials in his own storm briefings, physically avoiding what had quickly turned from a government service to a toxic political liability. A survey from Republican political consulting firm Baker Group Strategies conducted from Feb. 9 to 12 affirmed O’Connell, whose approval rating came in at 55 percent. Just 9 percent blamed him for ice-storm chaos, while 67 percent of respondents were “very dissatisfied” with NES. Another 40 percent of those polled supported firing CEO Broyles-Aplin, including 51 percent on Nashville’s West Side.
Storm analysis has now been funneled into various commissions and reports that will
cost more time, money and attention. City agencies like the Nashville Fire Department and NDOT are already vowing to share findings of rigorous after-action reports. The NES board tasked old-school attorneys Aubrey Harwell and Bill Harbison, both named partners at two of the city’s top firms, to conduct an external review of NES’ handling of the storm, expected in 90 days. Their first step is hiring another set of consultants with specific experience reviewing utilities after weather disasters. O’Connell named a special nine-member Winter Storm Response Commission, which has commissioned yet more lawyers to produce a separate review by August. Former Nashville Mayor and Tennessee Gov. Phil Bredesen — also the founding chairman of solar energy company Silicon Ranch — leads that commission.
“I THOUGHT YOU would have gray hair by now,” a bald and bandaged Bredesen joked to Broyles-Aplin when the NES CEO stepped to the mic to address the mayor’s commission at its opening Feb. 23 meeting.
Several other agency heads had spent the previous hour explaining how their success during the ice storm came from careful planning, coordination, communication and preparedness.
“We opened fire stations and police precincts to provide shelters from the cold,” said Nashville Fire Chief William Swann, who also heads Metro’s Office of Emergency Management and was a steady presence next to O’Connell throughout the storm’s press briefings. “This did not happen by chance. It was intentionally done. We had this set up within 24 hours. We worked with the Red Cross, who ran the shelters. We had the Office of [Homeless Services], the health department, Nashville Fire Department personnel working as EMTs and paramedics, Metro PD working as security. LifeFlight Vanderbilt EMS and Ascension EMS to help us have wraparound services.”
Swann, a prominent department leader whose job bridges professional experience and politics, seemed to be speaking from
lessons learned from the public blowback. Each glowing detail directly paralleled an NES criticism.
“One of the great highlights was that the national Red Cross came in,” he continued. “They were blown away with how many resources we had here in the shelters. We used different types of messaging: We used social media, [Integrated Public Alert and Warning System] messaging, and made sure we coordinated these efforts on a daily basis.”
Metro Water Services’ Assistant Director Brent Freeman emphasized how they did pre-storm winterization and scaled up crews to respond to main breaks that at one point plagued the city. Phillip Jones — the new acting head of NDOT — explained how his department’s sweeping evaluation across the county identified “any and everything” that might threaten transportation and got roads open to traffic. Swann and the other department heads who spoke at the Feb. 23 meeting did not face the same challenges faced by NES, nor the scale or scope of work, but they took a victory lap. Broyles-Aplin found a way to broach but avoid taking responsibility for NES’ failures while defending her professional track record.
“I would be remiss, and would like to dive in briefly to acknowledge, that we did not meet the expectations of our customers through this storm,” she told commissioners. “Through this storm, we did not provide the level of service and communication that our customers have come to expect from NES. We’ve historically had really good reliability and improved communications over the years. We were unable to deliver that through this storm.”
Other department heads serve directly under the mayor, who can hire or fire them like a cabinet. As utility executives, Baker and Broyles-Aplin serve at the pleasure of the city’s volunteer Electric Power Board, which consistently praised the utility’s leadership at its monthly Jan. 28 meeting, a special-called Feb. 9 meeting and a Feb. 25 meeting, during which board members seemed to be growing a bit uneasy. One indicated that the board is under pressure to appease state legislators, who are posturing for a state takeover of the utility,
before the end of this legislative session. Lt. Gov. Randy McNally has explicitly called for BroylesAplin’s firing and another, state Rep. Johnny Garrett (R-Goodlettsville) filed a resolution “condemning” NES’ storm response.
At the Feb. 25 NES board meeting, BroylesAplin introduced several new initiatives. A newly approved contract will enable NES to better model its grid and tree canopy with Lidar (a form of landscape mapping that uses lasers), helping manage vegetation and making trimming and incident response more efficient. Broyles-Aplin hopes to hire a public information officer in the coming months, telling the Scene she “sees value in having someone that has our operational knowledge” as opposed to PR consultants. The utility will also explore “strategic undergrounding” for lines. Broyles-Aplin explains that problems with the publicfacing outage map should be fixed by the end of March, including Spanish language information, accessibility for the visually impaired, and the ability to withstand lots of traffic. After that, NES says it should be able to provide estimated restoration times for customers, a key missing piece during Winter Storm Fern. A little extra contract preparation will also make it easier to scale up workers.
“One pillar that we’re focusing on includes different ramp-ups and potential pre-staging of resources,” Broyles-Aplin told the board.
“Currently, we have all of our storm work contracts in place, so if we were to have a storm in the next few weeks — well, next couple of months — we have emergency storm contract agreements in place.”
There may be a storm in the next couple of months, but there was also a storm just six weeks ago. The speed and ease with which NES corrected its course also demonstrates that it was not prepared before the ice hit. Instead, chaos followed disorganization. Misinformation, physical danger and public resentment followed the chaos, as Nashville looked to its leaders, and its leaders looked at each other. Maybe, with enough consultants and committees and reports, someone will apologize. ▼
3.5
3.7
3.11
3.18 Jamie O’Neal, Craig Campbell, Rebecca Lynn Howard
Ashley
3.21 Bradley Gaskin w/ Special Guest Cort
3.22 Buddy’s Place 15th Anniversary w/ Kayley Bishop, Fraser Churchill, Abbey Cone, Sean Kennedy, Paul Sikes, Striking Matches, Cyndi Thomson
Records Night w/ Scott Southworth, Daryl Wayne Dasher, Jacklyn Hart
3.17 Buddy’s Place Writer’s Round w/ Michael Logen, Lauren Lucas, The Young Fables
3.25 Uncle B’s Damned Ole Opry Presents Dylan vs. Dillon: The Songs of Bob and Dean Slug It Out!
3.28 Ryan Waters Band
THURSDAY, MARCH 5
MUSIC [OUT OF MY MIND] KASHUS CULPEPPER
Every week in Nashville, someone could sell you a show by declaring that “you need to see this artist in a small room while you can!” Well folks, it’s my turn this week. Country troubadour Kashus Culpepper plays The Basement East on Thursday night, and the show could easily be remembered as that time he played a headlining gig in town before moving on to much bigger rooms. Culpepper plays the East Nashville club in support of Act I, an 18-song debut LP that features roof-raising soul songs (like the repeat-worthy “Man of His Word”), indie-folk ruminations (such as “Break Me Like”) and tried-and-true country storytelling (“House on a Hill”). Collaborators on the album include two go-to voices in Americana — Marcus King on the rowdy rock number “Southern Man,” and Sierra Ferrell on the soft-to-the-touch song “Broken Wing Bird.” Support on the show comes from Aubory Bugg and Jaid Joice. MATTHEW LEIMKUEHLER
7:30 P.M. AT THE BASEMENT EAST 917 WOODLAND ST.
MUSIC
[GET ON YOUR PONY AND RIDE] TIM EASTON ALBUM RELEASE RESIDENCY
Prolific songsmith Tim Easton has been traveling widely since he was a small child, but he’s made Nashville his home base for well over a decade and become an integral part of East Nashville’s music community. His 14th studio LP fIREHORSE, released in February, achieves a contemplative feel even when discussing heavy topics — as in my favorite cut “Don’t Let Your Mind Grow Dark,” a grooving upbeat blues shuffle about not letting the bastards snuff out your light and stop you from doing what good you can. Easton calls on an array of friends and collaborators to bring this vision to life on the LP, and he’s sharing the spotlight with many of them during the release celebration residency he kicked off Feb. 26 at City Winery’s Lounge space, which continues on Thursdays through March 19. On March 5, the guest lineup includes fIREHORSE producer and songwriter Kevin Nolan alongside Kara Cole and Laurel Lewis; Lewis returns March 12 along with Darrin
Bradbury. Meanwhile, East Side fixture Brian Wright and songsmith (and Scene contributor) JP Olsen join in the final show in the run on March 19. STEPHEN TRAGESER
7 P.M. MARCH 5, 12 AND 19 AT THE LOUNGE AT CITY WINERY 609 LAFAYETTE ST.
FILM [CREAM OF THE CROP] BEST PICTURE MARATHON
The Belcourt’s annual Best Picture Marathon is back with 33 screenings of this year’s nominees packed into a nine-day stretch in the lead-up to the 2026 Academy Awards. If you’re behind on this year’s mostly excellent slate of nominees, or simply want to rewatch some of your favorite films of the year on the big screen, then make your way over to our local arthouse this week. It will be especially tantalizing to get a glimpse of Guillermo del Toro’s gothic adaptation of Frankenstein or Clint Bentley’s haunting Train Dreams, both of which were Netflix productions that never received a wide release in theaters. All 10 nominees are screening at least three times apiece before
the March 15 ceremony, and you can find the schedule online at belcourt.org. LOGAN BUTTS
THROUGH MARCH 14 AT THE BELCOURT
2102 BELCOURT AVE.
[WHAT DO THEY GOT IN THERE? KING KONG?] DINOTREK
Parents rejoice: The dinos are back in town! After a three-year hiatus, DinoTrek returns to the Nashville Zoo on Friday. The beloved attraction ($5 in addition to zoo admission) is going even bigger for its 2026 comeback, with around 50 dinosaur animatronics featured on this year’s tour. The T. rex and 23-foot-tall brachiosaurus are back this year, along with some new dinos that haven’t joined the party in Nashville before — headlined by the giant stegosaurus. With a hidden entrance near the back of the zoo (don’t worry, there’s plenty of signage), DinoTrek is set up with immersion in mind, taking kids on an adventure 65 million years in the making.
CHARLIE RIDGELY
THROUGH JULY 26 AT THE NASHVILLE ZOO
3777 NOLENSVILLE PIKE
ART [OFF THE RACK]
MATT LLOYD: STRANGE ADVENTURES
Nashville-based artist Matt Lloyd borrows from the 1970s horror and adventure comics of his childhood, distilling the intensity of their chills and thrills onto surreal canvases where their grade-school aesthetics become phantasmagorical. Lloyd’s colorful palette and heavy line work will have Gen-X gallerygoers
display for the remainder of the month. JOE NOLAN
OPENING RECEPTION 5-9 P.M., THROUGH MARCH 31 AT
ROCK WALL GALLERY
438 HOUSTON ST.
[DON’T CALL IT PUNK]
Relive the thrill of prom night with New Wave Prom Night at Eastside Bowl. Bring a date and expect a night of dancing along to ’70s- and ’80s-inspired performances of synth-soaked New Wave hits from Echo and the Bunnymen, Devo, The B-52’s, Soft Cell, Tears for Fears, Talking Heads and more alternative pop and post-punk heavy hitters from the decade of decadence. To bring the prom magic to life, the event will feature drink specials and a photo booth, and prom attire is strongly encouraged. The event boasts live music from “Nashville’s grooviest musicians” and is held in the main room at the Bowl, where the venue’s retro-inspired look will be the perfect setting for a night out. Grab tickets at Eastside Bowl’s website, with all proceeds benefiting MusiCares — a nonprofit that serves as a health care safety net for musicians in need. LILLY LUSE
8 P.M. AT EASTSIDE BOWL
1508 GALLATIN PIKE S., MADISON
MUSIC [REACHING OUT]
recalling the inky perfume of new issues of comic faves bursting from the racks at comic shops, drugstores and supermarkets. But Lloyd’s not happy merely indulging in nostalgia, and it’s his weird and sometimes disturbing compositional remixes that make his Strange Adventures more than just a retro rehash. The show is curated by Reggie Wayne and will be on
Since its first show in 2011, the Gay Ole Opry has spotlighted queer musicians whose work often challenges the orthodoxy of country music. On Saturday at The Basement, the latest edition of the long-running show features a set of artists who strive to broaden country’s reach. For Lizzie No, who moved from New York to Nashville in
late 2023 and played in the city for the first time as a resident in March 2024, Americana is the jumping-off place for a singer who carries on the tradition of confessional folk music. No’s 2024 album Halfsies features the backing vocals and clarinet of fellow Americana exponent Allison Russell, and No’s songs are cast in the mildly experimental, post-folk vein that Russell favors on her 2021 album Outside Child Halfsies includes a song titled “Annie Oakley,” which is about a motel, not the legendary Ohio-born sharpshooter and early media star. Halfsies is both decorous and emotive — No might be the next breakout star in Americana. Meanwhile, Lauren Horbal is a Nashville drummer, singer and songwriter who has played with the Nashville pop-rock sextet Fame & Fiction. Kennedy Ann Scott hosts the proceedings, and Lonely Hunter and Again & Again round out the bill. The show benefits advocacy group Trans Aid Nashville.
EDD HURT
9 P.M. AT THE BASEMENT
1604 EIGHTH AVE. S.
Get ready to sweat! High-octane rocker J Roddy Walston brings his new outfit The Automatic Band to Nashville Saturday night for a show in The Blue Room at Third Man Records. Of his live performances, singer-songwriter-pianist Walston told The Pop Break, “It’s alive. If the vibe is right, the room is right and the crowd is right — it’s pretty explosive. Everyone’s dripping in sweat.” The Richmond, Va.-based Walston, who has been described as a “piano-playing chaos merchant” and a “force of nature,” fuses Southern rock, classic rock, blues, metal and funk into high-energy, roof-raising rock ’n’ roll. Born in Cleveland, Tenn., Walston and his original band The Business rose to national prominence and built a devoted following in the 2010s on the strength of their rock radio hit “Heavy Bells” and their incendiary performances opening for the likes of Drive-By Truckers, Deer Tick and Lucero. Walston parted ways with The Business in 2019 and did his first show backed by The Automatic Band in July 2025. His performances with the new band have mostly featured songs from his time with The Business, with some newer material mixed in. Nashville-based rockers DeeOhGee will open the show.
DARYL SANDERS
7 P.M. AT THE BLUE ROOM AT THIRD MAN RECORDS 623 SEVENTH AVE. S.
[SEE IT HERE FIRST]
If you’re passionate about new musicals, you’ll definitely want to check out the new First Stage concert series, beginning Saturday at Analog at Hutton Hotel. Established by New Musical Theater Nashville in partnership with Analog and the American Society of Composers, Authors and Publishers, The First Stage provides a welcome spotlight for local writers, performers and musicians, while giving
audiences a sneak peek at some exciting new work. For Douglas Waterbury-Tieman, founder of NMTN, the new series promises to build on the collective’s popular writers’-round-style concerts, which have been hugely successful. “NMTN is excited to partner with Analog at Hutton Hotel and ASCAP to bring Nashville audiences one step closer to the process of developing musicals with The First Stage,” he says. “These concerts will stir the imagination as audiences journey into the mind of writers, who are hungry to share their brand new work. We are dedicated to connecting new work with audiences, and Analog is the perfect place to make a meaningful connection.” This weekend’s inaugural showcase features Sarah Aili with her new musical Back in Birmingham (co-written with Radney Foster), along with Meredith DiMenna’s new rock ’n’ roll cabaret I Make Sense in Texas AMY STUMPFL
MARCH 7 AT ANALOG AT HUTTON HOTEL 1808 WEST END AVE.
ART [SPRING IS HERE]
Nearly six weeks after January’s historic ice storm, Cheekwood Estate & Gardens officially reopens on Saturday with its always popular Cheekwood in Bloom. This year’s festival holds special meaning, as the colorful garden designs honor the nation’s 250th anniversary with 250,000 blooming bulbs. Dubbed Red, White & Blooms, the display will feature red and white tulips and purple-blue hyacinths and violas, as well as a vibrant display of yellow and white daffodils. Guests can stroll the grounds, enjoying live music or perhaps grabbing a delicious bite from one of the food trucks. There will be plenty of children’s activities, along with adult education programs and workshops, plus a number of intriguing art exhibitions — including Common Ground: The Hainsworth Collection in Conversation With Cheekwood’s Permanent Collection and An American Story: Paintings From the Parthenon’s Cowan Collection And be sure to keep an eye out for other upcoming events, such as Math in Bloom, a unique celebration of Pi Day on March 14; Holi, the Indian Festival of Colors on March 28; and the Great Spring Art Hop April 3 and 4. AMY STUMPFL MARCH 7-APRIL 12 AT CHEEKWOOD ESTATE & GARDENS
1200 FORREST PARK DRIVE
One of my favorite side effects of the Frist’s massive undertaking In Her Place: Nashville Artists in the Twenty-First Century is how quickly its institutional support has begun to ripple outward. One example is David Lusk Gallery, which hosted Painting and Her Women, a group show curated by Jodi Hays, an artist whose work features prominently in In Her Place, and whose curation put a feminist framework around the artmaking. At Tinney Contemporary, TINNEY/20 highlighted the gallery’s long history of exhibiting Nashville-based artists. If you measure an exhibition’s success by how it
drives the cultural conversation, In Her Place is clearly a worthy endeavor, and it’s not even halfway through its run. Red Arrow’s In Our Place is perhaps the most direct extension of the Frist show. Artists Alex Blau, Briena Harmening, Emily Weiner, Jodi Hays, Kimia Ferdowsi Kline, Lauren Gregory and Vadis Turner are among the 28 artists showing at the Frist who have also exhibited at Red Arrow during the gallery’s 12 years in Nashville. This is a great way to show that museum recognition matters to the community, and for collectors, it’s an ideal opportunity to support artists whose visibility is being bolstered. LAURA HUTSON HUNTER
MARCH 7-APRIL 18 AT RED ARROW 919 GALLATIN AVE.
Founded in 2022 by students at Rhodes College in Memphis, Crooked Diehl is a bluesrock quartet whose name is a play on the last name of one of the college’s early presidents. Based in Nashville since May, the band — vocalist-guitarist Jaid Joice, lead guitarist Zach Jennings, bassist Malcolm Bryan and drummer Jake Sanders — will conclude a quick threecity tour with a performance Sunday evening at Nashville’s The Underdog. They will kick off their run in the Bluff City on Friday evening.
“We’re calling this the Tri-County Tour because we’re going from Memphis to Jackson up to Nashville,” Sanders tells the Scene. They will share the bill on all three shows with Memphisbased Massey Hall and Jackson-based Music by KOTA. While Crooked Diehl will play a few tunes from their 2024 LP The First One and their 2025 EP Tri-County Special, Sanders says they primarily will perform new material that will appear on their next release. “We have five new tunes that we’ve been working on that we’re super stoked about,” he says. “We’re planning to go into the studio sometime in the next couple of months.”
DARYL SANDERS
7 P.M. AT THE UNDERDOG
3208 GALLATIN PIKE
MUSIC
[LIGHTNING IN A BOTTLE] THE SUMMER SET
Warped Tour alumni, it’s time to clock back in: The Summer Set is coming to town. If you know anything from The Summer Set, it’s likely “Chelsea,” or perhaps “Jukebox (Life Goes On)” from their early days. More than a decade ago, the band toured with All Time Low (what a time to be alive), and at some point they took a long hiatus — but they came back strong with a new album in 2025, Meet Me at the Record Store. It’s rare and exciting to have a band like this return with so many original members — those include vocalist Brian Logan Dales, drummer Jess Bowen, guitarist and keyboardist John Gomez and bassist Stephen Gomez. They’ve evolved, yes, but have not completely abandoned their foundational pop-punk sound — another exciting rarity. It’s
a natural progression from those Warped Tour days. Check out “ADIDAS” from their most recent album for a reassuring example. You’ll still hear some of the classics on this tour stop — the band members just have less severe side parts now.
HANNAH HERNER
8 P.M. AT THE BASEMENT EAST 917 WOODLAND ST.
Nashville hoops fans will get their first taste of March Madness in 2026 with the return of the Southeastern Conference Men’s Basketball Tournament to Bridgestone Arena. Including this year’s edition, 11 of the past 16 iterations of the contest have taken place in Nashville. And if it’s anything like the 2025 version, the five-day, 16-team affair will have a major impact on this month’s NCAA Tournament bracket. The SEC won’t be sending a record-breaking 14 teams to the Big Dance as they did last season, but, as of press time, 11 of the conference’s teams are firmly in the discussion for a tournament bid. The competition will also give local Vanderbilt fans a chance to see the ’Dores in a postseason format prior to the NCAA Tournament. Vandy is having its best season in ages, and the SEC Tournament could be a good jumping-off point heading into a pressure-packed March Madness for the program. LOGAN BUTTS
THROUGH MARCH 15 AT BRIDGESTONE ARENA
501 BROADWAY
[COME AND GET IT]
COMEDY
A funny thing happened to Bridget Everett as she quietly, demurely, respectfully hewed her own path over the broken remnants of naysayers. Society — drawn in by a thenstill-meaningful prestige television streamer expansion — learned all too well that in addition to being the toast of the NYC cabaret scene, a brassy and bawdy chanteuse who could open hearts and close down bars, and a stand-up comedienne who found the perfect midpoint between Karen Finley and Bette Midler, Bridget Everett is an incredible actress and magnetic on-screen presence with her triumphant show Somebody Somewhere. So imagine the sheer joy and opportunity awaiting newcomers to the cult of Everett as she brings her band, The Tender Moments, to freak out the Mother Church with a performance that will knock you flat and change your life; if she performs “Get Over You,” I guarantee it will. Coming immediately from a two-scene wonder of a turn in the latest Knives Out film Wake Up Dead Man, Everett is ready to show Nashville what it’s been missing. Previous tears through the city’s Zanies scratched a lot of itches, but unless you’ve seen her peerless 2015 special Gynecological Wonder, you have no idea the emotional journeys that a Bridget Everett show will take you on. Remedy that, Nashville.
JASON SHAWHAN
8 P.M. AT THE RYMAN
116 REP. JOHN LEWIS WAY N.
Taking a tour of brand-new hot spots Love’s Alibi, The Hitchcock and Charmers
BY CHRIS CHAMBERLAIN
AMID THE SPATE of out-of-town hospitality groups opening new restaurant and bar projects in Nashville, it’s refreshing to see some development courtesy of cocktail professionals with local ties. Since the beginning of the year, three fun new bars have welcomed their first guests, and each one offers a different but welcome flavor to the area around downtown as an alternative to the typical hotel bars and mega-celebritonks.
The first is a sultry lounge in The Gulch with unexpected food options courtesy of the team behind the popular Barrel Proof in Germantown. The second new entrant is a proper cocktail bar in a building with a fascinating history. (A building that was also formerly a Subway.) The last new player is a hard-to-find gem of a dive bar from the James Beard-winning crew at Peninsula.
I decided to visit all three of these new bars in a single evening without driving or using rideshares. I’m participating in Nashville’s Greenways Challenge: I committed to walking or biking the entire system of Nashville’s greenways during this calendar year. That’s 35 different segments and almost 100 miles. The recent icy unpleasantness has put me behind
on my schedule, and I realized that these three particular establishments are all located within a block or two of different greenways. A quick ride on the WeGo No. 7 from my house to the corner of Broadway and 12th Avenue, and my quest began.
I’ll spoil the ending right up front. Can you get between these three bars by walking? Yes. Did I do it? Yes. Was it a good idea? No. Ten-thousand steps and some poorly lit streets later, I accomplished my quest, but I wouldn’t advise it.
My first stop was Love’s Alibi, just across the street from Peg Leg Porker in The Gulch. The third jewel in the Nashville crown for NOLA-based hospitality team LeBlanc + Smith, Love’s Alibi joins Barrel Proof and The Chloe.
The decor at Love’s Alibi leans industrial, with exposed brickwork and ducts running along the ceiling. The concrete bar seems designed to survive anything a rowdy tourist could throw at it, but the overall vibe is decidedly chill. Color-changing lights illuminate the bottom of the bar and the glass bricks that form wall dividers between the bar and seating areas.
Experienced mixologists work from a solid back bar of high-end spirits, but the menu is far from snooty. Six-dollar shots feature peanut butter tequila, raspberry vodka and Jägermeister as the main ingredients, or you can upgrade those options into a “Love Bomb” by adding Red Bull. Cocktails include a blackberry cobbler served in a Twisted Tea can and a really interesting savory martini made with briny sherry, saffron and Spanish peppers.
Something that makes Love’s Alibi stand out among local cocktail bars: its substantial food menu, which includes one of my new favorite burgers in town. The third-pound Alibi cheeseburger is topped with caramelized onions, fried shallots, bourbon mustard, house-made pickles, and American and provolone cheese — Love’s Alibi is worth a visit just for that burger. Other standouts on the food menu include honeyachiote-glazed chicken wings, shrimp remoulade lettuce wraps and a NOLA po’boy-inspired dish of fries smothered with burrata and beef “debris.” I never expected to see a braised beef rib with scallion whipped potatoes and collard greens on the menu at a cocktail emporium, but
I’m happy that it exists.
Thanks to its afternoon opening hours, Love’s Alibi draws a mix of residents from nearby condos and apartments, along with a smattering of tourists. Later in the evening, they see more of a rush from outside visitors — and then a lot of industry folks coming in after their own bar shifts are over. It doesn’t matter where you came from; you’ll feel at home in Love’s Alibi.
Stop No. 2: The Hitchcock, a moody cocktail emporium under the management of Gabe
Love’s Alibi 901 Gleaves St. lovesalibinashville.com
The Hitchcock 530 Church St. hitchcocknashville.com
Charmers
1316 Adams St., Suite 25 Instagram: @charmers.nashville
Fuenmayor, the owner of another of my favorite downtown drinking spots, Bar Sovereign. The Hitchcock has a bit of a speakeasy feel, with a small video screen displaying a film of an eye peering back at you through a peephole in the front door. But the door is not shut, and you don’t need a password to get in.
The bar is located on the ground floor below The Maddox Hotel, a property that caters to group travelers with multiroom lodging options like The Honky Tonk Suite and The Elvis Penthouse. Although the hotel and The Hitchcock share the same ownership, they are not connected physically, so you probably won’t encounter bevies of bachelorettes at the bar. While it’s not a lobby bar, per se, it is becoming a bit of a lobbyist bar thanks to its proximity to the Tennessee State Capitol.
The bar takes its name from The Hitchcock Building, which has a fascinating history. Through the years, the corner of Fifth and Church has been home to the Berlitz Language School, the Tennessee Centennial planning committee, an ice cream parlor, Rexall Drug Store and the office where Herman Lay started his potato chip empire. Most notably to Nashvillians of a certain age, the building was part of department store Harveys from 1946 until 1983. Locals may remember the carousel with its gaily painted horses, or The Monkey Bar that had real live chimpanzees in cages near the food counter.
When The Hitchcock’s owners were first planning the design scheme, they contracted with a film set designer, who leaned into the name — there are images of Alfred Hitchcock on the walls and stuffed ravens perched over the back bar. Midway through the process, they decided to concentrate more on the building’s history, and the results are stunning. Dramatic chandeliers hang above the bar, more sculpture than fixtures. Wood, leather and metal decor offer a clubby atmosphere, and the original terrazzo tile of the former tenants feels historic.
History inspires many of the creative cocktails on the menu, and the snacks even include Lay’s potato chips flavored with a house spice blend. The fact that the party people staying upstairs can’t enter the bar directly and the honky-
tonkers three blocks away on Broadway don’t like to climb more than 39 steps uphill makes for a more sedate and mature crowd. The Hitchcock is an urban oasis and a welcome retreat from the ruckus of Lower Broad.
But they don’t mind a little ruckus at Charmers, the new bar project from the team behind Peninsula. Hidden away at the back of the Neuhoff District building that also contains Close Company and Fishmonger, Charmers is a spot you have to want to find. But once you do find it, you’ll want to return. If you know where the River Steps are in the Neuhoff District, you’re close. Find the steps, walk halfway down and turn left where you see a patio jutting out over the Cumberland.
The intentionally dark interior of Charmers makes it feel like you’ve discovered a secret club that doesn’t want everyone to know about it. But industry folks and fans of spritzes, fizzes, cocktails and cheap beer and wine have already discovered a new favorite. The short bar can be stacked three or four patrons deep on a busy weekend night, but the professional bar staff is up to the task.
The menu is also designed to keep the drinks flowing efficiently. There aren’t cutesy names to decipher on the menu of spritzes and fizzes. It’s just a numbered list of ingredients, so all you have to remember is whether you like the No. 3 or the No. 10. Cocktail names are just a wee bit precious, like The Orange Julius Erving or The Jimmy Carter, but they’re also descriptive. The former has vodka or gin plus OJ and foam, while the latter is a bourbon and Coke with peanuts and peanut orgeat (a peanut-flavored syrup).
The only food items on the menu are curly fries and the Gribiche Burger that Beard-winning chef Jake Howell has been perfecting during pop-up events at his East Side spot Peninsula. Having already housed an Alibi cheeseburger earlier that evening, I didn’t get to sample Charmers’ version, but I’ve heard it compared to Dino’s. High praise, indeed.
I’m really looking forward to warmer weather, when the patio at Charmers will be the place to enjoy a summer evening watching the river roll by. I just probably won’t walk there the next time. ▼
MORE THAN 100 artworks from 28 Nashville artists, representing four decades of our city’s art scene, fill up every corner of the Frist Art Museum’s largest gallery for In Her Place: Nashville Artists in the Twenty-First Century.
Co-curated by the Frist’s senior curator Katie Delmez, community engagement director Shaun Giles and independent curator Sai Clayton, the exhibition is one of the headliners of the museum’s 25th anniversary year.
The idea of an all-women Nashville art show first occurred to Delmez nearly a decade ago, and if we go back, we’ll remember that 2016 and 2017 were peak years for all-women group shows. As with all exhibitions dedicated to under-represented populations, such shows come with recurring debate about their merits and issues — one camp claiming that they reinforce stereotypes about the work being unable to stand on its own, the other side just happy for the opportunity. In the foreword to the exhibition catalog, art historian Katy Hessel addresses the obvious question — “Are we not beyond this?” — and answers with a regretful, “No, we’re not.” She reports that between 2008 and 2020, acquisitions by 31 prominent U.S. museums included only “11 percent by female-identifying artists, while only 0.5 percent were by Black American women.”
Fortunately, In Her Place isn’t so simplistic as to make gender a genre. Rather, it’s showcasing something special about Nashville’s art scene — the fact that women had such a major role in building it. In the accompanying audio tour to In Her Place, artist Vadis Turner puts it succinctly: “The female artists are very much the heavy hitters.”
In order for generations of women to be recognized on a societal scale for their contributions, it can be necessary for an institution like the Frist to make a clear acknowledgment, and that’s what we have with In Her Place. Additionally, if we go ahead and accept the importance of female artists and art professionals in Nashville, we can dispense with a fixation on gender as the show’s primary thematic tie-in. (If it were, there’d be some discussion of queerness, and there is none.) We can abandon any obligation to infer that the works’ traits, subjects and materials are stereotypically associated with femininity, and instead look at these 28 artists as representative of the people who laid the groundwork for Nashville’s contemporary art community. It’s not a comprehensive show, after all. There’s no way it can include everyone who “should” be here. So what are we left with?
Quite a bit. As you move from room to room, In Her Place feels like the best art crawl you’ve ever been to. Most rooms function like smaller themed shows based on malleable connections like “Materiality and Memory” or “Patterns and Abstractions.” You can imagine popping into
the former Zeitgeist or David Lusk galleries to see Marilyn Murphy’s surreal pencil drawings of domestic settings in conversation with Ashley Doggett’s expressive portraits of violence and injustice in the history of Black enslavement and the Jim Crow South. The dreamy room with paintings by Emily Weiner, Karen Seapker, Katie Hargrove and LiFran Fort could easily be an afternoon at Red Arrow.
It’s an expansive show, but there are only three artists who have an entire room dedicated to their work — Raheleh Filsoofi, Elisheba Israel Mrozik and Jana Harper. These immersive spaces, devoted to wonderment and sensory overwhelm, have strong COOP Gallery, Elephant Gallery and Neue Welt energy. I spent the most time in Mrozik’s installation, seated on the floor (there are only two benches available for guests
of the show) to watch a video of her swimming in Caribbean waters in the direction of Africa.
I do wish that Lauren Gregory’s eight-minute short film “Ol’ Splashy” could be viewed in a small theater instead of on a screen with one headset, if only so I could sit and watch it with people more than once.
Something else I cannot get over is the scale of it all. Most of these pieces are huge. From Alicia Henry’s opener to Kelly S. Williams’ finale, the works tower over the viewer, hang from ceilings, reach to the rafters, cascade around corners. Even the sounds of birdsong from Filsoofi’s room spill over lavishly.
This remarkable scale is certainly one of the ways to tell the story of Nashville’s visual art scene. As many of the artists explain in the audio tour, Nashville has been an appealing
place to live and make art because it was more affordable than where many of them came from, like New York City or Chicago. Here, they could afford to have larger spaces and literally expand their artwork, although several of them note that affordability is no longer what you can expect here. In this way, In Her Place is a retrospective of the creativity that can be made when supported by affordable housing and workshop space, and how accessibility allows an entire arts industry to flourish.
Along with the scale, there’s significant cohesion through techniques, materials and colors. We encounter genius uses of fabrics and quilting. We meditate on legacy, heritage, the love of the natural world, grief processing, family, motherhood and — of course — place and a sense of belonging.
In co-curator Giles’ essay on artist-educators from the exhibition catalog, he mentions Harper’s commitment to “the Indigenous concept of seven-generations thinking — that is, a responsibility to three generations in the past and three in the future.” This idea of creating backward and forward stayed with me, particularly when passing between Beizar Aradini’s delicate tapestries and Kimia Ferdowsi Kline’s table of salvaged wood objects. I am grateful that the show is not chronological, which could’ve been the case due to its association with the Frist’s anniversary. Instead, they’ve allowed for something far less finite and much more triumphant for these artists — recognition of their work as contribution to a city’s history, but also distinction from it. ▼
John Cowan and Andrea Zonn are the The HercuLeons with Jody Nardone, Andy Peake, Paul Kramer, Will McFarlane, Abe Parker + The Refugees (featuring Cidney Bullens, Wendy Waldman & Deborah Holland)
WMOT Roots Radio Presents Finally Friday featuring Joelton Mayfield, Nick Govrik & James Maddock
12 Against Nature "A Steely
Experience" with Sam Mullens
Backstage Nashville! Daytime Hit Songwriters Show featuring Heidi Newfield, Anthony Smith, Erin Enderlin with Sofie Smithson + Hadlie Jo
Ava Swan’s Choir of Angels featuring Melanie MacLaren, Two Sun Bower, Liv Green, Noah Luna, Emily Hines, Genna Matthew, Caylan Hays, Smitty, Nic Fair, Bedon, Tommy Massad, Kavya Borra & More!
BACKSTAGE AT 3RD: Listen Hear Woman Presents Helene Cronin, Kelli Johnson & Breann Young featuring Destinee Reed & Lindsey Hinkle
We Are The Merle: Celebrating the Music of Merle Haggard with Erin Viancourt
Rougarou brings the big beat of New Orleans brass-band music to Rudy’s
BY SEAN L. MALONEY
HOPE YOU DIDN’T give up groovin’ for Lent, because Rougarou Brass Band is holding down a residency at Rudy’s Jazz Room on the first and third Thursdays of the month for the foreseeable future. The brainchild of two Louisiana natives, bassist Brook Sutton (who’s also owner of recording space The Studio Nashville) and piano player Chris Walters, Rougarou is rounded out with a murderers’ row of “damn, it’s that dude”type dudes. That’d be drummer Chris Brown, guitarist Jérôme Degey, trombonist Josh Scalf, trumpeter Andrew Carney and sax man Chris West. The Scene caught up with Sutton ahead of the March 5 show.
What are these gigs like? It seems like a pretty fun idea. I mean, I’m from New Orleans, so I’ve always kind of had a love for brass bands, and Rebirth and Preservation Hall. These things are part of my history — I love that music so much. And it kind of came about in talking with the piano player, Chris Walters. He’s also from New Orleans.
We just got talking about it, and we had a couple of people call a few times and say, “Hey, we need a second line,” or this or that. I was
like, “Man, we should just put a band together.” And that’s what we did. So it’s a lot of fun. It’s a seven-piece band. There’s three horns up front, there’s sax, trombone and trumpet. We have a full rhythm section: bass, drums, guitar and piano. I kind of triple on upright, electric bass and sousaphone.
Oh, fun! It’s a blast. I played [sousaphone] when I was in high school. I was like, “Man, I want to do that some more.” So I have one here at the studio, and occasionally we’ll track it or something. But to have a reason to take it out every other week has been a lot of fun.
That’s pretty special. You don’t get to bring the sousaphone out very often. No, not in Nashville. There’s just not that many calls for it, but it’s fun and I’m having a great time doing it, and it’s fun to switch it up.
What’s the audience reaction like? They love it. They absolutely love it. I mean, we’ve had some really great shows over at Rudy’s. Rudy’s has been kind of home for us. … We’d done their Mardi Gras party every year. And I finally talked to Adam Charney, who’s the owner, [who] was like, “Man, we really should try to do something.”
It took a little while to get it started. We started it once a month on the first Thursday of the month. And then we decided in 2026, we’d open it up to the first Thursday and third Thursday of the month. And the reaction has been great. And it’s hard to support a seven-piece band and a club that size, but we’ve been able to do it, and it’s been pretty cool.
What does it feel like performing with a group that size in that space? It’s amazing. It’s amazing because the sound can be so big — but what’s amazing is the players that are in the band. They’re incredible musicians and very dynamic, and that’s what’s a lot of fun when you have seven pieces that can get really, really strong. Then at other times they can just get really, really quiet and moody. There’s a lot of flexibility in the band, and it can be a party, or it can be really introspective, or it can be real jazzy, or real traditional.
How do you put together your repertoire? What are you thinking about beforehand, and what are you thinking about in the moment? We kind of gravitate towards things that are kind of funky and groovy and swinging. It starts there. There’s just a love for the music and wanting it to feel a cer-
tain way and explore ideas within it. We try to pick repertoire that is familiar enough, but also challenging enough for us to create a moment for ourselves on the stage.
We’re still keeping this very much alive in the improvisational element. We’re always looking for material that allows us to be free enough to do that. Luckily, it’s kind of in the jazz and funk idioms that we’ve been able to do that.
What do you think New Orleans music offers a musician that other forms of music don’t? There’s just a spirit about New Orleans music that I think gives musicians a certain freedom to be themselves. And for me, New Orleans music has always just been such a community effort. I also think it’s very inclusive for the audience and the people participating. It’s always an invitation to come up and dance and move and express yourself, sing along. ▼
Playing 9 p.m. March 5 and 19 at Rudy’s Jazz Room
“WHAT HAS SET Rock Eupora aside is the idea that it’s sort of a one-man band, but it’s designed to be played by a band,” says singer and songwriter Clayton Waller, speaking from his Nashville home about his project’s new album Rev. Waller recorded Rev, out March 5, on his own after revising arrangements he’d made earlier to take his live band into the studio. He tells the Scene he even upended the natural order of tracking when he cut it.
“It seems fitting, making this record, the drums would be last, not first,” he says. “The plans for this album drastically changed, and it’s fitting thematically that that was the case.” As he’d done for previous Rock Eupora albums like 2022’s Pick at the Scab and its eponymous 2018 release, Waller made demo recordings. But when it came time to complete Rev, he overdubbed other instruments instead of starting fresh.
Waller, who grew up in Jackson, Miss., and recorded the first Rock Eupora album in 2013 while he was a student at Mississippi State University in Starkville, Miss., has lived in Nashville since 2014. He moved to a new place in East Nashville in early 2024, and he tells me Rev is the product of an era of changes in his life.
“Being a gay person is a tricky thing with faith and religion,” Waller says. “I had a falling-out with the church I went to for a long time.” Like Pick at the Scab, which sometimes recalled the complex, Christian-themed rock of Big Star’s Chris Bell, Rev takes a hard look at the way love — and the concept of commitment — can be both beneficial and challenging.
BY EDD HURT
Although Waller, who was born in 1991, says he discovered power pop later in his career, his work recalls the music of bands like Fountains of Wayne and The New Pornographers. Rev begins with a superb burst of power pop titled “Fell in Love for the First Time” and continues with “Railroad (The Show Is the Show),” which rides on a Richard Lloyd-style riff.
their belief in him, but it could be Waller is another talented Nashville artist whose work sits adjacent to the mainstream while remaining pop-friendly. “I’ve never felt like I was a part of the Nashville music scene,” he tells me.
Wafford and new drummer Corey Dill will join him and longtime bassist Matt Wyman for the Rev release show Friday at Drkmttr, which will feature the full-band concept this bandleader has had in his head all along. ▼
Rev is a richly detailed listening experience. Waller’s ingenuity with chord changes and stop-and-start rhythms supports the songwriting, which is first-rate. His songs are suited to the post-Beatles treatment he gives them, but you get the sense they would be equally effective done with an acoustic guitar or a piano. If one of the great power-pop subjects is dealing with the inevitable discontents of romantic love, Rev represents the modernistic side of the genre as well as, say, recent music by The Lemon Twigs or Sheer Mag.
Waller self-released Rev after working with the Florence, Ala., label Single Lock Records on Pick at the Scab. He praises the label for
There’s nothing Americana-esque about Waller’s music, which might have hindered the reception of Pick at the Scab. “It was a mixed bag, but ultimately the reason I didn’t return to Single Lock is that it didn’t feel like it changed much,” he says. “It did always feel like they didn’t know what to do with me.”
The Rock Eupora show I saw in 2022 at The East Room, celebrating the release of Pick at the Scab, belied any notion Waller’s work was inward-looking or arcane. Waller’s guitar navigated his tricky changes perfectly, and the band rocked. He says new guitarist Taylor
Rev will be self-released Thursday, March 5 Playing 8 p.m. March 6 at Drkmttr
DOIN’ THAT THING THEY DO: THE RUNAROIUNDS
eographer Bender (real name: Marley Aliah) and Sophia (Lilah Pate), Lipton’s character Charlie’s sad-girl-poet paramour and muse.
BY CHARLIE ZAILLIAN
THE 2025 DEBUT season of The Runarounds, on Amazon Prime Video, follows five friends around 18 to 19 years old from Wilmington, N.C. The summer after graduating high school, on a lark, they start a band that gets so good so fast and has so much fun, soon they’re dreaming of escaping their comfy but limiting environs for a career in rock.
The on-screen drama is boilerplate youngadult fare — relationships, family, going to college or getting a job versus following your aspirations. But for the 20-something real-life actor-musicians who portray the titular band in this wish-fulfillment story — singer-guitarists Will Lipton and Axel Ellis, guitarist Jeremy Yun, bassist Jesse Golliher and drummer Zendé Murdock — there’s more at stake. The streamer still hasn’t confirmed or denied a second season, making The Runarounds’ tour, which concluded its winter leg Sunday at Brooklyn Bowl with its second night to a packed house, a prove-it endeavor. (Aestrea, a space-inspired pop-rock project from Atlanta, and rock five-piece Post Sex Nachos, Nashvillians transplanted from Columbia, Mo., opened the show.)
From the jump, it was evident The Runarounds are no strangers to cameras, nor crowds. Harmonies landed, energy never flagged, and transitions between songs were airtight. The band members moved synchronously, playing off each other and the crowd. Even bandleader Lipton’s banter had just the right amount of four-letter words to keep the kids amped while still dodging an R rating. At times, it felt like we in the audience were extras in a scene from The Runarounds’ imaginary second season — maybe the episode in which the tour-tested heroes return home to an adoring crowd of family and friends. Amplifying this feeling were onstage cameos from supporting characters like in-house photog and vid-
As I wrote in my feature on the group in the Feb. 26 Scene, the TV show works because the songs do. Translating seamlessly from screen to stage were the melodious “Ghosts,” emotive “Arrythmia” and wistful yet hopeful “Chasing the Good Times,” co-written and audibly influenced by Cage the Elephant’s Brad Schultz. Elsewhere, Phantom Planet and Rooney — early-Aughts pop-rock projects from brothers Jason and Robert Schwartzman, respectively, also no strangers to cameras — came to mind. So did the late Adam Schlesinger from Fountains of Wayne; The Runarounds’ spiritual forebear That Thing You Do!, which features songs by Schlesinger, turns 30 this year.
With a set clocking in at an hour and 10 minutes — just the right length for a season finale — The Runarounds didn’t wear out their welcome. That’s good, because hearing the material in rapid succession outside the context of the show exposed its sonic sameness. Also, impeccably coiffed co-frontman Ellis put on a kind of Paul McCartney act, which was cute at first but was wearing thin by the end.
As always, but especially in the case of a live show this polished, the performance’s purest moments were its least choreographed, like when Murdock (Bez, to viewers), uncorked a breakneck heavy-metal drum solo late in the set. Best of all: “15 Rootbeers,” a bummer-grunge gem sung by bassist Golliher, aka Wyatt on the show. He has earned more screen time should a second season happen, and his future work deserves keeping an eye on regardless.
After the quintet signed off with a workmanlike cover of “Valerie” — the Zutons-penned tune made into an Aughts neo-soul standard by the late Amy Winehouse — the very young crowd streamed out of the Germantown concert hall with merch in hand and smiles on faces. (“That was the best thing I’ve ever seen!” exclaimed one.) I drove home marinating on TV turning Gen Alpha on to rock ’n’ roll, and whether that’s still a net win if Bezos and company are bankrolling it. In any case, if The Runarounds scores that coveted second season, I’m in. ▼
Saturday, March 7
SONGWRITER SESSION
Jeremy Spillman NOON · FORD THEATER
Saturday, March 7
NASHVILLE CATS
Salute to Musician Jerry Douglas 2:30 pm · FORD THEATER
Saturday, March 7
HATCH SHOW PRINT Block Party
3:00 pm and 6:00 pm
HATCH SHOW PRINT SHOP
Sunday, March 8
HATCH SHOW PRINT Family Block Party 10:00 am · HATCH SHOW PRINT SHOP
Sunday, March 8
MUSICIAN SPOTLIGHT
Sarah Jory 1:00 pm · FORD THEATER
WITNESS HISTORY
Saturday, March 14
FAMILY PROGRAM Riders in the Sky 10:00 am · FORD THEATER
Saturday, March 14
SONGWRITER SESSION Brinley Addington NOON · FORD THEATER
Saturday, March 14
BOOK TALK Land of a Thousand Sessions with Rob Bowman 2:30 pm · FORD THEATER
Sunday, March 15
MUSICIAN SPOTLIGHT Josh Okeefe 1:00 pm · FORD THEATER
Saturday, March 21
SONGWRITER SESSION Carter Faith NOON · FORD THEATER
Locals Kids Always Visit Free
Plan a trip to the Museum! Local youth 18 and under who are residents of Nashville-Davidson and bordering counties always visit free, plus 25% off admission for up to two accompanying adults.
Nashville director Rod Blackhurst talks Tennessee-shot horror film Dolly BY LOGAN BUTTS
NASHVILLE-BASED FILMMAKER Rod Blackhurst has an eclectic filmography.
Blackhurst’s feature films are sturdy genre affairs — like his solo feature-length directorial debut, the 2017 post-apocalyptic thriller Here Alone, or the 2023 throwback crime picture Blood for Dust starring Scoot McNairy and Kit Harrington. He also has plenty of experience in the ever-expanding world of streaming truecrime documentaries, having directed the sixepisode series John Wayne Gacy: Devil in Disguise in 2021 and co-directed 2016’s wildly popular Amanda Knox for Netflix.
Blackhurst’s latest, the grindhouse-inspired slasher Dolly, melds the two approaches, mixing real-world horror with only-in-themovies storytelling. Shot in the woods of Signal Mountain just outside Chattanooga, Dolly is part Texas Chain Saw Massacre, part New French Extremity, with the grimy filmstock and gore-filled sequences to match — plus a pair of committed performances from stars Fabianne Therese and Seann William Scott.
Despite being filmed in East Tennessee, Dolly is “full of the Nashville vibe,” and much of the film’s crew hails from Middle Tennessee. In true Music City fashion, Blackhurst — who moved to Nashville with his family in 2017 — even formed a country band called The Baby Boys alongside local musicians Carl Anderson and Tim Bruns just to write and record two songs for the film’s soundtrack.
Ahead of Dolly’s release this week, we spoke with Blackhurst about his filmmaking influences, making movies in Tennessee and more. This interview has been edited for length and clarity.
What was it like filming in Tennessee? It was not lost upon us that Sam Raimi made The Evil Dead [in East Tennessee] and suffered the elements of a Tennessee season. And so we always said, “Well, if he could do it, then we could do it too.”
It’s hard when you’re spending a lot of money to film in a state that doesn’t have the tax help that the independent films need. Tennessee does have some tax rebates, but they are for entities usually that have a tax burden, so corporations and big corporate entities like Amazon or CMT. But when you’re making an independent film, you’re essentially just starting a single-purpose vehicle that will actually be done in a couple years. All the revenue flows through, so you’re never going to have a tax liability. So it’s really hard to justify spending money when you can’t protect your investors’ money. And that being said, we’re always making things in Tennessee. We’re making something right now. We made a movie in the fall in Goodlettsville.
What were some of the influences on Dolly? There’s bits and pieces of all the things that have made us. Any artist is a sponge to the influences and things that have shaped them. I saw Texas
Dolly R, 83 minutes Opening wide Friday, March 6
Chain Saw [Massacre] at an age when I shouldn’t have; it leaves a mark, same with Halloween There’s a bit of The Shining for its descent into madness. But there’s — from the New French Extremity — High Tension and Calvaire and Martyrs, these films that are relentless in their pace and the way that they also feel slightly outside the realm of possible. But there’s also literary influences, like Grimms’ Fairy Tales How did you replicate that grimy, textured ’70s horror look? We shot on 16 mm film, but that’s because we had no time and money and we needed a way to shoot outside during the day that could handle us not being able to control light. … The tip of the hat became suddenly a little more obvious, but it was never something we weren’t talking about. The references are intentional, but the style now becomes a thing of its own as you start making something, and that’s how any movie is, right?
There are some gnarly practical effects in the movie. How did you pull that off with a small budget? I tell you how you pull it off. You have an incredible special effects team, this duo from New Jersey, Yellow Moth FX, and you have three incredible, delightful VFX artists in Los Angeles who took a matte, painterly approach — Ethan Feldbau, Adam Miller and Tim Hendrix — and they work in concert to marry what we did practically on set with the extension that we have to do in post. ▼
BY D. PATRICK RODGERS
IN A YEAR full of gut-wrenching films — Train Dreams, Hamnet, If I Had Legs I’d Kick You — 2025’s Sirāt stood out as perhaps the most lasting depiction of life’s cruelty. Now, more than six months after its theatrical European release, the Spanish nominee for Best International Feature Film at the upcoming Academy Awards is finally landing at the Belcourt.
Sirāt follows Luis (Sergi López) as he, with his son Esteban (Bruno Núñez Arjona) and their dog Pipa in tow, searches the Moroccan desert for his missing daughter Mar. With precious few clues to work from, Luis travels to an off-thegrid rave. There are stacks of ground-vibrating subwoofers, and powerful lasers light up the desert sky — but no sign of Mar. Luis hands out flyers with her picture — no one recognizes her. As news of a global-scale military conflict simmers in the background, the party is shut down by the authorities. With no other leads, Luis, Esteban and Pipa follow a tightly knit group of wizened, road-worn ravers farther into the desert, off toward Mauritania in search of the next rave. We quickly discover that Luis’ compact van is hardly suited to the rough terrain — he’s in over his head, and these ravers might be his only shot not only at finding Mar, but at making it out alive.
With the exception of López and the young Núñez, director Oliver Laxe’s principal cast features exclusively nonprofessional actors. Some of them are missing limbs; many are covered in tattoos, their faces studded with piercings. Their performances lend a deep, organic authenticity to Sirāt. They are survivors, driving Mad Max-esque desert rigs and armed with all the drugs and supplies they’ll need to make it to the next party. But they are also — and this should ring true to anyone who’s ever rubbed elbows with crust punks,
Bonnaroovians, techno hippies or any other stripe of live-music-obsessed, countercultural travelers — truly compassionate. They have been through the shit, and they made it out the other side because they were lent a friendly hand when they needed it. And so they extend the same courtesy to Luis, his son and their dog.
It’s just that neither Luis nor his new compatriots could possibly prepare for just how badly the desert wants to kill them.
Sirāt is transfixing, both in its plot and its construction. We’re desperate to see what will become of this motley and increasingly beleaguered crew, and the film’s tense, powerful sound design — which earned Oscar nomination — constantly moves that momentum forward. At no moment will you be able to predict where this film is headed as our caravan winds its way through the unforgiving landscape, and Laxe isn’t about to make it easy on us. This is a very good movie about very horrible times, and it stares us dead in the eye, unflinching, as it punches us in the gut.
Sirāt is shocking, abrupt and bleak — almost cruel in its treatment of the characters it teaches us to love. But after all, can’t you say the same thing about life? ▼
Sirāt NR, 114 minutes; in Spanish and French with English subtitles Opening Friday, March 6, at the Belcourt; post-screening discussion with filmmakers 3:30 p.m. Sunday, March 8
48 Texter’s declaration of affection
1 Vehicle in which it’s often legal to drink alcohol
5 Jokesters
9 Moistens, as a fern
14 First lady’s partner
15 Object of veneration
16 Oft-disparaged family member
17 Busiest French airport not serving Paris
18 Prefix with technology
19 Roman goddess often depicted with a bow and arrow
20 Expand
23 Sonia Sotomayor or Clarence Thomas, once
24 Abbreviation in a help-wanted ad
25 Part of U.S.N.A.: Abbr.
27 @ @ @
30 Trippy stuff
33 Folie ___
35 Villain portrayer in “Rocky III”
36 Lavish celebration
37 Sadness
41 Base x height, for a parallelogram
42 Sound made with a wince
43 Extending brim
44 Guided
45 Michigan’s historic 1991 basketball team, familiarly
49 Shags or bobs
50 7-Elevens, e.g.
52 Day after today
59 Make a delivery, say
60 ___-golf
61 “Think again!”
62 Lowlands
63 City in NW Pennsylvania
64 God of war
65 Like some minor celebrities
66 Five train in Brooklyn
67 Time when one might give up alcohol DOWN
1 Clubber ___, “Rocky III” villain
2 “Capisce”
3 Like a listening device made out of a paper clip, a plastic straw and seven Lego blocks
4 Symbol for ohms
5 Improvise
6 Pithy truths
7 Signal to get off the stage, say
8 Arduous journey
9 Tiny flies
10 ___ Montoya, “The Princess Bride” character
11 Mining waste
12 Powdered drink used by NASA
13 Thief’s haul
21 ___SmithKline (2000 pharmaceutical merger)
22 Chaps
25 Like some passages
26 Love, love, love
28 “Toodles!”
29 [That makes me so mad!]
30 “Too many cooks spoil the broth” principle
31 Bum’s place in a bar
32 Second-largest city in Northern Ireland
34 Country that has hosted the most Olympics
36 Common day to enjoy Thanksgiving leftovers: Abbr.
38 ___ beast (dish in Whoville)
39 Break down in tears
40 Blindingly obvious
45 Ranger’s domain
46 “Leave this to me”
47 Is all over the map
49 Showers affection (on)
51 Like the Vietnamese language
52 Rod Flanders’s brother on “The Simpsons”
53 Like some traditions
54 Bamako’s land
55 Sign sought by one reading tea leaves
56 Muck
57 Major tennis tournament
58 Pause indicator in sheet music
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STATE OF INDIANA
COUNTY OF ELKHART
SS: IN THE ELKHART COUNTY SUPERIOR COURT
CAUSE NO. 20D06- 2510MI-000461
DORIS LUCINDA REYES
ORELLANA, Petitioner, and GIL ARMANDO GONZALES
GUEVARA, Respondent.
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If you have a claim for relief against the plaintiff arising from the same transaction or occurrence, you must assert it in your written answer. You must answer the Complaint in writing, by you or your attorney, on or before the 11th day of April 2026,(the same being within thirty (30) days after the Third Notice of Suit), and if you fail to do so a judgement will be entered against you for what the plaintiff has demanded.
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If you have a claim for relief against the plaintiff arising from the same transaction or occurrence, you must assert it in your written answer. You must answer the Complaint in writing, by you or your attorney, on or before the 11th day of April, 2026,(the same being within thirty (30) days after the Third Notice of Suit), and if you fail to do so a judgement will be entered against you for what the plaintiff has demanded.
Katie Rosenberger, #30830-49
Attorney for Plaintiff VILLARRUBIA & ROSENBERGER,
P.C. 6349 S. East St. Indianapolis, IN 46227
ATTEST:
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