>> PAGE 8
CULTURE: SNL’S SARAH SHERMAN IS FUN, SHE PROMISES
>> PAGE 30
MUSIC: MUSIC IS A PART OF HEALING FOR VOCALIST
JASON BARTON
>> PAGE 36
WITNESS HISTORY
From the exhibit Sing Me Back Home: Folk Roots to the Present
Willie Nelson wore these blue sneakers in the 1970s—the decade that marked his move back to Texas, the birth of the Outlaw movement, and the start of Willie Nelson’s 4th of July Picnic, which celebrated its 50th anniversary last year.
RESERVE TODAY
artifact photo: Bob Delevante
The Loneliest Little House in Nashville
A humble landmark on Jo Johnston Avenue tells the story of how Nashville’s Black neighborhoods have been erased and redrawn BY ALEX PEMBERTON
New Law Will Allow ‘Moonlighting’ for International Medical Graduates Change could improve retention of physicians in Tennessee BY HANNAH HERNER
Metropolitik: Metro Lawyers Become Familiar Target in City Controversies
Sitting members of the Community Review Board question Metro Law Department’s aims and conduct in complaint fallout BY ELI MOTYCKA
COVER PACKAGE: DRINK UP
Where to Get a Great …
12 recommendations for where to get 12 classic cocktails BY SCENE STAFF AND CONTRIBUTORS
To CBD or THC — That Is the Question Are cannabis-infused beverages a buzzkill for local breweries? BY CHRIS CHAMBERLAIN
Chill Out
Talking to the folks at AVO and Redheaded Stranger about what makes a good frozen drink BY KELSEY
BEYELER
Vibe Hopping
Our editorial intern rounds up where to get a drink, by vibe BY AIDEN O’NEILL
Independence Day fireworks, Jaws Mike Floss and Rod McGaha, Pedro the Lion and more
Sarah Sherman Is Fun, She Promises Talking with the SNL comedian ahead of her appearance at The Basement East BY KIM BALDWIN
Crawl Space: A Whole Lot of Retro at This Month’s Crawl
July’s First Saturday events picture Nashville’s contemporary art scene through a rearview mirror BY JOE NOLAN
MUSIC
Another Look
The Scene’s music writers recommend recent releases from Daisha McBride, Cage the Elephant, OmenBringer and more BY SCENE STAFF AND CONTRIBUTORS
For a Song
One year after a traumatic brain injury, music is a vital part of healing for vocalist Jason Barton BY NICOLLE S. PRAINO
A Lot of Love
Songwriting legend James Talley’s Bandits, Ballads and Blues underscores his place in music history BY DARYL SANDERS
The Spin
The Scene’s live-review column checks out Future Islands at Brooklyn Bowl
The Sounds of Silence
The latest Quiet Place installment succeeds as an action movie but adds little to Krasinski’s rich apocalyptic universe BY ELI MOTYCKA
All Aboard!
Kill is a hyper-violent, blood-spattered hype train BY KEN ARNOLD
NEW YORK TIMES CROSSWORD
MARKETPLACE
ON THE COVER:
Redheaded Stranger; photo by Angelina Castillo
SUBSCRIBE
NEWSLETTER: nashvillescene.com/site/forms/subscription_services
PRINT: nashvillesceneshop.com
CONTACT TO ADVERTISE: msmith@nashvillescene.com EDITOR: prodgers@nashvillescene.com
Future Islands • PHOTO BY ANGELINA CASTILLO
WHO WE ARE
EDITOR-IN-CHIEF D. Patrick Rodgers
MANAGING EDITOR Alejandro Ramirez
SENIOR EDITOR Dana Kopp Franklin
ARTS EDITOR Laura Hutson Hunter
MUSIC AND LISTINGS EDITOR Stephen Trageser
DIGITAL EDITOR Kim Baldwin
ASSOCIATE EDITOR Cole Villena
CONTRIBUTING EDITOR Jack Silverman
STAFF WRITERS Kelsey Beyeler, Logan Butts, John Glennon, Hannah Herner, Hamilton Matthew Masters, Eli Motycka, Nicolle Praino, William Williams
SENIOR FILM CRITIC Jason Shawhan
CONTRIBUTING WRITERS Sadaf Ahsan, Ken Arnold, Ben Arthur, Radley Balko, Ashley Brantley, Maria Browning, Steve Cavendish, Chris Chamberlain, Rachel Cholst, Lance Conzett, Hannah Cron, Connor Daryani, Stephen Elliott, Steve Erickson, Adam Gold, Kashif Andrew Graham, Seth Graves, Kim Green, Amanda Haggard, Steven Hale, Edd Hurt, Jennifer Justus, P.J. Kinzer, Janet Kurtz, Christine Kreyling, J.R. Lind, Craig D. Lindsey, Margaret Littman, Sean L. Maloney, Brittney McKenna, Addie Moore, Marissa R. Moss, Noel Murray, Joe Nolan, Betsy Phillips, John Pitcher, Margaret Renkl, Daryl Sanders, Nadine Smith, Ashley
Spurgeon, Amy Stumpfl, Kay West, Andrea Williams, Nicole Williams, Ron Wynn, Charlie Zaillian
EDITORIAL INTERNS Aiden O’Neill, Joanna Walden
ART DIRECTOR Elizabeth Jones
PHOTOGRAPHERS Angelina Castillo, Eric England, Matt Masters
GRAPHIC DESIGNERS Sandi Harrison, Mary Louise Meadors, Tracey Starck
GRAPHIC DESIGN INTERN Jacob Lucas
PRODUCTION COORDINATOR Christie Passarello
FESTIVAL DIRECTOR Olivia Britton
MARKETING AND PROMOTIONS MANAGER Robin Fomusa
BRAND PARTNERSHIPS AND EVENTS MANAGER Alissa Wetzel
DIGITAL & MARKETING STRATEGY LEAD Isaac Norris
PUBLISHER Mike Smith
ASSOCIATE PUBLISHER Michael Jezewski
SENIOR ADVERTISING SOLUTIONS MANAGERS
Carla Mathis, Heather Cantrell Mullins, Jennifer Trsinar, Niki Tyree
ADVERTISING SOLUTIONS MANAGERS Teresa Birdsong, Maddy Fraiche, Kailey Idziak, Allie Muirhead
SALES OPERATIONS MANAGER Chelon Hill Hasty
ADVERTISING SOLUTIONS ASSOCIATES Audry Houle, Jack Stejskal
SPECIAL PROJECTS COORDINATOR Susan Torregrossa
PRESIDENT Mike Smith
CHIEF FINANCIAL OFFICER Todd Patton
CORPORATE CREATIVE DIRECTOR Elizabeth Jones
IT DIRECTOR John Schaeffer
CIRCULATION AND DISTRIBUTION DIRECTOR Gary Minnis
FW PUBLISHING LLC
Owner Bill Freeman
DRINKING: Matcha lattes at District Coffee
THE LONELIEST LITTLE HOUSE IN NASHVILLE
A humble landmark on Jo Johnston Avenue tells the story of how Nashville’s Black neighborhoods have been erased and redrawn BY
ALEX PEMBERTON
NINETEENTH AVENUE NORTH winds uphill from Charlotte Avenue, flanked by a Zaxby’s and a Walgreens. After a skewed intersection at Pearl Street and a gentle curve, a small house at 1816 Jo Johnston Ave. stands directly in your sightline, the focal point of what’s known as a “terminated vista” in urban design parlance. The term typically describes the bold emergence of a landmark from the urban fabric, but this house has a stoic humility — it stands in stark isolation, defying its surroundings and decades of policy designed to destroy it.
Harsh power lines frame the foreground, while even taller lines crisscross beyond, as poles and wires swirl around the Nashville Electric Service’s Watkins Park Substation, which looms in the background like a supersized Erector Set. Just feet away, the orphaned stone steps of a long-lost house meet the sidewalk, as if murmuring hints of what this neighborhood once was.
1816 Jo Johnston Ave. is the only old house left on this historic street — a humble landmark that whispers the story of how Nashville’s Black neighborhoods have been erased and redrawn.
WALKING THE LINE STREET
Originally named Line Street, Jo Johnston Avenue formed the northern boundary of Nashville’s original city limits. In 1900, amid rising racial tensions, Line Street was renamed Jo Johnston Avenue after a Confederate general. The next year, Watkins Park became the first public
park in the city. Initially segregated by social custom, it was formally segregated along with the rest of the parks system in 1936 — the same year Black-segregated Pearl High School was built adjacent.
A dozen dense blocks of homes, shops and churches were cleared in the 1950s for the Black-segregated, barracks-style J. Henry Hale Homes complex. Public housing desegregation and federal policies led to dire conditions — the project was cleared in the 2000s and replaced with fewer than half as many homes, a sparse suburban style and a mixed-income model with mixed results.
The I-40 underpass marks a dividing line on Jo Johnston Avenue and a midway point between the interstate’s decimation of Jefferson Street and Edgehill. To the east, Jo Johnston Avenue fades away — first figuratively, then literally — as a recent name change traded out Confederate hagiography to honor Josephine Holloway, Tennessee’s first Black Girl Scout. Dozens of homes, tenements, Black churches and the red-light district then known as Hell’s Half Acre were the first targets of urban renewal in the nation, cleared to make way for Capitol Hill’s grand lawn. Jo Johnston Avenue, like the rest of the street grid, was replaced by swooping streets, surface parking lots and midcentury modernist buildings.
ZONED OUT
Local government also contributed to the de-
terioration of Black neighborhoods like Watkins Park with land use policy, whether by intent or indifference.
The U.S. Supreme Court invalidated explicit racial segregation zones in 1917, but the majority opinion and following decisions bolstered the use of facially neutral zoning to entrench existing patterns of segregation. When Nashville implemented zoning in 1933, its planners mapped the characteristics of buildings, residential densities, property values and “the location of the negro population” across every block to “[arrive] at a determination of the character of the various sections of the city.”
The residential center of Watkins Park was designated a Residence D zone — the least restrictive residential classification, which in 1933 the Nashville Banner noted covers “those areas now inhabited by the Negro population” with “entirely different” provisions from other residential districts. The edges of the neighborhood were zoned commercial and industrial, even though homes dominated most blocks.
Suburban real estate interests and homeowners had pushed for zoning to protect exclusive white neighborhoods from disfavored uses like dry cleaners and filling stations — along with the lower classes of residents, who followed commercial and industrial expansion. But that protection was not extended to Black neighborhoods. The zoning map laid out industrial zones four times larger than existing uses dictated, intentionally overlapping Black neighborhoods,
even where most land was residential — a pattern now known as expulsive zoning.
Expulsive zoning allowed commercial and industrial interests to cheaply acquire property for expansion, as residential uses were soon devalued by redlining. Beginning in 1936, federal policies restricted mortgage insurance from neighborhoods with Black populations, which discouraged bankers from offering loans.
The patterns of expulsive and racially biased zoning established in the 1933 zoning code dovetailed with redlining to devastate Black neighborhoods like Watkins Park. By the 1950s, a dry cleaner had popped up between houses on the 1900 block of Jo Johnston Avenue, while the 1800 block was cleaved by the substation. Thirty-four homes on the block were cleared by the substation and its deteriorating influence — only the Loneliest Little House in Nashville now remains.
After a hundred hard years, the house at 1816 Jo Johnston Ave. has been saved by the newest evolution of erasure in North Nashville — it is freshly flipped and for sale, with new modern farmhouse board and batten siding, a black-and-white paint job, and trendy address lettering — as a tight market for housing near downtown gentrifies even the least scenic locations.
Every new day, the house greets the sunrise in defiance of decades — standing alone like a stray thread that, if pulled, unravels the logic of the policies that wove Nashville’s urban fabric from Watkins Park to Germantown, East Nashville, Belmont and beyond. ▼
PHOTO: ANGELINA CASTILLO
1816 JO JOHNSTON AVE.
NEW LAW WILL ALLOW ‘MOONLIGHTING’ FOR INTERNATIONAL MEDICAL GRADUATES
Change could improve retention of physicians in Tennessee
BY HANNAH HERNER
FOR PEOPLE PURSUING a career in medicine, “moonlighting” has specific meaning. After they’ve completed medical school, graduates enter into residency for further, more hands-on training that varies in length based on their chosen specialization. After the first year, they can apply for a temporary license that allows them to work and earn money at the hospital while they finish the residency.
Those who graduated medical school outside the U.S. are not afforded the same opportunity to obtain that license in Tennessee. But thanks to a law passed by the Tennessee General Assembly earlier this year, international medical graduates will soon have the chance to moonlight, just as American-educated students do.
State Rep. Michele Carringer (R-Knoxville), the bill’s co-sponsor, tells the Scene the idea for the legislation was brought to her by a constituent. It’s now set to go into effect in January — delayed from July to allow the Board of Medical Examiners and the Tennessee Department of Health to establish rules around the law.
Carringer also co-sponsored a bill this year cracking down on undocumented immigrants. That legislation, which passed, received pushback from the nonprofit Tennessee Immigrant and Refugee Rights Coalition.
“I support and am grateful for the many legal immigrants who come to Tennessee,” Carringer tells the Scene in a statement. “Any [international medical graduate] who comes to practice medicine in Tennessee currently has to be here on some sort of legal statute (work visa, green card, etc.). HB2124 would not change that. I
would also like to add that many IMGs are American citizens, who attended medical school outside of the U.S.”
Dave Chaney, executive director of the Tennessee Academy of Family Physicians, says when his organization lobbied for the IMG bill at the Tennessee General Assembly this year, they were sure to point out that the law would also affect those who were born in the United States, but completed medical school abroad.
He also says the change can help with physician shortages and make Tennessee more attractive to students looking to start their residencies. Neighboring states already allow moonlighting for international medical graduates.
“We have been losing good doctors to other states,” Chaney says.
Medical students often stay in the area where they completed their residency. In Tennessee, about 47.5 percent of students stay after residency, regardless of where they completed school, according to data from the Association of American Medical Colleges.
The average first-year resident physician makes about $60,000 per year. Some international medical graduates are forced to leave the profession entirely or remain underemployed because they don’t have the ability to earn money while they get recertified here.
Chaney says the most important aspect of moonlighting is additional experience, but it also allows for extra income for survival, paying off medical debt and putting down roots in Tennessee.
“We want to get doctors in at the point in
METRO LAWYERS BECOME FAMILIAR TARGET IN CITY CONTROVERSIES
Sitting members of the Community Review Board question Metro Law Department’s aims and conduct in complaint fallout
BY ELI MOTYCKA
Metropolitik is a recurring column featuring the Scene’s analysis of Metro dealings.
IN THE WEEKS following retired police Lt. Garet Davidson’s 61-page complaint detailing systemic misconduct within the Metro Nashville Police Department, the city’s Community Review Board (formerly the Community Oversight Board) has spent almost as much time discussing the conflicted Metro Law Department as it has amplifying allegations against city police. The competing interests of multiple Metro parties — the CRB, the mayor’s office and police — disqualify in-house lawyers, argue community members and some CRB commissioners, most notably chair Alisha Haddock. When Metro Legal is an actor in itself, as is the case here, attorneys forfeit the cred-
their career to keep them here, so we can build up our physician workforce,” he says.
Victoria Yibirin is someone who could benefit from the law, having just finished her first year of residency in family medicine in Nashville after completing medical school in Venezuela. She would like to put down roots here after fleeing her country due to violence.
“There are so many mixed backgrounds here in Nashville,” she says. “We have people from every part of the world. I love that. I love working with people with multicultural backgrounds and being able to also stay in touch with the Hispanic population. Everyone has been so receptive, and the culture is so nice and friendly. … My plan is to hopefully stay here, land a job and be able to stay after graduating.”
Yibirin says this change in law is a step in the right direction, though IMGs face additional challenges compared to their American-educated counterparts. They must have strong skills in English, often their second language, and find a willing sponsor for their visa. Those who are further past medical school have a tougher time finding a willing residency host, though a law passed in 2023 allows certification for those who have practiced for three or more years abroad. It’s a long and tedious process, she says, but it’s valid. If an American doctor has to do it, she should have to do it too.
“I think it’s a good way of helping the low rates of medical doctors that we have right now,” she says. “I think it’s going to be a good way to fill in those spots. I’m very curious to see how the process is going to be.” ▼
ibility necessary to evaluate a city matter.
Since the complaint arrived in late May, the body has sought independent counsel from Nashville firm Brazil Clark. Haddock has drawn particular attention to Metro’s decision not to sue over a 2023 state law gutting police oversight bodies. The city leaned on home rule protections in multiple successful lawsuits in the fall protecting the Metro Sports Authority, a NASCAR-related voting threshold and the Metro Council itself. After a June 12 press conference discussing the complaint, Community Review Board director Jill Fitcheard told the Scene that independent CRB counsel would in part assess whether Metro Legal had acted improperly. The prevailing legal opinion at the time (including from outside lawyers) was that the state law gutting the COB passed constitutional muster. Leading advocates for the CRB, like MTSU professor Sekou Franklin, have complicated this story, alleging that Metro Legal failed to do proper due diligence in exploring avenues for legal recourse.
City attorneys are currently helping draft a memorandum of understanding between the MNPD and the CRB to legally define the relationship between the bodies.
“The Department of Law is making sure i’s get dotted and t’s get crossed and that the MOU is a valid legal document,” Mayor Freddie O’Connell told the Scene last week. “The Department of Law is not really there to be part of the discourse. They’re trying to make sure they keep Metro’s liability intact and that they keep our constitutional options intact.”
City attorneys, often called upon for legal opinions about various govern-
VICTORIA YIBIRIN
“ “ I LOVE WORKING WITH PEOPLE WITH MULTICULTURAL BACKGROUNDS AND BEING ABLE TO ALSO STAY IN TOUCH WITH THE HISPANIC POPULATION. ”
—VICTORIA YIBIRIN
ment positions or actions, play mediating roles in Metro controversies by the nature of their profession. Several city dustups over the past year, though, have invited direct criticism of the department at large. Aggrieved parties call foul when they see lawyers working with opponents. Lawyers’ opinions carry gravitas and authority, especially on volunteer boards and commissions.
Earlier this year, Metro legal director Wally Dietz personally took flak from Metro Human Resources Commission executive director Davie Tucker for his role adjudicating the nonpayment of grants promised by the Metro Arts Department. Late last summer, former Metro Arts Commissioner Will Cheek appeared to commission a legal memo from Dietz and fellow city attorney Lora Fox supporting Cheek’s position as grantmaking drama built to a crescendo. Cheek resigned as a commissioner in March.
While the names — Dietz, Fox, fellow Metro attorney Nicki Eke — have recently become folk symbols of institutional stubbornness, the city’s lawyers serve under the mayor and have long reflected administrative will. Just days into his short-lived mayoral term, David Briley relied on scant legal grounds provided by Fox to set the date of the next mayoral election — a move that was struck down in court.
One councilmember, speaking to the Scene on the condition of anonymity, described the city’s relationship to its lawyers as discretionary: “We do generally take their input under advisement, and most of the time we do what they recommend. But we do also ignore them sometimes.”
Where to Get a Great …
12 recommendations for
where to get 12 classic cocktails
Nashville boasts some top-tier cocktail lounges.
Let’s start with the East Side, where frequent Best of Nashville winner The Fox Bar and Cocktail Club offers an extensive and delectable craft-cocktail list. There’s Attaboy (another BON winner), a speakeasy-style hideaway where gifted mixologists will whip you up the best thing you’ve tasted in weeks based simply on your preferred spirit and general flavor preferences. The brand-new Coral Club has an excellently curated cocktail list worth checking out, while nearby, topflight dining establishment Peninsula offers a list of specialty gin-and-tonics that will make you say, “I didn’t know gin-and-tonics could be so diverse, and I’ll also have another please.” Up Gallatin Pike a ways is Inglewood Lounge which offers a strong lineup of cocktails as well. Over in Midtown, The Patterson House helped introduce Nashville to the craft cocktail before it was something you could find in just about every neighborhood. In Germantown, the classy Le Loup (from the folks at The Optimist) specializes in seafood and truly excellent drinks.
While you can get just about any classic cocktail you desire at any of the above spots, we thought we’d get into the weeds a bit. Below, find a dozen recommendations for where to get a dozen classic cocktails — from an Old Fashioned to a martini, a mai tai to a Bloody Mary.
Old Fashioned
Bay 6, 1101 McKennie Ave., Suite 6 Bay 6 boasts an inventive roster of rotating seasonal cocktails, but the bartenders also know their way around the classics. While an Old Fashioned isn’t the fussiest drink, the execution can underwhelm if you add too much or too little of any of its key ingredients — bourbon, bitters and sugar or simple syrup. The Bay 6 version strikes a great balance, where you taste sweetness and smokiness in each sip, plus some refreshing citrus notes from the orange peel. The bar’s location is also unbeatable: It’s part of The Wash, East Nashville’s outdoor food court, which is also home to local favorites like Soy Cubano and SS Gai. Grab a glass, take a seat outside and pair a classic drink with a hearty meal.
Martini
Sperry’s, 5109 Harding Pike
Up, neat, shaken, stirred, gin or vodka, the perfect martini is the one in your hand. Sperry’s in Belle Meade has been serving up classic martinis for 50 years, and does not appear to be slowing down any time soon. By 4 p.m. every afternoon, the Sperry’s bar is already full of patrons. More country club than bar, Sperry’s — which recently celebrated its 50th anniversary — has an atmosphere lively in the “everyone knows your name” sense, and the decor is a unique array of art that has been collected over the decades. The martinis are made to each guest’s exact specifications and taste, and have been a tradition for a half-century.
JANET KURTZ
Chopper Tiki, 1100B Stratton Ave.
A handful of Nashville outposts do the tiki thing. There’s the fun and kitschy Hubba Hubba Tiki Tonk, as well as Pearl Diver, which gets both drinks and vibes right. There’s even Cruisin’ Tikis Nashville — floating bars on Old Hickory Lake. (I admittedly haven’t ventured out on that last one yet.) But for the quintessential tiki experience, you can’t do better than East Nashville’s Chopper Tiki, which goes above and beyond with its robot- and island-themed decor and extensive list of classic tiki drinks (and more). And for a quintessential tiki drink, you can’t do better than the Chopper Mai Tai, featuring Jamaican and agricole rums, lime, orgeat, Grand Marnier and bitters, served in one of Chopper’s classic ceramic tiki mugs with all the delightful flourishes. D. PATRICK RODGERS
ALEJANDRO RAMIREZ
Mai Tai
Bloody Mary
SweetMilk, 329 Donelson Pike, Suite 201
There’s kind of nothing like drinking a Bloody Mary. Whether you like yours loaded with vegetables or with a beer chaser, a Bloody automatically tells your brain that you’re in for a leisurely meal. It’s a signal for sipping over conversation and brunch. I like my Bloody Marys like I like my hot chicken: spicy enough to have some zing, but not so spicy that they’re a dare. Pat Martin’s SweetMilk in Donelson serves a Daybreak Bloody Mary ($9) with house-made Bloody Mary mix, including pickled okra and olive juices, Crystal Hot Sauce and jalapeño peppers. I know some people like over-the-top garnishes for their Bloody Marys (onion rings, shrimp, sliders, whatever), but I’m a purist about some things — and the SweetMilk fresh celery and stuffed Queen olives are just right. MARGARET LITTMAN
Gimlet
Roze Pony, 5133 Harding Pike
Spirit + sugar + citrus. For straight-up cocktails, that equation is never wrong. Alcohol, acid and sweetness just work, particularly if you throw ’em in a shaker and rattle it until you break a sweat. For a gimlet, you want good gin, fresh lime juice and simple syrup. Roze Pony uses all that — plus an unexpected splash of lemon. Not only does the extra citrus perk things up, but it also echoes the lemon peel that’s one of nine botanicals in the Ford’s Gin they use. The result is bright and bold, delicate yet dynamic. Nobody gives gimlet better than the Pony. ASHLEY BRANTLEY
Negroni
Otto’s Bar, 4210 Charlotte Ave.
I’m all for a fruity drink, but there’s something sophisticated about ordering a classic in a little glass with one big ice cube and an orange peel garnish. I’m speaking about the Negroni, or the “girl Old Fashioned” as I lovingly call it. Otto’s is one of the best places in town to get a classic cocktail, so they nail this one. While it’s a booze-heavy drink (made with vermouth, gin and Campari), the West Side bar’s version manages to balance the flavors perfectly, making it not too syrupy or bitter. Plus they don’t phone it in on presentation. One cube only.
Pimm’s Cup
Tiger Bar, 2909 Gallatin Pike
The Pimm’s Cup combines a few of my favorite things: history, gin and rare/limited-edition offerings. Opened last year, Tiger Bar is one of the few places in town where you’ll find a good Pimm’s Cup. Invented in the 1800s, it’s also one of the oldest drinks on the bar’s menu. The Pimm’s Cup is made with a (relatively) low ABV to suit summer day-drinking. This fact, combined with its mandatory use of Pimm’s British gin liqueur, makes it no surprise that it’s the official drink of Wimbledon. Tiger Bar’s edition has fresh cucumber juice and housemade lemon ginger syrup and is garnished with mint and strawberry. Sipping through a cool metal straw, I can pretend I’m wearing tennis whites. HANNAH
HERNER
HANNAH HERNER
Mimosa
SandBar Nashville, 3 City Ave., Suite 500
If you ask me, all mimosas are good mimosas — but a pineapple mimosa is extra fun. This weekends-only mix-your-own drink starts with the folks at SandBar coring a whole pineapple, pulsing the insides through a juicer, and delivering the juice with a bottle of brut to be consumed directly out of the tropical fruit. But a mimosa isn’t really a mimosa without good vibes. Drinking at SandBar feels like a vacation — complete with sandy volleyball courts, folks in tank tops and flip-flops, and grilled hot dogs on offer. It makes for the most picturesque Sunday. ELIZABETH JONES
Bushwhacker
Neighbors; multiple locations
Before there were “boozy milkshakes,” there was the Bushwhacker. The tropical take on the white Russian started in the Virgin Islands in 1975, then made its way to Pensacola Beach, Fla., and then inland. For many Nashvillians of a certain age, the go-to spot for a Bushwhacker was 3 Crow Bar. When 3 Crow shuttered, folks lost their favorite Five Points hangout, as well as their place to get a Kahlua-rum-chocolate concoction. Neighbors — with its locations in Sylvan Park, Germantown, Franklin and the Gulch — offers a neighborhood bar feel (hence the name) and a hefty 16-ounce Bushwhacker for $11. Can’t go wrong with a classic. MARGARET LITTMAN
Margarita
Barrel Proof, 1010 Fourth Ave. N. (pictured above) Superica, 605 Overton St. (pictured below)
A flawless margarita is as much about what you don’t put in it as what you do. Orange juice, agave, crappy triple sec — it’s easy to go astray. But the pros at Barrel Proof and Superica walk the line. Barrel Proof’s on-the-rocks version — blanco tequila, Cointreau, fresh lime juice and simple syrup — is clean, stout and zippy. It’s fortified with 2-to-1 (aka “rich”) simple syrup, which adds viscosity to balance out the (significant amount of) booze. Superica’s frozen spin, the El Frio, is made with El Jimador Blanco, Stirrings triple sec, simple syrup, ice and fresh lime — an extra step I’d wager most restaurants throwing ingredients into a machine don’t take. The result is pure, sweet-and-sour, frosty goodness. Now, are those roughly the same damn ingredients as Barrel Proof’s? Yep. Such is the mystery of the margarita. In different hands, similar ingredients magically morph into something new. Guess you’ll just have to taste them both. ASHLEY BRANTLEY
PHOTO: ANGELINA
CASTILLO
PHOTO: ERIC ENGLAND
Mule
Village Pub, 1308 McGavock Pike
The mule is about as simple a concoction as it gets: spicy ginger beer, tangy lime and smooth vodka (at least in the version long known as the Moscow Mule, renamed the Kyiv Mule on some bar menus after Russia invaded Ukraine), served over ice in a copper or pewter mug. You can get a mule just about anywhere, but Village Pub’s has been unbeatable since they opened in 2010. No esoteric ingredients or artisan ice-chipping techniques here — it seems they simply nail the proportions and serve it as cold as a sled dog’s nose. Each of their equestrian-themed variations is worth putting on your tab, too. As a budding mezcal head, I especially appreciate the Mula. STEPHEN TRAGESER
To CBD or THC — That Is the Question
Are cannabis-infused beverages a buzzkill for local breweries?
BY CHRIS CHAMBERLAIN
WHEN THE CRAFT BREWERS Conference came to Nashville in 2018, organizers staged a seminar about future trends and threats for the industry. All anyone wanted to talk about was the advent of hard seltzers, which were booming and taking market share away from craft breweries. But another presentation by Boston Beer founder Jim Koch — whose Sam Adams was a major player in the early craft-beer boom — also drew big crowds as he discussed his intention to expand beyond just beer to combat the flattening market of the time. One of his interests was a novel prospect at the time: cannabis-infused products.
By the time the conference returned to Nashville in 2023, “CBD” and “THC” were the biggest … well, buzzwords among attendees and panel planners. While craft beer and seltzers have seen relatively flat to slightly negative market growth over the past five years, cannabis-infused beverages are growing at a remarkable pace, with Research and Markets projecting an expected growth in the market from $1.2 billion in 2023 to $3.8 billion in 2030.
Anecdotally, local liquor store owners report that CBD- and THC-infused drinks are now outselling entire categories of spirits, and shelves are stocked high with new brands of buzzy beverages arriving monthly. In many cases, craft beer brands are the ones being displaced at retail, including many local breweries that are forced to limit their variety of offerings to protect valuable shelf space.
Cannabis-infused beverages do offer legitimate advantages for some
Whiskey Sour
Streetcar Taps & Garden, 4916 Charlotte Pike
Middle Tennessee has a long history of top-tier whiskey, from Jack Daniel’s out in Lynchburg to Uncle Nearest down in Shelbyville and George Dickel in Tullahoma — not to mention the distilleries in and around Nashville proper. With so much excellent whiskey in the area, purists will say it’s hard to justify ordering anything but a whiskey neat. But I’ll argue it’s impossible to beat a perfectly made whiskey sour, especially on a sweltering summer day. Opinions vary on the best type of whiskey to put in a whiskey sour; luckily, Streetcar has plenty of options. Enjoy it on Streetcar’s party-ready back patio or in its atmospheric indoor section.
consumers. Lower in calories than beer and generally containing less sugar than flavored seltzers, hemp-derived beverages offer similar effects to those products without the alcohol. But like anything related to the moving target that is the burgeoning cannabis industry, there are a lot of gray areas.
Conflicts between state and federal regulations prevent many small players from attempting to join the game. Issues over how the products should be taxed, how those taxes should be collected and how to even deposit cannabis-derived profits into banks are serious barriers to entry for most breweries considering adding these beverages to their product lines. This is a shame, because a regional brewery should be the ideal spot to manufacture these products, thanks to the ready availability of packaging equipment, tanks for infusing and carbonating beverages, experience with maintaining sanitation and a track record of paying the appropriate taxes on their outputs.
In reality, very few cannabis-infused beverages can truly be called “local.” Most are manufactured by fewer than two dozen huge facilities, many of which are Canadian-owned — Canadian regulations are often clearer and more business-friendly for cannabis corporations.
Both the beer and spirits industries are concerned about what they perceive is a slanted playing field for the upstart companies. Charity Toombs is the executive director of the Tennessee Distillers Guild, a group whose hands are tied by federal regulations prohibiting the combining of intoxicants.
“[Our members] would love to have the ability to make spirit-based THC/CBD drinks,” she says, “however, current federal regulations prevent us from getting formulas approved to allow these to be available to the general public.”
“Tennessee is keeping a pulse on the growing trend of THC/CBD drinks and sees this as an opportunity for our members and partners,” says Toombs. “We would welcome the opportunity to meet the increasing interest and demand while diversifying our spirit offerings, especially since younger generations are consuming less alcohol. However, current federal regulations prevent us from doing so at this time.”
Nashville has grown as a craft beer market, and is important enough to bring the Craft Brewers Conference — the premiere national industry confer-
ence — to town twice in the past decade. And that’s in large part thanks to the community’s strong support of local breweries. Carl Meier is one of the founders of Black Abbey Brewing Company, a local business that has experienced steady growth over the past 15 years. He has some definite concerns about the future.
“I think that cannabis-based products certainly pose a challenge for all alcohol producers,” says Meier. “If you cite the rise of malt-based seltzers and ‘ready to drink’ cocktails, the data shows that new entrants to the market take share away from the existing players. The seltzer and RTD brands most certainly took, and continue to take, market share from beer and spirits.” Meier cites another important factor that has been around for years. “The tax burden on ‘intoxicants’ is significantly tilted towards beer first and also wine and spirits in Tennessee,” he says. “This creates an uneven playing field. The ‘on the shelf’ cost of THC beverages can be significantly lower due to the extraordinary tax burden that other producers carry in Tennessee. Tennessee imposes the highest beer wholesale tax in the United States. It will be very difficult, specifically for beer producers, to compete with THC-based beverages as they enter the market — due to the massive tax burden that our industry carries.”
If you love enjoying a pint with friends in a convivial neighborhood taproom, you might want to heed Meier’s final warning about the existential threat to smaller regional breweries: “I am not sure the same ‘support local’ mantra will apply in this category.” ▼
Chill Out
Talking to the folks at AVO and Redheaded Stranger about what makes a good frozen drink
BY KELSEY BEYELER
FROZEN DRINKS ARE one of the few balms we have to handle increasingly hotter summers. Thankfully they’re everywhere — from creamy bushwhackers to frozen margaritas and snowcone-like concoctions. We at the Scene have undertaken the arduous task of seeking out the best in town and gleaning wisdom from those who make them.
Among the most intriguing is the avocado margarita at vegan restaurant AVO. The lush green beverage is made with Lunazul reposado tequila, orange liqueur, agave, lime, orange, cilantro and avocado, giving it a fresh flavor and a nice, thick consistency. It reads like a regular
— albeit high-quality — marg, but the taste of avocado comes through toward the end of each sip to ground the drink with a uniquely nutty note. Bonus points for the salted rim.
Owner Annie Kim says the margarita precedes her — it was created by a previous owner, and Kim kept it on the menu when she took over AVO in 2017. It has since become a customer favorite — so much so that it required an upgrade in equipment. While the drink used to be made in a Vitamix, Kim has since invested in a margarita machine so AVO can keep up with demand. But the drinks still need to be prepared in two steps: First the avocado and cilantro are blended with tequila and agave, before being added to the rest of the ingredients. Ripe avocados are the key, says Kim. Those looking for more variety could find it at East Nashville’s beloved Redheaded Stranger,
which serves a handful of delicious frozen drinks alongside Tex-Mex fare. While flavors rotate from time to time, you’re likely to find the powerhouse lineup of sweet strawberry and floral hibiscus frozen margaritas alongside the Chill Bill — a frozen libation featuring lime, vodka, Aperol and orgeat — plus a rotating nonalcoholic lemonade flavor (which you could spike if you so desire). Insider tip: The different flavors can be swirled together.
“At Redhead, we don’t believe in weak drinks,” says Redheaded Stranger front-of-house manager Lynzi Prince.
The folks there also believe in adding unique touches to classic drinks. They make their own vanilla syrup to use in the strawberry margarita, for example, instead of using agave. They also prioritize consistency, taking care to make adjustments as needed. Prince says
they emphasize balance so the drinks aren’t overpoweringly boozy or sweet.
As with most things in life, balance really is the key to a good frozen drink. Too runny and you’re left with icy syrup water; too thick and you’ll be chewing ice. Likewise, frozen drinks that rely on excessively sweet syrups often pale in comparison to those that use a wellthought-out combination of fresh ingredients that balances sweetness with citrus and maybe a nice bitter booze. Each step provides an opportunity for elevation, from the way drinks are blended to house-made syrups and a star ingredient.
Perhaps the most important thing to remember when sipping frozen cocktails is to drink plenty of water too — those deliciously sweet treats can sneak up on you and leave you with a gnarly hangover. ▼
AVOCADO MARGARITA AT AVO
MARGARITAS AT REDHEADED STRANGER
WEEKEND BRUNCH
Join us for an elevated brunch experience: Saturday and Sunday 9am-2pm
$32/person includes one Mimosa
Bottomless Mimosas $30 (max 2 hrs)
Vibe Hopping
Our editorial intern rounds up where to get a drink, by vibe BY AIDEN
O’NEILL
Snack & Sip
Why drink on an empty stomach when you can have quality food in the bar or brewery environment you’re searching for? Each of these spots provides a delectable dining experience while still offering excellent cocktails.
• Twilight Tavern (5303 Charlotte Ave.)
• Urban Cowboy (103 N. 16th St.)
• Lauter at Southern Grist (754 Douglas Ave.)
• Smith & Lentz (903 Main St.)
• Le Loup (1400 Adams St.)
Bring Your Cool Co-Workers
Your super-cool co-worker asks if you’d like to grab a quick drink. The mixture of wanting to maintain professionalism and needing a break after a hard day’s work pushes you toward a chill bar environment — calming atmosphere, pleasant ambience, carefully crafted drinks and a tame yet enjoyable scene.
• GreenHouse Bar (2211 Bandywood Drive)
• Reunion (105 S. 11th St.)
• Cherries (839 Dickerson Pike)
• Otto’s (4210 Charlotte Ave.)
• Harriet’s Rooftop (710 Demonbreun St.)
• Old Glory (1200 Villa Place, Unit 103)
Obscure Extracurriculars
Whether it’s a date or a hang with your friends, sometimes it’s nice to switch up the typical bar routine of playing darts or chatting at a table. Activity bars give you and your chosen company the chance to try something new or revisit a nostalgic niche.
• Up/Down (927 Woodland St.)
• No Quarter (922 Main St.)
• Game Terminal (201 Terminal Court)
• Tee Line (106 Duluth Ave.)
• Bad Axe Throwing (652 Fogg St.)
The Kids Are All Right (to Bring Along)
No need for a sitter — just a designated driver when you’re hanging out at a bar with kid-friendly hours. Some of these spots have activities for your kiddos, but each has a safe environment to relax in. (Just be sure to check online for any guidelines these locations may have.)
• Pins Mechanical (1102 Grundy St.)
• TailGate West (7300 Charlotte Pike)
• East Nashville Beer Works (320 E. Trinity Lane)
• Pinewood (33 Peabody St.)
• Tennessee Brew Works (809 Ewing Ave.)
Post-Prohibition Pubs
Whether or not they identify as a speakeasy, each of these spots evokes a vintage feel. They all feel somehow both underground and upscale. The moody atmosphere makes these bars the perfect options for a date night or post-event drink.
• Attaboy (8 McFerrin Ave.)
• Red Phone Booth (136 Rosa L. Parks Blvd.)
• The Fox Bar & Cocktail Club (2905B Gallatin Pike)
• The Patterson House (1711 Division St.)
• Bar Sovereign (514 Fifth Ave. N.)
A Drink Is Worth a Thousand Words
When you enter a bar with a carefully created aesthetic, you can’t leave without taking tons of pictures. It didn’t happen if there isn’t any evidence, right? The attention to detail transports you to the West Coast, a Korean bar, a tiki hut or even a 1930s gin joint, all within your own city.
• Coral Club (604 Gallatin Ave., Suite 217)
• Pearl Diver (1008 Gallatin Ave.)
• Tiger Bar (2909 Gallatin Pike)
• Babo (1601A Riverside Drive)
• Hubba Hubba Tiki Tonk (922 Main St.)
• Chopper Tiki (1100B Stratton Ave.)
Let’s Dance
For a crowd with stage fright, sometimes it takes tequila to tango. You don’t have to be a fiendish two-stepper to shake off your worries with a fabulous group of people. Just show up in your dancing shoes and let loose.
• The Underdog (3208 Gallatin Pike)
• American Legion Post 82 (3204 Gallatin Pike)
• Dee’s Country Cocktail Lounge (102 E. Palestine Ave.)
• Canvas (1105 Fatherland St.)
• Rosemary & Beauty Queen (1102 Forest Ave.)
• Miranda Lambert’s Casa Rosa (308 Broadway)
Sing Like the Pros
Anyone sounds like a pro on the karaoke stage once the crowd’s had a couple of drinks. It doesn’t matter whether you live for the applause or to applaud — come live out your American Idol dreams at any of these beloved karaoke bars.
• Fran’s (2504 Dickerson Pike)
• Ms. Kelli’s Karaoke Bar (207 Printers Alley)
• Santa’s Pub (2225 Bransford Ave.)
• The Lipstick Lounge (1400 Woodland St.)
• Cross-Eyed Critters Watering Hole (101 20th Ave. N.)
Cool With a Dash of Tourism
You just found out your friends are coming into town, and they all want the “Nashville experience.” Though some of these places are on Lower Broad, each of them has a special something that keeps locals coming back.
• Robert’s Western World (416B Broadway)
• The Nashville Palace (2412 Music Valley Drive)
• Pushing Daisies (570 Broadway)
• Ophelia’s Pizza & Bar (401 Church St.)
• Skull’s Rainbow Room (222 Printers Alley)
Hangover Outposts
It’s the morning after a night out, and you’re feeling the consequences. Heavily. All you want is some breakfast food and potentially a bit of hair of the dog. These outposts provide fresh air, delicious hangover food and even cocktails — if you’re up for round two.
• Redheaded Stranger (305 Arrington St.)
• Dino’s Bar & Grill (411 Gallatin Ave.)
• Brown’s Diner (2102 Blair Blvd.)
• Mother’s Ruin (1239 Sixth Ave. N.)
Neighborhood Haunts
Warning: You will inevitably see someone you know. Locals have loads of beloved bars, but there’s a handful that stand out from the crowd. Any bar that enhances a sense of community is worth giving a shot.
• Duke’s (1000 Main St.)
• The Villager Tavern (1719 21st Ave. S.)
• The Rum Room at Riddim n Spice (2116 Meharry Blvd.)
• Inglewood Lounge (3914 Gallatin Pike)
• Schulman’s Neighborhod Bar (1201 Porter Road)
• Lakeside Lounge (921 Woodland St.)
• Batter’s Box (43 Hermitage Ave.)
• Village Pub and Beer Garden (1308 McGavock Pike)
• The Centennial (5115 Centennial Blvd.)
• Neighbors (multiple locations)
More Than Beer
Watering holes don’t begin and end with typical spirits and beer. Whether it’s absinthe, mead, sake or cider, each of these spots offers something a little different.
• The Green Hour (1201 Fifth Ave. N.)
• Honeytree Meadery (918 Woodland St.)
• Rice Vice by Proper Sake (3109 Ambrose Ave.)
• Diskin Cider (1235 Martin St.)
SMITH & LENTZ
ATTABOY
DINO’S
PHOTOS: DANIEL MEIGS
ROSEMARY & BEAUTY QUEEN
July 8-14
Sink your teeth into the juiciest week of the year! For one week only, July 8-14, 50+ restaurants will serve up their wildest, cheesiest, most delicious burgers for just $7! When it’s over, help us crown the winner by voting for your favorites!
8 Black Tap Craft Burgers & Beer
18 Double Dogs
Silverbelly BBQ Burger
Bacon Cheeseburger
ParTiciPatiNg ResTaurAnts
Sink your teeth into delicious burgers from participating restaurants! Make sure to ask your server for the “Scene Burger Week special” to get the $7 price.
Remember - not all the specials will come with a side, check our website or app for hours and details and BE NICE TO THE STAFF. They are working their buns off for you.
icon guide
Carryout available YoCo Vodka Specials Available Available on Uber Eats
Prime burger, bacon, aged cheddar, crispy onion ring, Silverbelly Whiskey BBQ sauce, peppercorn mayo and a coffee BBQ rub.
9 Bluestone Lane Cafe
Bayside Beef Burger
Beef patty, aioli, arugula, tomato, cheddar cheese, pickles, caramelized onion and fig jam on brioche. Served with wedges.
10 Brown’s Diner
Camille’s Holiday Burger
Famous Brown’s Burger with arugula, fried green tomato, goat cheese, Camille’s Watermelon Pickles and bacon bits.
11 Burger Republic
West Coast Burger
Twin thin pressed Angus Beef patties, mustard steamed with American cheese, made-in-house BR sauce, lettuce, tomato and sautéed onion served on a butter toasted Charpier brioche bun.
A single Black Angus beef hamburger patty topped with American cheese, two slices of hickory smoked bacon, lettuce, tomato and Duke’s Mayonnaise.
19 Drake’s
Street Taco Burger
A fresh, never frozen patty with taco seasoning, cotija cheese, shaved radish, cabbage, salsa verde, cilantro and lime juice on a butter-toasted bun.
20 Fat Bottom Brewing
The Brew Masters Burger
Juicy E3 Farms beef burger on a grilled potato bun, smothered in a house-made Knockout IPA Beer Cheese and topped with pickle fries, lettuce, tomato, red onion and house-made Bertha Stout Beer Mustard.
21 Flat Tire Diner
Bee Sting BBQ Burger
Fresh brisket-chuck burger patty on an in-house baked cheddar onion bun with Muenster cheese, roasted tomato, shoe-string onions and jalapeños, topped with house-made spicy tangy honey barbecue sauce.
1 12 South Taproom & Grill
Lost Hawaiian Savory hand patted burger with HabaQ sauce, grilled pineapple salsa, bacon and melted provolone on a toasted Charpiers bun.
2 51 North Taproom
Blackberry Poblano Bacon Cheeseburger
Hand patted burger chargrilled with blackberry jam, poblano pesto, crispy bacon and melted provolone on a buttery toasted Charpiers Bakery bun.
3 Bad Axe Throwing Nashville
The Jameson
6oz. all beef patty topped with Fogg St. Onion Jam, candied bacon, gouda cheese and whiskey BBQ.
4 Barrel Proof
The Single
5 oz beef patty, dijonnaise, shrettuce, tarragon/dill pickles and tomato on a Charpier's poppy seed bun.
5 Bavarian Bierhaus
Jager “Shroom Burger”
A flame grilled burger topped with Swiss cheese and sautéed mushrooms. Lettuce, tomato, onion and pickle on the side. Served with your choice of one side.
6 Bella Vista Coffee Shop & Latin Brunch
Verano Crunch
Beef, bacon jam, white cheese, sweet fried plantain, scrambled eggs and potato sticks topped with sriracha mayo, served on a French toast potato bread.
7 Beyond the Edge
Chili Cheeseburger
6oz. hand-pattied and seasoned beef topped with house made chili and melted cheddar cheese on a buttered brioche bun. Fork and knife are optional. Extra napkins are recommended.
12 Cabin Attic Burgers
Surf Shack Burger
Smashed Porter Road ground beef patty topped with American cheese, caramelized onion and Cabin Attic’s own Special Spread.
13 Camburgers
The “OG”
Smash patty with cheddar cheese, pickles, savory bacon onion jam and sauced with homemade mustard aioli. The one that started it all!
14 Rodney Scott’s Whole Hog BBQ at Chief’s on Broadway
BBQ Belly Burger
4oz smash burger with two pieces of thick cut smoked pork belly, cheddar cheese, sautéed onions, Sweet Kathy’s BBQ Sauce, mayo and Bread and Butter Pickles on a Martin’s Potato Roll.
15 Cledis Burgers & Beer Garden
Red, White and Blueberry
Grilled onion smash burger, white American cheese, baby arugula, JamBox blueberry preserves and jalapeño aioli.
16 Countrypolitan Hotel & Bar
Tennessee Stud
Tennessee Moonshine pickled watermelon and cucumbers, Sequatchie Cove Coppinger cheese, crispy cornmeal crusted peppadews, charred Wagyu beef and tangy hybrid barbecue sauce on a brioche bun.
17 Decker & Dyer
BBQ Bacon Cheeseburger
Succulent Wagyu beef patty topped with griddled onions, spicy-sweet Cowboy Candy, sharp aged cheddar, crispy bacon and tangy BBQ aioli, all nestled between a soft brioche bun .
22 Gathre
The Burger
Bear Creak Farms patty, sharp cheddar, muenster cheese, bacon, habagardil pickles, fried egg and frites.
23 Germantown Cafe
GTC Burger
Two juicy chuck and brisket patties with sharp Cheddar cheese, shredded lettuce, house-loved sweet n spicy pickles and Dijonnaise Sauce on a brioche bun. Served with house-cut French fries.
24 Goodtimes Full Service Bar
GoodTimes Short Rib Barbecue Burger
Two smashed patties, American cheese and short rib tossed in homemade sesame barbecue sauce with zingy house pickles on a Martin’s potato hamburger bun.
25 Graze Nashville
Buffalo Bacon Blue Cheese Burger
House-made buffalo bacon blue cheese burger topped with seitan bacon, vegan blue cheese crumbles, fresh chopped celery and house made, vegan honey buffalo sauce; all on a toasted bun.
26 Grillshack Fries & Burgers
Grillshack Burger
The traditional favorite that started the Shack ten years ago. Local beef, local bread and melty cheese seasoned to perfection and served with a garden garnish to assemble as you like.
27 Harth Restaurant
The Revolutionary 6oz. of local farm raised wagyu beef topped with smoked cheddar cheese, house made charred bacon, caramelized infused ketchup and delicious toppings like lettuce & pickles, all served on a toasted English muffin.
Don’t forget to vote for your favorite burg of the week and help crown the Best Burger in town!
28 HERO
Hero Burger + One Side
All-beef patty, American cheese, onion, pickle and cracked sauce on Hero’s signature brioche bun, served with one classic side.
29 Hi-Fi Clyde’s
The Porky Pete
Single burger patty, smoked BBQ pork, white onion, chopped dill pickle, jalapeño corn slaw, dry rub and barbecue sauce on a Brioche bun.
30 International Coffee & Tea
The Southern Smash
A quarter pound smash patty with special sauce, house made pimento cheese and crispy fried onion strings.
31 Jack Brown’s Beer & Burger Joint
Krabby Pattie
Summer crab salad, lemony cream cheese, curry mustard and crispy fried shallots.
32 Jasper’s
Smash Burger
Two beef patties, American cheese, onions, dill pickles and mustard on a brioche bun.
33 Little Fib
Fib Burger
Grilled beef patty, shredded lettuce, tomato, radish, Gouda cheese, crispy onion ring and house smoked poblano aioli on a brioche bun. Served with a side of spiced house chips.
34 Live Oak
Hawaiian Teriyaki Burger
1/2lb patty, grilled pineapple, pico de gallo, lettuce and teriyaki sauce.
35 Lovelorn Lounge
Mary Louise Burger
Smoked bacon, pimento cheese, house pickles and frites.
36 Makeshift
Oxtail Burger
5 hour oxtail burger blend smashed, pepper jack cheese, chipotle aioli and pickles with a roux poured over top.
37 MOOYAH Burgers, Fries & Shakes
Mooyah MDC
40 Peachtree Neighborhood Grill
Smashville Burger
Beef, bacon and cayenne smashed burger with blue cheese, garlic Parmesan mayo, lettuce and tomato.
41 The Pharmacy Burger Parlor & Beer Garden
Peaches & Cream Chutney Burger
This year’s Burger Week special comes lovingly topped with luscious whipped cream cheese, arugula, onion and a zesty and spicy Peach Truck peach chutney.
42 Punk Wok
Seoultown Smashburger
Two smashed beef patties, two slices of American cheese, Iwai Whisky onions, sweet & spicy gochujang mayo, housemade pickles, house-made kimchi and fried egg on Martin’s Famous Potato Roll.
43 Red Onion
Rodeo Burger
Double Black Hawk Farms American wagyu beef cooked to order and served on a buttery brioche bun with sharp cheddar cheese, onion rings, double smoked bacon and tangy BBQ sauce.
44 Red Perch
Red Perch Double Smash Burger
Classic double-smash cheeseburger with onions, pickles, and secret sauce.
45 Robert’s Western World
Texas Playboy Cheeseburger with grilled onions and grilled jalapeños on Texas toast. An ode to Bob Wills & His Texas Playboys.
46 Smokin’ Thighs
Flying Hawaiian Chicken Burger
Hand patted seasoned ground chicken, provolone, grilled pineapple, kicking slaw and teriyaki sauce on Texas toast.
47 Sonny’s Patio Pub
Pimento Cheese Burger
Double Angus certified beef, double American cheese, Mooyah sauce, tomato and lettuce on Mooyah’s signature bun.
38 Ottos x Secret Bodega
Secret Izakaya Burger
K-BBQ spiced smash patty, crispy shallot cheese blanket, citrus and chili flavors on a sesame seed bun.
39 Park Cafe
Hereford Burger
Chuck and brisket patty, cheddar cheese, spring mix greens, sweet n spicy pickles and Comeback Sauce on a brioche bun. Served with a side of Rosemary-Parmesan fries.
50 STK Steakhouse
Wagyu Beef Cheeseburger
Grilled 7oz American wagyu patty, smoked Nueske’s bacon and bourbon jam, pickled jalapeño, American cheese, tomatoes, lettuce and sweet pickles in a brioche bun.
51 Stock & Barrel
The ELKamino
Elk patty slider topped with crispy onions, house made garlic parmesan sauce, sautéed mushrooms and greens.
52 Streetcar Taps & Beer Garden
Juicy Lucy Sliders
Two sliders made with local beef blend. Two cheddar stuffed patties, caramelized onions and signature ranch and hot sauce. Savory with a little heat, like all things Music City. Served with potato chips.
53 Taco Bamba
Juju da Smashburger
Two smashburger tacos in warm flour tortillas stuffed with prime ground beef and topped with Chihuahua and cheddar cheese, bacon jam, lettuce, “pickle de gallo”, Flamin’ Hot Dorito crumble and bacon.
54 Teddy’s Tavern
The Red Rose Burger
6 oz organic grass-fed ground beef patty cooked to a perfect medium rare. Topped with a Bloody Mary sauce, made with local Sandy Blonde Ale, pickled onions, bacon, muenster cheese and an olive garnished on top.
55 Tee Line Curling
Everything Burger
Local beefalo and pepper jack cheese with a spicy bacon jam on an everything bun.
56 TENN at Holston House
HH Smashburger
Burger patty, bacon, pimento cheese, lettuce, tomato and caramelized onions on a pretzel bun.
48 South Side Kitchen & Pub
Bramble Jam Melt
Seasoned ground beef patty, brie, fried jalapeños, garlic blackberry jam and peanut butter on jalapeño cheddar toast.
49 Southern Grist Brewing Company East
Hot Honey Butter Burger
45-day dry aged beef, crispy chicken skins, spicy turmeric and squash pickles.
Allen Brothers double patty with American cheese, arugula, pickles and comeback sauce. Served with fries. Ask your server about adding bacon or a fried egg.
57 Thistle & Rye
Birria Burger
60/40 blend of ground beef and birria braised short rib, crispy corn tortilla, onion, cilantro, aji amarillo aioli and melty oaxaca cheese atop a toasted Bobby John Henry Bakery bun. Served with a sidecar of birria consome.
58 Union Teller
The Gold Reserve
4oz double smashed patty with grilled onions and hatch chile cheese sauce.
59 Wilco Fusion Grill
Cowboy Arepa Burger
Chorizo beef patty, spring mix, tomatoes, white cheese, bacon, glazed pineapple compote topped with spicy guava mayo, served on an arepa (fried corn cake).
Enjoy free samples, photo booth fun and most importantly,
Bad Axe Throwing Nashville 652 Fogg St.
At the end of the week, vote for your favorite burgers by visiting sceneburgerweek.com and clicking VOTE. The winning restaurants will win a super cool plaque to hang on their wall, a VIP Experience at the 2024 World Food Championships and qualification into the 2025 event and MAJOR BRAGGING RIGHTS!
Voting runs Monday, July 8-Monday, July 15
Download the official Burger Week app Visit participating locations, order the Burger Week special and check-in to earn points. Click the “Earn More Points” button to find even more ways to gain points! One winner will receive $500 in gift cards to participating restaurants and more!
or download the Burger Week app to find specials near you and recipes to make at-home! Monday July 8 5-7PM
Snap a photo of your Burger Week feasts and post it to social media using #SceneBurgerWeek24 and tagging @nashvillescene
Just by sharing, you’ll be entered to win a $50 gift card
1 2 3
Vote for your favorite burgers of the week and you’ll be entered to win a $50 gift card!
Participating restaurants will offer YoCo Vodka drink specials throughout Burger Week! Plus, we’ve gathered a few delicious cocktail recipes for you to whip up at home and pair with your burgers! Visit
THURSDAY, JULY 4
HOLIDAY [BANG!] INDEPENDENCE DAY FIREWORKS
As Katy Perry fatefully said: “’Cause baby, let’s go see some fireworks!” Or something like that. There’s no better way to celebrate this Independence Day than the many fireworks shows in the Nashville area. Starting with a bang (literally), you can attend one of the largest fireworks shows in the country at Let Freedom Sing!, happening downtown. This year the show will debut drone-light elements with an estimated 400 drones. That event will be headlined by country singer Chris Young and will feature artists including NOLA, Girl Named Tom, Blessing Offor and more. With countless star-spangled cowboy hats and patriotically themed cocktails, it will surely be a blast. Looking for something less flashy? Brentwood has you covered with their annual celebration, Red, White, and Boom, featuring local artists and businesses in Crockett Park. Or maybe you wanna drive down I-24 to Murfreesboro’s Celebration Under the Stars to take advantage of their splash pad for the kids. Wherever you choose to go, make sure to stay safe — and don’t watch fireworks and drive. JOANNA WALDEN JULY 4 AROUND NASHVILLE
THURSDAY / 7.4
FOOD & DRINK
[HOT TOWN, SUMMER IN THE CITY] MUSIC CITY HOT CHICKEN FESTIVAL
REGENERATION:
Nothing screams “Nashville” like stuffing your face with hot chicken in 90-degree weather with humidity north of 60 percent! I’m being totally earnest — seriously, it’s the Nashville way. A popular tradition established nearly two decades ago by former Mayor Bill Purcell, the Music City Hot Chicken Festival will once again go down this Fourth of July in East Park and is set to include an amateur-chef contest featuring five participating teams and a panel of local celebrity judges. It won’t be all amateurs of course, as longtime pros including Party Fowl, Hattie B’s, Hurt’s Hot Chicken, the originators at Prince’s Hot Chicken and several others will be there selling their fiery fowl. Attendees can cool their palates with a beer from Yazoo Brewery or a treat from the Retro Sno Food Truck, and entertainment will be provided by Afrobeat ensemble Afrokokoroot as well as Dylan Smucker, Jarren Blair and Mad Mauves. Festival proceeds will benefit Metro Parks and Recreation, and the whole shindig kicks off with the annual fire truck
parade down Woodland Street. (Expect “antique and modern fire trucks plus unique vehicles, mascots, bands and of course beads!”) Find more details at hot-chicken.com. D. PATRICK RODGERS
PARADE 10:30 A.M. AT WOODLAND AND NINTH STREETS; FESTIVAL 11 A.M.-3 P.M. AT EAST PARK 700 WOODLAND ST.
MUSIC
[BLOODY MARY INDEPENDENCE DAY] HANNAH DASHER
OK, I get it. Downtown Nashville on Independence Day? That can be a tough sell for some locals. But this isn’t Lower Broad’s rowdy annual free-for-all. Those wanting to be close to the action but not in the eye of the red-white-and-blue storm should consider catching Hannah Dasher at Chief’s, Eric Church’s Broadway megabar, barbecue joint and music venue. A country singer who often fills TikTok feeds with sharp-tongued posts, clever tunes and a dash of home cookin’, Dasher is a one-of-a-kind entertainer in Nashville. Hear a slice of her storytelling for yourself on The Other Damn Half, her seven-song release from 2023 that kicks off with the twangy revenge anthem “Cryin’ All the Way to the Bank.” And she’s playing in Chief’s so-called Neon Steeple, a
two-story ticketed concert hall covered in neon signage and stained-glass artwork that’s tucked inside the otherwise towering bar. It’s billed as a post-fireworks gig, so music will kick off after the city’s free show ends on Lower Broadway.
MATTHEW LEIMKUEHLER
10 P.M. AT CHIEF’S 200 BROADWAY
FRIDAY / 7.5
[NEON NIGHTS]
FILM
BODY DOUBLE & VICE SQUAD
In a moment of genre synergy, the Belcourt’s first set of Midnight Movies for July draws from the opening of the latest Ti West/Mia Goth joint Maxxxine, with a double-dip into the finest of ’80s Los Angeles sleaze. Friday night brings Brian De Palma’s 1984 magnum opus Body Double, immortalized by its prominence in Bret Easton Ellis’ American Psycho and its love theme by Frankie Goes to Hollywood. De Palma works in the Hitchcockian idiom, in that the ghoulish murder conspiracy also serves as a kinky detective fantasy for viewers and features an enigmatic blonde (a peerless Melanie Griffith) of mysterious motivation. Unreservedly tacky and of academic interest (tackademic?), Body Double is exactly as trashy as you want it to be. And then on Saturday, it’s Gary Sherman’s 1982 killer pimp classic Vice Squad. If you’ve never seen it, it sounds like exploitative filth — which it is a little bit, but it’s also a tensely structured cat-andmouse thriller that feels almost progressive to modern eyes. Its sex-worker protagonist (played by the exceptional Season Hubley) is resourceful and fully realized, and proves an ongoing match for Wings Hauser’s Urban Cowboy-shirt-wearing pimp, Ramrod. Sherman’s script is taut and brisk, and the atmosphere is thick with stank and suspense. A super shoutout to original MTV VJ Nina Blackwood, memorable in a small, doomed part during the film’s inciting event, and to the Avco Embassy logo, a mark of quality and the finest prelude to genre excess of the late ’70s and early ’80s. JASON SHAWHAN
BODY DOUBLE JULY 5, VICE SQUAD JULY 6 AT THE BELCOURT
2102 BELCOURT AVE.
FILM [TAKE A BITE]
JAWS AT THE BELCOURT; JAWS & PIRANHA AT FULL MOON CINEPLEX
It’s that time of year again, when fireworks start popping off, guys argue about what’s getting cooked on the grill, and movie theaters schedule screenings of Steven Spielberg’s groundbreaking 1975 blockbuster Jaws on and/or around Independence Day. The forever-suspenseful tale of a killer shark that terrorizes a resort town — right before a Fourth of July beach blowout — has now become a holiday favorite. The Belcourt will have two screenings on the Fourth and one more on Saturday night. Full Moon Cineplex will also show it on Friday night, along with Piranha, one of the many Jaws ripoffs that showed up in the late ’70s. This 1978 B-movie thriller about bloodthirsty piranhas on the loose was
produced by the late Roger Corman (of course!), written by indie-filmmaking legend John Sayles and directed by future Gremlins helmer Joe Dante. Also, it’s the only Jaws knockoff that got Spielberg’s seal of approval. Visit belcourt.org and fullmooncineplex.com for showtimes. CRAIG D. LINDSEY
JAWS JULY 4 & 6 AT THE BELCOURT, 2102 BELCOURT AVE.
JAWS & PIRANHA JULY 5 AT FULL MOON CINEPLEX, 3455
LEBANON PIKE
SATURDAY / 7.6
BURLESQUE
[THE UNDER(WEAR)TAKER] BURLESQUE BRAWL 2024
Wrestling fans, let’s get weird. Or should I say weirder? 2005’s classic “it’s still real to me, damn it!” viral video of a distraught WWE fan’s existential realization comes to mind. In honor of America’s strange sporting obsession, the local agents of debauchery behind Nearly Painless Productions proudly present Burlesque Brawl 2024. Illustrious entertainers Patsy Climax and Mx. Mona Von Holler will tag-team hosting duties between various exciting events including drag performances, a hot dog eating competition, sword swallowing with La Reine the Thrill, a wet T-shirt contest, circus arts featuring Kinetic Kristen and fire dancing by Pyroglyphics. But all eyes will be on the main event: a head-to-head Jello-wrestling “strip to the death” match between Tarah Rising (cosplaying as “Stone Cold Steph Austin”) and Stevie Lix (“Chick Foley”). Who will take the titillating title and become the 2024 Champion of Burlesque Brawl? JASON VERSTEGEN
8 P.M. AT THE COBRA
2511 GALLATIN AVE.
MUSIC [A HONEY OF A TOUR] BEN PLATT W/BRANDY CLARK
You may know Ben Platt best for his Tony Award-winning performance in the 2015 hit musical Dear Evan Hansen (or its 2021 film adaptation, which he also starred in). But over the years, this versatile performer has earned a wide range of film and television credits, including everything from Pitch Perfect and Theater Camp to the popular Netflix series The Politician. Platt also received his second Tony nomination in 2023 for his heartbreaking performance as Leo Frank in Parade. Platt is currently touring in support of his third solo album, Honeymind, which finds the prolific artist exploring “a more understated, folk-leaning sound.” You can catch him this weekend at the historic Ryman Auditorium along with Grammy Award-winning singersongwriter Brandy Clark, who co-wrote and performed with Platt on the Honeymind single “Treehouse.” Interestingly enough, Clark recently earned a Tony nomination of her own, co-writing the music and lyrics for the 2022 musical comedy Shucked with frequent collaborator Shane McAnally. I suspect fans will be treated to an interesting mash-up of genres — and plenty of star power. AMY STUMPFL
JULY 6-7 AT THE RYMAN
116 REP. JOHN LEWIS WAY N.
MUSIC
[TALKIN ’BOUT] REGENERATION: MIKE FLOSS AND ROD MCGAHA
The Blue Room at Third Man Records is becoming something of a hub for boundarystretching performances with a strong jazz connection, including an appearance last year from Blake Mills and Pino Palladino’s group and a run of four shows in late May with André
3000. A show among many others that should be in that conversation: The February debut of Regeneration, the new collaborative project from the father-son duo of stellar jazz trumpeter Rod McGaha and top-notch rapper and activist Mike Floss. “In spirit and sensibility, what McGaha and Floss are doing with Regeneration resembles the directions taken by others in the improvisational world, like Robert Glasper,” longtime Scene contributor Ron Wynn wrote in his review. “The structure comes from jazz and its improvisational modes, but the pacing and power come from hip-hop.” The pair was just getting cooking with that inaugural live performance, and they’ll be back for another round on Saturday. It’s music that will reward you being present for it — don’t miss out!
STEPHEN TRAGESER
7 P.M. AT THE BLUE ROOM AT THIRD MAN RECORDS 623 SEVENTH AVE. S.
ART [NOT A THROWAWAY]
THE DISPOSABLES
I love the look of disposable camera photos. Taking them is such a nostalgic experience that we seek out digital effects and smartphone apps to try to replicate their look. The Disposables art exhibition is a place to see the real thing. Vendors of The Contributor street newspaper, who are experiencing homelessness or have in the past, were sent out to photograph their world with a disposable camera. What developed was a candid view of our city, sometimes poignant, sometimes funny and always thought-provoking. There’s a deeper meaning to the event and its name, as it honors the people often made to feel disposable in society. In addition, all of the works are available for purchase, with the money going directly to the vendor who took the photo. One of the
HANNAH DASHER
JUL 5 & 6 | 7:30 PM
Nashville Symphony | Andrés Franco, conductor JUL 12 | 7:30 PM
THE SWEET CAROLINE TOUR: A NEIL DIAMOND CONCERT CELEBRATION
Presented without the Nashville Symphony.
JUL 24 & 25 | 7:30 PM
Special Event
HARRY POTTER AND THE SORCERER’S STONE™ IN CONCERT with members of the Nashville Symphony
AUG 21 | 7:30 PM
Presentation
THE CONCERT:
A TRIBUTE TO ABBA
PresentedwithouttheNashvilleSymphony.
JUL 28 | 2 PM
Presentation
Silent Movie Classics: THE RED BALLOON AND THE CAMERAMAN
Featuring Organist
Peter Krasinski
PresentedwithouttheNashvilleSymphony.
SEP 7 | 7:30 PM
Special Event
FINAL FANTASY VII REBIRTH
ORCHESTRA WORLD TOUR with the Nashville Symphony
AUG 14 | 7:30 PM
JUL 21 | 2 PM
THE RESET:
AN IMMERSIVE SOUND HEALING EXPERIENCE WITH DAVIN YOUNGS
Presented without the Nashville Symphony.
HCA Healthcare and Tristar Health Legends of Music
BUDDY GUY: DAMN RIGHT FAREWELL TOUR
PresentedwithouttheNashvilleSymphony.
SEP 13 & 14 | 7:30 PM
Classical Series OPENING WEEKEND: RACHMANINOFF AND MAHLER with the Nashville Symphony
AUG 18 | 7:30 PM
HCA Healthcare and Tristar Health Legends of Music KEM
PresentedwithouttheNashvilleSymphony.
SEP 17 | 7:30 PM
Special Event
THE LONE BELLOW with the Nashville Symphony, an AMERICANAFEST
Special Event
things that makes The Contributor work so well as an organization is giving the vendor an avenue to make money — and connect with others. While you’re at it, buy the newspaper if you see someone selling it. They take Venmo, too! HANNAH HERNER
5 P.M. AT DOWNTOWN PRESBYTERIAN CHURCH
154 REP. JOHN LEWIS WAY N.
a podcast hosted by Fucked Up frontman Damian Abraham, Pedro the Lion’s David Bazan recalled discovering alternative rock as a middle-schooler sheltered from the world of “secular” music. The awkwardness of being a shy young outsider led to his self-expression through writing his own songs. Bazan has spent the past three decades perfecting first-person storytelling, carrying songs with his baritone croon and penchant for interesting wordplay. His candidly personal lyrics challenge listeners to share in his joys and embarrassments. This summer saw the release of Santa Cruz, the third in a series of autobiographical albums released by Polyvinyl Records that delve into many of the same vignettes he shared on Abraham’s show. Opener Flock of Dimes, alter ego of Wye Oak’s Jenn Wasner, has an elegant simplicity to her sound. The 2021 collection Head of Roses: Phantom Limb has a charm that pairs lush sonic experimentation with beautiful songcraft, reminiscent of Beck’s Sea Change or Fleetwood Mac’s Tango in the Night. P.J. KINZER
8 P.M. AT THE BASEMENT EAST 917 WOODLAND ST.
TUESDAY / 7.9
an independent bookstore for independent people
UPCOMING EVENTS
PARNASSUSBOOKS.NET/EVENT FOR TICKETS & UPDATES
6:30PM
MONDAY, JULY 8
ALICIA THOMPSON & KT HOFFMAN at PARNASSUS
The Art of Catching Feelings & The Prospects
6:30PM
TUESDAY, JULY 9
TRICIA LEVENSELLER with JENNIFER LYNN ALVAREZ at PARNASSUS The Darkness Within Us
6:30PM
JULIA PHILLIPS
6:30PM
WEDNESDAY, JULY 10
with ANN PATCHETT at PARNASSUS Bear
THURSDAY, JULY 11
JEFF ZENTNER & BRITTANY CAVALLARO at PARNASSUS Sunrise Nights
10:30AM
SATURDAY, JULY 13
SATURDAY STORYTIME with THE STORY LADY & THE DRUMMER at PARNASSUS
MONDAY, JULY 15
SUNDAY
/ 7.7
[CALCIUM RICH]
OUTDOORS
CAVING ADVENTURE IN HERMIT CAVE
Tennessee has such a rich offering of geological wonders, it would be hard to see them all in one lifetime. The Cedars of Lebanon State Forest, 15 miles east of Nashville, is one of the best spots to experience nature nearby. The park is an ecosystem that sits atop an ancient bed of calcareous limestone. It hosts rare treasures like the formerly endangered Tennessee purple coneflower and the cedar glades that gave the forest its name. One such awe-inspiring spectacle is Hermit Cave. Visitors can take a guided trek through the limestone cave on Sunday afternoons all summer. It’s family-friendly for caving beginners, but for the more experienced, the park also offers trips through Jackson Cave. Sign up online (the tours fill up fast) and meet at the visitors center early to be fitted for a helmet. Don’t forget your boots, because the old Hermit is damp and muddy.
P.J. KINZER
3 P.M. AT CEDARS OF LEBANON STATE PARK
328 CEDAR FOREST ROAD, LEBANON
MUSIC [GOES ON]
THE BEAT FUNDRAISER
and-a-half, Scene contributor Brittney McKenna did a three-part series of deep dives on the community’s needs, how The Beat and other organizations are trying to help, and what they need to see lasting change (see part 1, part 2 and part 3 of “The Other Nashville”). Bradbury has established indie label The Beat Records for occasional new music releases (all proceeds from which benefit the organization), and periodically he’ll hop onstage to help raise funds for The Beat’s work. Sunday, he’ll appear at The 5 Spot along with rocker ZG Smith, whose Nighttime Animal was a standout of 2023, and Preston Evans, whom you might have heard during one of his DJ sets on Acme Radio Live. Also joining in is Bradbury’s fellow New Jerseyborn songsmith Jason Erie, who’s getting ready to follow up his 2022 album Tiny Fires with a single called “Misfits of the American Trades.”
STEPHEN TRAGESER
8 P.M. AT THE 5 SPOT
1006 FOREST AVE.
MONDAY / 7.8
[DAVID COMES TO LIFE]
MUSIC
PEDRO THE LION W/FLOCK OF DIMES
In a 2022 interview on Turned Out a Punk,
MUSIC
[THE POWER OF MUSIC] THE SPHINX VIRTUOSI
Since its founding in 1997, the Sphinx Organization has worked tirelessly to identify, empower and support young Black and Latinx classical musicians. Based in Detroit, the nonprofit oversees a wide range of programs, from education and access to artist development, as well as commissioning new works from Black and Latinx composers, and fostering administrative and leadership opportunities. You can check out the Sphinx Virtuosi — the organization’s flagship performing entity — as it arrives at the Schermerhorn on Tuesday. The evening’s program is inspired by the poetry of Langston Hughes and Julia Alvarez and includes selections from Adolphus Hailstork’s Sonata da Chiesa and Coleridge Taylor Perkinson’s Sinfonietta No. 2, “Generations.” Audiences can
3900 Hillsboro Pike Suite 14 | Nashville, TN 37215 (615) 953-2243 Shop online at parnassusbooks.net
6:30PM CHUCK TINGLE at NASHVILLE PUBLIC LIBRARY Bury Your Gays parnassusbooks parnassusbooksnashville parnassusbooks parnassusbooks1
Part of being a great storyteller, whether your medium is song or something else, is empathy. Darrin Bradbury has used his empathy to great effect as an incredible singersongwriter, releasing several outstanding albums (including two for ANTI- Records). These days, Bradbury channels most of that energy into his advocacy work for the unhoused community in Madison through a nonprofit he started called The Beat. Over the past year-
also look forward to checking out a number of new works written for the ensemble, including Quenton Blache’s Habri Gani, named for the Swahili greeting offered during the celebration of Kwanzaa; Javier Farias’ tango-infused Abran Paso; Jessie Montgomery’s powerful Divided (performed by acclaimed Cuban-American cellist Tommy Mesa); and Andrea Casarrubios’ haunting Herencia. It’s a thoughtful lineup and one that highlights the transformative power of music. AMY STUMPFL
7:30 P.M. AT THE SCHERMERHORN 1 SYMPHONY PLACE
WEDNESDAY / 7.10
MUSIC
[ON THE DOWNBEAT] THE
fuzzy kiddie shows, you’ll want to check out Puppeteers for Fears. Based in Ashland, Ore., this unusual theater troupe has developed a loyal following thanks to its rather unique brand of “original puppet horror/sci-fi musical comedy.” The crew is currently on the road, touring Cthulhu: the Musical!, a musical adaptation of H.P. Lovecraft’s classic horror story “The Call of Cthulhu.” Serving up a wholly unexpected blend of “noir detectives, dancing tentacles, anarchist pirates, broken-hearted academics, sassy monsters and more,” this is clearly not your typical puppet show. And it’s worth noting that Cthulhu: the Musical! is rated R, so you may want to leave the little ones at home. (Or be prepared to answer a lot of questions after the show.) But with a live rock band and plenty of dark humor, it’s sure to be a rollicking good time. AMY STUMPFL
DESLONDES
New Orleans quintet The Deslondes hired new drummer Howe Pearson after the release of their 2022 full-length Ways & Means, replacing longtime member Cameron Snyder. Fronted by singer, songwriter and multi-instrumentalist Sam Doores, the band sounds a bit like, say, The Band, but the comparison doesn’t do justice to their slightly downbeat synthesis of country and rock. The Deslondes remind me of a less acerbic Los Lobos, or maybe The Mavericks with a bad attitude. At their best, as on the Ways & Means track “Howl at the Moon,” the group traffics in subtle musical dissonance that jibes with lyrics about trying to make it in a hostile world. The Deslondes have a new album, Roll It Out, set for September release. As they’ve done for all of their albums, they recorded it at Nashville studio The Bomb Shelter with producer Andrija Tokic. I like their worldview — it’s funny and a little depressive, which suggests they understand what it’s like to live in the United States in 2024. They appear Wednesday at one of the city’s most interesting roots-oriented venues, Dee’s Country Cocktail Lounge, which recently brought a new music booker on board. EDD HURT
9 P.M. AT DEE’S COUNTRY COCKTAIL LOUNGE 102 E. PALESTINE AVE., MADISON
THEATER
[CUE THE DANCING TENTACLES] PUPPETEERS FOR FEARS: CTHULU: THE MUSICAL!
If your idea of puppetry is limited to soft,
7:30 P.M. AT CITY WINERY
609 LAFAYETTE ST.
[IT’S ABOUT US]
FILM
QUEER QLASSICS: THE COLOR PURPLE
The Belcourt is kicking off this year’s Queer Qlassics series with an interesting choice: Steven Spielberg’s 1985 adaptation of The Color Purple. Alice Walker’s Pulitzer Prize-winning, oft-banned 1982 novel was a game changer in both African American and LGBTQ literature, with its story of Celie, a Black girl who, after years of sexual and spousal abuse from men, receives much-needed affection from Shug, her husband’s bisexual, blues-singing mistress. Although that lesbian love story is explicitly laid out in the book, Spielberg only hints at it, with Celie (Whoopi Goldberg) and Shug (Margaret Avery) sharing a tender kiss — and that’s it. Even Spielberg himself has admitted in the 2017 doc Spielberg that his younger self was too timid to go full Sapphic. (The romance figures more prominently in the musical remake that hit theaters at Christmas.) Nevertheless, it’s still a major motion picture from the ’80s, directed by the gotdamn king of Hollywood at the time, that briefly but boldly presents something that was rarely seen in multiplexes back then: two Black women in love. CRAIG D. LINDSEY
8 P.M. AT THE BELCOURT
2102 BELCOURT AVE.
COLOR PURPLE
PET OF THE WEEK!
Name: AVOCADO
Age: 8 years
Weight: 43 lbs
Gender: Male
Meet Avocado! Avocado is a sweet, lower-energy, and curious pup. He walks well on a leash, loves being brushed, and enjoys sniffing the great outdoors! He loves to sunbathe, so would do best in a home with a backyard!
Avocado also enjoys pets from his humans and spending quality time on the couch together. Avocado might be 8 years old, but he has a youthful spirit that he is ready to share with his future family! Are you looking for a sweet and calm dog to share your life with? Come meet Avocado today!
Call 615.352.1010 or visit nashvillehumane.org
Located at 213 Oceola Ave., Nashville, TN 37209
Adopt. Bark. Meow. Microchip. Neuter. Spay.
CULTURE
SARAH SHERMAN IS FUN, SHE PROMISES
Talking with the SNL comedian ahead of her appearance at The Basement East
BY KIM BALDWIN
“I WANT TO DO karaoke — I want to eat crazy fried chicken, I want to do everything,” Sarah Sherman tells the Scene by phone.
Sherman, aka Sarah Squirm, has been to Nashville only once. That was when she was on tour with Eric André, and she was in and out in less than a day. She has more time on her current tour — which brings her to The Basement East on July 9 — and she plans to make the most of it.
The comic, who specializes in body-horror comedy, joined Saturday Night Live as a featured player in 2021 and gained repertory status in 2023. Before SNL, she was known for her disgusting and hilarious DIY videos.
“Everything has to be a joke,” she says. “That’s the power of comedy. I repulse people, I’m pushing them away, and then I bring them back with the identification point of laughter. Even if I’m experimenting with freaking people out, I’ve got to get them back with some laughs. It’s that repulsion-and-attraction thing.”
Sherman has fun at SNL, but says she also takes ideas she couldn’t make work on the show and uses them in her act. Stand-up is a way to let loose over the summer and do the things she can’t do on network television — but not everyone who comes to her show understands that.
“I’ll do a comedy club in Wisconsin and get a family of four 70-year-olds who are like, ‘Oh, we want to go to the comedy club this weekend and see the brunette from SNL, that’ll be fun,’” Sherman says. “And then they get there and they’re like, ‘What the fuck? This is not — I thought this was the nice woman from the show that we like.’”
To mitigate this, Sherman makes her promotional material match the vibe of her stand-up. Take, for instance, the poster for this tour. “Sarah” is dripping with eyeballs, “Squirm” is made out of intestines, there’s a severed finger, Sherman’s eyes are hanging out of her head, and part of her brain is visible.
“I don’t want to spoil anything, but it gets really horrible — it’s really loud and really unpleasant,” she says with a laugh. “But it’s so fun. I promise. It’s fun. Like, my friend’s mommy ran out of my show in Portland and was puking in the parking lot.”
Recently an elderly woman came to one of Sherman’s shows and said in all her years she’s never seen anything like this, which Sherman took as the ultimate compliment. Sherman also says she’s grateful that SNL has given her a larger platform. Before she joined the cast, she was known for an outrageous DIY style in her work, most notably superimposing her mouth over a butt to … look like a butthole. She says she and her friends had a lot of fun making weird stuff before SNL, but now she’s grateful to work with people who have been in the business for decades.
“I was a fan of Louie Zakarian’s work from before SNL because he used to do all these crazy Troma movies,” Sherman says of the show’s longtime makeup artist. “We did this sketch called ‘The Anomalous Man’ where I was this weird mythical creature. He made this crazy face for me in a day. Then last-minute, we did a rewrite where I had a hunchback with an eyeball on it. So he whipped that up in like a minute. It was crazy. He’s amazing. These people are amazing.”
For every family of four who walks out of Sherman’s live show, or pukes in the parking lot, there are dozens of fans waiting to come up to her after the show or on the streets of New York and connect with her — by showing her the grossest thing in their camera roll.
“Literally people will be like, ‘Oh my God, you love body horror — I sliced open my face when I fell off a tractor, and I think you would love it,’” Sherman says. “Like, ‘Oh, my God, you would love this picture of my face getting ripped off by a bear.’ And I’m like, ‘Whoa!’”
When asked what stand-up performers she enjoys, Sherman puts a pair of comics on our
in Chicago. In one of his shows,
reenacted the sex scene from
Mountain while singing “The Killing Moon,” and Sherman calls it the best thing she’s ever seen.
Then, like many a well-intentioned visitor, Sherman asks about Lower Broad.
“I want to go to the Kid Rock honky-tonk,” she says.
The Scene tells her that might not be such a good idea — that it’s not the same kind of tourists New York gets. It’s a really different kind. A worse kind.
“You’re actually really intriguing me,” she says. “You’re actually doing more to intrigue me. It makes me want to go more. … I’m going.” ▼
8 p.m. Tuesday, July 9, at
radar: Richard Perez in New York and Alex Grelle
Grelle
Brokeback
Sarah Squirm: Live + In The Flesh
The Basement East
PHOTO: ALEXA VISCIUS
ART: CRAWL SPACE
A WHOLE LOT OF RETRO AT THIS MONTH’S CRAWL
July’s First Saturday events picture Nashville’s contemporary art scene through a rearview mirror
BY JOE NOLAN
HOT OFF OUR star-spangled celebrations of all things red, white and kablooey, Nashville’s weekend gallery happenings aren’t reminiscing all the way back to the founding of the republic, but there’s a whole lotta retro going on this Saturday night. Expect street photography and emerging master artists alongside a reboot of an exhibition series that helped foster today’s local contemporary art scene.
WEDGEWOOD-HOUSTON
Despite Bob Dylan’s protests to the contrary, sometimes artists do indeed “look back.” Take Zeitgeist Gallery’s recent programming for example: Their June exhibition, The Key Show, was a celebration of the groundbreaking indie artist community that reimagined the industrial Wedgewood-Houston neighborhood as a grungy creative oasis way back in the 1990s. And the gallery’s newest show reboots the O.G. exhibition series that brought a handful of those creators to the Zeitgeist roster back in the day when their MFAs were still wet behind the ears. The first Switchyard show debuted in 2002, when Zeitgeist was located in Hillsboro Village, during that neighborhood’s hip high-water mark. The series read like a tryout for emerging independent artists, some of whom joined the Zeitgeist lineup during a time when most commercial galleries were focused on creators with already established careers. It was a smart play by the gallery, and it’s no coincidence that Zeitgeist is currently thriving in the heart of Nashville’s contemporary art scene while many of the other commercial galleries from that era are now part of local art history.
Galleries — like artists — have to learn and evolve or die. And Zeitgeist’s latest iteration of Switchyard is a works-on-paper show that draws from the indie studio community and the artist-led gallery scene that are following in the footsteps of their 1990s Wedgewood-Houston forebears 25 years on. The show includes contributions from Sai Clayton, Angus Galloway, IMGRNT, Fuko Ito, Nazanin Moghbeli, Abraham Lara, Sebastian Lara, Jerry Bedor Phillips, Ashley Rivera, Alex Sager, Paz Suay and Lanecia Rouse Tinsley ➡DETAILS: 5-8 p.m. at Zeitgeist Gallery, 516 Hagan St., Suite 100
Back in the heyday of the 1.0 version of the WeHo contemporary art scene, many of the conversations in galleries and studios, coffeehouses and bars took on the form of wish lists. Artists, curators, writers and educators wondered aloud about what Nashville’s nearly nonexistent visual arts infrastructure needed most to finally establish a sustainable and lasting scene once and for all. The desire for an MFA program topped a lot of those lists, and early efforts tried and failed before Watkins College of Art christened their low-residency MFA program in 2017. Rhi-
zome for President at Coop is a new group show by the program’s current crop of artists who are all in town and nearing the culmination of their latest residency. The show includes video, sound, sculpture, installation, painting, transfer, textiles, assemblage and collage. It’s the kind of show that revels in its contrasts and variety, featuring works from Liz Hodder, Cj Lundblad, Jes Mercer-Monnig, Laurie Campbell Pannell, Ambrose Rouse and Thaxton Fant Waters
➡DETAILS: 1-9 p.m. at Coop, 507 Hagan St.
DOWNTOWN
The Browsing Room Gallery at the Downtown Presbyterian Church has garnered a reputation as a cozy cube where artists are free to experiment and play. But one staple of the space is its group exhibitions by the DPC’s artists-in-residence who also curate the gallery’s eclectic program. The church’s art studio project was founded by artist Tom Wills way back in 1994 when BR549 were the kings of Lower Broadway, and The Brass Stables was still hosting live nude dancers in Printers Alley. This Saturday The Browsing Room welcomes a new exhibition of the DPC’s residents, including work from Richard Feaster, Shevy Smith, Hans Schmitt-Matzen, Janet Decker
Yanez and Sarah Hart Landolt. The church will also be hosting the latest iteration of The Disposables
The semiannual exhibition features photographs by the vendors of Nashville’s street newspaper, The Contributor. The paper was founded
in 2007 by Tasha Lemley after she began interviewing Nashvillians living on the streets downtown while she herself was an artist-in-residence at the DPC. The Contributor’s homeless and previously homeless vendors were given disposable cameras to document their everyday experiences while selling their papers on Nashville’s streets. The results typically range from poignant and poetic to silly and surreal, and the profits from all photo sales go directly to the artists. The display will also feature framed poetry written by the vendors, and the Saturday night happenings at the church will include a poetry reading by the writers in the paper’s Nashville Street Poetry Project. (Full disclosure: I’m the founder of the NSPP.)
➡DETAILS: 5-8 p.m. at The Browsing Room Gallery at Downtown Presbyterian Church, 154 Rep. John Lewis Way N.
Tinney Contemporary has handed over the gallery’s curatorial duties to local painter Jodi Hays this Saturday night. The Sink: Dye, Damage and Invisible Labor in Material Practice is a formalist examination of mediums and techniques. It casts one eye at form and materials-centric artists like Robert Gober, Helen Frankenthaler and Danila Rumold, with the other eye smartly looking forward to the near-future of American art — as we already see figures giving way to abstraction, and narratives and content being replaced by art about art. The show includes
contributions from Fatema Abizar, David Onri Anderson, Arden Bendler Browning, Loren Erdrich, Nan Goldin, Virginia Griswold, Mary Addison Hackett, Jodi Hays, Abshalom Jac Lahav, Michi Meko, James Perrin, Pope.L, Felandus Thames, Mamie Tinkler and Vadis Turner. Form over content shall be the whole of the law this Saturday.
➡DETAILS: 2-8 p.m. at Tinney Contemporary, 237 Rep. John Lewis Way N. ▼
THE SINK: DYE, DAMAGE AND INVISIBLE LABOR IN MATERIAL PRACTICE AT TINNEY CONTEMPORARY
RHIZOME FOR PRESIDENT AT COOP
HAPPY FOURTH OF JULY! WMOT
Packin’
Backstage Nashville! Daytime Hit Songwriters Show featuring GARY BURR, JAMES SLATER, JESSE LEE & RAY STEPHENSON
the lion w/ flock of dimes sarah sherman every avenue w/ makeout, rookie of the year & odd sweetheart allan rayman w/ michael lemmo the wilder blue w/ troubadour blue sparkle city disco ok go w/ winona forever & mirthquake cardinal
w/ connor clark & blue rhythym
new medicine beast street band - springsteen tribute qdp dylan wheeler mates of state w/ al menne giacomo turra & the funky minutes w/ phoebe katis small black w/ pictureplane david ramirez the stews w/ certainly so & supper club seeyouspacecowboy w/ the callous daoboys, omerta, stateside & thirty nights
gatlen gunn w/ slickson revolver & under high street blue house band, daniel hansen, sam ferrara &
(7pm) nash hamilton, tori miller & kylie spence (9pm) buscall presents city-sounds tour huntertones w/ uncle bronco emma ogier w/ olivia montgomery, dear andie & joy hotchkiss matt sahadi w/ juniper maya manuela w/ stacey kelleher
MUSIC
VACATION SEASON IS well and truly rocking, but Nashville musicians just keep on releasing records you’ll want to know better. The Scene’s music writers have nine new recommendations for you, so add ’em to your streaming queue or pick them up from your favorite record store. Some of our picks are also available to buy directly from the artists on Bandcamp. However, the Bandcamp Friday promotion — in which the platform waives its cut of sales for a 24-hour period — is still on a summer break, and will return Sept. 6.
ANOTHER LOOK
The Scene’s music writers recommend recent releases from Daisha McBride, Cage the Elephant, OmenBringer and more
like the musical baby of Billie Eilish and Tame Impala, raised on Modest Mouse’s discography. JAYME FOLTZ
KAITLIN BUTTS, ROADRUNNER (KAITLIN BUTTS/ SOUNDLY)
YELAWOLF, WAR STORY (SLUMERICAN)
A sprawling hour-and-ahalf double
DAISHA McBRIDE, PEOPLE LIKE ME (THE RAP GIRL) Going back to her days freestyling in her dorm at MTSU, Daisha McBride has never been anything but confident on the mic. But with every release it feels like she’s reaching a deeper level of comfort in her skin and as the star of the show. There’s a special kind of swagger to “Ms. Make It Happen,” the opener of her new EP People Like Me, in which she’s taking stock of where she’s at, rapping: “I’m a little cocky, baby, and my exes would agree / It’s a compliment to know they’re still checking up on me.” It takes guts to be as direct as she is about feeling burnt out on “All Is Well,” and to take charge of being open about communication with her partner the way she does on the superb slow jam “Tell Me What U Want.” STEPHEN TRAGESER
CAGE THE ELEPHANT, NEON PILL (110 ENTERTAINMENT/RCA)
If you were hoping Neon Pill would be a gamechanger for Kentucky-bred alt-rockers Cage the Elephant, you might be disappointed in the lack of instrumental experimentation or wild new beats on their first new album in five years. But you might also ask yourself: Does the game need changing? The LP is a beautiful culmination of the work they started a decade ago, with lyrics about things you regret and things you’re trying to work on, inspired by the turmoil in singer Matt Shultz’s personal life. There’s a rawness here about despair, desire and being afraid of losing yourself, layered over groovy guitar riffs with bluesy undertones —
One of the year’s coolest and most ambitious country albums comes from ramblin’ red dirt singersongwriter Kaitlin Butts. Roadrunner! dusts off the lore of famed musical Oklahoma! for a country-roots retelling of the story. With inspiration that straddles realworld hurt and larger-than-life theatrics, Butts shines on this expansive 17-track release, which includes the sharp-tongued single “Hunt You Down,” fiery country-rocker “If I Can’t Have You,” old-school campfire folk tune “Like I Should” and Vince Gill collaboration “Come Rest Your Head (On My Pillow).” I can’t wait to catch her headline date in November at Exit/In, sure to have country fans buzzing for weeks afterward. MATTHEW LEIMKUEHLER
AUSTIN CODY, ONLY MORE (SELF-RELEASED)
LP, War Story delivers more narrative and harmonic throughput than expected from such a long-ass track list. A deep dive into intoxication’s darkest depths and a trunkrattling journey through the dirtiest corners of the Dirty South, it’s broken into two song sets, Michael Wayne and Trunk Muzik 4Ever. It paints a complex picture of characters operating in the twilight zones between cultures, scenes and social and economic strata, all with a buzz that would destroy a normal person.
MALONEY
SEAN L.
DEX GREEN, IMAGINARY WAR (THREE SIRENS)
guitar), Spookie Rollings (rhythm guitar) and Tyler Boydstun (drums) earnestly explore the spiritual and sensual elements of rock ’n’ roll lore. They bring a delightful sense of levity, though; “B.T.G.G.F.,” an ode to a particularly pulchritudinous Bauhaus fan, stands for exactly what you’d hope it stands for.
ADDIE MOORE
For a brief time in the Aughts, Austin Rick was an aspiring country singer who performed as Austin Cody. In a 2017 interview with the Scene, he shared allegations of sexual harassment and assault against powerful public relations executive Kirt Webster, whom he said promised “fireworks” in Rick’s career if he accepted Webster’s advances. Rick did not, and his music career ended practically before it began; traumatized by his experience, he has no interest in rekindling it. Recently, however, he recovered the masters to three songs he recorded at the time and released them on streaming services as the Only More EP. It’s a competent set of mainstream country bookended by two strong ballads that showcase the singer’s potential. In an email, he explains it’s important to release the music to give context to a forthcoming book and other possible projects he hopes will shine a light on sexual misconduct in the Nashville music business. STEPHEN TRAGESER
Dex Green’s debut album is a delightful surprise. Anyone familiar with his extensive work as a producer probably would expect Green to make a radio-friendly, guitar-driven modern rock or roots-rock record. But Imaginary War is not that at all; outside electric bass, there’s not a single guitar on the album. Instead, Green has gone in a groovy, atmospheric, keyboard-heavy, psychedelicsoul direction. And with the exception of background vocals by Laura Mayo on three songs, he wrote, arranged, played and sang all the parts. The result is the perfect soundtrack for a lazy, dreamy summer day. DARYL SANDERS
OMENBRINGER, THICC DARKNESS (CAULDRON HOUSE)
On OmenBringer’s debut album
Thicc Darkness, Molly Kent joins the legion of occult heavy metal vocalists to follow the lead of Coven’s Jinx Dawson. Kent’s compelling musical incantations range from the doom metal sledgehammer “Tungs” to the stonerific slow-burner “Stake.” As the album title implies, Kent and bandmates Cory Cline (bass, lead
NOEL McKAY, YOU ONLY LIVE ALWAYS (McKAY) Noel McKay extends the tropes favored by Texas-toTennessee songwriters like Guy Clark into science-fiction territory on You Only Live Always. McKay says he wrote the album’s opening track “53” after delving into molecular biology. With help from Nashville session players like keyboardist Catherine Marx and strings master Billy Contreras, McKay makes the album’s genre experiments his own. “Interstellar Rescue Service” evokes the melodicism of songwriting forebears like Jim Webb, J.J. Cale and Clark himself, and situates the singer-songwriter in a thankless job that takes him into deep space. You Only Live sports a cover of Billy Joel’s “She’s Always a Woman to Me,” and it works. McKay doesn’t convince me it’s a good song, but his rendition puts Joel’s pop tune into an eclectic tradition of songwriting that might not exist yet.
SHERYL CROW, EVOLUTION (GREEN BARN/BIG MACHINE)
A fitting victory lap to her Rock and Roll Hall of Fame induction and a not-so-subtle reminder of her place amongst the Pantheon of Tone Gods, Evolution finds Sheryl Crow cranking out AM Gold for an algorithmbased world. Laidback and groovy, sunny and shimmering, Crow’s 12th studio album finds the veteran artist clearly enjoying the process and relishing the work. The results are pure summer-vacay wake-and-bake vibes. As a low-stakes listen, it satisfies like a cold açai bowl on a scorching hot morning, but take a closer listen for nuggets of wisdom in songs like “Do It Again,” whose hook goes, “All I know / Is wherever I go, there I am / All I know / Is I’m doing the best that I can.” SEAN L. MALONEY ▼
EDD HURT
FOR A SONG
One year after a traumatic brain injury, music is a vital part of healing for vocalist Jason Barton
BY NICOLLE S. PRAINO
ON JULY 2, 2023, Jason Barton was getting his family’s pool ready for a Fourth of July gathering. When he was working near the filter pump system, it exploded, and debris hit him just above his left eye with such force that it caused bleeding in four different areas of his brain. His wife Jennifer rushed to his aid and called an ambulance. It was four days before he opened his eyes, and around five weeks before he returned home. Walking out of the hospital, Barton was a different man, who was now learning to live with a traumatic brain injury that changed the way he thinks, feels and acts.
“I think the hardest thing for me was to really know that I was going to be OK,” Barton says. “I just sat there every day thinking, ‘I’m going to be this hurt for the rest of my life … I don’t know if I can do this.’”
Barton is an accomplished singer-songwriter who was a member of the boy-band-esque CCM group True Vibe in the early Aughts and started country-influenced CCM trio 33Miles with friends. Prior to his accident, he’d ramped up his work in public speaking, mostly with musicians and nonprofits.
For at least six years, Barton sang backup vocals during Amy Grant and Vince Gill’s annual run of Christmas concerts at the Ryman — a
A LOT OF LOVE
full-circle opportunity, since Barton’s first concert was an Amy Grant show when he was in high school. One of the few things he can recall from his stay in the hospital is glimpses of Grant coming to visit. (She is still recovering from her own traumatic brain injury after a 2022 bike accident.) With less than five months between the beginning of recovery and the beginning of the Christmas shows, Barton didn’t know if he’d be ready to sing.
“It was weird trying to come back and get a voice, and make my brain do all the things that it needs to do,” he says. “Going to rehearsals was a big deal. I went to my first day of rehearsals, and I just loved it.”
When the shows came in December, they were a big success for Barton. In an emotional highlight, Grant shared his story during the show every night.
“For me to go through what I went through — almost dying to stepping on the stage and singing, on the Ryman stage — it was all I could handle,” he says. “It was amazing.”
The Bartons agree in crediting Jason’s recovery to both a miracle and modern medicine. Doctors examining his chart often expressed awe at the speed of his progress. Still, Jason was worried he would not have the same relationship with his sons, wife or friends after his injury. He had trouble remembering just about everything. He had moments of frustration and anger, which he would try to share only with those closest to him and not with doctors or nurses. All in all, his wife explains, he still kept in mostly high spirits.
“He was like Buddy the Elf,” Jennifer Barton
Songwriting legend James Talley’s Bandits, Ballads and Blues underscores his place in music history
BY DARYL SANDERS
DAVE POMEROY — revered session bassist, president of the Nashville Musicians Association and international vice president of the American Federation of Musicians — is talking about an album he produced: Bandits, Ballads and Blues, the latest from singer-songwriter James Talley.
“James is considered by many to be the Godfather of Americana, and I think it’s a pretty appropriate title,” Pomeroy says. “He was mixing up genres in a way that very few people were doing at that time, certainly in Nashville.”
That time was the mid-1970s, when Talley made four albums for Capitol Records that cemented his place in history as one of the great musical storytellers. He began that string with 1975’s Got No Bread, No Milk, No Money, But We Sure Got a Lot of Love, which he self-financed and produced. Got No Bread earned him acclaim from major music critics, including Robert Hilburn in the Los Angeles Times, Dave Marsh in Rolling Stone, and Robert Christgau and Greil Marcus in The Village Voice.
His second album Tryin’ Like the Devil earned him more critical praise, as well as an invitation to perform at the inauguration of President Jimmy Carter. When one of Talley’s biggest supporters at Capitol left following his third album Blackjack Choir, the label dropped the ball on the promotion for his next record Ain’t It Somethin’. Talley chose to part ways with the label after that, but his career lost traction.
To support his family, Talley took a job in real estate in 1983 and soon became a successful Nashville agent, but he never stopped writing songs and making records. He released three studio albums and a live album via Bear Family between 1985 and 1994, and between 2000 and 2008, he released another six albums on his own Cimarron label. In his review of the first of
says. “They say with a brain injury it’s, like, one way or the other. People are usually mean and mad, or how he was — like the happiest person in the world.”
One year later, both the happy-go-lucky personality and the challenges remain. Jason says he sometimes gets overwhelmed in complex situations, but most conversations are no different than before the accident.
“People would meet me and think, ‘You have a brain injury? I would never even think that,’” says Jason. “People necessarily wouldn’t notice, but know behind the scenes I struggle on a daily basis.”
Adjusting to this major change is shaping Jason’s music, and he says his purpose now is to focus on his healing and what’s in his heart. He’s
those Cimarron releases, a tribute album titled Woody Guthrie and Songs of My Oklahoma Home, then-Scene music editor Bill Friskics-Warren christened Talley “the Godfather of Americana.”
As with many of the greatest Nashville singer-songwriters, Talley’s music is hard to categorize precisely. He’s been called country, he’s been called blues, and there even is a Latino influence in his writing from time spent in New Mexico in his youth. But the folk traditions of fellow Oklahoman Guthrie and others are at the heart of his songwriting.
recorded three new as-yet-unreleased songs: one to thank those who prayed for his recovery, another for his sons, and one exploring this new phase of his life.
“Nothing reaches me, to the deepest part of myself, more than a song,” Jason says. “Music does bring so much healing to my life. That’s why singing for Amy at Christmas was huge for me. I was like, ‘If I can stand on this stage and sing, then I know that I can make it back.’”
Follow @jasonbarton33 on Instagram for updates
“I’ve always loved folk music,” Talley says. “I love the stories in it.”
Released in January and rich with stories, Bandits, Ballads and Blues is Talley’s 15th album. It’s his first since 2008’s Heartsong and it almost certainly will be his final release. “This is my last album,” the 80-year-old Talley confirms.
Talley had previously worked with Pomeroy as a producer on 1992’s The Road to Torreon. When he decided to make one final record, he enlisted Pomeroy’s help again.
“I had reached a point where I had more than enough songs for an album,” Talley says. “Dave and I went through what I had and picked out the best songs for the record.”
The title is more or less an overview of the kinds of material that made the cut: some songs about outlaws, some ballads and some blues. In three of the songs, Talley says farewell — to a parent in “The Dreamer (A Song for My Father),” to his faithful dog in “Somewhere in the Stars (A Song for Diego)” and to a neighbor who was a Vietnam vet in “For Those Who Can’t (For Frank Archuleta).”
With the exception of a few overdubs recorded at Pomeroy’s home studio, Bandits, Ballads and Blues was tracked in April 2023 at Sound Emporium, the studio where Talley cut Blackjack Choir. The month before Talley recorded
the album, the University of Oklahoma Press published his memoir, Nashville City Blues: My Journey as an American Songwriter The book, which has received glowing reviews, features a foreword by Peter Guralnick, who recognized Talley’s importance in his authoritative 1979 exploration of roots music, Lost Highway: Journeys & Arrivals of American Musicians The significance of overseeing Talley’s final recording sessions was not lost on Pomeroy.
“There was a certain amount of heaviness going in, like, ‘This is my last record,’” Pomeroy recalls. “I said, ‘All right, man, let’s really do it the way we want to do it and with the right people.’ That was a huge component — picking the band. And everybody exceeded James’ and my very high expectations.”
In addition to Pomeroy on bass, Talley was backed on the record by Doyle Grisham on acoustic guitar and pedal steel; Mike Noble on acoustic and electric guitars; Billy Contreras on fiddle; Jeff Taylor on accordion, piano and organ; and Mark Beckett on drums. The overdubs at Pomeroy’s studio included a trumpet part on “Jesus Wasn’t a Capitalist” by Andrew Carney and background vocals on a pair of songs by The McCrary Sisters — Regina, Ann and Alfreda. Jason Kyle Saetveit, who serves on the SAG-AFTRA Nashville board with Talley, also contributed background vocals remotely.
If Bandits, Ballads and Blues is indeed Talley’s swan song, it is a fitting finale to a historic career.
“I’m proud of it,” Talley says. “And maybe people will discover it eventually. I’m amazed at how people keep discovering my Got No Bread, No Milk, No Money album.” ▼
Bandits, Ballads and Blues out now via Cimarron
PHOTOS COURTESY OF JASON BARTON
JASON AND JENNIFER BARTON
JASON BARTON PERFORMING
LEAVE IT ALL ON THE FLOOR
BY BAILEY BRANTINGHAM
ACCIDENTALLY ARRIVING AT a concert more than an hour early isn’t typically ideal. But Thursday’s Future Islands show at Brooklyn Bowl was well worth the wait. And as someone who’d never seen the band live but was well aware of their eccentric style, I knew I more than likely needed some time to mentally prepare for frontman Samuel T. Herring and his gang, anyway.
Future Islands’ fellow Baltimoreans Ed Schrader’s Music Beat warmed up the spotlight. Having recently returned to their old duo form, they carried the crowd with only Devlin Rice’s bass guitar and Schrader singing and beating on a single big ol’ drum. (Sadly, our photog missed out on their set.) The band’s 30-minute set took the crowd on a stop-and-go tour of their diverse discography, quickly careening from harsh, bass-scratching bangers to sultry solo ballads. Occasionally, they paused to admire the novelty of the bowling alley/music venue combination.
“Any of y’all bowl today?” asked Schrader. “I love a place where people are bowling. Feel free to dance around, feel free to bowl.”
By the second song, Rice had head-banged his glasses off, and Schrader’s slicked-back bun was tousled. The duo’s harsh melodic bite was complemented with a bark, too. They captured the full spectrum of ’80s post-punk and New Wave, including the casually confident quirk of Let’s Dance-era Bowie and the off-kilter intensity of Bauhaus’ Peter Murphy.
After a few Depeche Mode and Orchestral Manoeuvres in the Dark tunes wafted over the speakers, Future Islands waltzed onstage. If anyone in the packed audience was not familiar with the band’s live-performance style — expecting perhaps a tranquil hang with some middle-aged indie dudes just vibin’ — well, they learned pretty quickly what kind of party this was going to be. From the beginning of opening song “King of Sweden,” Herring prowled, pranced and convulsed across the stage, unleashing death metal yelps.
Over nearly two decades, the band has finetuned their storytelling expertise and their danceable indie-art-pop sound, most recently with their new album People Who Aren’t There Anymore. Herring’s exaggerated vocal performance has helped theirs be a refreshingly ear-opening take on a tried-and-true genre.
Keyboardist and programmer Gerrit Welmers made his home atop a giant cube, complete with his own personal ladder adjacent to an archway through which the band exited and entered the stage. Eye-level with the mezzanine, Welmers’ elevated position seemed fitting, with his signature key-stroking effectively acting as the backbone for the synth-based post-wave band. Herring, of course, stuck to the flat expanse of the stage, the only expanse suitable for his dancing endeavors. After 18 years and
hundreds and hundreds of shows, it’s a modern medical miracle that Herring is able to scamper around a different stage nearly every night, quite literally kicking and screaming. He has a modern Morrissey-esque flair — sans the dramatic shirt-ripping, thankfully.
Drummer Michael Lowry ensured the songs packed a powerful punch to match, along with double-threat bassist and guitarist William Cashion taking charge with riffs that often lilted but got sharp when he needed them to. Four songs in, band and audience got a brief moment of respite when Herring’s microphone transmitter faltered because it was drowned in sweat.
“I’m wet, man,” Herring said. “Surrounding me with electronics, that’s a bad combo. I’m my own underwater adventure.”
But like they say, it’s no use crying over a sweat-drenched mic pack. And so the show went on, as did Herring’s erratic and mildly threatening dance moves. In between his move-busting, he often remarked on the beauty of the crowd. He followed almost every song with his signature hasty “Thank you,” which I mistook more than once for a loud sneeze.
Ed Schrader returned to the stage to perform “Shadows” with Herring, making a worthy substitution for Debbie Harry, who featured on the recorded version. The pair gamely matched each other’s eccentricity, each bringing their own expression of the post-wave spectrum to the table.
As the blend of old favorites and newer ballads that made up the set drew to a close, it came time for “the big one.” If a Future Islands show is a country all its own, their 2014 breakout hit “Seasons (Waiting on You)” is the national freakin’ anthem. Eliciting chants of “Play it!” from the audience, the song had both fanatics and fledgling fans clearing space around them to dance with abandon.
After a three-song encore and a routine featuring Herring mockingly eating his own fist, the band finally packed up for the night. It was hard to not feel a little melancholy watching them leave for the final time through the giant cube. But the group — especially Herring — thrives onstage, and it seems inevitable they’ll be back before long. ▼
Saturday, July 6
SONGWRITER SESSION
Steve Dean and Bill Whyte NOON · FORD THEATER
Sunday, July 7
MUSICIAN SPOTLIGHT Tammy Rogers King
1:00 pm · FORD THEATER
Thursday, July 11
SONGWRITER ROUND Luke Combs and Friends 2:30 pm · CMA THEATER SOLD OUT
Saturday, July 13
SONGWRITER SESSION Kim Richey NOON · FORD THEATER
Saturday, July 13
HATCH SHOW PRINT Block Party 9:30 am, NOON, and 2:30 pm HATCH SHOW PRINT SHOP LIMITED AVAILABILITY
Sunday, July 14
MUSICIAN SPOTLIGHT Brent Rader
1:00 pm · FORD THEATER
Saturday, July 20
SONGWRITER SESSION Dave Gibson NOON · FORD THEATER
Saturday, July 20 CONCERT AND CONVERSATION Terry Allen (On Everything) 2:30 pm · FORD THEATER
WITNESS HISTORY
Local Kids Visit Free Plan a trip to the Country Music Hall of Fame and Museum this summer!
Local youth 18 and under who are residents of Davidson and bordering counties are always free, plus 25% off admission for up to two accompanying adults.
THE SOUNDS OF SILENCE
The latest Quiet Place installment succeeds as an action movie but adds little to Krasinski’s rich apocalyptic universe
BY ELI MOTYCKA
A QUIET PLACE: DAY ONE passes as airconditioned entertainment on a sweltering summer day mainly by reproducing the ample advantages that made 2018’s A Quiet Place a gripping watch. As the third addition to the series — one of the few promising horror franchises of the past decade — Day One is a fruitless detour.
As protagonist Samira, immediately introduced alongside her leashed cat Frodo in an in-patient hospice facility, Lupita Nyong’o shines in the spotlight within the confines of a shallow script. When an afternoon invasion brings athletic human-hunting monsters from outer space to Manhattan, she navigates a few jarring minutes of chaos, violence and destruction before meeting Henry (Joseph Quinn), a hapless lawyer (or law student? Information not available to the audience) who inexplicably sacrifices any plans to escape certain death on the island in order to cheer her up. Henry joins Samira in her trek to a Harlem pizzeria, the movie’s only plot point, which becomes slightly more logical when we learn of its childhood significance to Samira — and comes to represent an existential quest to exercise agency over her death.
ALL ABOARD!
Wide-angle shots, a recognizable American dystopia and the constant, silent tension produced by powerful monsters with hypersensitive hearing make Day One a moderately entertaining action movie best enjoyed in IMAX. These are the same characteristics that helped make hits out of the first two movies, which follow a homesteading nuclear family headed by Emily Blunt and John Krasinski a year into the invasion. The family accrues emotional investment via a fierce, logic-defying, often ingenious quest to persist, outmatched against an enemy of unknown strength and provenance. Various complicating challenges — like a deaf eldest daughter (Millicent Simmonds) and
Kill is a hyper-violent, blood-spattered hype train
BY KEN ARNOLD
INDIA HAS BEEN one of the largest movie markets in the world for the past several decades. Each year the Indian film industry releases thousands of films in the dozens of languages spoken all over the subcontinent, many of them action films — a favorite genre of Indian audiences, as proven by box office kings like last year’s Jawan and 2022’s mega success RRR. But even with India’s deep history of action cinema, there still isn’t much like what Nikhil Nagesh Bhat is doing with his newest film Kill, which takes Indian action in a gory new direction.
Army commando Amrit (played by the mononymous Lakshya) learns that the love of his life Tulika (Tanya Maniktala) is set up for an arranged marriage, so he and his partner-in-arms Viresh (Abhishek Chauhan) board Tulika’s New Delhi-bound train to stop the wedding. But a wrench is thrown in Amrit’s plans when the passenger train is boarded by a gang of bandits led by Fani (Raghav Juyal). The mission to rescue Tulika from her marriage now changes to protecting her and the other passengers from this violent band of criminals.
Kill’s setting shines. The train is a major element of the movie that keeps the action claustrophobic and has an “everything that isn’t nailed down is a weapon” feel. Inspired by Bhat’s own experience sleeping through a train robbery in India and made with his influences clearly on his sleeve, the final product has the action feel of Gareth Evans’ The Raid films. The car-by-car progression throughout the train is similar to the action of Bong Joon-ho’s 2013 film Snowpiercer which also featured the work of Kill’s action
Kill R, 115 minutes; in Hindi with English subtitles Opening Thursday, July 4, in select Regal and AMC theaters
Blunt’s rapidly progressing pregnancy — helped infuse the first movie with mounting tension. Day One tries to manufacture similar sympathy for Samira, stuck to navigate her death with only Frodo as family. Director Michael Sarnoski — stepping in for Krasinski, who directed the first two films — begins to succeed in a few touching scenes pre-invasion. But Samira’s pathos quickly has to compete with the ambient trauma of shell-shocked refugees abandoned by their government and fleeing the ever-present threat of instant evisceration. As the movie morphs into an extended chase scene through dusty Manhattan, poignant moments like a primal scream shared by Samira and
Henry during a thunderclap become fewer and further between. Day One recycles powerful but familiar plot devices for its climax. Besides a brief moment when monsters communicate over what appears to be a yarn-like nest, the movie adds nothing to the audience’s understanding of humanity’s shared foe or the larger sociopolitical dynamics at play on invaded Earth. Contributions to that understanding could have left fans with a satisfying prequel in the run-up to 2025’s A Quiet Place Part III, which will seal the fate of the series’ original characters. Instead, Day One only gives us more lives to worry about in a fragile world brimming with death. ▼
choreographer Oh Se-young. Oh is a big reason for the success of Kill — the action sequences are brutal and gory, but also stylish and flashy. Bones are broken and heads are crushed with a variety of different objects found on the train.
Bhat’s work here is a big departure from what we have come to know of Bollywood. The big dance numbers and long run times that most audiences expect are absent, and in their place is sleek, fast-paced, nonstop action. It’s the kind of genre flick that might feel excessive to mainstream audiences, but
is a rare gem-of-the-year for genre film lovers who need something to scratch that action-movie itch. It’s the kind of movie that makes audiences scream in horror at the violence on screen, and then continue to cheer for more.
Kill is a must-see for those looking for a bloody good time at the cinema. It’s one of the goriest movies of the year, and it delivers thrilling action set pieces of train-bound violence with impressive fight choreography, executed superbly by stars Lakshya and Juyal — not to mention wildly creative kills. Expect this one to play at midnight screenings for years to come. ▼
A Quiet Place: Day One PG-13, 99 minutes Now playing wide
1 Chicken
5 Takes off quickly
9 Major hit
14 One paying taxes
15 Island that’s home to the Ko‘olau Mountains 16 Common knee injury for athletes
Unwanted pop-ups?
18 Locale for a noted canal 19 Odd duck, maybe?
20 Playful rub with the knuckles 22 “Bravo!”
24 When doubled, band that performed the James Bond theme “A View to a Kill”
25 Swabbie’s chum
26 Sly chuckle
27 Leaves with no moves, as a chess piece
28 Utah ski resort
29 “Relax, everything is going to work out” 30 Soil 31 “Go me!”
Wrongheaded-ness
Intimidating people to meet, often 35 Opera singer Norman with a National Medal of Arts 36 California’s ___ Mudd College
Not now or later
Baskin-Robbins competitor
47 “___ at Five,” Count Basie tune
48 Racking up wins 50 Washington’s Sea-___ Airport 51 Beach formations 52 Loses strength
Shimmer with an array of colors
Facet
Navajo dwelling
Nebulous
Unpaid debt
Sincere
Locale
Cries from a litter
Facing a judge, say
Hanukkah symbol
Space on a CD track where a hidden song can be placed 5 San ___, Calif.
6 French homophone of “haut”
7 “Shh! People may be listening” ... or a hint to eight squares in this puzzle
8 One way to prepare crêpes
9 “I regret to say ...”
10 Hosted, for short
11 Spirits 12 Large aquatic insect
13 Cry from a town crier 21 One with privileged trading information 23 Bucolic setting 25 Badly rough up 29 Prying 32 Mr. Rogers 33 Distinguished students
34 Phil in the Poker Hall of Fame
35 Noted singer/actress from the Bronx, familiarly
36 Open and honest conversation
37 Onetime head of the Chicago Outfit
38 Chest protectors
40 Unrefined materials
42 Walks in the park
43 Plaintiff in a landmark 1973 case
44 Had some humble pie
45 Investment bank that folded in 2008
47 Au ___ (menu phrase)
49 “I love the smell of ___ in the morning” (“Apocalypse Now” line)
51 Bad impressions?
54 Hold up
55 Words of support
58 California red, informally
Rocky McElhaney Law
SUCCESSOR TRUSTEE SALE
Default having been made in the payment of the debts and obliga-tions secured to be paid by a certain Commercial Deed of Trust, made as of January 6, 2023 by Phillip W. Bradley, a married individual (“Bor-rower”) in favor of Carl Haynes, as
Trustee, for the benefit of Lineage Bank (“Original Lender”), and of record as Instrument Number 23000943, in Book 9178, Page 420 (“Deed of Trust”) in the Office of the Register of Deeds for Williamson County, Tennessee (the “Rec-ords”), which Deed of Trust subse-quently was assigned by Original Lender to Brentwood Funding, LLC (“Beneficiary”) pursuant to that cer-tain Assignment of Deed of Trust, recorded on April 12, 2024, in Book R2366, Page 275 in the Records; and said Trustee having been re-placed by the appointment of Jo-seph R. Prochaska as Successor Trustee by Appointment of Succes-sor Trustee recorded on May 3, 2024 in Book 9470, page 97 in the Records (the “Trustee”), and the owner of the debt secured having requested the undersigned to ad-vertise and sell the property de-scribed in and conveyed by said Deed of Trust, all of the said indebt-edness having become immediately due and payable by default in the payment of a part thereof, at the op-tion of the owner, this is to give no-tice that the undersigned will, commencing on July 12, 2024 at 3:30 p.m. at the main north door of the Williamson County Judicial Center, 135 4th Ave South, Franklin, Wil-liamson County, Tennessee 37064 proceed to sell at public
outcry to the highest and best bidder for cash, by Trustee’s deed pursuant to the terms and conditions an-nounced at such sale, all of Trus-tee’s right, title and interest in the following described property situ-ated in Williamson County, State of Tennessee (“Real Estate”), to wit:
A tract of land in the 15th Civil Dis-trict of Williamson County, Tennes-see, and described at Book 9178, page 427, in the Williamson County Register’s Office, and BEING the same property conveyed to Phillip W. Bradley by Trustee’s Deed from Jack F. Stringham II, of record on May 29, 2014, at Book 6192, page 879, in the Williamson County Reg-ister’s Office.
together with any and all other property, real and personal, which constitutes the Property as that term is defined in the Deed of Trust, but specifically excluding any cash, accounts, deposits, escrows, re-funds reserves, impounds and other cash or cash equivalents.
Property Address: 124 Pewitt Drive, Brentwood, TN 37027
Map & Parcel No.: 11B-B-12.02
Interested Parties: B&C Hardware,
Phillip Bradley
Branch Banking and Trust Com-pany
BB&T Collateral Service Corporation, Trustee
Grassland Financial Services, LLC
David G. Mangum, Trustee
The Real Estate will be sold to the highest and best bidder for cash due immediately upon the conclu-sion of the sale (or for credit against the Obligations if Lender is the high-est bidder).
All bidders must register with the Trustee before 3:00pm CDT on July 11, 2024, by (a) provid-ing a sworn statement under pen-alty of perjury that the bidder is not a sanctioned nonresident alien, sanctioned foreign business, sanc-tioned foreign government, or an agent, trustee, or fiduciary of any of the foregoing; (b) providing suffi-cient information to the Trustee so that he may determine that the bid-der is not on the list of sanctioned entities maintained by the Office of Foreign Assets Control of the U.S. Department of Treasury; (c) execut-ing a bidding agreement; and (d) providing the
Trustee with a bid-der’s deposit of $400,000.00 by cashier’s or certified check, payable to the Trustee (except for the party secured by the Deed of Trust). The bidding agreement may be obtained in advance of the sale by request to the undersigned. The bidder’s de-posit may be demonstrated prior to the sale by providing Trustee with a copy of the check, with the original check provided to the Trustee prior to the commencement of the sale. Additional terms may be announced at the sale. The right is hereby re-served to postpone or adjourn this sale, without further publication or notice, by public announcement at the time and place appointed for such sale or for such postponed or adjourned sale. All announcements made at the sale shall take prece-dence over the terms and condi-tions of this notice.
In said Deed of Trust, Borrower ex-pressly waived the right of equity of redemption, the statutory right of re-demption and all other rights and exemptions of any kind in the Real Estate. Title is believed to be good, but the undersigned will sell and convey only as Successor Trustee. Title is to be conveyed without any covenant or warranty, express or
implied, and any matters having pri-ority over the Deed of Trust and matters which may affect or encum-ber the Property following the sale, such as (by way of example and not limitation): visible and apparent easements; portion of the property within any roadway; any encroach-ment, encumbrance, violation, variation, or adverse circumstance af-fecting the title that would be dis-closed by an accurate and complete land survey of the land; all matters shown on any applicable recorded plat; taxes or assessments that are not shown as existing liens by the records of any taxing authority that levies taxes or assessments on real property or by the public records; proceedings by a public agency that may result in taxes or assessments, or notices of such proceedings, whether or not shown by the rec-ords of such agency or by the public records; taxes assessed by correc-tion pursuant to the provisions of T.C.A. §67-5-603, et seq.; prior liens, claims and encumbrances in-cluding, without limitation, leases and other agreements; assess-ments, building lines, easements, covenants, and restrictions that may exist; any lien or right to lien for services, labor or material imposed by law and not shown by the public
YOUR NEIGHBORHOOD
LOCAL ATTRACTIONS
Downtown Franklin
Franklin Farmer’s Market
The Factory at Franklin
BARS AND RESTAURANTS NEARBY
Circa Grill
Don Arturo’s Mexican Grill
The Spot Burgers & Beer
ENJOY THE OUTDOORS
Preservation Park
Sarah Benson Park
Heritage Park
BEST PLACE NEARBY TO SEE A SHOW
First Bank Amphitheater
FAVORITE LOCAL NEIGHBORHOOD BAR
Company Distilling
Leiper’s Fork Distillery
BEST LOCAL FAMILY OUTING
Soar Adventure Tower
Joyfull Arcade
COMMUNITY AMENITIES
Sparkling Swimming Pool
Dog Park Fitness Center Clubhouse
records; and, statutory rights of re-demption of any governmental agency including, but not limited to, the right of redemption of the Inter-nal Revenue Service pursuant to 26 U.S.C. §7425(d)(1), of the State of Tennessee pursuant to T.C.A. §67-1-1433(c)(1), or of any other taxing authority.
Joseph R. Prochaska, as Successor Trustee
Reno & Cavanaugh, PLLC
424 Church Street, Suite 2910
Nashville, TN 37219
Telephone (629) 255-0208
NSC: 6/20, 6/27, 7/4/24
MISCELLANEOUS
NEED NEW WINDOWS?
Drafty rooms? Chipped or damaged frames? Need outside noise reduction? New, energy efficient windows may be the answer! Call for a consultation & FREE quote today. 1-877-2489944. You will be asked for the zip code of the property when connecting. (CAN AAN)
