A Nashville and surrounding area collective of musicians gathered at The Basement East, November 22nd, 2025, for an annual/semi-annual stage production of The Band’s 1974 cinematic rock concert documentary, The Last Waltz, which detailed the final concert of a short-run, world influence after conflicts with early credit deteriorated the sentiments of their namesade, according to members of late-60’s/early-70’s, proto-Americana, Rock n’ Roll band, The Band, who got their name touring with Bob Dylan in 1966, previously The Hawks, expressing you could be a member of a band, but you’re not a member of The Band.

It was an East Nashville frame of mind, that evening, collectively collecting to congregate confluence to other collective nights, such as the sparce and sporadic Fingernails are Pretty nights, at the Basement East, hosted by flipside of the coin, all-female quartet/quintet out of East Nashville, bringing folks together, but more semi-annually.

The annual The Last Waltz recreation/tribute show, loosely around the last of the year/fall, for the past 15 years, helps raise money for these collectives of musicians without insurance, or with little insurance, who run into trouble, from time to time.

[Reductively/Figuring, seemingly a pool of money is collected, reserved in an HCA for these musicians in need within an affiliation between this benefit concert’s organizers, non-profit collective, Music Health Alliance, and the Nashville’s St. Thomas hospital, to communicate when situations [like Todd’s come up]. [But the night would reveal all of this].

The show itself, however, is brought to you by an amalgamation of Robbie Robertson and Rick Danko’s stage mannerisms in guitarist —- ———, who’s been putting the show on for — years with the Basement East and the medical affiliatory, whom surprisingly unbeknownst, is as to Nashville, just as music is, being the capital of healthcare in America, housing 17 publicly-traded healthcare companies, producing ~92 billion, annually, globally, with ~600,000 jobs attached to it at the beginning of the decade, according to Forbes.

2025’s ensemble lost fellow industry musician/touring and studio musician, and Nashville resident Todd Snider, recently.

“There’s a lot that I meant to say, but forgot to mention. I’ll blame the rooster. Todd was so damn fun to be around and he had the best laugh ever. He would also get really depressed and cry in front of me. He cried when Amy and I were at his house and five minutes later he was laughing. He was dealing with more pain than people realize. Physical and emotional. Never forget that all of the greats loved him. Kris, Prine, Billy Joe, Guy and a bunch of others knew he was the real deal. Don’t ever forget that. I have a lot of video of him that we never published. I’ll try to make some of that public as the days go by. Thanks for caring about Todd and all of the misfits that occupy this weird little subculture of ours. Much love to you,” Otis Gibbs, East Nashville musician writes.

An explanation of what happened to Mr. Snider -by friends and a couple of folks who hugged his neck, lastly (The Gibbs, genuine friends and a posthumous, backing army, to do something like make that video for Todd) can be found on staple-East Nashville musician, Otis Gibbs’ Facebook page, via Youtube’s We’ve Lost Todd Snider.

At B.E.Harmon YouTube page, the footage of this year’s Last Waltz tribute is raw and grainy -sweaty, even- but the photographer steadfastly recaptured the true notion of the film’s camera techniques in at least one of Martin Scorsese’s The Last Waltz camera operators, who managaged pure chaos and a stage-full of musicians forgetting how to act.

This presentation is a “Hangin’ with Mr. Gang” joint, as traditionally situations such as Jefferson St. Bridge and PHC 1 happen where, at some point, Ty pops up somewhere. Traditionally we’re giddy like schoolgirls because Bob Dylan just did something. This time, he’d shot me a text asking if the paper had been to one of these before.

Co-organizers, East Nashville musicians, John Latham and Allen Thompson take the stage for some pre-show annoucements:

“Hello. Good Evening. How y’all doing? Welcome to this year’s rendition of The Last Waltz, an East Nashville tradition.  You know how it is,” said Latham.  

“My names John Latham,” says benefit coordinator with The Basement East.  

“I’m Allen Thompson,” Allen Thompson (left) said, beside him. 

“First of all, let’s hear real quick who here has never been to a Waltz before? Is it your first time for anybody,” Latham continued? [F&P owowows]. 

“Thank you for taking that chance,” Latham continues. 

“Who here’s been here before?” (crowd goes apey) 

“We’re gonna show’m how to do it, right?” (crowd, apey) 

“15 years ago, so this has been something we’ve been playing in East Nashville for a long time, with a whole, wide, range of people, so first of all, I want to thank -obviously, because you’re standing in it, for one thing- Grimey. We want to thank Dave Brown. We want to thank Phil. The entire staff of The Basement East who work their asses off in East Nashville, and make this one of the coolest rooms in town, so lets give it up for The Basement East, first and foremost.

“We also want to thank the house bands we’ve got lined up for you tonight. We’ve got Them Vibez coming up. We’ve got Potato Gun Cannon in the loop for you. And we’ve got Robert Cruz and the Funky Broadways taking us home a little bit later, tonight. So, it’s a long night of music.”

“So, I have to say, when we’re talking about the music side of things, We’d be remissed not to thank a couple of guys… And I’m talking about Garth Hudson, Richard Manuel, Rick Danko, Robbie Robertson, and Levon Helm for showing us the way.”

“And, on another note, for those –anyone travelling not from East Nashville, who’s here? (some cheer)”

“We’ve got some out of towners?”

“For those, in East Nashville, for those of y’all that know, it’s been a bittersweet week.”

Crowd member: Buy a t-shirt! (crowd cheers)

Latham: If you know, you know… But, honestly, this entire night, everytime we do it, what our hope is that you can see the type of community that’s been fostered in the East Nashville music scene. It’s kind of our end of the year party. We’re checking on everyone that’s been out on the road. We’re checking with our friends and our neighbors who we love making music with, and we do these songs.

“This type of community that allows us to make the art that we make -songwriters and musicians, here, in East Nashville, was built on a foundation that was set up by folks like Elizabeth Cook, Peter Hubert, Eric Brace and Chuck Mead (some ow), y’know, Slowbar -That whole crew (“yeah!”)… And obviously, Todd Snider (Crowd woots).”

“And so this past week, losing Todd, it felt like one of the pillars of our foundation was kinda taken from us, so with humble hearts, we want to deidcate tonights show to Todd (woots and whistles and yeahs). And thanks for everything that he’s given: Song. Memory. Beauty.”

“And I know he’s not one to’ve gone for a moment of silence, so if you don’t mind raising your glasses and cause some chaos for a second. Somewhere in this set we’re probably going to play a train song (crowd wilds).”

“Y’all ready?!,” asksLatham.

“Yeah!” (crowd)

“Y’all Ready?!”

“We’ve got Them Vibez coming up in just a minute. Welcome to The Last Waltz. Y’all have a great night, all right? We’ll see you in a bit,” said Latham (crowd cheers).

[Out of East Nashville/neighborhood house band, lead singer Brother Love and guitarist Alex Haddad, with —–, Danilo Lopez on percussion, —- ——, and —- ——— on keys make up Them Vibes, available for the call, when it comes. And, for funk’s sake, it comes, all right.]

[Audio] “Tradi-ttiiiioooonnnnn!!!!”

“We are the Them Vibes, thrilled to be here doing the The Last Waltz” (tuning up).

“We are Them Vibes. Thank you so much. Absolutely, well thank you thank you thank you,” Love says.

“Wow. Well, Thank you so much for joining us. This is all about Mishpucha. Can you all say mishpucha? (no one) Look at that, a little Yiddish never hurt anybody! This is beautiful!”

The baclking band for the first set, Them Vibes can be found at themvibes.com, with their latest Sonic Chameleonic available across the icons (Spotify, Pandora, Apple, Amazon, YouTube, etc.).

“And this is the time of year we come together for this particular show, and its an honor. Allen Thompson, John Latham, thank you so much. Y’know, the call comes in, ‘You guys want to play?’ And we’re like, ‘of course we want to play, and it’s just a thrill,’” said Love.

King Corduroy, is a private Nashville tours specialist who plays his sets of snowy-Leon Russell-y, modern Nashville country at Skinny Dennis and does Mad Dog and Englishman tributes at The Basement East (NPR’s Slingshot Features King Corduroy in “10 Nashville Artists To Add To Your Playlists” – Sweetheart Pub) shows up with lvocalist, [Milady Rothropp], to start the night off, guest appearance-wise,” with collective-appropriate, “This Wheels on Fire,” from The Band’s 1968 debut, Music From Big Pink. “This Wheels on Fire,” was written by Bob Dylan and Rick Danko up there, north-NY, when they were neighbors.

“Matthew Szlachetka, here, has a night called The Greasy Chicken Review, the second Tuesday of every month, at the Eastside Bowl. And this cat can play. He’s a curator of amazing music, always. Just talk to him for a second and you’re like, ‘Wow. You’re a curator. I didn’t know you could do that with a guitar’” says Brother Love, of the first set backing band, Them Vibes.

“Ladies and Gentleman, Matthew Szlachetka!”

“Greasy Chicken Review is a collective out of Nashville that is a rotating cast of session and touring musicians with guest singers every show. The one rule is we ONLY play Deep Cuts & B-Sides, no hits!” (Greasy Chicken Review Facebook).

“Ladies and Gentlemen, baby mama, Sarah Aili, where you at? Sarah Aili is one of the most fantastic singers/songwriters. She’s just had a series in analog where she’s singing jazz standards. And Bobby Holland will be joining us, producer extraordinaire and dearest friend…” says Love.

Ladies and Gentlmen, please welcome Daniel Cervantes, from the band, Chest Fever -Up next, Daniel Cervantes, from Chest Fever, “a real cat, here,” says Love, with “Look Out, Cleveland,” as much as everyone wanted to say “Nashville.”

Chest Fever can get going on a Last Waltz tribute set, too, touring their tribute set around the south, late 2025, with upcoming appearance found at ABOUT & CONTACT — Chest Fever – The Official Revival of The Band.

“And Shark pizza, everybody! [?] -All right, let’s welcome up this cool cat…” said Brother Love at the end of vid^, leading into…

Nashville soulster, AJ Eason, of AJ & The Jiggwatts is up next with The Band’s tribute.

“Team! How are we feeling so far? (crowd goes ‘hey hey). Wow. Just mowing down with love, y’know, each song, aw, this is great. Well, the next guest -this cat is great. Great. AJ Eason, baby! You remember a band called AJ & The Jiggawatts?,” Brother Love says.

AJ, c’mon, where you at, man? C’mon! King Corduroy is coming back up! C’mon King Corduroy! And Bobby Holland‘s coming back up! That’s right, it’s a party!

“[audio] …space, bc she’s such a big fan of this music, just a lovely, fantastic human being. If you ever meet somebody, you say, ‘Wow, so good to know you them,” says Love.

“Ladies and Gentlemen, please welcome to the stage, Xanthe Alexis.”

“–Hey! [Brent Mays] to the stage…. And Patrick Johnson, Ladies and Gentleman!” Love says.

PJ & The Bear’s Patrick Johnson

Writing puts faces you see from other places in the places you are, this night no exception with Nic’s, Ethan’s, and Ty’s and crew’s, from other places in life -as well as Patrick Johnson, who was introduced to me as such through the IV & The Strange Band story/days. Patrick went onto complete his newest album, PJ & The Bear, as a vent emote of some raw Murf blues holding its own on the main stage (Pulse review, PJ and the Bear, PJ and the Bear – The Murfreesboro Pulse; Folk & Proper mention: 5 Spot Hot Dad Bod Rock – Folk & Proper News; homesite,PJ and the Bear, albums available).

“Both of their talents; Both of their writing. Jess Nolan, you just had a record come out and its so popular, and fabulous -This is like mother earth connecting us all for the greatest good, which is love. Thank for everything you
And Phillip Dreamer, this cat, is one of the greatest singers you’re ever going to hear in your life,” intoduced Brother Love.

Dreemer: “BEfore we get started, I just wanted to say, it’s one of my great honors in life to be here on the stage with these people,” harp and all.

Danilo Lopez, drummer/percussionist for Them Vibes hops up next as guest vocalist, reminding us to turn up the radio for Van Morrison’s “Caravan,” as performed on The Last Waltz.

Last year, Danilo hopped up for “Stage Fright,” I think, in the third slot of the show, this year by Matthew Szankyckz, up top (wild horn section in both, The Last Waltz tribute @ the Basement East Part one Saturday 11/23/24 in Nashville).

Stage presence, “Keisha Bailey and organizer, Allen Thompson, “Shark Kingsall [?] is coming back, as well. These are all friends, I’m telling you, please give it up warmly, Allen Thompson and Keisha Bailey…”

Thompson, in a 2017 year, did “Rocking Chair,” with guest vocalists that year’s sets including Wilco’s Pat Sansone (Wilco’s Pat Sansone – Coyote (The Last Waltz at The Basement East).

Keisha parked right beside me/the newspaper in the back pay lot, that evening. The paper didn’t realize it until, now.

The last song of the first set, this 15th, East Nashville, Last Waltz Tribute, 11/22/25.

*** “Ladies and Gentlemen, my brother, Alex, I love you so so very much. He and I have been partners for a long time, in a band called Them Vibes, and as friends, and as brothers, and he has curated this set with this band. He’s done a lot of hard work.

I love this man, and I just want to do a quick shout…” Kim Page and Alex Hadaad are getting engaged! -No! They are engaged!! (crowd, woo-ing) I tricked ya!

Kim Page! Where are you?! -My brother, Alex, I love you so so much,” said Love.

2nd Set!!

The 2nd set brought on a quick suite from a growing-in-participation, string band, Potato Gun Canyon, an East Nashville porch trio-to-whomever adds more stings, with some of the Band’s softer tunes, just mixed up, with forgotten words that’s ultimately the start of the rest of the evening presented in three-song suites, give or take a special guest, followed by a word from the evenings ultimate cause.

Funkin’ Wrong Way, a —- band mostly covering the —– ——- club/area of Nash -a three-song suite from the trio/quartet:

“Thanks, y’all. We’re holding it together up here. It means a lot to share the stage with all these bands here in East Nashville, so thank you,” lead of the trio,

Benefit organizers, Allen Thompson and John Latham, again, with a mid-game introduction to the benefit/Origins of The Benefit

“How about another hand for Potato Gun Canyon!” (crowd cheers).

“So, we’re just gonna say a few more words/have a few more minutes of your time about why we’re here, tonight, if that’s cool. And then we’re gonna get up on stage and have more rock n’ roll, all right?, Latham says.

“As for me, I remember the first time I came out to East Nashville. I went to this little bar just a little down the from here called 5 Points, called the 5-Spot, y’all guys might know the place. And there I met a really really really great guy, he was bartending that night. His name was Ben Eyestone. And Allen can tell you, too, that Dan was one of the regulars of East Nashville scene. He played with a lot of different folks, such as -if I can find this, anyway [shuffles]- The Royal 8’s, Little Bandit.”

“Well, it’s been several years, now, since we lost Ben, tragically, and -seriously, guys. Just one second. I just want to to say- that we’re here for Music Health Alliance, that started up the Ben Eyestone Fund to help creatives and artists here in the East Nashville community, who don’t have healthcare, or under-insured to get the preventitive healthcare that we need, so we don’t have that same tragedy over-and-over-and-over again.”

“And I want to say, by having y’all here -for the tickets you purchase for The Waltz, every year, you’re putting more and more money towards grants that are helping people and saving lives, so we really appreciate ya’ll being here (crowd cheers).”

We have somebody else very special up here with us… (crowd starts cheering)

Mr. Eyestone: “I just wanted to say a few words to everyone in the audience for family, for this whole event. It’s amazing we get to extend the memory of Ben, and give him this little opportunity to keep participating in the music scene in East Nashville, but Thank the Basement East for hosting this event, for the sound guys for making the music sound great, and all these wonderful musicians donating their time and talent to this beneful cause. We thank you, Alen and John, for putting this all together, narrowing their own sources and time and energy for all of this. I know there’s a lot of good causes you could give a fundraiser to, and Thank you for choosing Ben Eyestone Fund.“

“And Thank you to Tatum Allseth, and Music Health Alliance for making the Ben Eyestone Fund, and leaving him such a wonderful legacy,” says Mr. Paul Eyestone, Ben Eyestone, of Five Points, East Nashville’s The 5-SPot, and The Ben Eyestone Fund covering un- and underinsured East Nashville creatives and artists (crowd cheers).

That’s Paul Eyestone, everybody (crowd cheers), Latham says.

We got the [Funkin’ Wrong Ways], next. Y’all stick around and get a drink. They’ll be up in a few minutes. We love y’all. We’ll see ya in a bit!”

3rd Set: even looser

“Hey hey! How’s everybody doing? All right, Nashville! We are [3rd Set house band,] the Funkin’ Wrong Ways. I want to welcome onstage our first guest speaker. You’ll probably see him if you’re over at 3rd and Lindsley, at any point. Last year, I believe they celebrated doing 20 years of The Long Players. This is the Main man, right here, Mr. Bill Lloyd. Thank you, Bill.

Bill: Hey, it’s a pleasure to play on a gig I’m not organizing. It’s great. -hey, can I get a little more vocal out of this monitor, here, please? A little more vocal in this monitor, please.

“And I’ll take a little more acoustic there, there, and there, please,” said Funkin’.

-Okay, guys, we’re gonna kick this off. IF you guys are familiar [audio cut]”

[audio back] “Next up, we’ve got our good buddy. He’s our friend. You know this guy. Mr. Dan Baird [with Richard Manuels, “You Don’t Know the Shape,” off of The Band’s 1970, Stage Fright.

And… “Thank you, Dan. We’re gonna bring my buddy, EPG, up here. He’s gonna be playing alittle bass for you all. And we’re gonna bring Keisha Daily back out here…” for -if there is one- the performance that brought the house down, that evening…

[And let’s remind Keisha parked next to me in the back pay lot, that night😊]

“Keisha Bailey, y’all, and the Dixie Choir.” LadyCouch Loves You!

We’re gonna call our good buddy up here, Mr. Jaime Ruben.

“Hey, if you guys are ever to the Eastside Bowl, […] go up there and bowl, listen to some live music […] [mumbles] ” Joe McMahan, Jaime Ruben, “Down in New Orleans,” Basement East, 11/22/25.

[grid of pics of both these songs]

Band Introduction: “Well, we got a second to introduce this band, here. We just me Joe McMahan, again -back on the keyboards, Jimmy Wallace, y’all. Jimmy Wallace (crowd woots), over here on the oterh guitar, that’s Mr. Audly Freed. I’ve known him since I was knee-high to a steel drum? Right back here we’ve got Mr. Brian Oys[?] Fleetwood. [Arlia Gains?],” said Alex Haddad.

We got the -they’re not up here, now. Let’s give it up to the Last Waltz Horns, thank God. Let’s give them a big hand. They’re killing it.

“-Hey, look! We’re gonna bring our good buddy out here. If you ‘ve ever been to Robert’s , down on lower Broadway, this is the guy that put Robert’s [Western World] on the map.

Mr. Chuck Mead! c’mon out here, chuck

That guy.

Mead bobs in. Rooster dances. It’s on. Hawk-style.

Who do you love? … Chuck Mead knows.

And like that… He’s gone.

“Give it one more time form Chuck Mead, right there. That guys a legend, says 3rd set emcee, guitarist and even organizer, Alex Haddad.

McKeegan James. C’mon out here, McKeegan. We got Conray cmoing up on bass. Mr. Jason Smith playing on the drums… [low register piano warming up]

“How’s everybody doing out there? All-righty, The Blues time:”

“McKeegan James, right there, everybody. I swear to God. He’s a young squire, but he’s got a blues heart,” Alex Haddad said.

“Hey hey hey, what’s up, everybody good? (crowd cheers.) Can you hear me?”

We are adjusting the microphone.

…Allright, you guys heard a dude named Dr. John?

So, uh… before we get into it…. Y’all Ready?!

Jimmy Wallace’s “Suck a Night,” Last Waltz tribute, Basement East 11/22/25

Hey, y’all, welcome Danny Duvall to the stage. He’s gonna do a section for us,” Alex Rahal says.

“Like a Carnival” from Rock of Ages (Danko/Helm/Robertson).

“Danny Duvall, y’all!” “Thank You!”

We’re gonna call our buddy Mr. Allen Thompson up on the sateg. Give it up for Allen, man. He’s put in a lot of hard work. He and John, both. Lotta hard work. Thank you, Allen, for all you’ve done.

“Thank you,” said Allen to Alex.

“Thank you for all you’ve done.”

“This is one of my favorite band songs of all time. With Allen, it seems… It’s just epic (crowd, awwwww),” said Alex Rahal.

The Soulful Allen Thompson guest vocals 2025’s Last Waltz tribute for Rick Danko’s classic rock of ages-against-a-heart place ballad, “It Makes No Difference,” for the ever-increasingly swaying-along Basement East audience, 11/22/25 (-Kiiilllller Audy solo, and Garth Hudson’s sax entrance ~4:45 Paul Backer [Cacker?] back on the sax back there).



“You’ve definitely see this gentlemen, right here. He is representing the Blues. He is a first-generation Nashville Blues, man. Patrick Sweeney, right here. He’s the real deal. He’s bringing McKeegan James back up, maybe we can get EPG to play bass on this one,” Alex introduced next.

“Well, good evening everybody!” (crowd quiet)

“Well, that was piss poor reaction I ever had. Baby…”

“How y’all doing out there, this evening (Muddy yell)” (crowd, “Yeahhh!”)

“Well we’re mighty glad to be here this evening. We get to poor our hearts into this. This body of music. And on a personal note, I’m very glad that each and every one of you are here putting your support behind this wonderful thing, The Ben Eyestone Fund. It’s the reason we’re here,” Sweeny said.

“Ben was a very good friend of mine. And got a raw deal. We’re all here to make sure that deal doenst’ go down again. The musicians that make Music City great… That brought us all together to get taken care of when they need it.”

[…] How ‘Bout this wonderful band!! (crowd yeeeeehhhss!) …How ’bout that?”

“I’ve got my partner in crime, Mr. McKeegan James back up…

And with the silk baritone of Muddy Waters’ Oh, yeah intro to “Mannish Boy,” the Basement East’s natural echo effect with the vocal range took effect and made one of the best recordings of the song in there in a while.

Patrick Sweeney, y’all. C’mon (crowd roars).

“Now we have a special special special guest. you know her. You love her. Ms. Maggie Rose, y’all. C’mon,” Alex siays.

Maggie: Basement East, how you doing? (crowd woots)This is the kumbaya moment of the night. I’d like to welcome to the stage, Brother Love. C’mon Brother Love. Make him feel welcome, Basement East! Bother Love,” Maggie Rose says before, “Forever Young,” from her Bob Dylan’s & The Band’s Planet Waves (1974).

With vocalists, band and all: Matthew Szlachetka, Sarah Aili, Danel Cervantes, Stevie Redstone, AJ Eason, King Corduroy, Bobby Holland, Xanthe Alexis, Patrick Johnson, [Brent Mays?], Phillip Dreemer and Jess Nolen, Danilo Lopez, Keisha Bailey, Allen Thompson, John Latham, Bill Lloyd, Dan Baird, Jimmy Wallace, EPG, Jaime Ruben, Chuck Mead, McKeegan James, Patrick Sweeney, Danny Duvall, Alex Haddad, sometimes spelled Rahal; Them Vibes, Potato Gun Canyon, and Funkin Wrong Ways; event organizers and affiliates, Music Health Alliance and St. Thomas Health, along with The Basement East, East Nashville-collective musicians, creatives and artists, Allen Thompson, John Latham, Mr. Paul Eyeston and The Ben Eyestone Fund, repectively, came together for the area to make a hoo-rah of a night, again, for bridged Nashville.

And this is the music of the area. As you can tell when you walk into The Basement East and distinguish, “what’s that accent?” during a Paramore cover band, and she winds up from Kentucky, it’s cool realizing as shoegaze and alt. country’s are seeping into the area from every-which-way, and it’d be cool there’d be a fresh breath into that migration if one’s in a KY accent, next, it’s noticeable the shift in regional influence as you move along between these areas [developing audacious, regional vernacular.]

Had a conversation with a guy in the middle of a field/valley in Cookeville about Willie Carlisle after writing about the distinct area sound he Dylan Earle are forming in north and western counties of AK. That thought process connects, between Austin and Fort Worth, through that Arkansas distinction, into Memphis sound influenced by 4th dimensional Sun and Stax Records Blues and Rock and Roll fading/melding into Nashville Cats sound in Mid (and on into the country/bluegrass influence of Eastern circuits/spots)… It all fades into that Texas/Tennessee sound, or Tennessee/Texas sound, if you’ve got a problem.

Historically, and evident, lately, Tennessee and Texas have helped one another out, be it volunteering for their fights/wars, or the two states sharing a tax incentive for working together within the printing industry.

All these things are noticeable just moving along. Keep note for coincidence, serendipity, and the things that drive these scenes along to capture the socio-, or gonzo, or whatever Norman Mailer called it talking about himself in the New Yorker after the guy before him was doing it. -Probably Beat.

But, yeah. This what these guys sound like taking care of each other.

Some get too drunk to remember the lyrics to Band songs onstage, but damint if they’re not up there giving it their all for comradary, bridging, brother and sisterhood, the betterment, and absolutely for a good cause to easen mine-and-yours along and throughout this mortal coil.

That’s what you walk into at the Basement East, and as Grimey is falling over on stage at his 20th, too, he curates those nights, himself, pops into to see how it goes, and leaves early saying he’ll talk to everybody, later. Just like Lee Roberts.

But it’s just in East Nashville scene, where we grew up.

[These guys do it all the time, with stuff like Gainesfest, a Berry Hill group of fans almost annual tribute to the life and career of Garth Brooks’ Chris Gaines…

and, most recently (and seriously, again)…

It really is a bunch of characters that come together developing this mortal coil.

The yellow background, Last Waltz header was found at The Band’s The Last Waltz – in depth – Long Live Vinyl)

The 2021 Forbes article, “Nashville Is The Health Services Capital – Here’s Why This Explosively Growing Region Is More Than Music City USA,” is found here.

More information on Fingernails are Pretty nights, please visit Fingernails Are Pretty’s last hoo-rah: All Female Foo Fighters Rage Against Privacy Terms, Jan. 9, 2026, The Basement East – Folk & Proper News

Danilo Lopez – Duality (Official Music Video)

Stream King Corduroy music | Listen to songs, albums, playlists for free on SoundCloud

Schedules for upcoming events at East Nash and Berry Hill The Basement(s) locations, please visit The Basement Nashville (thebasementnashville.com).