Nashville

Tuesday

Travis Elborough

At last, a private education that wasn’t unmitigated misery

There has been a spate of books recently about private education, ranging from academic denouncements of their malign effects on society, such as Francis Green and David Kynaston’s Engines of Privilege, to Charles Spencer’s grim chronicle of neglect and abuse, A Very Private School. Though technically falling within this genre, 1967, the singer-songwriter Robyn Hitchcock’s diverting account of his formative spell at Winchester College, seems to hail from a rosier era. It is one where matron’s buttered crumpets rather than bullying were the chief topics of Billy Bunter-esque reminiscences that proclaimed schooldays the happiest of one’s life.

Thursday

Michael Hann

Adrianne Lenker is a treasure for the ages 

You could very well sum up their differing approaches to American roots music from how they were dressed. Both wore cowboy hats and both wore trousers, but Adrianne Lenker’s were faded denim, while Lainey Wilson went with shiny brown leather. Lenker, looking austere and speaking and singing softly, played music plucked from eternity, demanding you concentrate on her stillness. Wilson, on the other hand, was here to make the crowd feel good; a little melancholy on the big ballads, sure, but she’s an entertainer in the grand tradition of country music.

Thursday

Amber Duke

Aaron Lewis tells it like he sees it

From our US edition

As all regular readers of Culture Shock know, we cover a lot of the goings on in country music. Not only am I personally a fan of the genre, but it is one of the few remaining subsections of art that isn’t outright hostile to conservative and traditional values. There are music executives in Nashville and the corporate media who would like to subvert the genre away from its roots in telling the stories of working-class people and reflecting on the hardships and joys of a simple American life.

aaron lewis

Monday

Timothy Jacobson

Jimmy Kelly’s Steakhouse keeps a simple, good thing going

From our US edition

I have written before in these pages about declining standards in the restaurant world, which has less to do with the food than with the whole “experience” of dining out: the lack of tablecloths, the napkin-wrapped silverware, the to-go boxes, the slovenly informality of staff and customers alike. I stand by every word of it, which is why discovery, or rediscovery, of rare holdout occasions, in this diner-out, is sheer joy. One such exception, long known to me, Jimmy Kelly’s Steakhouse in Nashville, is exceptional in another sense, too. It has been in operation without interruption and under the same family ownership for eighty-nine years.

Nashville jimmy kelly's

Friday

Teresa Mull

Keep your California out of my country music

From our US edition

Obese people in skintight, skin-baring outfits. Face tattoos. Throat tattoos. Enormous, exposed chest tattoos. Nose rings. “A minuscule black latex bra.” No, I’m not describing the Met Gala; I’m setting the scene of the 56th annual Country Music Awards, now the trashiest show on earth (see here). Now, the features mentioned above are can’t-unsee elements of the awards show's red carpet. The show itself was slightly less awful because it was infused with throwback music, vintage artists and Peyton Manning. But without these saving graces resurrected from a bygone era, the CMAs, and mainstream country music as a whole, would be almost entirely devoid of any character.

country music

Thursday

Ben Domenech

We deserve better than Candace Owens

From our US edition

Candace Owens's latest foray into the sphere of defending antisemitism ought to be something everyone can easily condemn. Discussing rapper Kanye West's controversial post, which has gotten him locked out of his social media, Owens said Monday: "If you are an honest person, you did not think this tweet was antisemitic. You did not think that he wrote this tweet because he hates or wants to genocide Jewish people. This is not the beginning of a Holocaust." https://twitter.

candace owens

Tuesday

Amber Duke

Country music finds its independent streak

From our US edition

Have you tuned in to a country radio station the past few years? You might have been surprised at some of the sounds coming through your speakers. A famous old-school Webb Pierce tune is chopped and screwed into an up-tempo hip-hop beat. Lyrics about an Applebee’s milkshake are accompanied by a booming bass. P!nk and Justin Bieber croon alongside Country Music Award winners. You’d be forgiven for thinking that all mainstream country really has to offer is saccharine, trope-filled pop music with a Southern accent. Nashville’s stranglehold on country radio has given the genre a bad rap (sometimes literally — here’s looking at you, Lil Nas X).

country