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One of her fiercest pieces was the confessional “Waiting”, an insight into the artist’s anguish where the line, “…how goddam long does it take a dream to come true”, is both protest and prayer.Ĭelebrating a particular answer to this question, Natalie Hemby took the stage in a sharp black pantsuit tinged with silvery fringe with white sneakers peeking out from the flared slacks. The connections in Ray’s music were visibly present in the blue bandanna that had belonged to her father, which moved from the mic stand to her wrist when she took the stage.

Ray opened with “Just a House”, a heartbreaking ode to the scars left in the wake of her father’s premature death, a song co-written with Natalie Hemby and Sean McConnell. Ray’s lively performance from her album Pauline moved between heartfelt songs of the deep familial connections that inescapably mark us all and “bloozy” rockers finding the tune in the day-to-day grind. Opening act Ashley Ray’s short set introduced an underlying theme of the evening, holding to one’s voice with integrity in a town where the dreamers’ journey includes a fair amount of disappointment and rejection. But her inclusion in the female Americana supergroup, the Highwomen with Brandi Carlile, Maren Morris, and Amanda Shires, has introduced a broader public to Hemby’s talent. Hemby is a prominent songwriter with songwriting credits on eight Billboard #1’s for Miranda Lambert, Little Big Town, Toby Keith, and Lady Gaga, to name a few. After being rebuilt and reopened, the location was an apt host for the night’s events, a celebration of resilience, creativity, and the power of connection.Ī capacity crowd filled the intimate club to celebrate Natalie Hemby‘s new album, Pins and Needles, her second solo album and the first on the Fantasy Records label. In early March of 2020, just before the pall of the pandemic would upend our practices of gathering and communing, the Basement East had partially collapsed under the force of an F3 tornado that ripped through the city. The club is one of the city’s small music venues that pepper the landscape of hopes and dreams-sanctuaries that gather the disparate faithful searching for temporary transcendence from the mundane by sharing music that names their heartbreaks and joys. Shortly after sunset in East Nashville on 12 October 2021, an expectant line snaked around the structure of the Basement East.