Nashville s02e00 Episode Script
On the Record
1 Narrator: It's time to experience the music of Nashville like never before.
Yeah, Nashville! Narrator: Hear the stories behind the songs.
Back where this whole journey started.
Where did that come from? I have to prove to myself that I can do it.
Narrator: Then watch them performed by the stars of "Nashville" on stage at the historic Ryman Auditorium.
"Nashville on the Record" starts now.
Got the party goin' Man: That's right, folks.
Performing in concert tonight at Ryman Auditorium, the mother church of music, the cast of "Nashville.
" And they'll be joined by some of our finest songwriters here in Music City, and led by the man, the myth, the legend behind the music of "Nashville," Grammy award-winning music producer Buddy Miller.
Gonna be a magical night, and if you're caller number 7 [Indistinct conversations, piano note plays.]
Woman: Do you get nervous before you go? [Guitar strumming.]
Got some Friday-night money, a room full of honeys [indistinct conversations continue.]
Don't mess it up.
Okay.
We'll try.
Woman: All right, guys, all right, guys.
- Is this us? - This is you.
Chip! Chip! Woman #2: Come on, Chip! Woman #3: Whoo-hoo! [Cheers and applause.]
Yeah! It's like somebody flipped a switch and kicked it into overdrive or flipped a button somewhere and made the whole place start to come alive [cheering.]
Got some Friday-night money, a room full of honeys like dominoes ready to fall got me wishing I could dance with 'em all even when the music goes off 'cause it's on tonight got the party goin' gonna keep it rollin' just as long as we can, yeah it's on tonight gettin' down with it fillin' up and liftin' up a drink in our hands the country girls are ready to rock we won't be stoppin' till the boots come off come on 'cause it's on, yeah, it's on tonight Ah! Listen here.
They went from funky, cold medina into dust on the bottle never slowin' down a little dust on the bottle little cutie in the corner got her hand in my pocket for a lap around I said, "hey, good-lookin'" she said, "what's cookin'?" I said, "whatever you got in mind" I must be doin' something right I could tell by the look in her eye 'cause it's on tonight got the party goin' gonna keep it rollin' just as long as we can, yeah it's on tonight gettin' down with it fillin' up and liftin' up a drink in our hands the country girls are ready to rock we won't be stoppin' till the boots come off come on 'cause it's on, yeah, it's on tonight so come on 'cause it's on, yeah, it's on tonight Hey! [Cheers and applause.]
All right, thank you! Thank you very much! Thank you very much.
[Guitar strumming slowly.]
Well, here we are at the Bluebird, which, I guess, is a bit of a fateful place for back where it began.
Back where it began, back where this whole journey started.
Well, the first song that you had to sing [Chuckles.]
Well, I was there when you guys met, right? Is that when you actually met? We met in the lobby of the Hutton Hotel.
I'd just flown into America for the first time ever.
Nashville was the first stop on my American adventure.
- Really? - Yeah, I've never been.
And I'm waiting around to see who this mystical Buddy Miller is.
And five minutes later, the three of us were upstairs in one of the conference rooms there, and we thought we'd give this song its first shot.
I was nervous as all get-out about that song.
- You were nervous? - Yeah.
Yeah, yeah.
Oh, you were nervous? [Laughs.]
They told me, "okay, now you got to go sing for Buddy Miller," and I was like [Gasps, laughs.]
Oh, no.
No, I was just nervous for Sam somewhat 'cause that song that's a difficult song.
I hadn't really used that part of my voice before.
I didn't know whether it was gonna come out.
It's so high.
I don't even know if I could hear that high.
[Laughs.]
So, we got a little conference room, you met, and, gosh, the blend of your two voices it's so beautiful and unusual.
- And then we're in the studio the next day? - That's what I was gonna say, yeah.
And was it your two first time in a recording studio? - I'd never used a microphone before.
- I remember microphone.
Oh, and that's what was so great about the session.
In this town, anyway, you don't have to memorize song lyrics.
Oh, yeah.
I didn't know that.
And you're singing a heavy love song, looking at each other.
We were in the control room everybody in there with goose bumps and could not believe the moment - 'cause it was so magical - Oh.
- And still is.
- Yeah.
Well, we've had the best guidance, so thank you, because the show would not be what it is without you.
[Cheers and applause.]
["If I Didn't Know Better" plays.]
If I didn't know better I'd hang my hat right there if I didn't know better I'd follow you up the stairs stop saying those sweet things you know I like to hear the horns are blowing louder the bailiff's drawing near why do I keep drinking wasting my time on you if I didn't know better but damn it, I do [cheering.]
There's a hole in what you're saying that I can plainly see you've a lover that's waiting but, baby, you're right here with me ooh, you might as well be the devil keeping me out past three well, you're the one with that apple but, baby, you can't blame me oh, why don't you keep drinking give me one night with you if I didn't know better but damn it, I do [cheering.]
Oh, baby, I do baby, you're right here with me sweet daddy, you know I do [cheers and applause.]
Thank you.
Thank you very much.
Narrator: When we return, more of your favorite songs, stories behind the music, and a special finale you won't want to miss.
It's all right here with "Nashville on the record.
" The actors have had a lot of interplay with the songwriters, and sometimes we're singing one of their songs, and then they say, "hey, we should write together," and then you end up doing a writing another song with that songwriter.
And they're always on set, they're always a part of what's going on.
I think it's a real unique environment for actors and songwriters to be collaborating like this.
Man: One more time from the top, and then we'll go Under the downtown neon lights that's where you caught my eye tonight ain't long enough and I ain't leaving without your love I ain't leaving without your love Sam Palladio: I guess you guys are very much the real-life Scarlett-and-Gunnar partnership.
It goes back to the first song we ever had on "Nashville," which was called "When the Right One Comes Along.
" And you sang it here in the Bluebird, in the setting, and it was the most bizarre and cool thing because the first time we ever performed it - was in the Bluebird Café.
- Wow.
And so it's taken quite a journey, as have we.
Yeah, for sure.
[Chuckles.]
You know, awesome song "I Ain't Leaving Without Your Love.
" How did it come together? It was our first time we ever tried to write anything.
We had never even met Cary.
It was our first date, so [Laughter.]
The moment where I think we knew it was great we came in on set, and, like, "let's just let's run through this," 'cause we hadn't actually run through it together.
And we just sounded amazing.
You can sort of only imagine what it's gonna feel like so being in the room together and trying it out, going, "wow.
This is actually working.
" Yeah.
All right, baby girl, have a great time, okay? Rock it out, sister.
I'm excited.
"Z"! - "A"! - "G"! All: Zag! [Man speaking indistinctly over P.
A.
.]
[Cheers and applause.]
["I Ain't Leaving Without Your Love" plays.]
I'm old enough to know that I'm too young to know a thing but I see what I see, and in you I see everything I'll ever need well, I met a lot of faces, and I know a lot of names but everyone I've come across has all been just the same that all changed that all changed under the downtown neon lights that's where you caught my eye you got me all worked up I ain't leaving without your love it's obvious we both know this don't end tomorrow tonight ain't long enough I ain't leaving without your love I ain't leaving without your love jukebox dies, closing time take me by the hand last call, last song give me one more dance one more dance under the downtown neon lights that's where you caught my eye you got me all worked up I ain't leaving without your love it's obvious we both know this don't end tomorrow tonight ain't long enough I ain't leaving without your love I ain't leaving without your love [guitar solo.]
Under the downtown neon lights that's where you caught my eye you got me all worked up I ain't leaving without your love it's obvious we both know this don't end tomorrow tonight ain't long enough I ain't leaving without your love no, tonight ain't long enough I ain't leaving without your love tonight ain't long enough I ain't leaving without your love I ain't leaving without your love [cheers and applause.]
- Thank you.
- Thank you.
Thank you.
Narrator: When we come back, Hayden Panettiere takes the stage for her first-ever prime-time concert performance.
Stick around for more "Nashville on the Record.
" I think when this show was first pitched, I think writers in the town were maybe like, "mm What are you really gonna do?" And now they see that we really pay homage and we represent what this town is really about, so it's a great collaboration, and you feel that in the show.
[Cheers and applause.]
[Man speaking indistinctly over P.
A.
.]
Panettiere: One of the things I've never asked you guys is how you came up with "Nothing in this World.
" It was the first time we ever wrote, and she was singing the melody and the words to the beginning of the chorus.
She was singing it, and I was like, "yes, that is gorgeous.
" You know, this is old hat for you, but anything having to do with the stage is absolutely terrifying to me.
And I've said everybody's like, "oh, you have stage fright? How's that possible?" But I feel like this is a big leap of faith.
I'm at the point where I have to prove to myself that I can do it, I can get up there.
- And you so can.
- I've seen you in those positions where you were scared or you were, you know, unsure.
Once you walk into that fear and you've done it you killed it, and you're gonna do the same thing.
Well, I hope I don't let y'all down.
Shine like the star that you are.
Man: Miss Hayden Panettiere! [Cheers and applause.]
["Nothing in this World" plays.]
I finally kept my pride and hailed a cab those cuttin' words you said were the last stab there'll be no tears this time they've all dried up no more sweet poison I already drank that cup this tunnel's dark, but there's a little light glowing just enough for me to run towards knowing nothing in this world will ever break my heart again nothing in this world will ever break my heart again no pain this life will put me through will ever, ever hurt like yo-o-o-o-o-o-u oh, ohhh don't need a miracle, a superhero there's only one way up when you're at zero you took my innocence, but it was knowing no, I don't need you, and that made me a woman I paid my dues, but it's a debt I'm done paying I'm standing strong, but I'm still on my knees praying that nothing in this world will ever break my heart again nothing in this world will ever break my heart again no pain this life will put me through will ever, ever hurt like yo-o-o-o-o-o-u mm, mmmm nothing in this world will ever break my heart again no, no, no nothing in this world will ever break my heart again no pain this life will put me through will ever, ever hurt like yo-o-o-o-o-o-u nothing in this world will ever break my heart again no, no nothing in this world will ever break my heart again [cheers and applause.]
[Indistinct conversations.]
Woman: That was fantastic.
You did so, so, so, so good! [Panettiere laughs.]
Oh, my gosh! I can't believe I did it! Now you have the live bug.
That's the live bug.
Oh, God.
Narrator: When we return, Hayden brings down the house, and Charles Esten and Clare Bowen take the stage for an unforgettable performance.
"Nashville on the Record" will be right back.
Peeples: Getting to do the regular "On the Record," it was just amazing 'cause you really get to strip down your song and do it acoustically, and it's really intimate.
And so getting to do a whole concert of that is just incredible, and, plus, you're doing it at the Ryman, which is the best space ever for sound and just, you know, it's such a piece of history.
[Laughs.]
Man: Clare Bowen! [Cheers and applause.]
Chip Esten! [Cheers and applause.]
Esten: I've said before that our show, in my mind, is, in some ways, a love letter to this city.
But this song, "This Town" I don't know if I'd call it a love letter.
We wrote it in about an hour.
It just yeah, it poured out.
It just comes from such a real place.
I know at that point in my life, I was going through a very dark and frustrated place as a songwriter and as an artist.
This industry can be crippling.
And we all know that, and we're all sitting here now, and we're all very, very lucky to be sitting here.
But we didn't come here without there's no this.
It's all like this.
And this is like, "whoa.
" It's devastating.
Rollins: "Nashville," the show I think it's opened up so many doors for songwriters like us, and I'm grateful for that.
Well, I'm very grateful I was actually lucky enough to write with these guys after that.
- I took that opportunity.
- We wrote with Clare, as well.
Yeah.
You wrote, as well, with them.
So, yeah.
And in fact, we did a writers round - right here.
- Basically where we are now, and you stepped over, and you did a song with me, so it's just where this reality you know, and the show sort of overlap so many times.
I don't mean to interrupt, but I just have to say that I'm very excited to see you guys perform at the Ryman.
[Both laugh.]
To see that song being performed on that stage is just going to be something very special.
Might bring a few tears.
[Chuckles.]
Probably definitely.
["This Town" plays.]
Hold on until the feeling is so strong until the ground that you walk on is where you stand this dream it heals and it haunts me it's tempted and taught me who I am this town ain't yours, and this town ain't mine we all come here with the light in our eyes some will burn out, some will burn bright some learn to fly, some will run for their lives in this town in this town strangers we're nothin' but strangers puttin' our hearts in danger for the songs we sing oh, I've seen the devil inside me but I won't let him guide me or take my wings this town ain't yours, this town ain't mine we all come here with the light in our eyes - some will burn out - some will burn out - some will burn bright - some will burn bright some learn to fly, some will run for their lives in this town in this town [guitar solo.]
- This town ain't yours - this town ain't yours - and it surely ain't mine - this town ain't mine we all come here with the light in our eyes some will burn out, some will burn bright some learn to fly, some will run for their lives in this town in this town ooh, ooh, ooh ooh, ooh, this town in this town [cheers and applause.]
Miller: "Don't Put Dirt on my Grave" where did that come from? I mean, how do you write a song start out a song with that first line, "thought things couldn't get any worse, but guess what they did"? That's how you start out a song? [Laughter.]
It sounds like sort of a downer.
You didn't write it for the sh well, we actually wrote the song on Skype.
I was living in Minneapolis at the time, and Trent was in Nashville.
I was listening to the radio, which people actually do still.
I listened to the radio, and skimming through, there was some sports talk show, and the guy was like, "well, don't put dirt on his grave just yet.
" While sitting in the writers room, this story line came up where Juliette has to and it's basically going to be the "go to hell" song.
So I was like, "oh, my God.
This is absolutely perfect.
" I'm so excited to be a part of this and to play at the Ryman Auditorium.
Which is the most sacred place to play music.
What's better than music you love with the people you love? Have either of you ever performed in the Ryman? 'Cause I know that that's kind of a big deal for songwriters.
No, it's my first time.
I've never, so - That's exciting.
- Yeah.
- You're gonna love it.
- Thanks.
- Played once.
- Oh, he's played there once before.
And how many times have you played there? A number of times.
[Laughs.]
[Cheers and applause.]
I thought things couldn't get much worse but guess what, they did you hit my heart upside with a wrecking ball oh, but that's what I get but I'm not going nowhere I can live on my prayers 'cause I'm done playing nice, I'm done running for life 'cause you think that you got me scared this time, it's goodbye, trouble I feel the light at the end of this tunnel I get stronger with every step come hell, come high water you push on me, I'm gonna push back harder I got a whole lot more than a little bit left hey so don't put dirt on my grave just yet no, don't put dirt on my grave just yet everyone can save their breath they can spare me the change spare me the change you can point your finger somewhere else if you're looking to blame I'll give you something to believe nothing on me says defeat no, I'll never look back, so you better think fast if you think you can cut me deep this time, it's goodbye, trouble I feel the light at the end of this tunnel I get stronger with every step Yeah, Nashville! Come hell, come high water you push on me, I'm gonna push back harder I got a whole lot more than a little bit left hey so don't put dirt on my grave just yet on my grave just yet no, don't put dirt on my grave just yet he-e-e-e-y and it's gonna take more, gonna take more gonna take more to pull me under gonna take more, gonna take more gonna take more than that to pull me under this time, it's goodbye, trouble I feel the light at the end of this tunnel I get stronger with every step come hell, come high water you push on me, I'm gonna push back harder I got a whole lot more than a little bit left hey so don't put dirt on my grave just yet on my grave just yet no, don't put dirt on my grave just yet no don't put dirt on my grave just yet [cheers and applause.]
I love you all so very much.
Bowen: I can see your eyes Nrrator: When we come back, Clare Bwen takes the stage for a heartfelt and emotional performance.
"Nashville on the Record" returns in a moment.
Clare Bowen: There is notng like walking out onstage and telling hundreds of people a story and watching their faces change and watching them feel something because of what you're giving them.
That's the coolest thing in the world.
This is, like, my favorite thing in the whole world to do.
[Chuckles.]
Oh, my goodness.
"Black Roses.
" You've written something so beautiful, and it means something different to everyone who hears it.
It's like, everybody has a different kind of black rose.
Yeah, that was interesting 'cause I wrote it, and I actually didn't think that it would be for a mother and daughter.
I was thinking it would be a romantic story where there's, like, a tumultuous relationship, as there are in "Nashville.
" [Chuckles.]
And just with music in general, I think everyone takes something different from a song - and it connects to their own life.
- Yeah.
And that's sort of what's beautiful about making music.
I'm so excited to have you up there with me.
Like, I can't imagine a better person to be playing it.
Aww.
I'm really excited, too.
I'm a little bit nervous, but mostly excited.
It's the Ryman.
It takes care of you.
It's okay.
I can see your eyes staring into mine but it's a battlefield, and you're on the other side you can throw your words sharper than a knife and leave me cold in another house on fire I lay low lay low and watch the bridges burn I lay low lay low what more could I have done? now you only bring me black roses and they crumble into dust when they're held now you only bring me black roses under your spell she told me twice all her good advice but I couldn't see, I was clouded by your lies up in smoke, a vision she foretold she said, "stay away, 'cause that boy's a warning sign" I lay low lay low and watch the bridges burn now you only bring me black roses and they crumble into dust when they're held now you only bring me black roses under your spell and I'm done trying to be the one picking up the broken pieces and I'm done trying to be the one who says, "I love you, dear, but I'm leaving" now you only bring me black roses and they crumble into dust when they're held now you only bring me black roses but I'm not under your spell I'm not under your spell I'm not under your spell I'm not under your spell I'm not under your spe-e-e-e-e-e-ll ooooh, oooh-oooooh ooh, ooh-ooh, ooh-oooooh ooh-ooh-ooh, ooooh, ooooh [cheers and applause.]
[Chuckling.]
Thank you, guys.
This is Lucy Schwartz, who wrote the song.
Narrator: Stick around for an all-star grand finale.
The conclusion of "Nashville on the Record" at the historic Ryman Auditorium when we come back.
The Ryman sounds so gorgeous.
Chase: I know they throw around the "mother church of music.
" Peeples: Johnny Cash and June Carter met here.
Chase: You feel it when you get in here.
It's pretty amazing.
Peeples: And now we're singing on the same stage.
[Exhales deeply.]
This is a dream come true.
I'm honored to get to be onstage with all these people.
[Cheers and applause.]
[Guitar playing.]
Sittin' here tonight by the firelight it reminds me I already have more than I should I don't need fame no one to know my name at the end of the day, Lord, I pray [cheers and applause.]
I have a life that's good two arms around me, heaven to ground me and family that always calls me home four wheels to get there, enough love to share and a sweet, sweet, sweet song at the end of the day, Lord, I pray I have a life that's good [cheers and applause.]
Sometimes I'm hard on me when dreams don't come easy I want to look back and say I did all that I could [cheers and applause.]
Ohhh, at the end of the day, Lord, I pray I have a life that's good two arms around me, heaven to ground me and family that always call me home four wheels to get there, enough love to share and a sweet, sweet, sweet song sweet, sweet song at the end of the day, Lord, I pray I have a life that's good [cheers and applause.]
At the end of the day, Lord, I pray I have a life that's good [cheers and applause.]
[Cheers and applause continue.]
[Instrumental country plays.]
Thank you.
God bless you all.
Narrator: To listen to all of tonight's concert event, including two bonus songs, be sure to download the "Nashville on the Record" live album, and for more encore performances, extended interviews, and other exclusive behind-the-scenes content, visit abc.
com/nashville.
- Did I do okay? - Are you kidding? Like dominoes ready to fall Esten: How about our band? Buddy Miller, music director, over there.
As you can tell, we were playing guitar at the same time.
That's the technique.
Yeah, Nashville! Narrator: Hear the stories behind the songs.
Back where this whole journey started.
Where did that come from? I have to prove to myself that I can do it.
Narrator: Then watch them performed by the stars of "Nashville" on stage at the historic Ryman Auditorium.
"Nashville on the Record" starts now.
Got the party goin' Man: That's right, folks.
Performing in concert tonight at Ryman Auditorium, the mother church of music, the cast of "Nashville.
" And they'll be joined by some of our finest songwriters here in Music City, and led by the man, the myth, the legend behind the music of "Nashville," Grammy award-winning music producer Buddy Miller.
Gonna be a magical night, and if you're caller number 7 [Indistinct conversations, piano note plays.]
Woman: Do you get nervous before you go? [Guitar strumming.]
Got some Friday-night money, a room full of honeys [indistinct conversations continue.]
Don't mess it up.
Okay.
We'll try.
Woman: All right, guys, all right, guys.
- Is this us? - This is you.
Chip! Chip! Woman #2: Come on, Chip! Woman #3: Whoo-hoo! [Cheers and applause.]
Yeah! It's like somebody flipped a switch and kicked it into overdrive or flipped a button somewhere and made the whole place start to come alive [cheering.]
Got some Friday-night money, a room full of honeys like dominoes ready to fall got me wishing I could dance with 'em all even when the music goes off 'cause it's on tonight got the party goin' gonna keep it rollin' just as long as we can, yeah it's on tonight gettin' down with it fillin' up and liftin' up a drink in our hands the country girls are ready to rock we won't be stoppin' till the boots come off come on 'cause it's on, yeah, it's on tonight Ah! Listen here.
They went from funky, cold medina into dust on the bottle never slowin' down a little dust on the bottle little cutie in the corner got her hand in my pocket for a lap around I said, "hey, good-lookin'" she said, "what's cookin'?" I said, "whatever you got in mind" I must be doin' something right I could tell by the look in her eye 'cause it's on tonight got the party goin' gonna keep it rollin' just as long as we can, yeah it's on tonight gettin' down with it fillin' up and liftin' up a drink in our hands the country girls are ready to rock we won't be stoppin' till the boots come off come on 'cause it's on, yeah, it's on tonight so come on 'cause it's on, yeah, it's on tonight Hey! [Cheers and applause.]
All right, thank you! Thank you very much! Thank you very much.
[Guitar strumming slowly.]
Well, here we are at the Bluebird, which, I guess, is a bit of a fateful place for back where it began.
Back where it began, back where this whole journey started.
Well, the first song that you had to sing [Chuckles.]
Well, I was there when you guys met, right? Is that when you actually met? We met in the lobby of the Hutton Hotel.
I'd just flown into America for the first time ever.
Nashville was the first stop on my American adventure.
- Really? - Yeah, I've never been.
And I'm waiting around to see who this mystical Buddy Miller is.
And five minutes later, the three of us were upstairs in one of the conference rooms there, and we thought we'd give this song its first shot.
I was nervous as all get-out about that song.
- You were nervous? - Yeah.
Yeah, yeah.
Oh, you were nervous? [Laughs.]
They told me, "okay, now you got to go sing for Buddy Miller," and I was like [Gasps, laughs.]
Oh, no.
No, I was just nervous for Sam somewhat 'cause that song that's a difficult song.
I hadn't really used that part of my voice before.
I didn't know whether it was gonna come out.
It's so high.
I don't even know if I could hear that high.
[Laughs.]
So, we got a little conference room, you met, and, gosh, the blend of your two voices it's so beautiful and unusual.
- And then we're in the studio the next day? - That's what I was gonna say, yeah.
And was it your two first time in a recording studio? - I'd never used a microphone before.
- I remember microphone.
Oh, and that's what was so great about the session.
In this town, anyway, you don't have to memorize song lyrics.
Oh, yeah.
I didn't know that.
And you're singing a heavy love song, looking at each other.
We were in the control room everybody in there with goose bumps and could not believe the moment - 'cause it was so magical - Oh.
- And still is.
- Yeah.
Well, we've had the best guidance, so thank you, because the show would not be what it is without you.
[Cheers and applause.]
["If I Didn't Know Better" plays.]
If I didn't know better I'd hang my hat right there if I didn't know better I'd follow you up the stairs stop saying those sweet things you know I like to hear the horns are blowing louder the bailiff's drawing near why do I keep drinking wasting my time on you if I didn't know better but damn it, I do [cheering.]
There's a hole in what you're saying that I can plainly see you've a lover that's waiting but, baby, you're right here with me ooh, you might as well be the devil keeping me out past three well, you're the one with that apple but, baby, you can't blame me oh, why don't you keep drinking give me one night with you if I didn't know better but damn it, I do [cheering.]
Oh, baby, I do baby, you're right here with me sweet daddy, you know I do [cheers and applause.]
Thank you.
Thank you very much.
Narrator: When we return, more of your favorite songs, stories behind the music, and a special finale you won't want to miss.
It's all right here with "Nashville on the record.
" The actors have had a lot of interplay with the songwriters, and sometimes we're singing one of their songs, and then they say, "hey, we should write together," and then you end up doing a writing another song with that songwriter.
And they're always on set, they're always a part of what's going on.
I think it's a real unique environment for actors and songwriters to be collaborating like this.
Man: One more time from the top, and then we'll go Under the downtown neon lights that's where you caught my eye tonight ain't long enough and I ain't leaving without your love I ain't leaving without your love Sam Palladio: I guess you guys are very much the real-life Scarlett-and-Gunnar partnership.
It goes back to the first song we ever had on "Nashville," which was called "When the Right One Comes Along.
" And you sang it here in the Bluebird, in the setting, and it was the most bizarre and cool thing because the first time we ever performed it - was in the Bluebird Café.
- Wow.
And so it's taken quite a journey, as have we.
Yeah, for sure.
[Chuckles.]
You know, awesome song "I Ain't Leaving Without Your Love.
" How did it come together? It was our first time we ever tried to write anything.
We had never even met Cary.
It was our first date, so [Laughter.]
The moment where I think we knew it was great we came in on set, and, like, "let's just let's run through this," 'cause we hadn't actually run through it together.
And we just sounded amazing.
You can sort of only imagine what it's gonna feel like so being in the room together and trying it out, going, "wow.
This is actually working.
" Yeah.
All right, baby girl, have a great time, okay? Rock it out, sister.
I'm excited.
"Z"! - "A"! - "G"! All: Zag! [Man speaking indistinctly over P.
A.
.]
[Cheers and applause.]
["I Ain't Leaving Without Your Love" plays.]
I'm old enough to know that I'm too young to know a thing but I see what I see, and in you I see everything I'll ever need well, I met a lot of faces, and I know a lot of names but everyone I've come across has all been just the same that all changed that all changed under the downtown neon lights that's where you caught my eye you got me all worked up I ain't leaving without your love it's obvious we both know this don't end tomorrow tonight ain't long enough I ain't leaving without your love I ain't leaving without your love jukebox dies, closing time take me by the hand last call, last song give me one more dance one more dance under the downtown neon lights that's where you caught my eye you got me all worked up I ain't leaving without your love it's obvious we both know this don't end tomorrow tonight ain't long enough I ain't leaving without your love I ain't leaving without your love [guitar solo.]
Under the downtown neon lights that's where you caught my eye you got me all worked up I ain't leaving without your love it's obvious we both know this don't end tomorrow tonight ain't long enough I ain't leaving without your love no, tonight ain't long enough I ain't leaving without your love tonight ain't long enough I ain't leaving without your love I ain't leaving without your love [cheers and applause.]
- Thank you.
- Thank you.
Thank you.
Narrator: When we come back, Hayden Panettiere takes the stage for her first-ever prime-time concert performance.
Stick around for more "Nashville on the Record.
" I think when this show was first pitched, I think writers in the town were maybe like, "mm What are you really gonna do?" And now they see that we really pay homage and we represent what this town is really about, so it's a great collaboration, and you feel that in the show.
[Cheers and applause.]
[Man speaking indistinctly over P.
A.
.]
Panettiere: One of the things I've never asked you guys is how you came up with "Nothing in this World.
" It was the first time we ever wrote, and she was singing the melody and the words to the beginning of the chorus.
She was singing it, and I was like, "yes, that is gorgeous.
" You know, this is old hat for you, but anything having to do with the stage is absolutely terrifying to me.
And I've said everybody's like, "oh, you have stage fright? How's that possible?" But I feel like this is a big leap of faith.
I'm at the point where I have to prove to myself that I can do it, I can get up there.
- And you so can.
- I've seen you in those positions where you were scared or you were, you know, unsure.
Once you walk into that fear and you've done it you killed it, and you're gonna do the same thing.
Well, I hope I don't let y'all down.
Shine like the star that you are.
Man: Miss Hayden Panettiere! [Cheers and applause.]
["Nothing in this World" plays.]
I finally kept my pride and hailed a cab those cuttin' words you said were the last stab there'll be no tears this time they've all dried up no more sweet poison I already drank that cup this tunnel's dark, but there's a little light glowing just enough for me to run towards knowing nothing in this world will ever break my heart again nothing in this world will ever break my heart again no pain this life will put me through will ever, ever hurt like yo-o-o-o-o-o-u oh, ohhh don't need a miracle, a superhero there's only one way up when you're at zero you took my innocence, but it was knowing no, I don't need you, and that made me a woman I paid my dues, but it's a debt I'm done paying I'm standing strong, but I'm still on my knees praying that nothing in this world will ever break my heart again nothing in this world will ever break my heart again no pain this life will put me through will ever, ever hurt like yo-o-o-o-o-o-u mm, mmmm nothing in this world will ever break my heart again no, no, no nothing in this world will ever break my heart again no pain this life will put me through will ever, ever hurt like yo-o-o-o-o-o-u nothing in this world will ever break my heart again no, no nothing in this world will ever break my heart again [cheers and applause.]
[Indistinct conversations.]
Woman: That was fantastic.
You did so, so, so, so good! [Panettiere laughs.]
Oh, my gosh! I can't believe I did it! Now you have the live bug.
That's the live bug.
Oh, God.
Narrator: When we return, Hayden brings down the house, and Charles Esten and Clare Bowen take the stage for an unforgettable performance.
"Nashville on the Record" will be right back.
Peeples: Getting to do the regular "On the Record," it was just amazing 'cause you really get to strip down your song and do it acoustically, and it's really intimate.
And so getting to do a whole concert of that is just incredible, and, plus, you're doing it at the Ryman, which is the best space ever for sound and just, you know, it's such a piece of history.
[Laughs.]
Man: Clare Bowen! [Cheers and applause.]
Chip Esten! [Cheers and applause.]
Esten: I've said before that our show, in my mind, is, in some ways, a love letter to this city.
But this song, "This Town" I don't know if I'd call it a love letter.
We wrote it in about an hour.
It just yeah, it poured out.
It just comes from such a real place.
I know at that point in my life, I was going through a very dark and frustrated place as a songwriter and as an artist.
This industry can be crippling.
And we all know that, and we're all sitting here now, and we're all very, very lucky to be sitting here.
But we didn't come here without there's no this.
It's all like this.
And this is like, "whoa.
" It's devastating.
Rollins: "Nashville," the show I think it's opened up so many doors for songwriters like us, and I'm grateful for that.
Well, I'm very grateful I was actually lucky enough to write with these guys after that.
- I took that opportunity.
- We wrote with Clare, as well.
Yeah.
You wrote, as well, with them.
So, yeah.
And in fact, we did a writers round - right here.
- Basically where we are now, and you stepped over, and you did a song with me, so it's just where this reality you know, and the show sort of overlap so many times.
I don't mean to interrupt, but I just have to say that I'm very excited to see you guys perform at the Ryman.
[Both laugh.]
To see that song being performed on that stage is just going to be something very special.
Might bring a few tears.
[Chuckles.]
Probably definitely.
["This Town" plays.]
Hold on until the feeling is so strong until the ground that you walk on is where you stand this dream it heals and it haunts me it's tempted and taught me who I am this town ain't yours, and this town ain't mine we all come here with the light in our eyes some will burn out, some will burn bright some learn to fly, some will run for their lives in this town in this town strangers we're nothin' but strangers puttin' our hearts in danger for the songs we sing oh, I've seen the devil inside me but I won't let him guide me or take my wings this town ain't yours, this town ain't mine we all come here with the light in our eyes - some will burn out - some will burn out - some will burn bright - some will burn bright some learn to fly, some will run for their lives in this town in this town [guitar solo.]
- This town ain't yours - this town ain't yours - and it surely ain't mine - this town ain't mine we all come here with the light in our eyes some will burn out, some will burn bright some learn to fly, some will run for their lives in this town in this town ooh, ooh, ooh ooh, ooh, this town in this town [cheers and applause.]
Miller: "Don't Put Dirt on my Grave" where did that come from? I mean, how do you write a song start out a song with that first line, "thought things couldn't get any worse, but guess what they did"? That's how you start out a song? [Laughter.]
It sounds like sort of a downer.
You didn't write it for the sh well, we actually wrote the song on Skype.
I was living in Minneapolis at the time, and Trent was in Nashville.
I was listening to the radio, which people actually do still.
I listened to the radio, and skimming through, there was some sports talk show, and the guy was like, "well, don't put dirt on his grave just yet.
" While sitting in the writers room, this story line came up where Juliette has to and it's basically going to be the "go to hell" song.
So I was like, "oh, my God.
This is absolutely perfect.
" I'm so excited to be a part of this and to play at the Ryman Auditorium.
Which is the most sacred place to play music.
What's better than music you love with the people you love? Have either of you ever performed in the Ryman? 'Cause I know that that's kind of a big deal for songwriters.
No, it's my first time.
I've never, so - That's exciting.
- Yeah.
- You're gonna love it.
- Thanks.
- Played once.
- Oh, he's played there once before.
And how many times have you played there? A number of times.
[Laughs.]
[Cheers and applause.]
I thought things couldn't get much worse but guess what, they did you hit my heart upside with a wrecking ball oh, but that's what I get but I'm not going nowhere I can live on my prayers 'cause I'm done playing nice, I'm done running for life 'cause you think that you got me scared this time, it's goodbye, trouble I feel the light at the end of this tunnel I get stronger with every step come hell, come high water you push on me, I'm gonna push back harder I got a whole lot more than a little bit left hey so don't put dirt on my grave just yet no, don't put dirt on my grave just yet everyone can save their breath they can spare me the change spare me the change you can point your finger somewhere else if you're looking to blame I'll give you something to believe nothing on me says defeat no, I'll never look back, so you better think fast if you think you can cut me deep this time, it's goodbye, trouble I feel the light at the end of this tunnel I get stronger with every step Yeah, Nashville! Come hell, come high water you push on me, I'm gonna push back harder I got a whole lot more than a little bit left hey so don't put dirt on my grave just yet on my grave just yet no, don't put dirt on my grave just yet he-e-e-e-y and it's gonna take more, gonna take more gonna take more to pull me under gonna take more, gonna take more gonna take more than that to pull me under this time, it's goodbye, trouble I feel the light at the end of this tunnel I get stronger with every step come hell, come high water you push on me, I'm gonna push back harder I got a whole lot more than a little bit left hey so don't put dirt on my grave just yet on my grave just yet no, don't put dirt on my grave just yet no don't put dirt on my grave just yet [cheers and applause.]
I love you all so very much.
Bowen: I can see your eyes Nrrator: When we come back, Clare Bwen takes the stage for a heartfelt and emotional performance.
"Nashville on the Record" returns in a moment.
Clare Bowen: There is notng like walking out onstage and telling hundreds of people a story and watching their faces change and watching them feel something because of what you're giving them.
That's the coolest thing in the world.
This is, like, my favorite thing in the whole world to do.
[Chuckles.]
Oh, my goodness.
"Black Roses.
" You've written something so beautiful, and it means something different to everyone who hears it.
It's like, everybody has a different kind of black rose.
Yeah, that was interesting 'cause I wrote it, and I actually didn't think that it would be for a mother and daughter.
I was thinking it would be a romantic story where there's, like, a tumultuous relationship, as there are in "Nashville.
" [Chuckles.]
And just with music in general, I think everyone takes something different from a song - and it connects to their own life.
- Yeah.
And that's sort of what's beautiful about making music.
I'm so excited to have you up there with me.
Like, I can't imagine a better person to be playing it.
Aww.
I'm really excited, too.
I'm a little bit nervous, but mostly excited.
It's the Ryman.
It takes care of you.
It's okay.
I can see your eyes staring into mine but it's a battlefield, and you're on the other side you can throw your words sharper than a knife and leave me cold in another house on fire I lay low lay low and watch the bridges burn I lay low lay low what more could I have done? now you only bring me black roses and they crumble into dust when they're held now you only bring me black roses under your spell she told me twice all her good advice but I couldn't see, I was clouded by your lies up in smoke, a vision she foretold she said, "stay away, 'cause that boy's a warning sign" I lay low lay low and watch the bridges burn now you only bring me black roses and they crumble into dust when they're held now you only bring me black roses under your spell and I'm done trying to be the one picking up the broken pieces and I'm done trying to be the one who says, "I love you, dear, but I'm leaving" now you only bring me black roses and they crumble into dust when they're held now you only bring me black roses but I'm not under your spell I'm not under your spell I'm not under your spell I'm not under your spell I'm not under your spe-e-e-e-e-e-ll ooooh, oooh-oooooh ooh, ooh-ooh, ooh-oooooh ooh-ooh-ooh, ooooh, ooooh [cheers and applause.]
[Chuckling.]
Thank you, guys.
This is Lucy Schwartz, who wrote the song.
Narrator: Stick around for an all-star grand finale.
The conclusion of "Nashville on the Record" at the historic Ryman Auditorium when we come back.
The Ryman sounds so gorgeous.
Chase: I know they throw around the "mother church of music.
" Peeples: Johnny Cash and June Carter met here.
Chase: You feel it when you get in here.
It's pretty amazing.
Peeples: And now we're singing on the same stage.
[Exhales deeply.]
This is a dream come true.
I'm honored to get to be onstage with all these people.
[Cheers and applause.]
[Guitar playing.]
Sittin' here tonight by the firelight it reminds me I already have more than I should I don't need fame no one to know my name at the end of the day, Lord, I pray [cheers and applause.]
I have a life that's good two arms around me, heaven to ground me and family that always calls me home four wheels to get there, enough love to share and a sweet, sweet, sweet song at the end of the day, Lord, I pray I have a life that's good [cheers and applause.]
Sometimes I'm hard on me when dreams don't come easy I want to look back and say I did all that I could [cheers and applause.]
Ohhh, at the end of the day, Lord, I pray I have a life that's good two arms around me, heaven to ground me and family that always call me home four wheels to get there, enough love to share and a sweet, sweet, sweet song sweet, sweet song at the end of the day, Lord, I pray I have a life that's good [cheers and applause.]
At the end of the day, Lord, I pray I have a life that's good [cheers and applause.]
[Cheers and applause continue.]
[Instrumental country plays.]
Thank you.
God bless you all.
Narrator: To listen to all of tonight's concert event, including two bonus songs, be sure to download the "Nashville on the Record" live album, and for more encore performances, extended interviews, and other exclusive behind-the-scenes content, visit abc.
com/nashville.
- Did I do okay? - Are you kidding? Like dominoes ready to fall Esten: How about our band? Buddy Miller, music director, over there.
As you can tell, we were playing guitar at the same time.
That's the technique.