Emily Dickinson warned that “Fame is a fickle food upon a shifting plate.” Yet every year, aspiring artists flock to Nashville in pursuit of it.
In Music City: A New Musical, JT Harding (music and lyrics) and Peter Zinn (book) tell the story of two brothers chasing fame in Nashville and the struggles that come with that dream.
The show draws us into The Wicked Tickle, a Nashville dive bar. Scenic designer Clifton Chadwick captures the essence of a saloon where hopeful musicians chase their dreams of breaking into the city’s music scene. The audience sits at tables as scenes unfold around them, creating an immersive atmosphere. Even in the bustle of a crowded bar, sound designer Jane Shaw ensures that every line is heard clearly.
It is open mic night, and two brothers, Drew and TJ, take the stage. They pull us into the world of country music, demanding to know, “Where’s my party people?” Jonathan Judge-Russo plays Drew, while Stephen Michael Spenser brings warmth and energy to TJ, the younger brother. Together, their strong voices ring out as they portray songwriting siblings united by a shared dream of fame and sold-out stadiums. Despite their frequent arguments. Judge-Russo and Spenser make the brothers feel fully alive.
As the brothers perform, agent Leanne (Leenya Rideout) takes notice. She thinks they can write songs to revive the career of aging megastar Stucky Stiles (Andrew Rothenberg). To raise the $2,000 needed for a demo, the brothers agree to make deliveries for local drug dealer Bakerman (also Rothenberg), who exploits broken dreams by selling meth. A mysterious singer named 23 then enters the story. Lauren Lolo Pritchard, known for Broadway’s Spring Awakening and the film Romance in the Digital Age, gives 23 a striking presence, and TJ quickly falls for her. Her mother, Tammy (also Rideout), is one of the addicts receiving Bakerman’s deliveries. Tammy once dreamed of the fame of a country singer, but the industry defeated her. Rideout moves smoothly between the polished agent and the struggling addict, making each character distinct, while Rothenberg clearly separates the menacing Bakerman from the whiskey-voiced crooner Stucky. With broken dreams, music-industry betrayal, military service, and addiction, the plot has all the makings of a country song. Yet the songs fit naturally into the story and carry the drama forward.
The cast plays guitars and other instruments, backed by a band that drives the score. Julianne B. Merrill serves as music director and plays keys, with Drew Bastian on drums, Ann Klein on lead guitar, and Tony Tino anchoring the group on bass. Together, the musicians give the show a steady, vibrant sound, allowing the music and story to blend seamlessly.
Zinn’s book is never overshadowed by the action, thanks largely to how naturally Harding’s songs flow through the story. Their joy and heartbreak move the plot forward while leaving space for the characters’ histories and struggles to unfold. As a result, the audience becomes invested in their pursuit of fame. Music City: A New Musical rises above the typical jukebox musical. The two-and-a-half-hour running time, including a fifteen-minute intermission, feels well spent.
