My second fun-stop on my last day in Nashville was Robert’s Western World, one of the historic honky-tonks on Music Row. Robert’s Western World and Tootsie’s Orchid Lounge have quickly become my favorite stops on Music Row, although my experience on Lower Broadway is still somewhat limited. I am just drawn to these two venues for the vibe and the music.
Eileen Rose and the Silver Threads was my favorite band from my first visit to Music Row, three years ago, and as it turned out, they were performing a three-and-a-half hour set at Robert’s that afternoon (they have a long-standing gig there, which is some indication of just how good they are). So, from Husk, I headed straight for Robert’s with my DSLR camera, because I not only love listening to this band…I love photographing them.
When I arrived, as usual for this band, Robert’s was packed. The postage-stamp-sized stage at Robert’s is against the front windows. There is a very small space in front of the stage, where folks can dance, if they’d like…and they do. Robert’s is narrow and deep, with a very long bar along the left-side wall (if you’re facing the stage), a row of small tables along the length of the right-side wall, and just a few small tables crowded-in between the front door and the stage-end of the bar.
What I’m saying, from a photography-perspective, is that it is nearly impossible to find a good photography vantage point without being in anyone’s way. So, shoehorning myself into a spot that was out of the way was a gradual process of introducing myself to the people in this cramped area off to the side of the front of the stage near the front door. I’m explaining this in order to give you some idea of what it takes, just to get yourself into a sliver of a space where you can even begin to hope that you might be able to get some nice photos. But, as usual, I was determined.
So, there’s the front door. Then, there was a nice young man manning the door, checking ID’s, and making sure that no one leaving left with a glass beer bottle (only plastic cups are allowed on the sidewalks). This young man had a barstool. After introducing myself and beginning to show him some of the images I was getting, he graciously allowed me to sit on this barstool, while photographing, when he was standing. It was one of only a couple possible, limited vantage points to the stage.
A lot of the time, I was actually crouching down in this little nook, with my back against the wall, shooting away, while people flowed in and out of Robert’s in front of me, practically brushing their knees against my lens. So, this was a pretty comical scene, but I didn’t mind at all. I was being polite and considerate to everyone around me, and I was in photo-op heaven.
Just a couple of feet deeper into Robert’s were the first small tables, with seating really only against the wall. There was a couple, in their seventies I think, sitting at the first table with their backs against the wall. The gentleman was wearing a cowboy hat. I asked them if they’d mind if I crouched down in front of their table to take some photos. They were extremely friendly and accommodating. They said that they come to Robert’s all the time to see The Threads, and said that I wasn’t in their way at all, so to spend as much time as I wanted crouched in front of them…I could even stand in front of them, if I wanted. At times, I was even kneeling right on the floor in this spot, with folks brushing back and forth in front of my lens. But, again, I was perfectly content, totally focused on attempting to get the best images that I could. So, these extremely tight spaces became my vantage points for this entire shoot.
I also introduced myself to the lead-guitarist/pedal-steel player, Rich Gilbert, who was standing nearest to me on the stage. Rich was extremely down-to-earth (as was the whole band, which is one of the reasons for their popularity). I ended up having a few brief conversations with Rich, during pauses between songs, or when they were passing the tip-bucket (for my part, I was very generous. I couldn’t seem to stop opening my wallet, they were so great).
Turned out Rich had lived in Boston for twenty years, and had lived in Portland, CT, for a while, which is the town adjacent to where I went to high school. So, we had a nice time chatting. I was getting what I thought were some really nice photos, and let Rich know that I would figure out how to send them to the band on a flash drive. So, I’m still working on that.
The Threads play traditional country standards from artists like Patsy Cline, Hank Williams, Loretta Lynn, Johnny Cash, and many others. They have a huge repertoire, and take requests. Check out the bios of The Threads band members. It’s pretty impressive, and will give you a sense of why they are a Music Row staple.
I just really have a blast listening to them, photographing them, and watching regulars and tourists (like me) respond to their amazing renditions of country standards. I do want to say this…all of the band members are great. But, watching Eileen connect with her audience, belting out country classics, and watching Rich…a guitarist’s guitarist…completely blow you away with stunning playing, whether on electric guitar or pedal-steel…are true joys to experience.
Here are a handful of the best images I was able to capture. At one point, Eileen began to gear the audience up for an amazing, extended guitar-solo by Rich, so the images showing Rich de-tuning a string, playing up beyond the highest frets on the fingerboard, and playing beer-bottle slide guitar, were part of this solo that probably lasted ten minutes. You really had to be there to appreciate what he was doing.
I stayed at Robert’s engrossed in listening to and photographing the Threads for at least two hours. They are that good. So, if you visit Nashville and Music Row, be sure to check Robert’s band schedule for the Threads and try to make one of their shows.
And then, I was off to my final Nashville destination of this trip…The 5 Spot, in East Nashville…