Nashville Recap: 4×15 “When There’s a Fire In Your Heart”

Previously on Nashville: Star Autumn Chase almost took Layla on tour with her, then went with Scarlett and Gunnar instead; Maddie thought something might be wrong with Colt; some girl named Vita stole from Deacon and disappeared, which somehow made Rayna really passionate about helping troubled girls; Luke asked Will to come back to his label; and Juliette quit a movie to be with her daughter.

Scarlett and Gunnar are in Dallas to join Autumn Chase’s tour. Scarlett is freaking out about “remeeting” Autumn—even her hair, which has a sort of “twelve-year-old boy who just woke up” vibe to it right now, looks freaked out. Gunnar light-heartedly teasing her for her fangirlishness, so she teases him back about his love for James Taylor.

They arrive at Autumn’s tour meeting, and Autumn gives them big hugs and a glowing introduction to her crew. Scarlett gushes under her breath to Gunnar about how amazing Autumn is, only to watch Autumn wrap up the meeting by coolly firing a guy in front of everyone. She strolls away, and Scarlett and Gunnar make “oh fuck” faces.

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Juliette’s in therapy and looking at tabloid headlines about her. She tells the doctor that the studio’s suing her, but she doesn’t seem particularly freaked out about it. She even says things between herself and Avery are good, but they’re only talking about Cadence. “I guess that’s the most you can expect from an ex,” she says. But she misses working! Not the movie, but performing in general. She doesn’t know where to start because “My old manager, Glenn, he handled all the meetings and the strategy and stuff.”

Iiiii dunno, guys. Juliette’s not exactly a head-in-the-clouds poet like Scarlett. As lovely as this whole storyline is otherwise, I’m not sure I really buy this whole “without Glenn I’m a babe lost in the woods” myth Juliette is spinning for herself.

Breakfast at the Jaymes mansion. Rayna’s raving about some charity that works with at-risk kids, and reveals to Deacon that she agreed to fill in for Brad Paisley at a fundraiser. She says she wants to expand it to a whole big show. There’s no mention of Deacon being one of the people to sing in it, which is weird. I guess maybe he’s too busy with his shrine to his dead sister to remember that he had a burgeoning solo career?

Just then Maddie comes in to grab juice and Rayna gives her a big, dramatically sympathetic hug. But Maddie—who’s planning to write songs all day with Cash, who really needs to get some friends her own age—says coolly, “I mean it sucked, but at the end of the day Colt just wasn’t my guy.” Rayna’s impressed that she’s thought it through, and Maddie informs them that song-writing is a good way to process emotions, like she’s the first person to discover this. Um, I think they know that. After all, they used it to sublimate their extramarital desires for like twenty years!

Layla and Will are having breakfast at a little cafe. Layla/Will friendship makes my cold little heart so warm! Layla’s heart, however, remains pretty damn cold: she can barely muster up any happiness for Will’s good news. She realizes she sounds like a bitch and explains that her album isn’t making as much progress now that Juliette’s back in town. Oh-so-casually, she asks, “Are they like, hanging out again or something…?” Will says they’re barely speaking and teases her that not everyone has a great relationship like they do. Layla brightens up for the first half of that, then goes sour again to snark nonsensically that Scarlett and Gunnar obviously have a great relationship since they stole Autumn out from under her nose. She says she misses Jeff because he got things done for her. Will argues, “He wasn’t exactly ethical. He did whatever it took to win. Glenn’s not like that. Which is a good thing, cause it’s above-board and honest, right?” Yeah, Layla’s two favorite things! Layla agrees perfunctorily and takes a sip of coffee to hide the fact that she’s hatching an evil plot right in front of Will’s sweet, innocent face.

Cash arrives at the Jaymes mansion with her guitar to write with Maddie. She thanks him for helping Frankie, and then says something about Maddie being talented and wanting to help her reach her full potential. When she gets to Maddie’s bedroom, Maddie’s pacing back and forth and freaking out. One of her friends told her Colt had signed up. “And he didn’t call to tell you?” says Cash. When Maddie says no, Cash says, “Wow, I’d be pretty mad about that.” Yeah, it’s really fucking rude of him to not update Maddie on his life plans—oh wait. That would be rude. If they were still together. Which they’re not. Which Cash was clearly on board with because she wanted Maddie all to herself.

Maddie corrects Cash that she’s just jealous that Colt can make his own life choices. Cash realizes that getting Maddie angry at Colt isn’t working, so she easily switches into working Maddie up into a tizzy about something else: feeling trapped. Maddie moans that she doesn’t know why she’d write songs if “no one will ever hear them outside of this room.” Cash casually drops that she felt the same way at Maddie’s age, so she’d sneak out at night to do it. Maddie lights up at this idea, and although Cash pretends to be dismayed at giving Maddie the idea, I am pretty sure that’s exactly what she intended. “If I don’t get out on stage with my own music soon? Cash, it is killing me. Please,” Maddie begs.

New theory: Cash isn’t madly in love with Maddie and trying to steal her from Colt. She is actually a human trafficker for the music industry and she’s trying to butter Maddie up in preparation for selling her off to a major music label.

At Highway 65, Bucky is going over the finances with Rayna (and for future reference, it sounds pretty ominous: he says something about shifting money around to make payments). Rayna just tosses her glorious hair and smiles that “spreadsheets and whatnot” aren’t really her thing. Um, is that actually a thing that the CEO of anything is allowed to say? Even a vanity music label?

Nashville 415 spreadsheets

Just cool it with your numbers and your spreadsheets, mmmkay?

Bucky is unfazed and just says that she has to suck it up since Highway 65 is giving her a great “second chapter,” according to Businessweek. Rayna’s no literary expert, but even she manages to figure out that “that makes it sound like there was some first chapter that’s over.” For some reason, especially combined with the spreadsheet thing, that cracks me up—I think because she seems to think she’s making some huge leap of interpretation when actually it’s exactly what the phrase already means.

But she bucks up (geddit?) and gets the rest of the lowdown from Bucky, who’s having trouble setting up a tour with Layla. Rayna says, “We do know an artist who has a very devoted fanbase.” Dun dun dun… it’s Rayna! Totally unrelated to that second-chapter thing by the way. Just a coincidence.

Juliette has donned a hilarious outfit that looks like, well, a teen pop star’s “Serious Businesswoman” Halloween costume, complete with tight bun, dark lipstick, and some sort of wine-colored turtleneck-blazer combo. She tries to convince him to take her back, but Avery’s not the only one who’s trying to draw boundaries these days. “You fired and rehired me every couple of months, we were rarely on the same page… it was one crisis after the next… I’m not what you need,” he says, not ungently, as he physically pushes her out the door. Locked out, Juliette blinks back tears.

After the credits, Rayna’s still trying to sell Bucky on the idea of her taking Layla out on tour with her. Bucky thinks even a ten-date tour would be a crazy schedule and they should just push back the launch. But Rayna thinks they’ve given Layla too much momentum to stop now (well, that or she just really wants an excuse to go out on tour). “Do you really want to be gone right now? I thought you wanted to be at home as much as possible through the end of the school year,” Bucky says. Rayna’s like, oh, my daughters? Yeah, I’ve heard of them, but… no. I don’t care.

For the record: I’m really not into judging Rayna for being career-oriented, but the show makes all these feints at portraying her as a devoted mother when actually she has a hilarious inability to care about anything but the next shiny thing in front of her. Last week Vita, this week reopening her “first chapter.” It’s like, why bother? Just admit she actually doesn’t want to be at home. She’s a music star and a CEO. Albeit a CEO who doesn’t like talking about budgets. Not being home sort of comes with the territory, doesn’t it?

Luke and his terminally unmemorable manager Kenneth are going over their business now. Luke and Riff’s tour is sold out, which he rubs in Kenneth’s face a little. Kenneth suggests something that I had to turn on closed captioning to decipher: “maybe add one of your baby artists to open for y’all.” And, he adds, “I urge you to consider an artist who’s close to launching an album, not someone new to the label.” Oof. Luke immediately understands that this is code for “the gay artist you just brought back.” Kenneth hedges that it’s just going to be an “uphill battle” launching Will. Luke handles it pretty well, saying that Will “is part of the family now.” Although of course I from my comfortable vantage point in a coastal city would prefer a little more fire and vinegar from Luke in fighting the homophobia, I get that it’s a huge step for him to stand up for Will at all. I mean, when it was Gabriella, he basically folded the first time she opened her mouth.

Nashville 415 homophobia

Kenneth goes from “utterly unmemorable” to “milquetoast homophobe” in three seconds flat

Speak of the devil, Will’s here for a meeting. On his way out, Kenneth snubs Will’s greeting like the jackass he is, even though Luke asked if they were “clear” (on Will being in the Wheelin’ Dealin’ family) before sending Kenneth off. Shut up, Kenneth. Even Gabriella, who was a minion of Satan, would have been perfectly polite to Will’s face.

Will sits down on one of Luke’s emphatically macho leather chairs and says, “I’m guessing they weren’t too excited to hear you re-signed me.” But Luke’s grown a leetle bit of spine and says, “It doesn’t matter what they think, it matters what I think.” And he thinks Will is a great artist, and the music is his selling point (notice that’s the exact opposite of what he was getting from Three Dollar Vinyl). Will says that the music does still need work and suggests working with Kevin to fix them up. Will agrees, saying it would be good to see him.

Scarlett and Gunnar arrive in their dressing room, and Scarlett’s freaking out again, this time about the firing (although her hair is much calmer). Gunnar says this is why you shouldn’t meet your idols. Scarlett thinks what Autumn did was demeaning, which, yup. Noah is like, oh honey: “How do you think you got this gig? She fired her last opening act… So how bout y’all do me a favor and don’t piss her off.” Gunnar jokes that he never pisses anyone off. Scarlett gives him a look and he amends: “Lately.” Hah. Personally, I’m kind of pissed every time I look at his haircut. Noah instructs them to agree with everything Autumn says.

In the kitchen, Cash and Maddie are planning their secret mission: at the Rainbow Room in East Nashville, which Cash describes as “super underground.” Maddie promises to handle her parents. Daphne has progressed so far in becoming metaphorically invisible to everyone that neither older girl notices her hanging out on the couch right there in the same room. But she definitely heard them.

Layla’s trying on outfits in front of her mirror and on the phone chatting with Avery, telling him she has a lead on a tour. He tells her to let him know how it goes, and just as they hang up Juliette shows up in her crazy business-lady costume to return a pacifier of Cadence’s. She asks if Glenn hates her, because she went to ask for him back, and he blew her apology off even though she “was really professional and mature.” I like how Juliette thinks “wearing something that covers my cleavage and not throwing an actual temper tantrum” is like this notable thing to brag about. Avery, though, asks her wisely and sweetly if she was honest with Glenn. Why did she really want him back? Her first answer is that Glenn is the best manager in town, but Avery knows that’s not it. Juliette admits that she can’t imagine her career without him. “Why is it so hard for you to admit when you need people?” he asks her softly.

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Then things get fuckin’ real. Juliette shrugs sadly that it doesn’t matter if she’s honest; Glenn hates her. Avery says, “He doesn’t hate you, Juliette. I think that you hurt him and he’s protecting himself.” She sees the double meaning and says she’s going to let it go. Avery, disappointed—and probably not just on Glenn’s behalf, if you know what I mean—says the Juliette he knows “wouldn’t take no for an answer,” but she counters that that Juliette also hurt a lot of people and “people didn’t like her very much.” Avery responds, “That’s not true. I mean, she was challenging, don’t get me wrong, but she was passionate, and there was a lot to love about her.” Juliette smiles at him, obviously moved.

Please excuse me from the rest of this recap, because I’ve melted into an embarrassing fangirly puddle on the floor.

Anyway, Avery goes on to argue that Glenn should hear the truth, and she shouldn’t give up. She asks for his help doing that with something the old Juliette might approve of.

Deacon arrives home to find Rayna cradling a guitar in their studio. He remarks on how long it’s been since he’s seen her do that. She’s writing a song, and she’s totally glowing with all her plans. She wants him to come to the charity show with her, and come on the ten-city tour with her and Layla. Deacon is totally shocked that Rayna’s going on tour. Rayna says it’s “the whole point” that Deacon would come with her, and that Tandy is going to come watch the girls. But Deacon is like, no fucking way am I picking you over my vanity project to honor my dead sister.

I mean, what he actually says is that he sees himself more as “a dad and a business owner,” but I think we all know it’s really his unhealthy obsession with Beverly, and not some undying sense of duty to Maddie and Daphne, that’s giving him pause.

Will shows up to write with Kevin, who gently wishes him congratulations on going back to the label. Just then he takes a phone call from what’s clearly his current boyfriend, promising to pick up the wine and ending with that sketchy “Me too” thing that people on TV do when they don’t want to say “I love you too.” Will asks if it’s a new boyfriend, and Kevin says, “I know it seems fast…” but Will, not too bitterly, says they can get to work.

Turns out that the blazer was hiding from us the full scope of how deranged Juliette’s outfit is. Now that she’s taken it off, the turtleneck is actually some sort of impressionist painting of a turtleneck made out of random strips of fabric of varying levels of opacity swaddled around her torso. Sort of like, my mom’s giftwrapping ribbon basket meets Herve Leger.

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Maybe the unraveled nature of this so-called top represents the unraveling of Juliette’s psyche. Whatever it is, I can’t stop staring at it.

Anyway, she’s stalking around her apartment throwing a tantrum and ordering Emily to bring in a whole bunch of vendors for her as-yet-unnamed plan to win back Glenn. “I hate all of this,” Juliette snaps, referring to her king-sized bed which is piled high with expensive clothing. She wants wardrobe people stat!

Finally she realizes she’s not doing a good job at pretending to be the New, Sweet Juliette and apologizes for snapping at Emily. Emily asks if she should talk to her therapist. Juliette is like nahhh I’m fine. “I’m gonna do this my way,” she says.

Deacon’s laid out a nice little dinner on the kitchen island for himself and the girls (Rayna’s in Dallas with Scarlett and Gunnar). Maddie, acting all flirtatious and sweet while chewing on a carrot stick, starts trying to convince Deacon to let her go to a “coffee house” where Cash is supposedly performing that night. “Really? It’s a coffee house?” Daphne says aggressively. Maddie nervously says, “I told you I’d tell you all about it when we go shopping tomorrow, right?” Daphne agrees that Maddie has promised to buy her something. Ooh, a double-whammy of a bribe: she gets free clothes and the attention she’s been craving.

In Autumn’s suite, Scarlett and Gunnar are undergoing a terrifyingly smiley inquisition from Autumn. How did they meet? So they dated, huh? How serious was it? They get progressively more uncomfortable. Autumn comes up with a theory when they won’t answer: Scarlett must have broken up with Gunnar because “Guys never move fast enough, do they, you just got tired of waiting for him to…” Ugh. Sexism!

Scarlett resists but Autumn orders them to “dish.” Finally they admit that Gunnar proposed and Scarlett said no. “But it was for the right reasons,” Gunnar says lamely. Autumn is way too excited about this.

Luke’s blasting music in his office when Layla arrives and asks to talk. Cut to the middle of this conversation: Layla, in her favorite black Goth Widow tights, is sobbing about how hard it’s been. He says something polite about wanting to help, and Layla sets down her water glass and gets super intense on him. “I want to go on this tour,” she says intently, tears still glistening on her cheeks. Luke’s like, what does Rayna think? Layla tries going for his heart first: “I really need this, Luke.” He protests that he needs to take someone from his own label. So she goes with her other favorite weapon: manipulation. “I’m asking you to step up for me and put business aside… You were in Atlanta when Jeff died. I mean, you know what happened in a way that nobody else does.” She gives him the crazy eyes for one second, just long enough for him to figure out she’s blackmailing him*, before starting to fake-sob again and begging him to help her get her life back on track. Jesus this girl is terrifying.

*I can’t decide if Luke has actually figured this out, actually. It’s possible he’s just a nice, simple guy who obviously feels guilty about covering up what happened to Jeff, and thinks that Layla just happened to say the words that would most play on his guilt. But let’s just say I don’t think Layla was trying to hide the fact she was manipulating him. I think she wants him to be scared.

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This is Layla’s face right as she tells Luke that he understands what happened. Is she just bad at playing the grieving widow, or truly excellent at playing a scary blackmailer?

Back in their own dressing room, Scarlett (wearing a cleavetastic version of the same dumb white lace peasant dresses she always wears)’s throwing a fit while Gunnar strums lamely on his guitar. She’s mad that Autumn insinuated she was just a poet and that Gunnar didn’t defend her. He says that he was just trying to keep her happy so they can stay on the tour. He’s managed to reduce her to a simmer by the time Rayna gets there and greets them. Autumn rushes in too, squealing happily and hugging everyone. “These guys have got the most incredible history together,” Autumn says, but just as Scarlett and Gunnar are getting anxious she segues into discussing a song of theirs she loves. Gunnar hastily jumps in to give Scarlett credit for the song.

At the Grand Ole Opry, Avery’s leading Glenn up to the stage under a concocted story about wanting him to see some new talent. Just then, the announcer crows that Juliette Barnes is coming onstage. Glenn realizes it’s a trick, but Avery tells him to hear her out.

Juliette takes a seat on a stool and thanks everyone for supporting her through her rough year. Glenn mutters to Avery that she’s just here to “suck up adoration from people she doesn’t even know.” Ouch! That’s a lot more perspicacious than I gave Glenn credit for. Juliette sees she’s losing him and goes for it, saying that she wants to dedicate her song to people she “couldn’t have done any of this without,” because she’s not good at saying how she feels. She even says that she always thought of this man as her father. Glenn has to stop to listen to the song when he hears that.

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As the song progresses, Glenn melts—and Avery leaves. Juliette looks over, her eyes meeting Glenn’s. Aww! Next week, can we get this same thing but for Avery?

Bucky, in a tizzy, finds Rayna in an empty dressing room at the Dallas set and says that before he could even tell Layla about their plans, Layla told him she’d booked a tour with Luke Wheeler. “Now you don’t have to go out anymore,” he says. Rayna is clearly not thrilled. Bucky points out that Layla had no idea what they were planning, but Rayna is upset that “I pour my heart and soul into these artists and it’s all for nothing.”

Somehow, Bucky actually tries to comfort her, instead of jumping up and down on a stool and stomping his feet and yelling, “HELLO! THAT IS LITERALLY MY ENTIRE LIFE!” But Rayna refuses to be comforted and says bitterly that she has to go see Scarlett and Gunnar’s show to “support my artists.”

There is a scene that is literally sixteen seconds long where Kenneth asks angrily why Luke would take a Highway 65 artist out on the road with him. “Because there’s more to this job than just business,” Luke says. Kenneth raises his eyebrows incredulously. End of scene. O…kay?

From Luke’s nervous aura during this exchange, I am thinking he absolutely fucking knows that Layla was blackmailing him.

Meanwhile, Rayna’s standing backstage at Scarlett and Gunnar’s show, trying to cheer them even though she’s obviously unhappy.

At the Jaymes Manse, Daphne is playing a game on some form of handheld device. Deacon chides her gently for leaving a mess and asks her to clean it up. She tries to channel a little of Maddie’s defiance, announcing insouciantly that she’ll do it tomorrow. When Deacon pushes back, she yells that Maddie gets away with everything. Deacon manages to put two and two together in his tiny, pretty little head and asks what Maddie’s getting away with. Daphne rolls her eyes.

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Cash and Maddie are at that moment on their way to the bar. The bouncer asks if Maddie’s sixteen (probably because he sees the admittedly cute glitter eyeshadow she’s slathered on) but Cash slaps him on the arm and says, “Tonight she’s twenty-one, right?” He lets her right in, but Maddie starts to look nervous.

Backstage at the Opry, Juliette gives fans high-fives and selfies, but ditches them when she sees Glenn waiting in her dressing room. He compliments her on a “great performance.” She says that it wasn’t an act and tearfully apologizes for letting him down. Glenn comes close to her, and as Juliette pleads, “I miss you, I need you,” he argues that his life has kept going and that he won’t drop everything — i.e. Layla — for her. She says it’s not about that, and that her life isn’t right without him.

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God, she’s really an incredible actress; the show just seemed to spring back to life when she came back, and the way she cries while she’s saying this is heartbreaking. Glenn obviously agrees on that last point; he says he’ll take her back, and that he’s missed her, and they embrace.

At the Rainbow Room, Maddie wanders around trying to look like she belongs. A guy spots her and asks to buy her a drink, but Maddie gives Cash a nervous look and declines. Still, I think she’s pretty proud of herself for fitting in enough to get hit on. I expected this moment to turn into some hokey date-rape scene, but thank God it didn’t. I think it just actually represents one facet of her developing sexuality.

At Kevin’s studio, Will’s packing up to go and acting kind of peeved. Kevin asks if Will’s mad that he’s dating someone. Will pretends to be too mature to feel that way for about five seconds before bursting out with, “I think it sucks. We just broke up and you’ve already moved on.” Kevin points out, VERY truly, that “Everything that happened to you was my fault, wasn’t it, so why do you even care?” Go, Kevin! Will admits that he was wrong for implying that, and that he was confused. He even says that he’s not proud of how he handled it. Kevin compliments him on how he stood up for himself after getting attacked by the homophobic redneck (my words, not Kevin’s). Will says it’s because he learned a lot from Kevin. Kevin says, “I guess sometimes the person we learned the most from isn’t the person we get to end up with.” Will makes a sad face, realizing that that’s Kevin telling him they’re not getting back together. They both say that they loved each other, and Kevin leaves. Nice scene.

Nashville 415 ilovedyou

“I care about moving on because I loved you.”

Back in Dallas, Autumn’s now onstage, and Gunnar’s apologizing to Scarlett for downplaying her alarm about Autumn. Scarlett says she shouldn’t have been so alarmed. Rayna greets them and tells them they were awesome. Just then, Autumn brings Rayna up onstage with her. Rayna gives Scarlett a cute, huge grin and says, “I was feeling a little rusty.” The crowd goes totally wild for her.

At the Rainbow Room, meanwhile, Cash is introducing Maddie to a roomful of hipsters. They seem mesmerized by her song, and soon start cheering. The guy who wanted to buy her a drink smiles at her admiringly, and she starts making sexy eye contact with him as she sings about being a bad girl.

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Deacon arrives just as she’s dancing her long, bare legs back and forth and singing that she’s a “slick chick.” Uh-oh. One guy is a little too mesmerized by the song, and reaches out to grope her leg, like, does that actually happen? Maddie tries to back away from him, he tries again, and then Deacon attacks him and drags a protesting Maddie out of the bar.

After the commercial break, Deacon slams a sobbing Maddie into the front seat of his car. Cash protests that she was just supporting her friend. “She’s sixteen years old, Cash, she’s a child, she’s my child!” Deacon yells. Cash goes totally apeshit and starts screaming that she did it “so she could thrive, so she could bloom. I mean do you have any idea how talented she is? That’s why I’m trying to help her instead of standing in her way like you do!… I am not gonna abandon her, not when she needs me, not now, not ever!” Um. Overreacting much, Cash? Anyway, Deacon (who is much more understandably overreacting, since this is his underage kid getting groped at a bar) says that she needs to stay away from Maddie or she’ll “regret it.” Cash looks like she’s about to start crying.

Back in Dallas, Rayna and Autumn are singing and Rayna’s obviously having a blast, greeting fans and grinning out at the audience. As she finishes, she blows a kiss to the crowd.

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Juliette comes to see Avery with that most down-to-earth of thank-yous: a sixpack of beer. She says she’s trying to practice telling the people who are important to her the things they should hear. He tells her she’s welcome. Juliette makes a graceful exit—in her place, having a moonlight Moment with a sorely missed ex, I’d totally have tried to get invited in, so she obviously is showing growth.

Of course Layla is watching from her car as all this goes down. Of course.

At the afterparty Autumn is raving to everyone about how awkward it must be for Scarlett and Gunnar to be in the same band after she turned down his proposal. Then she says by far the most hilarious line of the night: “That would be like if me and John Mayer formed a band.” I love it!

Scarlett asks for a word with Autumn and drags her aside to ask her not to focus so much on the messy past with her and Gunnar because it took them so long to find an equilibrium. Autumn gives her a huge hug and apologizes. “I’m just so open about my own heartbreak it didn’t even occur to me,” she says, and then tells Scarlett, “Good for you for speaking up.” Scarlett, disarmed, smiles and thanks her. Oh, Scarlett. Just you wait.

Sure enough, Autumn smiles for just long enough to let Scarlett turn her back, and then gives her a petulant glare.

Layla has wangled an invitation into the Bro Castle, which is conveniently dim. She gives Avery her news about the Luke Wheeler tour and then gives him a giant, effusive hug. He seems kind of taken aback, but offers her a beer companionably. Then she offers him a spot as her band leader in her typically needy way: “It would make me feel a lot better to know that you have my back out there.” Avery looks tempted. DO NOT let Juliette be the primary caregiver, dude. I love her, but no.

At the afterparty, Autumn has decided to take revenge on Scarlett: she’s collared Gunnar and is talking to him in a confidential, slightly drunk, earnest voice. She tells him her real favorite song on the Exes’ album is one he wrote. Then she pulls him off somewhere with her. Yikes.

Nashville 415 autumn flirts

Gunnar is no match for this.

On the plane home, Rayna stares at a tear-streaked window. Bucky tells her that it was great to see her perform. She admits she missed it, and that she’s lost sight of herself as an artist. He sees where this is going: “Want to do ten dates for the hell of it?” He agrees to make it happen, but just then, Deacon calls Rayna. Uh-oh.

Luke is finishing up what he calls “a long day” when someone arrives, crying. It’s Riff’s wife, Heidi. She says he’s been “acting kind of crazy,” which turns out to be a sort of misnomer: he actually hasn’t been acting any kind of way in front of her, he just disappeared two days ago. OH NOES WHAT WILL EVER HAPPEN TO LUKE’S TOUR THAT WE ALL SUPER CARE ABOUT?


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