Country music is pouring out into the evening streets – but this isn’t a honky tonk in Nashville, writes Bex May.

It’s Gibson Garage in London’s Soho, where the twang of acoustic guitars and soulful harmonies are giving UK audiences an intimate taste of the iconic Music City. Being held to celebrate Nashville’s music scene and 100 years of the Grand Ole Opry, huge US country stars like Grammy, ACM and CMA award winner Jon Randall, Mickey Guyton, the first Black woman to ever be nominated in the Best Country Solo Performance category at the Country Music Awards, and four-time Grammy-nominated songwriter Jessi Alexander – best known for penning Miley Cyrus’ anthemic hit The Climb – to an intimate UK stage for one night only.

With country music rapidly growing in popularity on our side of the pond, and major acts like Morgan Wallen drawing over 50,000 fans to Hyde Park last summer, the celebration of Southern Hospitality feels perfectly timed.

We sat down with Jessi Alexander for an exclusive conversation about the surprising way music production in Nashville is different to any other, what it’s really like to play the iconic Grand Ole Opry – and why her phone’s ‘torturous’ voice memo app might just hold her next big hit…

The Grand Ole Opry celebrates its 100th anniversary this year  – what’s your connection to that legendary Nashville venue?

Jessi Alexander: It’s the place that every singer-songwriter dreams of playing. It’s the Mecca, especially for people like me who grew up on traditional country music, loving artists like Dolly Parton and Loretta Lynn. Getting to play there is sacred. My husband and I just performed a duet for Valentine’s Day, and we even had our daughter come up on stage. Our son is actually named Ryman, after the Ryman Auditorium. Country music is really woven through our family.

What’s it like performing there compared to other venues?

It’s intimidating and exciting. I wore a white dress this year – it felt like a wedding! And since it was Valentine’s night, it just made sense. You can’t walk into that venue and not feel something. It’s such a special place, so you want to bring a special song and wear a special dress.

We’re speaking to you here in the UK where you’re bringing us a taste of the best of Nashville’s music scene – have you noticed a rise in interest in country music internationally?

Absolutely. I’ve been writing a lot with Riley Green. I saw him open for Morgan Wallen at Hyde Park, and Morgan sold out, I think, three nights. We’re coming back in September for Riley’s own shows. Luke Combs is also doing really well over here. It’s really interesting to see.

From a songwriter’s perspective, why do you think UK audiences are connecting with country music?

I’d love to know! It’s fascinating. Ten years ago, it was more about singer-songwriters like Kacey Musgraves – who is a great talent – but now with this new wave of commercial country, people like Luke Combs are thriving. I wonder what themes or sounds are resonating with UK listeners. I’m really curious about that.

You’ve written some of the biggest country hits ever, like ‘The Climb.’ Can you talk us through your studio setup?

What’s cool about being a Nashville songwriter is how different the process is. We often work in little office buildings on Music Row. It’s a blue-collar, 9-to-5 job. There’s typically no big studio – just a small room, a couple of guitars, and we knock out a song a day. Some producers are bringing in more traditional studio setups, but most days it’s just me, an acoustic guitar, and maybe two co-writers. Honestly, sometimes I laugh – if people saw the little ‘broom closets’ we write hits in!

Do you have a favorite piece of kit or studio gear in those little ‘broom closet’ offices?

It’s really simple: pen, paper, and a guitar. I usually use my Gibson. I live with a guitar player, so there are plenty of options at home! I also rely heavily on Apple’s Voice Memos app – I’m constantly singing ideas into it, even on street corners. And Notes, of course, for lyric ideas. I’ve been working on one song for two days now – it’s haunting me.

Tell us about the process of turning those phone Voice Memos into mega hits…

Oh, it’s torture! Every day is different. Sometimes you don’t even know the artist you’re writing with yet – they could be the next Morgan Wallen. So you sit there, scrolling through awful voice memos, wondering what to play. It’s so vulnerable. Sometimes they’ve already written something similar, and it’s a no. Other times, they say, “That’s exactly what I need.” It’s very intimate, like dating. You either connect or you don’t.

What’s your favourite guitar?

Oh gosh, we have so many. I love our Sheryl Crow model – it’s called the Country and Western model, I think. It’s got a great feel. Today, I’m playing a red Hummingbird from Gibson’s new line. They gave me five to choose from, and I picked the prettiest one!

How do you balance that classic Nashville sound with modern production?

I’m a traditionalist at heart. I’m always drawing from my heroes, trying to honour them. But writing with new artists helps keep me current. Someone like Meg Moroney will mention artists like Sabrina Carpenter, and I’ll think, “I need to do my homework!” In return, I bring old school melodies, like something in the style of Patty Loveless, into sessions. It’s a creative exchange.

You write on the road, too – what’s that like?

I often chase the artist’s schedule. They don’t have much time, so I go to them. I recently went on a retreat with Meg Moroney, a rising country artist. We spent four days writing in a cabin in East Tennessee, and Rolling Stone actually came to interview us. They captured the behind-the-scenes of what it’s really like to write a record. It was very special.

Is there an artist you’d love to collaborate with?

I was nominated for a Grammy this year for Best Songwriter, and there I met the British artist Raye. She has an incredible voice. I grew up singing more melodic stuff like Patsy Cline, so I’d love to work with someone who can handle those big, emotional vocals. Or of course Adele! Honestly, there are so many great talents in Nashville it’s overflowing with the best of the best.

For those just getting into country music – maybe UK listeners – what are three essential songs to check out?

Oh wow, that’s hard! I’d start with Dolly Parton’s “I Will Always Love You.” It’s simple, poignant, and perfect. Then there’s “Whiskey Lullaby” by Brad Paisley and Alison Krauss – one of the most heartbreaking songs ever. And finally, “He Stopped Loving Her Today” by George Jones. Written by the great Bobby Braddock, it’s just iconic.

Jessi speaks to us in collaboration with the Nashville Convention & Visitors Corp. Catch up with the latest at visitmusiccity.com

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