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Three years after the legendary Ernest Tubb Record Shop closed in 2022, the iconic establishment is gearing up to celebrate its official reopening during a celebration set for Nov. 13. 

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The late Country Music Hall of Fame member Tubb, known for hits including “Walking The Floor Over You,” “Soldier’s Last Letter,” and “Waltz Across Texas,” first opened the Ernest Tubb Record Shop on Nashville’s Commerce Street in May 1947. Since 1951, the Ernest Tubb Record Shop has been in its current location at 417 Broadway in downtown Nashville. 

While the shop sold vinyl records and music songbooks, it also became a heralded performance spot due to Tubb’s Midnite Jamboree, where artists who were performing on Saturday nights at the Grand Ole Opry (then centered at the Ryman Auditorium) would head to the nearby shop afterward to perform late-night sets that would broadcast on WSM radio. Over the years, Tubb, who joined the cast of the Opry in 1943, welcomed and encouraged artists including Loretta Lynn, Hank Williams, Patsy Clin, and Johnny Cash, giving younger artists valuable career exposure. Over time, the shop became a home for community and camaraderie. Tubb was inducted into the Nashville Songwriters Hall of Fame in 1970, and won the Academy of Country Music’s pioneer award in 1980. Tubb died in 1984.

The same year the shop closed, brothers Jamie and Bryan Kenney, co-founders of management company Tusk Brothers Entertainment, bought the four-story building. The brothers are the team behind Nashville’s Wedgewood-Houston bar Never Never, as well as Reunion Bar & Hotel in East Nashville. They teamed with Tubb’s grandson Dale Tubb, as well as top-flight Nashville session musician Ilya Toshinskiy, to revitalize the record shop. 

“The first time I met these guys, they said, ‘We’ve been entrusted with this important piece of history,’” the younger Tubb tells Billboard. “Everything they do from a storytelling standpoint is to preserve and tell that story properly, to preserve the essence, the bones and the spirit of this place.’” 

Now, the building that houses the Ernest Tubb Record Shop, has been revitalized to not only revive the record shop, but make use of all four stories, adding performance spaces, a honky-tonk and an open-air rooftop bar. The walls have the original exposed brick. 

Ernest Tubb Record Shop

Andrea Behrends

In the process of preserving the building, the brothers got a first–hand look at the memorabilia Tubb’s grandson had kept over the years, such as journals where the country artist scribbled song ideas, a letter from Minnie Pearl telling Tubb she’d dropped off muffins for him, or a telegram from Johnny Cash telling Tubb that one of Cash’s children had been born. There is another letter from Cash, wherein the Man In Black was attempting to get a meeting with Tubb to discuss playing on the Grand Ole Opry. Much of that memorabilia now lines the walls of the building’s four floors. 

“We saw the depths of his influence in a totally new way,” Jamie Kenney says. “[Ernest] was truly the godfather, the kingpin of country music.”  

“It’s still very in line with what he did,” Dale Tubb says of the venue’s continuation of his grandfather’s legacy. “He partied hard. Granddad would be slinging booze in here. This place evolved, just like the music did. Music evolves as society evolves.” 

The first floor features a honky-tonk with two bars and two stages (including the original stage of Ernest Tubb’s Midnite Jamboree), as well as photos of Tubb with his fellow country stars. Throughout the venue, there is more memorabilia, such as Tubb’s guitars, cowboy boots from the 1940s and a revolver Tubb used as a prop when filming the western The Fighting Buckaroo. 

“The story that the first place Patsy [Cline] played in Nashville was the Midnite Jamboree; well, here’s the thank you letter from that night. What are the odds that it’s still in mint condition and didn’t get tossed or hidden in someone’s private collection?” Dale Tubb says. “You could immediately tell there was a sense that these guys care about this type of environment. There’s a true respect for the music.” 

On the second floor is the record shop, with vinyl records for sale on wooden shelves, along with branded merchandise, another bar and space to host live acoustic performances in an intimate setting. The third floor offers a private event space, outfitted with vintage lighting and a bar, offering an exclusive setting for industry showcases, album release parties and label events.  

Ernest Tubb Record Shop

Andrea Behrends

“Through the whole project, we want to honor the music business, because the music business is the piece that built this,” Jamie says. “We’ve been touring all the labels and the Opry and publishers and artists and just kind of saying, ‘We’re the stewards of this, but this is yours.’” 

The basement has been revamped to become The Forty Seven lounge, which showcases wood-paneled walls, vintage accents and velvet seating — all paying tribute to 1947, the year Ernest Tubb’s Record Shop first opened. The Kenney Brothers estimate the remodeled venue has a capacity of around 1,000 people. 

“Ernest Tubb seemed to be the classic gatherer of the people, and he was very ahead of his time,” Jamie says. “He always honored the past, but he would always grab the younger artists of his day, people that were up-and-coming. We want to reflect that, too. All these things we’re calling ‘country-adjacent’ or ‘folk,’ ‘Americana.’ I think he would have loved that. It’s going to be a curated artistic aesthetic.” 

On Nov. 15, the longtime Midnite Jamboree will return to Ernest Tubb’s Record Shop, airing on WSM 650 AM radio. 

“The soul of the record shop was the performances and these country stars wandering over from that alley 200 feet away, after they performed at the Opry, grabbing a flask of whisky or a six-pack, jumping onstage and having a party,” Bryan says. 

“We don’t just want to save the record shop,” he adds. “We want to restore the DNA of what made it great and give it a new iteration, so it has many more years.” 

Ernest Tubb Record Shop

Andrea Behrends

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In Jordan Davis’ 2023 single “Tucson Too Late,” the singer races to the airport, hoping to save a relationship.

His latest, “Turn This Truck Around,” reverses direction. In this case, he’s driving away, attempting to end a partnership. It’s similar in storyline to Glen Campbell’s 1968 release “By the Time I Get to Phoenix,” though there are sharp differences. “Truck” sounds tougher and technology makes it more likely the woman he’s leaving can initiate a conversation that will make the guy cave.

“‘By the Time I Get to Phoenix,’ you’ve got to find a pay phone, even if you want to make the call,” Davis notes. “Now we’re carrying our phones around.”

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The only actual travel involved in writing “Turn This Truck Around” was the four songwriters’ commutes to Nashville’s Anthem Entertainment on Dec. 7, 2024, and the family trips they rekindled in conversation. Davis talked about chauffeuring his three kids (he and his wife, Kristen, have since added a fourth), and Warner Music Nashville artist Devin Dawson recounted a ride he and his twin brother, writer-producer Jacob Durrett, took to the Six Flags theme park in Vallejo, Calif., when they were young.

“My brother and I are in the back seat, just being little hellions and picking on each other and shit,” Dawson says. “I remember [Mom] saying, ‘Don’t make me turn this car around.’ ”

Those images didn’t take on significance until Jake Mitchell (“One Beer,” “Some Girls”) introduced a pulsing track he had developed with a simple chord progression. It had a Tom Petty air about it, and discussion about the driving beat led to talk about driving imagery. Dawson brought the earlier conversation back up with a slight revision to the vehicle, “Turn This Truck Around.” The work was fairly easy.

“It doesn’t feel like we talked about what the idea would be that much,” Mitchell offers. “It kind of just came out. And I feel like we didn’t put too much story in there. It’s more so just about that moment when you’re thinking to yourself, ‘Don’t do it, don’t do it. Don’t go back.’ ”

The chorus melody emerged first, and Josh Thompson (“Drowns the Whiskey,” “Wasted On You”) provided the setup line, with the protagonist proclaiming he was on his way “long as your memory/ Don’t make me turn this truck around.” Davis wanted a starting line for the story, and they crafted one — “This time I said it and I meant it” — that indicated the relationship had been in trouble for some time. From there, they bounced back to the chorus before patching the whole plot together. Verse one provided a sense of the journey, focused on the brakes and the gas station stops. Verse two brought the listener inside the cab, where the singer wrestles with the love songs on the radio and fears that a text message will undermine his determination. It’s never clear if he’ll go through with the breakup or give in.

“I kind of love the little bit of open-endedness in that lyric,” Davis says.

They brought the tension to a climax in the bridge — though not the kind of bridge one encounters on the road. 

“I’ve written with [people who] said bridges are made for burning and jumping off of,” Davis quips. “There are some songs where the bridge just feels like it’s useless, but this one I was pretty proud of. It really kind of helps the song out.”

It allows for a mention of “memory lane” — “ ‘Memory Lane’ had to be in that song,” Davis says — but it also uses musical elements to amp up the drama.

“The bridge is my favorite part of the song,” Dawson says. “I think it just really lets all that emotion spill out of the melody, and the way he sings it — [near] the top of his range there — it really dumps the desperation out.”

Mitchell produced the demo, which introduced several new ideas. He inserted sound effects of a door slamming, boots walking and an ignition starting, though none of those made it into the final product. And at Dawson’s suggestion, he employed a halftime feel on the bridge. They all thought they had a winner, and Mitchell didn’t want to take a risk that any element in the recording would turn off even one decision-maker who would be evaluating its potential.

“It’s usually got to go past A&R managers,” he reasons. “They play it for all kinds of people in their teams, and sometimes, whether people realize it or not, they can not like a song because of the way a vocalist says words. Even if they don’t think about it that way, they could just be like, ‘I don’t know about that one,’ and that one voice could make an artist doubt the song and not want to do it.”

Davis left the appointment confident that they had written a hit. He had never felt that way about a song before and never lost faith in “Truck.”

Producer Paul DiGiovanni (Travis Denning, Alana Springsteen) appreciated its Petty-like foundation — “My favorite artist of all time right there,” he says — and he made a point of highlighting the persistent eighth notes that were key to many of Petty’s recordings during a tracking session at Sound Stage on Music Row. 

Mitchell’s demo had presented the song’s substance well — “He knocked it out of the park,” DiGiovanni says — and the final production essentially worked its way to the bridge.

“Some bridges are just like, ‘Hey, let’s change my brain chemistry for 10 seconds so you can put me back into the chorus,’ ” DiGiovanni explains. “That is the climax of the song. It’s the most desperate part and it’s a pretty long bridge. So I feel like that’s as important as the chorus in the song, and I knew we needed to put some emphasis on that.”

As uncluttered as the arrangement feels, it adds small touches and extra voices throughout, many of them felt subliminally. It includes, for example, a quiet, filtered-out synth part that sounds like wood blocks at the end of the choruses and a barely audible pulse synthesizer and Hammond B-3 that operate as a danger signal at the bridge’s conclusion.

“It just builds as it goes,” DiGiovanni says. “Like the background vocal stacks — the first chorus, there’s four; the second chorus, there’s six; the last one, there’s 12. It’s just things to pad it and give it a little bit more beef as it goes on.”

Despite the angsty bridge, it was one of the easiest vocal performances of Davis’ career. “Usually, I go in and cut vocals for two hours,” he says. “I went in to just sing two songs one day, this being one of them. It was like 20 minutes. Paul is looking at me like, ‘All right, man. Anything else? You good?’ That was a good day.”

So was April 5. He played “Turn This Truck Around” live for the first time during the Tortuga Music Festival in Fort Lauderdale, Fla. The audience responded as if it was familiar, and it confirmed Davis’ belief it should be a single. MCA Nashville released it to country radio via PlayMPE on Oct. 13. Fans may respond as if the song is preordained; the results of the storyline are not.

“The hero in this song — I love the fact that he’s not 100% sure that he’s the hero,” Davis says. “Eventually, her memory is going to catch up to you, no matter how far you drive.”