It’s country music y’all!

In a battle for the top of the country charts, let the cat-fights commence between an older living legend who is struggling to keep up with the evolving music industry, and a younger, fresh-faced new star who is experiencing success as a crossover artist between country and pop to a huge teenage fan-base. Rayna James (Connie Britton) is the older one, Juliet Barnes (Hayden Panettiere) is the younger one, and together they headline Nashville, a rather inconsistent soap opera dressed up all nice and pretty in the good original soundtrack that tries to carry the clunky series along. The focus on the music industry is the upside of the show. Even for those not familiar with country music, a good mixture set list of both upbeat, cheerful songs, to the slower ballads, is enough to win over new fans. What the characters sing about are highly limited, as is the case with the country music genre in general - driving trucks, drinking beer/whiskey and love, mostly heartache. The cast members tasked with singing a lot of the original songs all handle them beautifully. Britton and Panettiere both have strong voices as well as charisma and stage presence in their flashy music scenes, and it’s certainly refreshing for a musical drama where its protagonists don’t randomly break out into a song-and-dance routine to throw their worries away. These people aren’t misguided, delusional high-school teens, they seem more like real individuals with deep-rooted problems that need addressing. Contributing to the music scenery are season 1 characters who make a welcome comeback, as well as some new talent that shows promise. Scarlett O’Connor (Clare Bowen) and Gunnar Scott (Sam Palladio) have broken up; Scarlett is on a potential road to stardom, having been taken under Rayna’s wings and her record label, although the glamorous, publicity-heavy side of the industry is often too much to handle for a girl who started out singing in a small cafe whilst waitressing. Gunnar has been less lucky: he’s continuing to write songs although it’s a challenge to get back on his feet after such heartbreak. He finds an unlikely ally in Avery Barkley (Jonathan Jackson), Scarlett’s ex, and the two of them bond over writing and performing, which provides an interesting angle on a newly forming bromance. They used to absolutely hate each other - but it would appear their new common ground of loving to perform will bring them closer. New faces for season 2 include Will Lexington (Chris Carmack), Gunnar’s house-mate who could make quite an impact on the country charts, as long as he keeps his homosexuality hidden and keeps working the ladies on stage, and Zoey Dalton (Chaley Rose), Scarlett’s childhood friend who sings gospel music, who also has the hots for Gunnar. all have incredible voices and they only get better as they sing as duets forming beautiful harmonies. Let’s not forget about Deacon Claybourne (Charles Esten) who we left off in the season 1 finale embroiled in a drunken fight with his on-again, off-again lover Rayna before getting involved in a car accident. Rayna was driving, Deacon was distracting with her boozy antics which caused the crash. His hand is badly damaged, which means he needs to say goodbye to music career and his extensive guitar collection. That revelation concerning the paternity of one of Rayna’s daughters shocks and naturally turns his world upside down, although he’s a big enough man to concede that he’s probably not the best father-figure the young girl could have. Rayna’s sister, Tandy Hampton (Judith Hoag) is also starting to have a more prominent role in the show, as her loyalties are tested when it comes to uncovering the mysteries behind a a car accident that killed her mother. Was there foul play? And if so, by whom? Juliet thinks she’s got it all - this is until she gets a dose of her own medicine, as yet another new emerging star threatens to undermine her success and credibility as an artist who can truly appeal to the teen market. The ever-changing nature of the music industry, as well as its need to be cut-throat and ruthless is played out well through Juliet’s character more in season 2 than how Rayna’s struggle was handled in season 1. Layla Grant (Aubrey Peeples), a runner-up of a singing competition, seems to be the talking point of Edgehill Records and its CEO Jeff Fordham (Oliver Hudson) which could potentially derail Juliet’s tour and album sales. Given how much of a class A maniuplative bitch that she was back in season 1, you might think it would be easy to feel no sympathy for the character. But Juliet has a painful past to tell, and there are softer sides to her otherwise driven, ambitious nature which have the tendency to help you look past her icy persona. Vulnerability reaches Rayna too, as the aforementioned car accident that Deacon was involved in also affects her. Placed in intensive care, thankfully it doesn’t take long for her to make a comeback, although questions are raised as to whether she’ll ever be able to sing live again, with a rousing answer provided on the excellent closing scene of episode 5. As if the show wasn’t crowded enough, we also get a peek into the politics of Nashville, Tennessee. Rayna’s soon-to-be ex-husband Teddy Conrad (Eric Close) is now the mayor determined to run a clean office although there is pressure from Rayna’s wealthy, powerful father Lamar (the excellent, excellent, Powers Boothe whose deep, growly voice is still as menacing and authoritative as ever) to do things his way. Along with Teddy there is a subplot that is headed for disaster as his girlfriend/mistress Peggy Kenter (Kimberley Williams-Paisley) claims that she’s pregnant although she’s clearly not. This tiresome strand better resolve itself quickly, as any soapy drama that distracts from the music is one that needs to quickly go away. Speaking of needless drama, the romantic side of the series is the major downfall. It’s inevitable that everyone starts to have feelings for everyone else, but there is too much moody sulking around to create any compelling couples to root for. Not everyone gels as an ensemble at the moment, and there is an odd lack of narrative strength and continuity in certain episodes that makes the show seem sporadic and its structure, a mess. So far everyone is pretty much single, but this will no doubt all change come the mid-season episodes. But it’s worth sticking around for the Britton and Pannettiere duo alone. Although the two characters aren’t pitted against each other as much as you’d hope, even as individuals they are able to compel and move.