Eric Ryan Anderson for The New York Times
The Music City Skinny is a weekly roundup of Nashville arts and entertainment news from around the web.
Brothers Osborne Want to Bring Guitar Heroes Back to Nashville (The New York Times)
The brothers have leaned heavily on live shows to build their audience, recalling the days when guitar-driven country groups shared sensibilities with longhaired Southern rock bands.
Catfish fly again as Nashville Predators begin playoffs (USA Today)
You know the NHL playoffs have started in Nashville when catfish fly.
Celebrate local artists with Nashville’s first Art Gallery Day (The Tennessean)
On Saturday, the Nashville Gallery Association (NGA) presents the first annual Art Gallery Day, a family-friendly, all-day celebration of Nashville’s visual art world and the many art galleries that help it thrive.
A Look Back at Nashville Fashion Week (NowPlayingNashville)
Let’s take a look back at this year’s designers from Nashville Fashion Week.
DJ Kid Koala brings interactive, galactic musical experience to OZ Arts Nashville (The Tennessean)
Kid Koala returns to OZ Arts Nashville with “Satellite,” a highly interactive show that creates an “ambient vinyl orchestra.”
Actors Bridge, Belmont University Theatre Celebrate 11th Collaboration With MEN ON BOATS (Broadway World)
Leah Lowe directs Jaclyn Backhaus’ Men on Boats as Actors Bridge Ensemble and Belmont University Department of Theatre and Dance celebrate their 11th annual collaborative production with the Nashville premiere, running April 13-15 and April 19-22 at the Belmont Black Box Theater
Musicians Corner Announces 2018 Lineup (NowPlayingNashville)
Musicians Corner returns to Centennial Park for its ninth year of free music!
Leah Stewart’s Latest Shines a Spotlight on the Art of Acting Under Pressure (Nashville Scene)
Vandy graduate Stewart will discuss What You Don’t Know About Charlie Outlaw this week at Parnassus
Seeing the Unseen: To Look Is an Act of Choice (Nashville Arts Magazine)
A Provocative New Exhibit at 21c Museum Hotel Challenges What We See and What We Choose to See