Rayna falls apart... and into Liam's arms
Teddy is ready to move on from Rayna (Connie Britton) — and he's ready to do it like, now. He calls Rayna right before she's set to hit the stage in Atlanta and tells her that he wants to tell the girls the big news the next day.
Rayna flips out and misses her cue during her show. Everyone — including Juliette — notices that she misses her mark and watches with bated (and for Juliette, hopeful) breath to see if she chokes. But, Rayna is a serious professional, guys. She gets it together and continues with the performance.
But that's not the only dramz going on with the queen of country music: Sexy/fired producer Liam McGuinnis just so happens to be staying at the same hotel. They left things on super-bad terms, but Rayna waltzes up to him all friendly, like nothing happened between them.
Why? Well, deep down she just really wants to see him naked.
And it's convenient timing, too — Liam gives Rayna an excuse to get away from her troubles. They hit up a local honky-tonk where they share flirts over shots. Eventually, they make it back to Liam's hotel room and it's obvious neither one of them really wants to call it a night. They kiss (not a shocker) and go inside the room.
So, do they do it?
Nope. They share a quick drink before Liam basically pounces on her. It's clear what he wants. As for Rayna? True to form, she splits into the bathroom for a little "freshening up" — aka lip gloss. But, the tears start flowing.
Liam tries to see what's up, but she tries to block him from the door. “It’s not pretty in here," she tells the sexy scruffball.
Eventually, she lets him in and they swap divorce stories — turns out his parents got divorced, too.
He turns out to be a supportive listener, even though we can imagine what he'd rather be doing.
The next morning, she sees him off — and who ends up seeing them during their flirty goodbye? Deacon, of course.
Naturally, he's not pleased.
Who's the boss?
Juliette (Hayden Panettiere) might be trying to mature as an artist, but it's apparent she still has that "I want what I want, and I want it now" thing going on. She holds a band meeting before one of the shows to share her visions for her acoustic set — and manager Glenn is not pleased.
Think advice from someone older and wiser deters the blonde ingénue? Of course not.
“I am a multi-million dollar industry, and it is about time that I took control of it,” she defiantly tells him.
He tries to take back control, but Juliette flips when she finds out. Her response? Wake her entire crew up in the middle of the night to remind them who's boss.
“You’ll be right back at the country fair, looking for your next teen queen," she tells her poor manager.
And then Glenn quits.
Deacon — ever the wise, formerly alcoholic soul — is like "uh, people won't think you're mature if you act like that."
For whatever reason, he's the only person who can get through to her.
How to sell your soul
Avery Barkley is upset that he's not a super-rich artist already, so he's salivating when Chloe from South Circle Publishing (remember her?) shows up, wanting to make a deal for his publishing catalog. The idea of a six-figure advance is super appealing to the struggling artist, even if his sex buddy/manager thinks it's a bad idea.
He eventually signs and gets a $100K check, but he's gonna regret it soon enough.
Meanwhile, things are going good in ScarletandGunnarland — he waltzes around the house in just a towel, which is sort of awkward (but we're not complaining). It's during one of these towel walks that they get a call from Watty White telling them that Rayna wants to meet with them about a deal.
But their excitement is short-lived when Gunnar's ex-felon bro shows up at The Bluebird. He wants to make nice/needs a place to stay for a while. Gunnar still has a lot of guilt over his big bro's prison stay, so he asks Scarlett to let him stay.
She's like, "uh, I'm not harboring a fugitive" — and then lets him stay for one night.
But that one night turns into more than one night after she sees a softer side of the on-the-run felon. Something — like the previews for the next episode — tells us this won't end well.
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