By Renee Clark Quade
Eric Paslay brought an intimate, songwriter-style showcase to the heart of Broadway with his “Song in a Hat” show at the Neon Steeple inside Chief’s, Eric Church’s six-floor bar. The Neon Steeple spans two floors and is designed with a church-like atmosphere, complete with faux stained-glass windows featuring artists such as Johnny Cash and Dolly Parton. The warm lighting and chapel-inspired layout created a space that felt surprisingly sacred for a night filled with storytelling, humor, and live creativity.
Paslay and Charles Kelley opened the night by taking turns performing a few of the well-known songs they’ve written over the years. It was a relaxed, conversational start that set the tone for the evening and helped the crowd settle into the show’s unique format. After each shared a couple of hits, Paslay shifted into the “work tape” portion of the night, featuring an old tape recorder perched on a small stool in front of him. He explained that work tapes are how songwriters capture rough ideas the moment a song is finished, early versions that preserve the original melody or lyric before anything evolves.
Paslay then shared the story behind “Love Is Your Name,” a song he wrote with Lindsey Lee. After Lee performed it at the Bluebird Café, Steven Tyler happened to be in the audience and was so moved by the song that he wanted to work with them and record the song. Paslay described the surreal moment when Tyler pulled up outside his house to write with them. He played the original work tape from the session he and Lindsey Lee did before transitioning into a full performance of the still-unreleased song.
Kelley followed with his own work tape moment, playing the early recording of “Need You Now.” He talked about how he had only just begun learning guitar when the song was written, and how Lady A nearly abandoned it until their label encouraged them to revisit the idea. Kelley admitted he still can’t believe how evergreen the song has become.
Paslay continued with stories from writing on the road, emphasizing how being in the room with artists in real time can bring out their best work. One of the strongest examples was writing “Do I” with Luke Bryan on the front porch of his house. At the time, Bryan was questioning whether he should continue performing or step back to focus solely on songwriting. Kelley recalled telling him not to walk away, reflecting on how strange it feels now to imagine someone with Bryan’s talent ever doubting himself.
The centerpiece of the night was the interactive songwriting segment that inspired the show’s name. Paslay and Kelley pulled three audience ideas from a hat and invited each fan onstage to share the story behind their title. The ideas were “Daddy Bought a Truck,” “Listen to Your Momma,” and “Freeranging.” As each person explained their inspiration, the two writers immediately began tossing out lyric ideas and shaping potential verses. Within minutes, the early bones of new songs started to form. Paslay’s quick thinking especially stood out, as he landed clever lines and melodic ideas almost instantly. Watching them write live felt like getting a front-row seat to a creative process that usually happens behind closed doors.
After wrapping up the songwriting segment, Paslay pulled out a paper shredder and fed the song titles that didn’t get chosen into it, jokingly calling the shredded pieces “dream confetti.” He explained that he does this to ensure he never accidentally steals anyone’s idea, encouraging fans to take their inspiration home and write their own versions.
Shifting gears back to stories behind their hit songs, Paslay talked about “Barefoot Blue Jean Night.” He shared how he took the song to several labels early on, only to be told repeatedly that it would ruin country music. Smiling, he pointed out that it has since become one of the most-played songs of the decade. He then performed his version, prompting cheers and a full-room singalong.
Paslay also performed the song he wrote for Keith Urban, inspired by Urban’s first concert with his dad, a Johnny Cash show. The storytelling behind it gave the performance a nostalgic, cinematic feel. As the night came to a close, Paslay hesitated to sing “She Don’t Love You,” worried it might be too slow to end the show. Kelley encouraged him to go for it, and Paslay delivered a quiet, emotional performance that held the room in complete stillness. Kelley then closed the night with a song he wrote after completing rehab, ending the evening on a powerful and deeply personal note.
After the set, both artists stayed to meet fans and take photos. Getting the chance to talk with Paslay for a few minutes was a personal highlight and a reminder of how genuine he is, both on and off the stage.
“Song in a Hat” was one of the best shows I’ve attended all year. It brought the spirit of the Bluebird Café into a venue that already feels reverent and inviting. Authentic, creative, and unforgettable, the night was a rare glimpse into the heart of songwriting. My only regret was having a great idea and not getting pulled from the hat. I’ll absolutely be back, and I highly recommend keeping an eye out for future shows.
See photos from the show below:
