I arrive at the Opry House a few minutes before rehearsal. My guitar and fiddle cases trip the metal detector, so the security guard makes me open them.
“You ain’t smuggling moonshine, are you?” says the guard with a watchful eye.
“No, Officer. I have no moonshine.”
“Well,” the officer replies. “You want a swig of mine?”
No. I’m only kidding. The guard doesn’t say that. But I wish she would. Namely, because I am a little nervous right now.
This is the Grand Ole Opry. And I’m me.
I do not belong here. When I was in middle-school gym class, wearing a clingy white T-shirt on my chubby body, and shoes with holes in them, some of the boys called me “Little White Trash.” Such things never leave you.
I enter the backstage lobby. Jim Schermerhorn sits behind the check-in desk. He’s the guy who IDs everyone. He has to ask all backstage guests’ for their driver’s licenses, even if this guest is, say, Garth Brooks. Jim still has to say, “Mister Brooks, I’ll need
to see some ID, please.” What a gig.
Jim puts me at ease right away. You can tell he’s just a regular guy. He’s not high and mighty. He cracks jokes.
“We are so honored to have you back at the Opry,” he says to me.
When he shakes my hand, he holds on just a little longer than I do.
They put me in dressing-room Number Two tonight. Which is only fitting. My performances have often been compared to fresh offerings of Number Two.
My room is called the “Bluegrass Room.” Located right next door to Roy Acuff’s old room. Long ago, this would’ve likely been the same mirror where Sarah Cannon transformed herself into a self-effacingly beautiful…