Nashville is the site of The Six’s first headlining show there, at the Exit/In, and of a performance that makes the band’s changing fortunes audible. Daisy Jones opens with her own backing band, discovers that much of the audience has come to see her, and later joins Billy Dunne for “Honeycomb.” The evening brings together two developments: The Six’s move from opening act to headliner, and Daisy’s emergence as a draw in her own right.

The Six’s first Nashville headlining show

Billy Dunne recalls the Exit/In engagement as The Six’s first show in Nashville. The band had been accustomed to opening for other acts; now it was at the top of the bill. He says he tried to include Daisy as he would have treated any opening act, partly because The Six knew what it was like to occupy that position. His account distinguishes that professional intention from his personal feelings about her, which he says he set aside. The arrangement gave Daisy a place on the bill without yet making her a member of the band.

The show also belonged to a period of growing public recognition. The Six’s song was climbing the charts, and the band was undertaking radio appearances and photo shoots. People who had previously recognized Billy were beginning to recognize other members as well, and fans wearing The Six shirts had become a visible sign of the group’s rising profile. Nashville therefore provides more than a new tour stop: it is a moment when the band’s changed status as headliner is tested in front of a crowd.

Before Daisy’s set

Karen Karen remembers the backstage room as a scene of simultaneous preparation and distraction. Daisy was using drugs before going on; Warren Rhodes was receiving a massage from a fan who had made her way backstage; Eddie Loving and Pete Loving were occupied elsewhere; and Billy was by himself. Graham Dunne and Karen were talking. Karen also remembers that Graham had recently trimmed his beard, making his appearance newly striking to her. The details place Daisy’s performance within a touring environment that was not orderly or uniformly focused, even as the band prepared to present itself to an audience.

Camila Dunne arrived with Julia Dunne to say good night to Billy. Karen recalls that Daisy responded to their entrance by putting away the drugs, cleaning her nose, and setting down her drink. Daisy shook Camila’s hand and greeted Julia warmly, calling her “chickadee.” For Karen, the moment showed an attentiveness she had not previously seen from Daisy. The encounter briefly brought Billy’s family into the backstage space and exposed a more considerate side of Daisy before she went out to perform.

Daisy opens the show

Daisy describes feeling unusually nervous as she walked onstage, and aware that she might be too intoxicated. She had expected the crowd to be waiting for The Six, but found that many people were excited to see her. Wearing a black halter dress with gold bangles and hoop earrings, she performed with the backing band Hank Allen had assembled. Except for rehearsals, this was her first time onstage alone with that band, and the first time she heard a crowd of this size respond to her as a solo performer.

Her recollection emphasizes the scale of that response: the audience seemed to gather into a single, living presence. The distinction mattered. Daisy was not simply filling the opening slot while people waited for The Six; she could feel that they had come for her, too. The reaction gave her direct evidence of an audience beyond the band’s existing following, even as the show remained part of The Six’s rise.

“Honeycomb” and the crowd’s response

Billy remembers standing before the Nashville crowd sober and sensing that “Honeycomb” was moving toward the Top Ten. In his account, the audience already wanted to like The Six, so the band no longer had to win them over in the way an opening act might. At the end of the set, he asked the audience to welcome Daisy back out for “Honeycomb.” The invitation turned her appearance from an opening set into a shared finale with the headlining band.

The response was immediate. Daisy recalls the venue beginning to rumble as the crowd erupted; Billy remembers his microphone vibrating while people screamed and stamped their feet. He understood the noise as confirmation that The Six had become rock stars. The encore thus joined Daisy’s new visibility to the band’s commercial momentum: the crowd’s enthusiasm was for a song already gaining ground and for a collaboration whose appeal could be felt in the room.

Nashville’s place in the band’s trajectory

The accounts make the Exit/In show a hinge between professional inclusion and a more charged stage partnership. Billy presents Daisy’s place on the bill as the fair treatment of an opening act, while the return performance makes her part of the night’s defining moment. The audience reaction does not erase the difference between her set and The Six’s headlining position; instead, it makes the boundary feel newly permeable.

Nashville is also significant as the setting for Daisy’s first solo encounter with a crowd of this scale. She had a backing band of her own, and listeners were already responding to her before she joined Billy. When they returned to the stage together, that response expanded into a communal climax. The location therefore registers a double change: The Six had reached the point of headlining, and Daisy’s appeal was becoming a public fact rather than a possibility visible only to the band.