Jason Hollis Turns Nashville’s History Into the Future With The Eighth Room

Photos of Hollis: Mozart Gabriel Photos of the Eighth Room: Elisabeth Donaldson

Some people renovate buildings. Jason Hollis renovates entire realities.

The multi-hyphenate creative—visual artist, entrepreneur, producer, and now venue owner—has taken one of Nashville’s most beloved and historic music landmarks, Douglas Corner, and reborn it as The Eighth Room, a decadent collision of rock & roll glamour and Music City soul. The result? A venue that feels as comfortable hosting a Queen pop-up show as it does a late-night whiskey-soaked jam session.

If you’ve been, you already know: walking into The Eighth Room is like stepping into a secret somewhere between The Viper Room’s velvet darkness and Max’s Kansas City’s Warholian cool. Hollis and his wife, Erin, have infused the space with a singular energy—vintage chandeliers glint off Versace wallpaper, Andy Warhol prints and Hollis’ own gritty rock art hang over plush seating, and the crowd buzzes with that rare feeling that anything could happen here. And often, it does.

“I didn’t just want to open a venue,” Hollis tells us. “I wanted to build an experience. A place that respects the history of what’s come before—but has no problem pushing it into a whole new era.”

It’s hardly surprising coming from Hollis, whose resume reads like a lesson in staying ahead of the curve. Known simply as Hollis, he’s produced and collaborated with names like Justin Timberlake and Pharrell, helmed projects like Motown Magic for Netflix and YouTube’s first branded music series Best Cover Ever (with Katy Perry and Keith Urban), and even helped usher bands like The Fray and The Pink Spiders into the limelight. Now, he’s bringing that same eye for talent and flair for showmanship to Nashville’s nightlife.

And he’s just getting started. Hollis is currently developing his own vodka, an American lager, and even a custom scent spray designed to evoke the decadent vibe of The Eighth Room. “It’s all about creating a full sensory world,” he says. “Music, visuals, taste, even the air you breathe—it should all tell the story.”

For Hollis, it’s all rooted in a philosophy as rock-solid as the Versace wallpaper is loud: work hard, play hard. He’s a perfectionist with a relentless drive, but also a true believer in the magic of spontaneity. On any given night, you might find him in the corner of his club, grinning as legends and newcomers alike tear through unplanned sets. Celebs drop in, bands drop jaws, and everyone leaves feeling like they just lived through a story worth retelling.

The Eighth Room is more than a venue. It’s a manifesto. It’s a reminder that Nashville isn’t just about tradition—it’s about reinvention. And with Hollis behind the wheel, that reinvention is going to look damn good and sound even better.

So grab a drink, sink into that Versace-backed booth, and wait for the lights to dim. At The Eighth Room, anything can happen. And it usually does.

You’ve managed to channel the swagger of The Viper Room and the grit of Max’s Kansas City into a Nashville institution. What was the biggest risk you took in transforming Douglas Corner into The Eighth Room — and how did you know it would pay off?

 

First off, huge thanks to Mundane Magazine for taking the time to chat with me. I’m flattered you noticed the swagger. We’ve worked hard to make The Eighth Room more than just another bar with a stage.

As for the biggest risk? Honestly, it was having the audacity to take a Nashville legend like Douglas Corner and say, “Let’s make this even bolder.” I mean, who in their right mind looks at a venue where Garth Brooks and Trisha Yearwood cut their teeth and thinks, “You know what this needs? Versace wallpaper, Andy Warhol prints, and a Martin Audio sound system that could probably power a small stadium?” But here we are.

The real gamble was betting that Nashville was ready for a venue that respects its roots but refuses to live in the past. I knew it would pay off the first night we cranked up the 60,000-watt Martin Audio system and watched a room full of industry vets, rock stars, and friends all lose their minds together. That’s when I realized nostalgia is great, but reinvention is what keeps a city’s culture alive. The real risk is playing it safe and fading into the background. I’d rather take the big swing and change the conversation. That’s what The Eighth Room is all about.

 

The design of The Eighth Room feels like a fever dream between Warhol’s Factory and a rockstar’s private lounge. What story were you and Erin trying to tell through the space — and what’s your favorite little detail that guests might miss?

Thanks for picking up on the vibe. My wife Erin and I set out to make The Eighth Room feel like the early days of The Viper Room, LA’s notorious Rainbow Bar & Grill, and all the unique and eccentric bars we’ve explored around the world, while unapologetically pushing the limits of Nashville’s usual conformity. Cookie-cutter neon signs and mason jars were never part of the plan. Erin’s vision is fearless, and she obsessed over every detail you see in the space, from the custom-made wallpaper to the vintage brass mirrors and that Versace wallpaper in the VIP Room.

Our daughter, Strummer, is the secret weapon behind the club’s soul. She was right there with us during the design process and hand-painted every custom bust of David you’ll find scattered around the club. If you spot one that looks especially wild, that is her signature, a mix of raw talent and a little family mischief.

We wanted every inch of the space to feel intentional and unforgettable. Sink into the Adrian Pearsall 1960 Gondola sofa or catch a glimpse of the 1966 Gretsch round badge drum kit with its custom Charlie Watts drum head. There are Kartell Gnome tables named Napoleon and Attila holding court, Jonathan Adler pillows adding a pop of color, and a Paul Evans signed Cityscape table that is basically functional art. The bar chairs are original Milo Baughman from the 1960s, and the candleholders are actually vintage Libby rocks glasses, because even the lighting deserves a spotlight. You might spot a Lenny Kravitz rug, a Jack Lenor Larsen 60s couch, a Steelcase Coalesse Milbrae Contract lounger, or the Hollywood Regency MidCentury brass ring table. There is also custom brass tiger curtain hardware, a Brazilian tri-color cowhide rug, and original artwork by yours truly. Even the doors have a story, featuring a 1960s entry and a custom brass handle. You will also find wallpaper from both Versace and Gucci, including the 2017 Gucci Tigerface and the 2022 Gucci patterns.

The real story is about letting Nashville’s edge and history coexist and not being afraid to show a little grit. We exposed the antique brick, kept the 106-year-old beams raw, and even worked gold foil into the cracks of the original concrete floor. Every detail is a conversation starter, but the energy is never just about nostalgia. It is about creating a living, breathing space where something unexpected can happen any night of the week.

My favorite hidden gem is in the VIP Room. The Versace wallpaper in there is rumored to be Gianni Versace’s last design before his death. Most guests are too busy celebrating to realize they are surrounded by a piece of fashion legend. It is those kinds of details, the ones you almost miss, that make The Eighth Room what it is. If you leave feeling like you’ve just stepped into a world you never knew Nashville had, then we’ve done our job.

You’ve worn many hats: producer, artist, entrepreneur, now venue owner. Which of these identities shows up the most when you’re running a night at The Eighth Room?

That’s the million-dollar question. Honestly, I’m juggling all those identities at once, but if I had to pick, the producer in me is always running the show. Every night at The Eighth Room is like building a setlist. I make surethe energy flows, the transitions hit, and there is always a surprise or two that keeps people talking. I obsess over the details, from the sound check to the lighting, to how the crowd feels the moment they walk through the gold chain entrance.

The artist in me? He gets bored fast. If something looks too perfect, I’ll mess with it just to keep things interesting.The space should always feel alive, not like some museum.

Of course, the entrepreneur is always on duty..I am watching the bar, tracking the numbers, and making sure the business is tight behind all the atmosphere.

Owning the Eighth Room means I finally get to wear all the hats at once. One night I’m fussing over a drum kit, the next I’m out front making someone’s birthday feel like a scene from Almost Famous. That’s the real magic. I get to do it all, and honestly, I wouldn’t have it any other way.

If you really want to see which identity shows up the most, come by on a Friday night and watch the whole team in action. The staff, security, and engineers are the heartbeat of the place, keeping everything running smoothly no matter how wild it gets. I might be Toto barking a few orders, but Erin is the real wizard behind the curtain, making the magic happen and keeping the chaos coordinated.

Nashville is a town that loves its traditions — yet you’ve brought in this unapologetic sense of modern flamboyance. Did you get any pushback from the “old guard,” and if so, how did you handle it?

Oh, absolutely. Nashville loves its traditions, and there was no shortage of “Hollywood trying to change Nashville” comments when I started mixing rock and roll attitude with mid-century furniture and a stage that has hosted legends. The old guard didn’t exactly send a welcome basket. Plenty of side-eye, plenty of opinions.

But here’s the reality: I lived in LA from 1992 to 1994, but I actually started my career here in Nashville in 1995. I cut my teeth in this city, built real relationships in the industry, and now I’m back to create something new and leave a mark or a stain, however people want to see it.

At the end of the day, Nashville needs a shake-up now and then. If you’re not ruffling feathers, you’re just blending in. That’s never been my style.

Celeb sightings and Queen pop-up shows are wild enough — but what’s the most surreal moment you’ve experienced so far since opening The Eighth Room?

Epic barely covers it. One night we had Roger Taylor, Brian May, Spike Edney, and Neil Fairclough from Queen in the house for their bandmate Tyler Warren’s show. Try acting casual when Queen is just hanging out at your club.

Then there was the night Shinedown played The Eighth Room and performed “Second Chance” for the first time in public. Skid Row had a pop-up show with Lzzy Hale from Halestorm on vocals. Shelby Lynne surprised everyone with a performance so powerful that you could hear the entire room exhale at the end. I caught eyes with John Wilson, who designed our sound, and we both knew we’d done this place justice with Martin Audio.

This room has history. Douglas Corner was where Tony Brown signed Trisha Yearwood and where Clint Black, Blake Shelton, and Big & Rich all got their start. We felt a real responsibility to carry that torch, and now we’ve had so many legends on that stage it’s almost a blur.

But honestly, what blows me away most is discovering the new Nashville talent. Adam Mac, The Ladies Of, Payton Smith, Struggle Jennings, Cody Belew, Scoot Teasley, and Rock City Machine Company have all delivered moments that make you stop and think, This is why we do it. Some nights, you can feel the next wave of legends being born right in front of you. That’s the real magic, which is exactly why we have Rock Stars Live Here painted on the side of our building.

 

You’ve helped acts like The Fray and The Pink Spiders hit their stride, and you’ve created for everyone from Pharrell to Motown. How much of your music industry ethos bleeds into how you book and curate the room?

A lot more than people probably realize. I spent years in studios and backstage, learning what separates a forgettable gig from a night that actually means something. That mindset is baked into every booking and everydetail at The Eighth Room. I’m not interested in just filling a calendar. I want every act to bring something real to the stage, whether it’s a legend or a new voice with something to prove.

Working with major artists taught me that real magic happens when you create synergy and momentum, not just another gig on the calendar. It’s about curating nights where the energy builds, originality sparks, and the whole room feels like it’s part of something bigger than just a show. If you are on our stage, you are expected to bring something bold and keep the momentum rolling, because coasting is not on the menu at The Eighth Room.

At the end of the day, my industry ethos is about creating moments, not just events. There’s no room here for autopilot. If you get on that stage, you’re part of the story we’re building. And if you blow the roof off, you’re welcome back any time.

 

We’re intrigued by your next ventures — vodka, lager, even a branded scent spray. Are these just extensions of The Eighth Room vibe, or are you building out the ‘Hollis lifestyle brand’ we didn’t know we needed?

Let’s be honest, I never set out to just run a club. The Eighth Room was always meant to be more than four walls and a stage. When you are obsessed with details, the vibe does not stop at the door. The vodka, the lager, the merch, the art, and the room scent spray are all ways to let people take a piece of the experience home. That scent is something my wife developed with a company out of Miami. We actually pump it through the HVAC system, so instead of the usual stale beer smell, you walk in and get hit with a unique, distinctive fragrance. It is a detail we picked up from staying at boutique hotels, and it adds a whole new dimension to the club.

Am I building out the Hollis lifestyle brand? Maybe. For me, it is about curating an experience that sticks with you. The real goal is to get that octopus logo embedded in people’s consciousness. Whether you see it on a shirt, a can, or a piece of art, you instantly remember the vibe, the music, and hopefully a night where you felt like a rockstar. That is the kind of brand experience I want to create, one that lives with you long after you leave the club. If you see that octopus out in the wild and instantly feel cooler, then I know we did something right.

 

Work hard, play hard seems to be your mantra. But in a world obsessed with ‘balance,’ how do you keep that drive from burning you out — or is burnout just part of the game?

Burnout? Of course, it happens. If you are building something real, it is basically a rite of passage. People who preach about work-life balance have probably never tried to launch anything worth losing sleep over.

I work hard because I am obsessed with what I do. I play hard because you cannot create anything worth remembering if you are running on empty. My parents taught me to hustle, but they also taught me to celebrate the hell out of every win, big or small, especially in a world full of defeats and losses. That is why you will catch me with my friends, family, or a good playlist just as often as you will find me in the club obsessing over the details.

Balance is a great buzzword, but in my world, it is more about knowing when to slam the gas and when to actuallyput the phone down. I have learned to check in with myself, make time for the people and music that recharge me, and not take it all too seriously. Burnout might be part of the game, but giving up is not.

If you are not a little tired and a little wild-eyed, you are probably not pushing hard enough. I will take a few sleepless nights over a lifetime of “what ifs” every single time.

For someone stepping into The Eighth Room for the first time, what do you want them to feel — and what do you hope they walk out talking about?

I want people to feel like absolute rockstars the second they step through the door. That is the point. The Eighth Room is not just another bar or club. It is an experience. I want guests to feel the energy, the attitude, and the sense that anything could happen on any given night.

When they walk out, I want them talking about how the place made them feel. I want them telling their friends, you have to go, you have never seen anything like it in Nashville. At the end of the day, I just want them walking in and out feeling like damn rockstars.

 

You’ve said you’re always chasing the next great adventure. What’s the next big idea brewing in your mind — and can you give us a hint?

There is always something in the works, but I have learned the best adventures are the ones you do not announce before they are ready. Let’s just say I am not done shaking things up in Nashville. I am always looking for new ways to blend music, art, and a little rebellion into something nobody saw coming.

Plus, this gives us something to talk about for our next interview. I would hate to spoil all the surprises at once.