L.A

Dodgers fall to Brewers again

From Maddie Lee: Mookie Betts slapped his bat with his free hand after tipping a slider from Brewers right-hander Abner Uribe back into catcher William Contreras’ mitt.

Betts had been setting the tone for the Dodgers from the leadoff spot all postseason, taking good at-bats against some of MLB’s best starting pitchers. But there wasn’t much he could do against a sinker-slider mix like Uribe’s.

Uribe shuffled off the mound, and the crowd at American Family Field roared.

Then, with left-handed-hitting Freddie Freeman coming to the plate, Milwaukee had an answer for him too. Manager Pat Murphy signaled to the bullpen, left-hander Aaron Ashby emerged and struck out Freeman on four pitches, only one of which touched the strike zone.

“They all throw 100 [mph] from different angles,” Freeman said after the Dodgers’ 7-4 loss in Game 2 of the National League Championship Series on Monday.

Those back-to-back strikeouts in the eighth inning were part of five perfect innings thrown by the Brewers’ bullpen — a postseason record.

The Dodgers’ performance against the Brewers bullpen on Monday magnified how much the star-powered lineup hasn’t been clicking with Shohei Ohtani struggling at the plate. He went 0-for-4 in the cleanup spot in Game 2, bringing his postseason total to three hits, all singles, in 20 at-bats.

Manager Dave Roberts told The Athletic after the game that he would “have a conversation” with Ohtani Tuesday to determine “what’s best for him, what’s best for [the team].”

Continue reading here

In the NLCS, the Dodgers are seeing what money can’t buy: a bullpen such as Milwaukee’s

Dodgers Debate NLCS Game 2: Did the Dodgers forget how to hit?

Dodgers box score

Three-peat chance is looking weak

From Bill Plaschke: Once brimming with life, the Dodgers’ historic quest has curled up into a withered heap.

The three-peat is dying.

The three-peat is slowly, agonizingly having the life squeezed out of it by a collection of hardscrabble Midwesterners with no regard for stardom or status.

Two games into the National League Championship Series, the three-peat was formally placed on life support Monday after the mighty Dodgers lost a second consecutive game to those little giants known as Milwaukee Brewers.

This time the score was 7-4 after another devastating night at American Family Field, and now the Dodgers trail two games to none in a best-of-seven series that appears beyond their control.

For a second consecutive game, their ace was knocked out. For a second consecutive game, their powerful offense petered out.

For a second consecutive game, they looked like a weary, aging band of fallen stars that had stumbled into a surprisingly deep pothole and had no idea how to climb out.

Continue reading here

MLB postseason schedule

All times Pacific

NLCS

No. 1 Milwaukee vs. No. 2 Dodgers
at Milwaukee 2, Dodgers 1 (box score)
at Milwaukee 7, Dodgers 4 (box score)
Wednesday at Dodgers, 5 p.m., FS1/FOX Deportes/FOX One
Thursday at Dodgers, 6 p.m., FS1/FOX Deportes/FOX One
*Friday at Dodgers, 6 p.m., FS1/FOX Deportes/FOX One
*Sunday at Milwaukee, 5 p.m., FS1/FOX Deportes/FOX One
*Monday at Milwaukee, 5 p.m., FOX/FS1/FOX Deportes/FOX One

ALCS

No. 1 Tampa Bay vs. No. 2 Cleveland
Cleveland 7, at Tampa Bay 3 (box score)
Tuesday at Tampa Bay, 5 p.m., TBS/truTV/UniMas/HBO Max
Thursday at Cleveland, 3 p.m., TBS/truTV/UniMas/HBO Max
Friday at Cleveland, 3 p.m., TBS/truTV/UniMas/HBO Max
*Saturday at Cleveland, 5 p.m., TBS/truTV/UniMas/HBO Max
*Monday at Tampa Bay, 2 p.m., TBS/truTV/UniMas/HBO Max
*Tuesday at Tampa Bay, 5 p.m., TBS/truTV/UniMas/HBO Max

* if necessary

World Series starts Friday, Oct. 23

Rams lose to Bills in OT

From Gary Klein: The losses are mounting.

And the coach of the supposedly Super Bowl-favorite Rams is frustrated.

With the kicking unit.

“Not even close to good enough,” a gravelly-voiced Sean McVay said.

With himself.

“I’m sick right now,” he said.

With the Rams’ 37-34 overtime defeat by the Buffalo Bills at SoFi Stadium.

“It’s been a while,” McVay said, “since I’ve been this pissed after a game,”

Really?

McVay and the Rams have been getting plenty of practice. See the season-opening debacle against the San Francisco 49ers in Australia, or the turnover- and penalty-plagued loss to the Denver Broncos.

On Monday, when Buffalo’s Tyler Bass kicked a winning 45-yard field goal, the Rams’ record dropped to 2-3.

McVay was not the only one frustrated.

Offensive lineman Alaric Jackson was captured on video punching Buffalo’s Bradley Chubb on the field after the game.

Continue reading here

Rams summary

NFL standings

Nico Iamaleava probably out for the season

From Connor Dullinger: UCLA coach Bob Chesney wasn’t ready to declare the end of UCLA senior starting quarterback Nico Iamaleava’s season on Monday, but the forecast was grim.

Iamaleava is expected to miss the rest of this season with a knee injury, according to a person with knowledge of the injury not authorized to discuss it publicly.

Chesney said he is waiting for UCLA doctors to “make the final call on things.”

“He has a meeting later today, and he’ll have a whole lot more clarity on exactly where things are at,” Chesney said of Iamaleava during a news conference Monday. “Everything being reported is what’s being reported. There is a serious concern at this moment, but at the same point in time, there is nothing that has been fully ruled at this moment.”

The injury is a blow for the No. 12 Bruins, who are 5-0 during Chesney’s first season and have a favorable path to the College Football Playoff.

Chesney said that while Ty Dieffenbach and Madden Iamaleava, Nico’s younger brother, both earned the right to start, Chesney will start Dieffenbach going forward and see how it plays out.

Continue reading here

This day in sports history

1893 — The U.S. yacht Vigilant wins the America’s Cup with a three-race sweep over the British challenger Valkyrie II.

1947 — The NHL holds its first All-Star game with the All-Stars beating the Toronto Maple Leafs 4-3. Toronto’s Harry Watson scores the game’s first goal and assists on the other two goals. Trailing 3-2 after two periods, Montreal’s Maurice Richard and Chicago’s Doug Bentley each score to give the All-Stars the win.

1961 — Jacky Lee of the Houston Oilers passes for 457 yards and two touchdowns in a 31-31 tie with the Boston Patriots. Charley Hennigan of the Oilers catches 13 passes for 272 yards.

1963 — Mickey Wright wins her fourth LPGA championship in six years by beating Mary Lena Faulk, Mary Mills and Louise Suggs by two strokes.

1982 — IOC Executive Committee approves the reinstatement of Jim Thorpe’s gold medals from the 1912 Olympics.

1985 — Phil Simms of the New York Giants passes for 513 yards with an NFL-record 62 pass attempts in a 35-30 loss to the Cincinnati Bengals. Simms completes 40 passes with 29 for first downs, also an NFL record.

1998 — For the first time in NBA history, the league cancels regular season games after labor talks break off.

2001 — DeShaun Foster of UCLA runs for a school-record 301 yards and four touchdowns as the Bruins beat Washington 35-13.

2001 — Georgia Southern fullback Adrian Peterson is held to 71 yards rushing, snapping his NCAA-record streak of 36 straight regular-season games with at least 100 yards.

2011 — American Jordyn Wieber wins another gold medal, beating Russia’s Viktoria Komova for the all-around title at the world gymnastics championships in Tokyo. Wieber, who led the Americans to the team title two days earlier, finishes with 59.382 points, just 0.033 ahead of the Russian.

2013 — Kenya’s Dennis Kimetto, six weeks removed from a bout of malaria, breaks the course mark in capturing the Chicago Marathon. Kimetto finishes in 2 hours, 3 minutes, 45 seconds, leading a 1-2-3 finish for Kenyan men. He beats the mark of 2:04:38 set by Ethiopia’s Tsegaye Kebede last year.

2017 — Gustav Nyquist scores twice and Detroit has four goals in the third period to beat Vegas 6-3, handing the NHL’s newest franchise its first loss. Vegas is the first NHL expansion team to win its first three games.

2019 — Simone Biles becomes the most decorated gymnast in history when she wins record 25th medal at the World Championships in Stuttgart, Germany.

Compiled by the Associated Press

This day in baseball history

1903 — The Boston Pilgrims win the first World Series, 5 games to 3, with a 3-0 victory over the Pittsburgh Pirates.

1960 — Bill Mazeroski opens the bottom of the ninth with a home run off Ralph Terry of the New York Yankees to give the Pittsburgh Pirates a 10-9 victory and the World Series championship.

Compiled by the Associated Press

Until next time…

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.

Oct. 12, 2026 6 AM PT

One word that could describe Aria Vega’s whirlwind 2026? Chévere.

The Colombian expression for “awesome” is also the name of the fast-rising star’s global smash hit. Released in January, the breezy tropical swing of “Chévere” — and the rest of her sun-kissed singles — embodies the spirit of Colombia’s Caribbean coast where she hails from.

Ahead of the Latin Grammys on Nov. 12, where Vega will be in the running for the best new artist award, Vega is taking what she calls her “Costeñita Core” pop movement on the road, with her first-ever U.S. tour.

“Looking back at all the dreams I’ve accomplished and made come true, it’s all blessings,” a wide-grinning Vega says over Zoom from Miami.

“I’ve been crying tears of joy with my family, my friends and my combo chévere, as I like to call my fandom. Every artist wishes and dreams of a Latin Grammy, and for me, just to be one of the nominees is like, ‘Yo, I’m a winner!’”

Vega was born Mariana Padilla Pérez in Barranquilla, where she lived the lifestyle of the costeños — or the people of Colombia’s Caribbean coastal region. She has been steadily chasing her dreams of superstardom since competing on “Idol Colombia” in 2014; but Vega finally started making waves last year when she integrated more costeño culture, rhythms and slang into her mellowed, Spanglish pop flow.

“Chévere” exploded in popularity after fellow Colombian singer Ryan Castro jumped on the remix in February. Since then, Vega has pushed “Costeñita Core” further into the mainstream with songs like the alluring “Cule Poco (Sirena_Besarico_Costeña),” and the sultry “Compa Coleto (Uy_Como),” offering unhurried takes on champeta and other Afro-Caribbean rhythms.

Vega just kicked off her U.S. Cariavales Tour, which includes a stop at the Roxy in Los Angeles on Oct. 13. Just a week before, she was handpicked by her pop foremother and icon from Barranquilla — Shakira — to perform as part of her 12-show residency in Madrid.

In an interview with The Times, Aria Vega opened up about her Latin Grammy nomination, representing costeños and getting a co-sign from Shakira.

How did the success of the song “Chévere” change your life?
I didn’t expect to be on [so many] airplanes and flights. Right now, I’m starting to feel the weight of that. I’ve seen what it’s like to live on the road. The remix happened after Ryan [Castro] sent me a DM on Instagram saying, “‘Chévere’ is a banger!’” I was really excited to even get that message from him, because I’m a fan of his music. That was a really cool moment.

What can you tell us about your upcoming debut album?
It’s Afro-Caribbean-inspired music. Right now, the album is really long. I have recorded more than 30 songs for it. I’m working on cutting it down to hopefully 15 songs that will touch your heart and soul … I want to make people vibe with my songs, feel cool, and feel chévere. That’s my goal with this album [I call] “Costeñita Core.”

What does “Costeñita Core” mean to you?
It’s an energy that you either vibe with or you don’t. It’s like our food, our slang and experimental fashion. Caribbean maximalism and shifting [mainstream] culture. Overall, it’s about making bold choices and being rebellious.

How do you feel about representing costeño culture through your music and visuals?
It’s a big responsibility. I feel really happy and excited when I see comments that say things like, “It’s an honor for you to represent us, and we love what you’re doing.” I get emotional because I don’t always get that response … There’s also people that say, “I feel that I’m not represented by her in any way.” It’s a mixture of feelings. What can I say? I’m doing this with a lot of love for Barranquilla, Colombia and Colombia’s Caribbean coast. I want to be a voice of the Caribbean coast.

What did it mean for you when Shakira selected you to perform for her residency in Madrid?
As soon as my team told me about this opportunity with Shakira, I was going crazy because she’s so inspiring. She’s also from Barranquilla. Her music has been a part of [my] life. It has been like a companion for me. Since I was like 5 years old, there’s always been a Shakira song that I was vibing with. I’m really excited even about the possibility of meeting her.

How do you feel about performing in L.A. for the first time on your U.S. tour?
I’ve been to Los Angeles before in meetings with my agents and stuff like that, and it felt like a movie. It’s Hollywood vibes and I’ve never felt that energy in my life. It’s really special getting to perform all my songs that are not just in Spanish, but in Costeñol [the costeño dialect of Spanish] at the Roxy. I’m going to wear outfits with cultural designs and perform traditional dances that have been part of my life, ever since I was literally in my mom’s belly. Los Angeles is a coastal city too, so there’s something that connects us.

What are your thoughts about being nominated in the category of best new artist at this year’s Latin Grammys?
Everyone says it’s a really important category, because you can’t be nominated twice. You can only be nominated once in your career. Hopefully I’ll go to Las Vegas for that Latin Grammy and I’ll take it over to la costa.

What will you do if you win the award?
Maybe I’ll do a concert at home. I want to do something that feels honest and authentic, because that’s what led me to being nominated. I dream of becoming a bearer of my culture. What better way to do it than being recognized in the eyes of the Latin Recording Academy?

What was the inspiration for your latest single “Compa Coleto (Uy_Como)”?
My muse is always my tiburón, my shark. It’s no secret that I’m in love. It just makes sense to talk about him in these really loving and cool songs. It’s a song with flirtatious vibes. When you understand the song’s lyrics, it just makes sense to flirt that way and have fun with it.

Who do you want to collaborate with in the future?
I would love to collaborate with Shakira and Beéle. I feel they do a lot for Barranquilla as well. I would love to collaborate with Bomba Estéreo from Santa Marta. Maybe I’ll do vallenato music with Silvestre Dangond. That would be really cool. Felipe Peláez has an amazing voice. It would be cool to bring these sounds of our own to the world.

“I wanna rob.” Hip cocked, midriff bared, cigarette pressed between her lips, Emma Watson’s indelible plea to “visit” Paris (as in Hilton) encapsulates the perfect inside-baseball deadpan of Sofia Coppola’s crime saga — not least because Hilton opened up her Mulholland Estates home for scenes of the Bling Ring burglarizing it. No film crystallizes the shallow, amoral bluff of Hollywood’s high-tabloid era with such icy precision, from the flat affect of the teenage protagonists to the late Harris Savides’ minimalist digital photography. Largely misunderstood upon its release, “The Bling Ring” now registers as an incisive comedy of manners for a society of influencers just then being born.

Do you remember what you were doing when the infamous L.A. City Hall racist audio leak scandal broke four years ago?

I always will: I was naked.

Sunday morning, Oct. 9, 2022, around 8 a.m., I was about to take a shower when I decided to check my cellphone one more time. Thank God I did: If I hadn’t, I would’ve been half an hour late on assisting in one of the most explosive stories ever to hit L.A. politics.

Via Slack, Times assistant managing editor Steve Clow asked if I could serve as a second set of ears on audio that my colleagues had unearthed involving four of the most powerful L.A. políticos at the time: City Council President Nury Martinez, Councilmembers Gil Cedillo and Kevin de León, and L.A. County Federation of Labor President Ron Herrera. I was still in my birthday suit (sorry for the visual, gentle readers, but I’m sworn to report the facts on this job) when I played the snippet Clow shared: Martinez describing the Black son of then-Councilmember Mike Bonin as “su negrito” — his darky.

I put on my shorts and told my wife I wouldn’t be helping at her restaurant that day.

Clow sent me more clips over the next hour, each crasser than the other — I remember gasping audibly at the part when the four were laughing as Martinez referred to Oaxacans as “ugly.” That morning, my colleagues Benjamin Oreskes, Dakota Smith, Julia Wick and David Zahniser published their first story on the fiasco, which turned out to be a secretly recorded conversation from a year earlier that someone had posted on Reddit just the day before.

The scandal quickly became a national sensation, with even then-President Joe Biden weighing in. L.A. wretched in collective disgust and demanded action, which definitely came: Martinez and Herrera quickly resigned, while Cedillo — who had already lost his reelection bid — would stay on until his bitter end, and De León wouldn’t leave until challenger Ysabel Jurado destroyed him in his 2024 reelection bid. The electoral repercussions of the audio leak can still be felt four years later in this election, as Nithya Raman stages a strong challenge against incumbent Karen Bass — a sentence no one would’ve believed in the fall of 2022, when Bass was on the cusp of winning her first term, and Raman was the lone democratic socialist on the council.

I would’ve figured the anniversary of something as titanic as all of the above would’ve sparked more commemorations than just my columna this week. Nope! L.A. has moved on to the point that Cedillo wasn’t booted from a group photo that included current District 9 council candidate Jose Ugarte, former Assemblymember Wendy Carrillo, former Mayor Antonio Villaraigosa and current Assemblymember Mark Gonzalez — because even Chicanosauruses can survive a political asteroid, I guess?

Having political leaders spew racist, homophobic nonsense now seems like the good ol’ days in an era where infernos destroy or stink up swaths of L.A., immigration agents terrorize immigrants from Westwood to the Eastside, and a spokesperson for a sitting American president denies that the commander in chief suggested Iran bomb the City of Angels, even though he said it during a campaign rally.

I shouldn’t really be surprised, I guess: L.A. infamously loves to forget its own history. But I would urge all you readers to read the great, Pulitzer Prize-winning coverage my colleagues did in the aftermath of the audio leak scandal, because it captured the city at its worst — but also its finest as residents fought back and demanded politicians do better.

Four years later, we can only hope this upcoming election shows more of the same.

The week’s biggest stories

Tropical Storm Rachel in SoCal

California real estate

California crime

In memoriam

More news

Editor’s pick

More picks

Things to do

Today’s recipe

This recipe makes apple butter that is less sweet than most; use more sugar if you like, but don’t use less or there won’t be enough to properly preserve the pureed apples.

Photo of the day

Games

Here’s today’s mini crossword, plus our other free, daily crossword puzzle, sudoku, word search and jigsaw games.

Have a great day, from the Essential California team

Jack Dolan, investigative reporter
Hugo Martín, assistant editor, fast break desk
Kevinisha Walker, multiplatform editor
Andrew Campa, weekend writer
Karim Doumar, head of newsletters

How can we make this newsletter more useful? Send comments to essentialcalifornia@latimes.com. Check our top stories, topics and the latest articles on latimes.com.

Textile artist Jane Jauregui is expanding the boundaries of what plush figures can be, thinking beyond that pile of mass-produced, branded stuffies huddled atop a twin bed, crammed inside a toy chest, or dangling from a backpack strap.

True, in the nearly two decades that she’s been creating plush figures, she’s produced charmingly minimalistic foxes, cats and buffalo fit for a nursery. However, her latest work has been anything but child’s play.

She launched her “soft sculpture” company, STFD, in 2024 with the intention of transforming her inner thoughts into plush form — no matter how outside the box those ideas may be. After all, why bring yet another teddy bear into the world when you can dream up a stuffed paintbrush trailing a splash of brightly colored felt “paint,” or a striped bucket filled with faux fried chicken?

“It stands for Stuff That Feeds Delight,” Jauregui said of the brand’s acronymic name. “The newer things I’m working on are more like display items, but you can absolutely touch them,” she explained. “I just started playing more with the idea of decor, aging it up a little bit more, and playing with the idea of how we can really elevate it.”

Take, for example, a plate of longsilog, the traditional breakfast meal her Filipina grandmother used to make for her. Inside the converted garage of the same Van Nuys house where she was raised, Jauregui whipped up a playful sausage-riceball-fried egg combo using a sewing needle, felt, embroidery floss and sherpa fleece, rather than pots and pans.

Moved by memories of her grandfathers, she created a collection of stuffed felt cigarette butts, complete with simulated ash made by zigzagging stitches.

“My Thai and Filipino grandpas were chain-smokers,” she said. “They passed away, and I just started thinking a lot about what would represent them. Cigarettes immediately came to mind.”

Though she takes inspiration from her personal experiences, many of her plush figures strike a universal note. Most anyone born in the 20th century would take one look at her plush retro alarm clock radio and instinctively feel the urge to whack its elongated vinyl “snooze” button. The trompe l’oeil wood paneling (which she made by printing a wood-grain design directly onto dark brown fabric) and the red-tinted digital readout screen (the numbers are iron-on transfers) make it a dead ringer for those once-commonplace nightstand devices that predated smartphone alarms.

She first tried her hand at the craft about 18 years ago, after she and her husband, Sergio, couldn’t find the right gift for his newborn niece at famed New York City toy emporium FAO Schwarz.

“Everything was licensed, and I didn’t want any kind of IP [intellectual property],” she recalled. “I went home and said, ‘Well, I’m just going to sew something for her.’ Sergio was like, ‘But you don’t know how to sew, so that’s a little crazy.’ I said, ‘That’s OK, I’ll figure it out!’”

Fortunately, she had a leg up when it came to picking up the new skill. Her father, a retired clothing designer and patternmaker, had introduced her to the inner workings of the garment industry from a young age.

“My dad would have full-time work five days a week, so there wasn’t a lot of time for him to teach me,” she said. “But when he would take freelance work home, I would sit in this garage with him. He had a big table, and I would sit there and watch him sew. It was just really how we spent time together.

“When I decided to start making plush, I remembered little things he would do, like how to walk a pattern — which is making sure the pattern pieces are matching — or how he would move the ruler. I would remember all of those things and put my own spin on it.”

She started by making simple shapes like a stuffed orange, pear and an eggplant, working her way up to the finalized baby gift: a stuffed whale. By 2009, she’d completed enough plush produce to start selling at local pop-up markets under the business name Janie XY. Sergio, an artist in his own right, even constructed her first booth to resemble a fruit stand. Her first hit item was a baby rattle shaped like a chicken drumstick that was sold wrapped in cellophane, much like a meat-counter purchase. This time, her muse was her own infant niece.

All the while, she was holding down a full-time job creating window displays for Forever 21. She continued to build her squeezable empire in her off-hours, even as she transferred to corporate jobs at Mattel and Disney (for which she’s now a consumer products design manager), and became a mother. Taking a page from her father, she’s made her at-home workspace accessible to her 5-year-old daughter.

“She’s in here all the time,” she said. “I let her touch everything. What’s fun about the medium is you can’t break it. You can get it dirty, but she knows what to do. She’s really mature about it. She loves to clean the sewing machine — she’ll go in with a pin and pick out all the lint, and she’ll think that was a good day’s work. We want her to feel like part of the work because she is a part of it.”

That said, Jauregui’s STFD creations aren’t necessarily made with the wee ones in mind. Consider her new pieces celebrating liquor stores, for which she converted items like lottery tickets and frothing beer cans into plush form.

“It’s something that we all take for granted,” she said of the ubiquitous neighborhood corner store. “You tend to turn your nose up at it, but it’s there for you all the time.”

She and her husband also pay homage to these unsung cultural hubs in the latest edition of their fledgling zine, which they’ve dubbed “a gallery you can hold.” Inside, photographs of the stuffed figures fill the pages, accompanied by written musings. (The one-of-a-kind featured items will also be available for purchase.) The series is the couple’s prescribed antidote to the social media doomscrolling they call “internet indigestion.”

She’s also planning to explore plush Thai food in honor of Grandma’s Thai Kitchen, the Van Nuys restaurant her mother owned and operated for years. After treks to downtown L.A.’s Fashion District to find just the right materials, she’ll mock up clever riffs on julienned ginger and cilantro leaves. For her, there’s ample delight in those little details.

“STFD is really about giving myself permission to just do things that make me happy,” she said.

Brandon Flowers stands onstage at the Ford Theatre wearing a sharp black suit and a bejeweled bolo tie and tells the audience about his cousin Bobby’s job parking cars in the 110-degree heat of the Las Vegas Strip.

“That was gonna be me in another life, only my big plan was to work at the Bellagio,” he adds. “Nicer place, more tips.”

As the frontman of the Killers, Flowers, 45, has spent more than two decades singing about the struggles and the temptations at the heart of the American dream. But on his new solo album, “Thrasher,” he trades the Killers’ gleaming, synth-laced rock for the crackling sound of hand-played country music.

He cut the LP at Nashville’s historic RCA Studio A, where country giants like Dolly Parton and Waylon Jennings once worked; not only that, but to accompany him he recruited veteran session players including David Rawlings, Bruce Bouton and 85-year-old Charlie McCoy, who played harmonica on George Jones’ immortal “He Stopped Loving Her Today.”

Yet for all its old-school country cred, “Thrasher” also emphasizes Flowers’ roots as a Vegas showman — his tremulous croon, his go-for-broke emotion, his almost preacherly understanding of how to take a crowd up (and up) and how to take it back down. Think Glen Campbell or Donny Osmond.

“Or Wayne Newton,” says Rawlings with admiration. The guitarist, known for his long collaboration with Gillian Welch, performed with Flowers at July’s Newport Folk Festival. “It’s really thrilling to see the way he inhabits this stuff onstage,” he adds. “I have such incredible respect for anybody who knows how to entertain at that level because it’s an absolute gift — and it’s really hard work.”

Flowers, who grew up in Las Vegas and Utah and who shares three sons with his wife, spoke about the album in his dressing room last month a few hours before the Ford show. A sequel to “Thrasher,” recorded during the same sessions, is due out next year.

The Nashville OGs who played on these records — do you think they were impressed by you?
I think they were refreshed. I think they didn’t quite know what they were getting into and were pleasantly surprised.

For you, it was a different way of working, right? These players are artists. But it’s also just another day on the job.
You feel that: “Charlie’s got to leave at 4 to go to the Opry.” He still gets his licks in.

I wonder what it would’ve sounded like to cut 10 Killers classics with this band.
Probably like the Traveling Wilburys or something. The second album has some of that DNA. This one was more of a narrative album — a lot of stories. The other one, it’s more in the romantic realm. I’m excited to get it out. I have another one cooking.

A third album?
Well, because they’re so efficient. It’s opened up a door for me that I feel like I’ll always be able to explore. If I have 10 songs, I can go to Nashville for five days and cut the whole thing. We do two songs a day, no problem.

You’ve said there’s this idea in rock music that making an album needs to feel like climbing a mountain.
I blame it on U2. You don’t feel like you’re doing it right if you’re not doing that. We really went into that on “Sam’s Town” — we climbed Everest, man. When we finished “Sam’s Town,” I remember the last day — it was like 6 in the morning, the sun was up and we were finally done. What a relief it was.

Now the veil has been lifted.
It doesn’t have to be like that.

Did you get a feel for Nashville as a town while you were there?
I got a breakfast spot: Cafe Roze. I don’t want to blow it up too much because I want to be able to get in. But you know Cafe Stella in Silver Lake? They used to have my favorite breakfast in the world: sourdough, soft scramble, prosciutto and Parmesan. And they have that exact thing at Cafe Roze — it’s like I’m transported back. I could eat it every day with a side of avocado.

“Thrasher” follows a number of country excursions by rappers and pop stars. Do you have any anxiety about being seen as a carpetbagger?
No, because I’m not trying to bulldoze my way into the world and open a bar in Nashville. This is an authentic part of myself — I have an education in this music. People have a lot of preconceptions about country music, especially lately. Everyone says the same thing: cold beer, dirt road, Friday night. But there’s such an art to the tradition — it’s a soulful artistic endeavor. I’m trying to come at it from that angle.

What’s your relationship with modern country music — Morgan Wallen and Miranda Lambert and the like?
I don’t have one. It’s more people that are on the fringes, I guess — Jason Isbell or Sturgill Simpson. I got Sturgill’s guitar player because I was a fan of that stuff.

Before I heard “Thrasher,” I expected kind of a stripped-down Isbell vibe.
I could see him doing “In a Heartbeat” or “Miss America.” But once we got to Nashville and got the guys in the room, it just got a little more pep in its step.

Does being embraced by the Nashville industry feel like a reasonable goal?
That’s a whole other nut to crack. You hear stories about Dwight Yoakam having a tough time — and he brought some heat. Or John Prine just because he was from Illinois and not from further south. I’m not gonna go on a campaign to prove how worthy I am.

You’ve been dinged by people who think you’re putting on an accent on this record.
I feel like this is more how I speak than maybe they’re accustomed to. I don’t know, I might’ve leaned in a couple times. There is a Utah accent — it was something I was embarrassed by when I was younger. But now I’ve lived there 16 years of my life total, so it just starts feeding its way back in.

Is your vocal approach different for country than for rock?
There’s more quiet in these songs — more room for the story to be told. In the rock band, I’m competing — everybody wants to be heard — whereas this one, there’s this beautiful thing where the guys don’t mind being in the background. They want to frame the picture, and I’m the picture.

Did you find yourself making more of an effort to enunciate?
I’ve always been cognizant of that. Just today, there was a band — I won’t say who it was — but I was interested in hearing their new thing, and I didn’t understand a word until the chorus. I was rooting for the guy the whole time, but it’s like: How can I fall in love with this if I don’t know what’s happening?

Got some questions about specific songs. “One of Us” is about your brother-in-law, which made me realize how few people write songs about their in-laws.
He passed away unexpectedly a few years ago. You know, I’m the youngest of six, and he married my oldest sister. She’s 17 years my senior, so when they got married, I was a kid — he became my big brother and was a masculine figure in my life and all that. There’s your family and then there’s your found family, and he’s part of my found family. I wanted to honor him, and this is my way of doing it.

I assume your sister’s heard the song.
Oh yeah. A lot of those moments happen on this record where I had to play the song for the person, and you just can’t help but be brought closer together. You’re taking part in their grief but we’re also celebrating him. It was beautiful.

“Miss America” is about another one of your sisters.
The one next in line.

She’s addressing an abusive ex, and you sing it from her point of view — from a woman’s perspective.
It just started like that. I don’t remember a moment of thinking: Am I gonna do this from the outside or am I gonna step into her shoes? Maybe it’s something to do with that Tom Waits song [“Christmas Card from a Hooker in Minneapolis”] — something about that maybe gave me permission.

Did you play “Miss America” for that sister?
It felt like the gentlemanly thing to do. If she’d said no, I would’ve been heartbroken because I think “Miss America” is gorgeous — I’m really proud to be part of it. But I would’ve honored her wishes.

In “An American Dream,” the point of view seems to keep shifting. At one point I think the narrator becomes Elvis Presley?
Chorus 1, I’m singing with this man that used to give me cigars and tobacco when I was a kid — we’re singing it together. Giving a 13-year-old Red Man tobacco — there was nothing shady about it, or nothing too shady — but it was still a wild move. Then Chorus 2, Elvis and I are both singing — I see it that way.

Which era of Elvis are you envisioning?
Whenever I think of him, I think of him in ’68. Nobody’s ever looked that good — it’s not fair.

You’re known for your flights of lyrical fancy: “Burning down the highway skyline in the back of a hurricane,” for instance, from the Killers’ “When You Were Young.” Did country music allow for those flourishes?
Verse 2 of “Does It Ever Cross Your Mind?” is a great example: “I could’ve been born in Bangladesh but I wasn’t / I was born here with just enough jelly beans in my basket to ask you to go wishing on a star.” That’s fun.

In “An American Dream” you say, “We blew through starlight on bricklayers’ knees.”
We’re performers, and we’re here to entertain you. But we’re working-class men, me and Elvis.

Some of these lines get at this crucial point that I think your music makes, which is that pageantry and sincerity can coexist.
I think people get confused a lot — they might look at a line like the one you just talked about and think it’s total bulls—. It’s annoying to me to read a review and see where they just don’t get it — and they think they’re the smart one. I saw someone talking about my tropes, and they brought up the Bangladesh line. I thought: What are you talking about? That’s the most left-field line.

You’re challenging the listener to accept that over the top doesn’t necessarily mean phony.
It’s so American to be over the top and to still have substance. That’s the chorus of “An American Dream”: “Gold and silver / God and glitter.” I guess I’m trying to spoon-feed it there a little bit.

Plenty of Killers songs involve people making bad decisions. How do you think about the degenerate’s place in country music?
It’s funny how people aren’t quite familiar with how wild it was. The same person in me that was excited about old Depeche Mode stories still gets excited about old George Jones stories. And a part of me yearns for that. But I keep it under wraps.

Your oldest son is 19, which means you became a dad at a fairly young age.
It was just par for the course. I grew up in an LDS family — my sisters were having kids when they were 17 and 18. So having Ammon at 26 — that was the oldest anyone had had their first child in my family. They were like, “Brandon might be gay.”

How did you reconcile the rock star and new dad halves of your life?
It sort of gave me a direction early on because I was a little bit teetering in those days. Who’s ready to have this wild fame brought on them at such a young age? We weren’t the Beatles, but “Hot Fuss” and “Sam’s Town” were really successful records — we went straight to arenas. It was tough to navigate, and family gave me an anchor.

Do you hear before parenthood and after parenthood in your music?
There’s a song called “Be Still” on the fourth record — a song to the kids. But I don’t know if the writing changed that much. Everybody was getting older in the band, so whatever happened, you can’t place the blame just on me.