Back at the Jaymes/Conrad manse, Rayna asks Teddy if he asked for a loan from Lamar. He didn't, but says that Lamar knows their situation since Teddy had to disclose his finances for the campaign. It turns out that the check came with a whole lot of stipulations for Rayna. Such as: she can't release a new record unless it's a best of; she can't tour until after Teddy's election; if he wins she can't tour until the second half of his term; unless he's reelected, in which case her tour has to be limited to no more than fifteen venues. Rayna is clearly furious, and Teddy calmly tells her that it's not feasible and to tear up the check. After a pause, Rayna suggests that Teddy talk to someone named Billy about getting a loan against the house. After all, Teddy was on the board of the Credit Union for years, and it's not like he had suspicious papers that was burning just the other night or anything. Rayna offers to go and talk to Billy, too, but Teddy says he'll handle it. I mean, he's proven himself so adept at navigating tricky financial situations in the past, after all.

We then cut to Deacon and Juliette harmonizing on "Undermine." I really do love this song, though I think the simple acoustic treatment suits it much better than the full production they do here. And we've already discussed Juliette's whiny vocals. But it's a great song, and Randy and the others say it's killer. Juliette agrees, but then asks for a few minutes alone... with Deacon. She's acting all sad, which prompts Deacon to ask if she's okay. She says yes but looks like no, and so Deacon asks who the last verse of the song is about. Juliette says "no one," but eventually admits it's about her mom, who loved country music and raised her on all the greats -- Patsy Cline, the Carter Sisters, Kitty Wells and (she begrudgingly admits upon prompting) Rayna Jaymes. Though, Juliette says, she never much related to someone who had her career handed to her on a silver platter. What is she, like 23? Oh, the struggle.