Remember how Faith Hill moved to Nashville as a teenager and got a job as a Music Row receptionist in the late 80s just to get a foot in the door of the industry?

That was real life. But even in Nashville TV life, a job like that is the move for Maddie.

The only trouble is, it can be a real bitch.

That’s what she discovered on Thursday night’s (Jan. 12) episode, when YouTuber-turned-recording-artist Ashley started treating the Tracks recording studio intern Maddie like dirt. And she could just not deal with it.

“Why are you treating everyone like this,” Maddie asked Ashley right before she told her to stop whining about everything and stop being a total bitch.

Deacon explained to his daughter Maddie that she needs to grow up, take it on the chin, and watch her mouth. After a little soul-searching, Maddie even asked her little sister Daphne, “Am I turning into a bitch? I hate that.”

But she ultimately made peace with Deacon, her boss at the studio, and even Ashley. Which is good, because that studio is in the neighborhood where Maddie first laid eyes on the street busker outside.

She first spied the dreamy musician when she was out on a coffee run. Maddie got so lost in his song that she dropped one of the coffees, and he rushed over for that quintessential guy-helps-girl-clean-up-coffee-on-the-sidewalk moment. And since she conveniently “forgot” her notebook of lyrics at the coffee shop, he brought it to her at the studio, which I think could be a sign of the love story to come.

Too bad there’s no love like that between Ashley and, well, anyone. Maddie and Deacon were fed up with her from minute one, but it took Avery a little longer to release his rage.

After her demands for more reverb, Avery took her into the studio for “the talk.”

“No, Ashley, you don’t know. You don’t know what makes people listen to your music. You think it’s about the videos. You think if you’re hot enough and you shake your bod enough and you keep throwing all this useless crap in the songs, then people will like you.

"You’re scared that people won’t like your voice or you as you are. You have talent, Ashley. You’ve written some really good songs. You’re burying yourself beneath all this garbage,” he told her, remarking that she was in the presence of the greats who came before her.

Ashley didn’t take too kindly to his lecture, so he stormed off, leaving her with just her sideman Deacon and the studio engineer.

It’s not like Avery needed the work, anyway. He has his baby mama Juliette at home, and she is worth a fortune.

So much so that once Juliette found her lifesaving angel from the night of the crash, Hallie, she bought her a high-end SUV. Heaping a lavish gift onto a selfless stranger was a nice enough gesture, but Hallie said she was a little thrown, and asked Juliette to take it back.

But it’s Hallie who, again, comforted Juliette when she went back to her house to apologize for giving her the car.

“Why am I so afraid? I have been a terrible person in my life. I’ve never cared about anyone but me. Why did I survive when everybody else didn’t/” Juliette asked Hallie.

“Someone wanted you to have a chance to change,” Hallie told her.

And she was right. Because right after that visit, Juliette went home to share the details of the conversation with Avery, and while she was holding Cadence, the baby peed on her lap.

It was the very best kind, too, because Juliette felt it on her legs. Legs that had had no sense of touch since the plane crash.

That moment with Cadence and Juliette forced Avery to really take a look at his own life. He has proven that he is killing it at fatherhood, but a trip down memory lane brings up some yearning for that singer-songwriter life when he came across old photos of himself onstage and old pads of paper full of lyrics.

Avery flipped the pages until he found a blank sheet of paper. With everything that's happened in his life since he quit trying to make it as an artist, he has more than enough to fill a few pages with song ideas. And possibly go back to being the one in the spotlight.