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In this week’s batch of new country music fare, we have country/Americana maestro Charley Crockett’s sterling new album, as well as new songs from Darius Rucker with Jennifer Nettles, as well as Ole 60, Karley Scott Collins, MacKenzie Porter and Karli June. Additionally, bluegrassers The Del McCoury Band offer up new music as well as a collab from Tony Trischka and Vince Gill.
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Charley Crockett, $10 Cowboy
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Over the course of more than a dozen studio albums, Crockett has painstakingly built his reputation as an electrifying live performer, and a kingpin of crafting traditional country tunes, while adroitly enmeshing layers of various styles into his work, including soul, blues, funk, gospel and more. On his latest, there are moments of converging country and R&B, while his penchant for capturing a live performance feel is apparent on $10 Cowboy, which he recorded live to tape in Austin, Texas, with his steady collaborator Billy Horton. Songs such as the horn-driven “America,” the jangly acoustic country of “Hard Luck and Circumstances,” the blues-rock of “Solitary Road” as well as songs such as the title track and “Midnight Cowboy” all pay homage to his skill with keen observations and to his journey from street busker to his current status as acclaimed headliner.
Darius Rucker and Jennifer Nettles, “Never Been Over”
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Two of country music’s strongest, most identifiable voices collide here, as Rucker welcomes Nettles in a reimagined version of this song, which he first recorded for his Carolyn’s Boy album. Nettles joins on the song’s second verse, adding another rich layer of nuance to the tale of a couple unwinding the ties that have bonded them for years. As the song reaches its apex, Nettles sends up some soaring vocals as Rucker holds down the melody. Rucker has one of music’s most commanding voices, but Nettles matches his steady, slightly raspy vocal wondrously with her charismatic soprano. In recent years, Rucker has shifted a bit from some of the uptempo, radio-ready fare he’s become known for and issues some of his strongest performances of late, such as another stellar collaboration, with Dax on “To Be a Man.”
Karli June, “Still Make Cowgirls”
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She’s not afraid to be a fearless, independent-minded cowgirl in a world of followers and she’s fierce enough to dare a potential suitor to ride along. Canada native June is presently celebrated with four CMA Ontario Awards nominations, and follows them with this song she co-wrote with Deric Ruttan. Her twangy vocal also carries a slight edge as it floats over the Western-tinged yet modern sonics.
The Del McCoury Band, “Just Because”
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Since the 1960s, when Del McCoury performed as part of Bill Monroe’s Blue Grass Boys, he has been a torchbearer, both aiding in laying down the prototype for the genre–and pushing beyond its traditional boundaries. The two-time Grammy-winning The Del McCoury Band, led by the Bluegrass Music Hall of Famer, has blended its distinctive sound with a range of musical styles over the years, leading to collaborations and/or performances with artists including Dierks Bentley, Steve Earle and Phish. That genre-spanning intention continues on the band’s latest, as they cover the blues-driven “Just Because,” originally recorded by The California Honeydrops on their 2013 album Like You Mean It. Here, The Del McCoury Band transforms it into an expertly rendered, galloping bluegrass tune, with fleet-fingered picking, winding fiddle and McCoury’s commanding tenor.
Ole 60, “Next to You”
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This Kentucky quintet broke through earlier this year with viral hits “A Smoke & a Light” and the bluesy ballad “Brother Joe.” They follow with “Next to You,” a harmonica and banjo-inflected song starts out with an unhurried, moody ethos, before picking up the pace in the last half of the song, ascending into a plucky, bluegrass-tinged jamband vibe. This indie group, which recently signed with The Neal Agency for booking, keeps its engaging music rolling with this one, which embeds stark details revolving around an on-and-off again relationship. “Fools in love ain’t fools at all/ That’s why I pick up ever time that you call,” frontman Jacob Young sings, continuing, “Pack of Marlboro Lights and some Adderall/ I’ll be on my way.”
Tony Trischka and Vince Gill, “Bury Me Beneath the Willow”
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From Trischka’s upcoming project Earl Jam: A Tribute to Earl Scruggs (out June 7), this track features a top-shelf assortment of premier bluegrassers, including Trischka, Vince Gill, Michael Cleveland, Brittany Haas, Dominick Leslie and Mike Bub. Together, they offer an exemplary latticework mandolin, guitar, banjo and fiddle on this classic from the country music canon, popularized by The Carter Family and recorded by the familial group during country music’s “Big Bang,” the Bristol Sessions, in 1927. The fiddle lines from Cleveland and Haas are superb, bolstered by Trischka’s banjo picking and topped off by Gill’s high-caliber vocal.
Karley Scott Collins (feat. Charles Kelley), “How Do You Do That”
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Collins teams with Lady A’s Charles Kelley on this pulsating collaboration, which puts their tight-knit harmonies in focus and delves into the moments of a fissured relationship that leave one questioning everything they knew about an ex-lover. Kelley’s soulful country voice is in top form, while Collins’ rangy, grit-meets-silk vocal offers a remarkable, dynamic foil. Collins wrote this track with Kelley, Jordan Reynolds and Tom Jordan.
MacKenzie Porter, “Foreclosure”
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MacKenzie Porter made her American country radio breakthrough with her Dustin Lynch collaboration, the multi-week No. 1 “Thinkin’ Bout You.” But she’s out to showcase her own singer-songwriter talents and perspective on her newly-issued debut Big Loud album Nobody’s Born With a Broken Heart. Porter’s warm, soft-focus voice is bolstered by a pop-aimed, sleek production on this standout track, which she wrote with Luke Niccoli, Lydia Vaughan, Parker Welling.
“I wasted all my good faith,” Porter sings, the slightly husky tremor in her voice acutely embodying both the hope and heartbreak on a song that chronicles a couple’s journey from buying a home together to later watching the relationship falter — so they put up the foreclosure sign, moving out and moving on.
Billie Eilish announced the dates the world tour in support of her third album on Monday (April 29). The Hit Me Hard and Soft: The Tour is slated to kick off on Sept. 29 at the Centre Videotron in Quebec and take the singer across North America through late December, with stops in Toronto, Baltimore, Philadelphia, Detroit, Newark, Boston and Pittsburgh before a three night-stint at Madison Square Garden (Oct. 16-18) and two nights at State Farm Arena in Atlanta (Nov. 2-3).
The Tour in support of Hit Me Hard and Soft (May 17) will continue to criss-cross the nation, hitting Nashville, Cincinnati, Chicago, Denver, Seattle, Portland and San Jose before winding down with two shows at the Kia Forum in Inglewood, CA on Dec. 16-17. Eilish will then hop to Australia for a run of shows in Brisbane (Feb. 18, 19, 21, 22), Sydney (Feb. 24, 25, 27, 28) and Melbourne (March 4, 5, 7, 8).
The dates will pick up again in April 2025 for a European run of shows on the Live Nation-promoted tour that will keep the singer on the road through a July 27 gig at 3Arena in Dublin, Ireland. Tickets for the tour will go on sale beginning with an American Express presale on Tuesday (April 30), with additional presales slate for the rest of the week. Any remaining tickets will be available during a general onsale starting May 3 here.
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The tour will feature a number of sustainability efforts, including the continuation of Eilish’s long-running partnership with environmental nonprofit Reverb, which has so far resulted in $1 million in donations to environmental, greenhouse gas reduction and climate justice projects according to a release announcing the dates. On the upcoming tour sustainability efforts will include reducing greenhouse gas pollution, decreasing single-use plastic waste, supporting climate action and updating concession offerings to promote plant-based food options.
In addition, a portion of ticket proceeds from sales in North America will go to Reverb to support its efforts to address food insecurity and the climate crisis. There will also be a Billie Eilish Reverb eco village set up on two locations on the main concourse of every show where fans can participate in the tour’s sustainability efforts and connect with nonprofits.
Support + Feed will also continue their previous collaboration with Eilish and offer an expanded version of their Support+Feed Pledge aimed at inspiring fans to eat one plant-based meal a day for 30 days. Eilish’s fans are being encouraged to take public transportation and/or carpool to shows to reduce their carbon footprint and to bring an empty reusable water bottle or donate to receive a custom RockNRefill Nalgene bottle they can fill up for free at water refill stations at every venue. Eilish is also encouraging fans to fight the tremendous waste caused by fast fashion by dressing up for the gigs in thrifted, upcycled or borrowed clothes instead of buying new ones.
In an effort to keep tickets out of the hands of scalpers, the tour is using Ticketmaster’s Face Value Exchange, which will allow fans who purchase tickets for the North American tour they can’t attend to resell them to other fans at the original price; click here to find out more about this program.
Check out the dates for Eilish’s Hit Me Hard and Soft: The Tour 2024-2025:
2024 North America
Sept. 29 – Québec, QC @ Centre Videotron
Oct. 1 – Toronto, ON @ Scotiabank Arena
Oct. 2 – Toronto, ON @ Scotiabank Arena
Oct. 4 – Baltimore, MD @ CFG Bank Arena
Oct. 5 – Philadelphia, PA @ Wells Fargo Center
Oct. 7 – Detroit, MI @ Little Caesars Arena
Oct. 9 – Newark, NJ @ Prudential Center
Oct. 11 – Boston, MA @ TD Garden
Oct. 13 – Pittsburgh, PA @ PPG Paints Arena
Oct. 16 – New York, NY @ Madison Square Garden
Oct. 17 – New York, NY @ Madison Square Garden
Oct. 18 – New York, NY @ Madison Square Garden
Nov. 2 – Atlanta, GA @ State Farm Arena
Nov. 3 – Atlanta, GA @ State Farm Arena
Nov. 6 – Nashville, TN @ Bridgestone Arena
Nov. 8 – Cincinnati, OH @ Heritage Bank Center
Nov. 10 – Saint Paul, MN @ Xcel Energy Center
Nov. 11 – Saint Paul, MN @ Xcel Energy Center
Nov. 13 – Chicago, IL @ United Center
Nov. 14 – Chicago, IL @ United Center
Nov. 16 – Kansas City, MO @ T-Mobile Center
Nov. 17 – Omaha, NE @ CHI Health Center Omaha
Nov. 19 – Denver, CO @ Ball Arena
Nov. 20 – Denver, CO @ Ball Arena
Dec. 3 – Vancouver, BC @ Rogers Arena
Dec. 5 – Seattle, WA @ Climate Pledge Arena
Dec. 6 – Seattle, WA @ Climate Pledge Arena
Dec. 8 – Portland, OR @ Moda Center
Dec. 10 – San Jose, CA @ SAP Center at San Jose
Dec. 11 – San Jose, CA @ SAP Center at San Jose
Dec. 13 – Glendale, AZ @ Desert Diamond Arena
Dec. 15 – Inglewood, CA @ Kia Forum
Dec. 16 – Inglewood, CA @ Kia Forum
Dec. 17 – Inglewood, CA @ Kia Forum’Nov. 16 – Kansas City, MO @ T-Mobile Center
2025 Australian dates:
Feb. 18 – Brisbane, Australia @ Brisbane Entertainment Centre
Feb. 19 – Brisbane, Australia @ Brisbane Entertainment Centre
Feb. 21 – Brisbane, Australia @ Brisbane Entertainment Centre
Feb. 22 – Brisbane, Australia @ Brisbane Entertainment Centre
Feb. 24 – Sydney, Australia @ Qudos Bank Arena
Feb. 25 – Sydney, Australia @ Qudos Bank Arena
Feb. 27 – Sydney, Australia @ Qudos Bank Arena
Feb. 28 – Sydney, Australia @ Qudos Bank Arena
March 4 –Melbourne, Australia @ Rod Laver Arena
March 5 – Melbourne, Australia @ Rod Laver Arena
March 7 – Melbourne, Australia @ Rod Laver Arena
March 8 – Melbourne, Australia @ Rod Laver Arena
2025 European dates:
April 23 – Stockholm, Sweden @ Avicii Arena
April 24 – Stockholm, Sweden @ Avicii Arena
April 26 – Oslo, Norway @ Telenor Arena
April 28 – Copenhagen, Denmark @ Royal Arena
April 29 – Copenhagen, Denmark @ Royal Arena
May 2 – Hannover, Germany @ ZAG Arena
May 4 – Amsterdam, Netherlands @ Ziggo Dome
May 5 – Amsterdam, Netherlands @ Ziggo Dome
May 7 – Amsterdam, Netherlands @ Ziggo Dome
May 9 – Berlin, Germany @ Uber Arena
May 29 – Cologne, Germany @ Lanxess Arena
May 30 – Cologne, Germany @ Lanxess Arena
June 1 – Prague, Czech Republic @ O2 Arena
June 3 – Kraków, Poland @ Tauron Arena
June 4 – Kraków, Poland @ Tauron Arena
June 6 – Vienna, Austria @ Stadthalle
June 8 – Bologna, Italy @ Unipol Arena
June 10 – Paris, France @ Accor Arena
June 11 – Paris, France @ Accor Arena
June 14 – Barcelona, Spain @ Palau Sant Jordi
June 15 –Barcelona, Spain @ Palau Sant Jordi
July 7 – Glasgow, UK @ OVO Hydro
July 8 – Glasgow, UK @ OVO Hydro
July 10 – London, UK @ The O2
July 11 – London, UK @ The O2
July 13 – London, UK @ The O2
July 14 – London, UK @ The O2
July 16 – London, UK @ The O2
July 17 – London, UK @ The O2
July 19 – Manchester, UK @ Co-op Live
July 20 – Manchester, UK @ Co-op Live
July 22 – Manchester, UK @ Co-op Live
July 23 – Manchester, UK @ Co-op Live
July 26 – Dublin, Ireland @ 3Arena
July 27 – Dublin, Ireland @ 3Arena
Longtime entrepreneur and executive Richard Stumpf has announced the launch of Hawkeye Music Publishing, a new firm that both signs active songwriters and acts as the dot connector between teams looking to sell music catalogs with their strategic partner Round Hill Music.
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Previous to his new firm Hawkeye, Stumpf found success as an executive at Imagem Music and Cherry Lane Music. More recently, he was the founder and CEO of the indie publisher of Atlas Music Publishing which guided Van Halen, Brandi Carlile, Counting Crows, Dan the Automator, Sean Garrett, Ashley Gorley, and the Al Jackson Jr. catalog (“Let’s Stay Together”) as clients. Eventually, the firm caught the attention of HYBE’s Ithaca Holdings and sold to the Korean music giant at the start of 2019. As part of the sale, Stumpf agreed to stay on as CEO until January 2021, which he did. (The rest of the original Atlas team also departed in 2021).
Since then, Stumpf has taken an advisory role, helping a number of tech companies looking to break into the music business, including Right Box and MerchCat, and lent his expertise to catalog buyers or administrators like Pythagoras Music Fund, GoldState Music and Round Hill Music.
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“What was clear to me working alongside tech and catalog companies was that there is an enormous and growing appetite for copyrights – both from a consumer and ownership perspective,” says Stumpf. “I wanted to put myself in a position where I could bring relationship driven catalog business to a home where I knew the music would be treated with the utmost respect and at the same time have a partner who could assist in administering Hawkeye, which would be dedicated to active writers. I found that strategic partner in Round Hill Music. Josh [Gruss, founder of Round Hill] and his team exemplify what it means to be a proactive partner who puts the music and writers first.”
Hawkeye Music Publsihing has not signed its first active songwriter yet, but it has already assembled a team of advisors across the music industry to, as Stumpf puts it, “provide expertise across several sectors of a constantly evolving and overlapping music space.” This list includes Ann Mincielli (Grammy-winning engineer, co-founder of She Is the Music), Gruss (founder/CEO of Round Hill), Sean Garrett (producer/songwriter), Barry Ehrmann (founder/video producer Enliven Entertainment), Brandon Young (head of music affairs, Activision Blizzard), Chris “Coach” Rodriguez (assistant program director/ dj for 107.1 The Peak) Julio Guiu (president of Clipper’s Music Group) and Amy Berkholtz (digital media Strategist).
“This advisory team shares my reverence for the songwriter and the creative process. They are a group that fully embrace innovation,” says Stumpf. “I’m humbled and excited by their participation.”
Adds Gruss, “Rich is a real music guy with a lot of creative ideas about maximizing value for copyrights and writers. He’s a respected industry vet that I’m happy to have working alongside Round Hill Music. We’ve already been able to welcome Warren Haynes as a Round Hill Music client and are grateful to Rich for the introduction and endorsement.”
The staff of Pitchfork listens to a lot of new music. A lot of it. On any given day our writers, editors, and contributors go through an imposing number of new releases, giving recommendations to each other and discovering new favorites along the way. Each Monday, with our Pitchfork Selects playlist, we’re sharing what our writers are playing obsessively and highlighting some of the Pitchfork staff’s favorite new music. The playlist is a grab-bag of tracks: Its only guiding principle is that these are the songs you’d gladly send to a friend.This week’s Pitchfork Selects playlist features Sabrina Carpenter, Nilüfer Yanya, Tems, Porter Robinson, Gel, and more. Listen below and follow our playlists on Apple Music and Spotify. (Pitchfork earns a commission from purchases made through affiliate links on our site.)Pitchfork Selects: April 29, 2024Nilüfer Yanya: “Like I Say (I Runaway)”AyooLii / Polo Perks / FearDorian: “Ricky Eats Acid” [ft. Teen Suicide]Porter Robinson: “Knock Yourself Out XD”Sabrina Carpenter: “Espresso”Tems: “Love Me JeJe”Kara Jackson: “Right, Wrong or Ready”03 Greedo / Maxo Kream: “R.I.C.O.”Maldy / Ángel Dior: “Pila D Cuero”Niontay / RealYungPhil / Surf Gang: “Halftones”Gel: “Mirage”
Blackstone saw Concord’s most recent offer of $1.25 per share to acquire Hipgnosis Songs Fund and raised it a nickel to $1.30 on Monday, potentially putting a capper on a back-and-forth bidding war for the music rights company’s assets.
In a joint announcement, HSF and Blackstone said the board of directors of both companies approved of the revised all-cash acquisition of Hipgnosis’s assets at a value of nearly $1.6 billion, up from Concord’s most recent bid that valued the company at around $1.51 billion.
The new price reflects a 48.1% premium over HSF’s closing share price on April 17, the day before Concord’s initial offer became public. Any offer will require the support of investors representing at least 75% of the company’s public shares at a court meeting expected to be held on June 10; until that date, additional new offers may still be lodged.
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Blackstone’s official bid arrives a week after the private equity giant made what it called a “possible offer” of $1.24 per share, or roughly $1.5 billion, on April 22. HSF’s board of directors signaled that they would support that bid if it was made official, however two days later (April 24) Concord raised their bid by one penny and the board reversed and unanimously recommended shareholders approve the Concord bid.
With Blackstone upping the bid by $0.05, the board now says that “after careful consideration” the revised bid “represents a superior offer for Hipgnosis shareholders” compared to Concord — and now will recommend shareholders to access the new terms.
“The Board is pleased to unanimously recommend this [offer] for Hipgnosis from Blackstone,” said Hipgnosis chair Robert Naylor. “Since we started our strategic review, we have been clearly focused on looking at all the options to deliver shareholder value. We are delighted that, following competitive interests in acquiring Hipgnosis, our investors now have a chance to immediately realise their holding at an increased premium.”
The London-listed fund owns rights to songs by Neil Young, Journey, Lindsey Buckingham, Red Hot Chili Peppers, Shakira, Blondie and other artists.
Hipgnosis Songs Fund’s stock price fell 6.75% on the news, from $1.35 on Friday when Concord’s bid increase pushed the stock to a 52-week high to $1.26 by 9 a.m. Monday New York time.
Blackstone is also the majority owner of Hipgnosis Songs Fund’s investment adviser, Hipgnosis Song Management (HSM), and it funds Hipgnosis Songs Capital (HSC), a private music rights fund operated with HSM that has its own portfolio of music rights from such stars as Justin Bieber and Kenny Chesney.
Two weeks after the death of their beloved collaborator producer Rico Wade, OutKast paid loving tribute to the ATL legend who died at 52 on April 13.
“The first time we met Rico [Wade] of Organized Noize, we had the ‘Scenario’ instrumental on and we just rapped damn near the whole song, non-stop,” OutKast’s André 3000 wrote in an Instagram post over the weekend. He described sitting in Goodie Mobb member Big Gipp’s truck listening to the song on a cassette player.
“We didn’t know Gipp or Rico or none of them, but Rico knew people who did beats,” Dre continued. “He said, ‘Let me hear what you got,’ so we put in the ‘Scenario’ tape and started rhyming, non-stop, back-and-forth.” The beloved duo’s debut studio album, Southernplayalisticadillacmuzik — produced by Wade and Organized Noize — was released 30 years ago Friday, the same day Wade was buried in Atlanta.
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“That day, after we rhymed, Rico saw something in us. At that time we’d both shaven off all our hair. We’d dyed our hair blonde one time: We were young and in high school, we were outcasts, you know?” André wrote. “Rico saw that, and he said, ‘These guys can really rhyme. They don’t really rhyme like people from the South.’ So he told us to come over to his house, and that’s where the dungeon is, in the basement.”
Wade is considered one of the architects of Southern rap thanks to his role as one-third of the songwriting and production team Organized Noize, whose members also included Sleepy Brown and Ray Murray. In addition to their production and songwriting on the OutKast debut, they also worked on Goodie Mob’s 1995 debut, Soul Food.
Dre’s former partner in rhyme, Big Boi, also had fond memories of working with Wade, adding, “From the beginning, Organized Noize signed us. They were our big brothers, and they did a production deal with LaFace Records. They were the sones that gave us our first shot and we been doing music with them since the beginning. Without Rico Wade… there would be no OutKast.”
The memorial featured the caption, “Thank you, Rico. We will love you forever. Rest well, brother. Until we meet again [prayer hands emoji].”
The post ended with a quote from Wade, who once said, “We got with [OutKast] when they were young. They were like 16 or 17, and they were ready for some direction… I think timing is everything. It was time for a revolution.”
Another tribute post honored the duo’s landmark debut — which included their breakout hit, “Player’s Ball” — and spotlighted pics of Wade in the studio with the pair and posing with the entire extended Dungeon Family crew.
See OutKast’s post below.
As you’ve likely heard by now, Drew Carey had a really, really great time seeing Phish for the first time at their Las Vegas residency at Sphere earlier this month. Like, such a good time the The Price Is Right host wrote in a frenzied post afterward that he would “stick my d–k in a […]
When you truly love someone, you love everything about them. Even the sad parts. Hailey Bieber provided a perfect example of the latter over the weekend when she left a loving comment on a tear-stained post from husband Justin Bieber. “A pretty crier,” Hailey wrote alongside a crying face emoji on a carousel of pics […]
Three American Idol alumni will return to the show’s stage on Monday night (April 29) to pay tribute to late season five star Mandisa. The 47-year-old Grammy-winning Christian contemporary singer was found dead of as-yet-undisclosed causes in her home earlier this month. The performance will take place during Monday night’s Judge’s Song round of the […]
Music industry professionals are often reminded, it ain’t the glitter or the glamor, the magic is all in the song. And, yes, the delivery.
Cher’s “Believe” is a case in point.
The veteran entertainer dropped “Believe” in 1998, a dreamy club thumper that featured Cher’s vocals reimagined with the input of AutoTune. In the late ‘90s, no veteran mainstream artist was messing Autotune. Only Cher.
In 1999, Cher’s “Believe” went to No. 1 on the Billboard Hot 100, just days short of 25 years after her previous leader, 1974’s “Dark Lady.” That meant Cher had the longest gap between No. 1 hits in the chart’s history, Fred Bronson wrote in the Chart Beat column at the time.
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“Believe” took on another guise, had another life, this time when DMA’S performed the song live in 2016 for listeners of Australia’s triple j network. On this occasion, the song was stripped to its heartbroken bones, Tommy O’Dell’s impressive pipes driving it home. DMA’s are on fire. Their last two studio albums peaked at No. 4 and No. 3 in the U.K., the Aussie band’s spiritual home.
“Believe” reminded music fans about the power of a great song, and the importance of delivery, when Jack Blocker tackled this classic song on ABC‘s American Idol for a spot in the final eight.
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The 25-year-old native of Dallas, TX, Blocker turned “Believe” into a country number, and earned a standing ovation from the three mentors Luke Bryan, Katy Perry and Lionel Richie.
Blocker played in a student-led worship band at high school, is self-taught on guitar (using YouTube videos for guidance), and never had vocal coaching until he auditioned for this 22nd season of American Idol.
With his latest performance on season, he’ll believe he can go all the way.
America voted live, and Blocker won passage into the top 8 where he’s joined by Abi Carter, Emmy Russell, Julia Gagnon, Kaibrienne, McKenna Faith Breinholt, Triston Harper and Will Moseley.
Watch below.
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