Country
Country Music Hall of Fame group Alabama has set a new slate of tour dates for 2025, with the first leg of its Live in Concert 25 Tour, set to launch April 17 in Phoenix.
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Alabama founders Randy Owen and Teddy Gentry will bring the headlining tour to cities including Lincoln, Calif.; Wichita, Kan.; and York, Pa., as well as a stop in Windsor, Ontario.
“There’s nothing I look forward to any more than performing the songs our great fans have made hits and some surprises along the way,” Owen said in a statement. “Every show I count as one more beautiful blessing! Much love to you, our fans! Looking forward to seeing all of you on the tour!
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“We are eager to get back on the road and make more cherished memories with each of you,” Gentry added. “It is a joy to play for our followers and friends who have supported us through thick and thin. We can’t wait to reconnect and share the music that brought us all together.”
Opening various shows on the two-time Grammy-winning group’s tour will be Lorrie Morgan, Pat Green, Eddie Montgomery, Lee Greenwood, Jamey Johnson, Ned LeDoux, BlackHawk and Alex Miller.
In the 1980s, Alabama became one of country music’s most successful groups, notching 33 Billboard Hot Country Songs chart-toppers, including “Lady Down on Love,” “Down Home,” “Mountain Music,” “The Closer You Get” and “Song of the South.” They earned the CMA’s coveted entertainer of the year three times, from 1982-1984. Following the passing of Alabama bandmember Jeff Cook in November 2022, Owen and Gentry carry on Alabama’s mission of bringing the group’s music to fans.
See the full slate of tour dates below:
April 17: Phoenix – Footprint Center (w/ Lorrie Morgan)
April 19: Lincoln, Calif. – Thunder Valley Casino Resort (w/ Lorrie Morgan)
April 27: Wichita, Kan. – Intrust Arena (w/ Eddie Montgomery)
May 23: Bonner Springs, Kan. – Azura Amphitheater (w/ Lee Greenwood)
May 25: Ridgedale, Mo. – Thunder Ridge Nature’s Arena (w/ Pat Green)
June 5: Windsor, Ontario, Canada – The Colosseum at Caesars Windsor
June 7: Bradley, Ill. – Bradley 316 Festival (w/ Eddie Montgomery)
June 14:Creighton, Pa. – Iron City Stage at Pittsburgh Brewing Company (w/ Jamey Johnson)
June 18: Redding, Calif. – Redding Civic Auditorium (w/ Eddie Montgomery)
June 20: Sparks, Nev. – Nugget Event Center (w/ Ned LeDoux)
July 19: Old Washington, Ohio – Old Washington Music Fest
July 25: York, Pa. – York State Fair (w/ Alex Miller)
Aug 9: Galva, Ill. – The Back Road Music Festival (w/ BlackHawk)
Aug 28: Allentown, Pa. – The Great Allentown Fair
Songwriters often note that the concept of turning a song into a hit, at its core, crucially leans on timing: the right singer connecting with the right song at the perfect time. For 27-time Grammy winner, vocalist/fiddler Alison Krauss, that convergence of artist, song and time sparked the reconvening of one of bluegrass music’s most revered groups, the 14-time Grammy winners Alison Krauss & Union Station, who will release their first album in nearly 14 years, the Down the Road Records project, Arcadia, on Friday (March 28).
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“We didn’t mean for it to take so long, but it did,” Krauss told Billboard.
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Krauss has long had a habit of tucking away songs that she loves, waiting for the right time to record them. Over the years, she’s amassed a collection of those potential recordings, but it wasn’t until she heard the Jeremy Lister song “Looks Like It’s the End of the Road” during the height of the COVID-19 pandemic that Krauss felt she’d found that perfect song to kick off a new record with her band Union Station, one that would mark their first since 2011’s Grammy-winning Paper Airplane.
“I had been collecting most of those things since we recorded the last album, so I’d had a lot of them,” Krauss says. “I heard Jeremy Lister’s song and within the first half of the first verse I’m like, ‘There it is.’ A few days later, I texted everybody saying we should get together. I never stopped wanting to [make a new album], but with touring and people recording, there’s such a huge factor, because everybody is scattered.”
The top-caliber talents of each of the band’s members led them to an array of various projects through the years, including studio work, collaborations with other artists and their own solo projects.
In 2017, Krauss released the solo project Windy City. In 2021, she teamed with rock icon Robert Plant for the album Raise the Roof (the sequel to their Grammy-winning Raising Sand project) and a subsequent tour as a duo. Krauss’s Union Station bandmate, dobro player Jerry Douglas has released numerous solo albums, including 2024’s The Set with his own band. Douglas and Union Station bassist Barry Bales also paid tribute to Flatt and Scruggs as part of the group Earl of Leicester. Among other music initiatives, banjoist Ron Block released the 2015 project Hogan’s House of Music. Meanwhile, in 2017, vocalist/mandolin player/guitarist Dan Tyminski released the project Southern Gothic, followed by 2023’s God Fearing Heathen.
“It was great,” Krauss recalls of those first sessions playing with the group and getting acquainted with playing the songs together. “Once we listened to all the material, we started playing all the songs and it’s never a labored process of getting those initial arrangements down for tracking. They are such a great band, cutting the basic tracks that goes really smoothly. So, this is a magical moment for me to be singing my scratches [scratch vocals] over those tracks.”
But as the group began to reconvene, they realized the new project would come with a significant shift in the group’s lineup, when Tyminski revealed he would not be returning to the group, so that he could focus on his solo career.
“Nobody wanted Dan to go, but we respect what he feels called to do,” Krauss says. Tyminski’s influence on the project can still be heard on instrumentation on the album, and he co-wrote the album’s “The Wrong Way” with Robert Lee Castleman.
“He played me that song, it’s got to be 10 years ago at least,” Krauss says. “I’ve had that song a long time and I loved it immediately. I thought it was just beautiful.”
On the new album, Russell Moore, a six-time IBMA male vocalist of the year winner known for his work as part of the seven-time IBMA vocal group of the year-winning group IIIrd Tyme Out, joins Union Station, adding his unmistakable voice alongside Krauss’s ethereal soprano.
“Can you believe his singing?” Krauss gushes. “We all grew up in that same generation and all had the same similar influences of what was happening in bluegrass at the time. We’re all made of the same stuff—we ate the same grass.”
She adds, “So when this came up, we were like, ‘What are we going to do?’ I mentioned Russell and he’s been so respected in this music for decades. The first time I heard him sing, I was 14 and he was 21 — he was playing with Doyle Lawson and Quicksilver. He and Dan [Tyminski], of that era, were the guys. I can’t even believe we got to play with Dan for 30 years and now we get to play with Russell, too. It’s just amazing, the fortune of this band. It’s amazing to hear [Russell] sing, standing next to him — this amazing voice you’ve heard your whole life.”
Moore’s work with IIIrd Tyme Out will take a brief hiatus as Moore records and tours as part of Union Station.
“I didn’t think he would [join Union Station] because he’s got his own group,” Krauss says of reaching out to Moore. “But he was up for talking about it. And the way we’ve structured this tour is to make sure everybody can still do their own stuff. We’re going out for six months and then the rest of the year is to make sure everybody else’s projects are honored. I don’t think [Russell] would’ve [joined] had we not made sure that [IIIrd Tyme Out] would be honored, too. There was no way he was going to leave his group — he’s built that over 30-something years.”
The new album places vocals and stories at the fore, with the band expertly building each instrumental bed around Moore and Krauss’s voices. Many of the album’s songs center around despairing storylines, with some recording details of long-ago tragedies, such as the Civil War tale “Richmond on the James,” or when Moore takes the vocal lead on “Granite Mills,” which depicts the story of a fire at a mill in Massachusetts in 1874, which took the lives of more than a dozen people. Elsewhere, “Hangman” sets a desolate poem from Maurice Odgen to music.
“One thing that bluegrass tunes have never been afraid of is saying exactly what happened,” Krauss says of “Granite Mills.” “My son asked me not that long ago, ‘How do you sing these sad songs? I can’t even listen.’ I said, ‘I have to sing them, and I feel called to sing them. A lot of these stories you may not even know.’ I talked to someone who lived in the area that the mill tragedy happened in, and he said, ‘I didn’t even know that happened here.’ So here in this song, it’ll live forever. For me, these tragedy songs, they’re survival stories and they bring encouragement to people. Trying to survive will never go away, no matter what time in history. It’s just the human condition.”
The album does have some moments of levity, as when Bales and Block lighten the mood with “North Side Gal,” with twin fiddle work from Alison and Stuart Duncan. The album is bookended with another Lister song, “There’s a Light Up Ahead,” which lends a more hope-filled conclusion to the project.
The album reunites them with the founders of Rounder Records — Ken Irwin, Marian Leighton Levy, and Bill Nowlin — who launched a new label, Down the Road Records, in 2023. As with reuniting with Union Station, it was Krauss who made the first call.
“When I started to hear about them putting the label together, I was like, ‘I wonder if there’s room for us? If I don’t ask, I’ll never know,’” Krauss says. “Because those folks, they’re the real deal. They’re the evangelists of folk music and traditional music. I love being there with people that feel that way about the music, that it has to be heard and it has to be recorded. I love who they are, so I’m thrilled to be with them again.”
This spring, Alison Krauss & Union Station will launch their first tour in a decade, with 75 North American tour dates set. As for the possibility of another 14 years elapsing between projects for Krauss and Union Station, Krauss says, “No, it won’t be that long. I definitely hope not. I’m thrilled to be back with these guys and getting to make new music and play the older ones again. It’s so nice to hear the old songs.”
Fans of the ACM Awards will get super-served at this year’s ceremony as the show, which had clocked in at two hours since moving to the commercial free Amazon’s Prime Video, will expand by 30 minutes.
“It was a long discussion with Amazon because we pride ourselves on the fact that we’re the only major awards show that clocks in at two hours and that’s a big consumer benefit for our show,” says Academy of Country Music CEO Damon Whiteside. “However, this year there’s so many things that we want to accomplish in the show because we want to give a proper nod to our history, but we still have a lot of business to take care of in terms of the current nominees as well, so we just felt like the extra time will allow us to do some special things. I don’t think viewers are going to be unhappy that we’re giving them an extra 30 minutes of really amazing content.”
Ella Langley leads all nominees with eight nods, which Whiteside sees as a sign of how current and fresh the ACM Awards are. “To have essentially a brand-new artist lead the nominations, especially in our 60th year, it’s almost like a full-circle thing, because we really pride ourselves on often being the first organization to honor a new artist,” Whiteside says. “It speaks to the fact that we’ve always been an organization that is very new artist forward.”
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Langley is followed by Cody Johnson, Morgan Wallen and Lainey Wilson, all of whom received seven nominations, with Chris Stapleton garnering six nods.
Whiteside also lauds Johnson’s seven nominations as “he just continues to grow and so it’s exciting to see him get acknowledged and, obviously, Morgan Wallen continues to be a juggernaut,” he says. He also enthuses over Kelsea Ballerini’s first nomination for entertainer of the year. “I can’t say enough about her and her journey and the way she continued to grow as an artist.”
Like Langley, a number of artists, including Dasha, Shaboozey, Red Clay Strays and Zach Top landed their first nominations this year. “It does feel like a really fresh crop of artists are getting recognized,” Whiteside says.
Beyoncé received no nominations, despite winning two country Grammys in February, including for country album of the year, just weeks before first-round ACM voting opened. “Were we hoping she’d be nominated? Absolutely,” Whiteside says. “We love that Beyoncé is in the country genre. That’s fantastic for all the country artists out there. It’s fantastic for the fans. The more successful she is, the more we’re bringing more mainstream people into the genre which we want.”
Unlike Grammy voters, who span all musical genres, the more than 5,000 ACM voters primarily make a living in country music and are mostly based in Nashville. “I think, more likely, they’re going to be voting for artists that they’ve got relationships with and work with on a regular basis and that are in the country music business 365,” Whiteside says, but adds, “We’d love to have Beyoncé on the show. She has an open invitation to be on the ACM stage anytime she ever wants to.”
As Whiteside, executive producer/show runner Raj Kapoor, and show producer dick clark productions work on the show, they are trying to strike the right balance between old and new. “It’s tough because we may have a really great idea on honoring this artist from the past, but then it’s like, ‘Well, that may take away a slot from a current artist’,” Whiteside says. So far, Wilson, Blake Shelton and Eric Church have been announced as performers. The three new artist winners-male, female and duo or group- who are announced in advance will also perform.
“It’s a little bit of a past/present/future approach,” Whiteside adds. “It’s going to be a really iconic night and a great way to look back and look forward and celebrate where we are right now as an industry.”
Plans around the ACM Awards are still being firmed up but will include free shows on the Star Plaza on May 6 and 7, as well as a Top Golf tee-off tournament on May 6, and an official after party following the awards.
With the Amazon deal and the contract with the Cowboys for the Frisco location both expiring this year, Whiteside says things could look very different next year depending upon if the deals aren’t renewed.
“For 2026, we may do a major pivot again and define what’s the future of the academy. This year is a very special year, but next year is going to be kind of turning the page,” he says. “It’ll be a fresh new year. We don’t know yet where we’ll be. We don’t know what [outlet] we’re going to be on. Everything’s a new day in 2026, so it’s going to be the evolution of the ACM Awards, but we’re excited about that because it’s a blank slate.”
The ACM Awards are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.
Plenty of country songs have rested through the years on the drinking habits of the lonely. Merle Haggard’s “Misery and Gin,” Moe Bandy’s “Barstool Mountain” and The Charlie Daniels Band’s “Drinkin’ My Baby Goodbye” all find broken-hearted men numbing their hurt with a little liquid medication at the tavern.
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It’s a good bet that the vast majority of country listeners know at least something about that plot, which makes them likely to appreciate Vincent Mason’s first radio single, “Wish You Well,” in which the singer processes the passing of an old relationship by downing a few at the bar.
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“This guy and this story, I’ve definitely lived it — and definitely lived it recently,” Mason says. “But I think it’s better than to try to get it back.”
The scenario is well-suited for a steel-soaked ballad, though “Wish You Well” defies that expectation. It trips along behind a buzzy guitar at a speedy pace, the melody flying by so quickly it’s easy to miss most of the words and catch only pieces of the story before it becomes familiar.
“Right from the beginning, it’s got that acoustic riff, and it’s moving really quick,” Mason notes. “I’m a big John Mayer fan — I came up on that when I was learning how to play guitar — so that slap flick kind of pattern on the guitar, it’s fun for me to play.”
The song owes its existence to the title of songwriter Blake Pendergrass (“Relapse,” “Days That End in Y”) and the tenacity of co-writer Geoff Warburton (“Best Thing Since Backroads,” “But I Got a Beer in My Hand”). Pendergrass stumbled across the hook during a brainstorming session, with the “wish you well” payoff line mashing up a common courtesy with a well drink. He envisioned a series of wishes in the song, with the singer attempting to escape his lack of fulfillment by downing the house whiskey instead of a particular brand. He introduced the idea during a songwriting session around the fall of 2022, receiving a mostly cool reception. Warburton was in the room that day, and he liked it enough that he continued to ask about it periodically over the next year.
Finally, during a four-person writing appointment on Oct. 3, 2023, at a studio owned by writer-producer Chris LaCorte (“23,” “Wind Up Missin’ You”), Warburton asked about “Wish You Well” again. This time, the collective response was enthusiastic, and they dug into it with abandon as Warburton kicked into a rapid groove on guitar. They tackled the chorus first, loading up the opening lines with a half-dozen wishes — “Wish you would call/ Wish you would miss me” — in a fairly repetitive cadence.
“That first half of the chorus came out pretty fast in the room,” Warburton remembers. “Everyone was ping-ponging ideas, and it just kept falling into place really fast.”
After following that wishful tack for four busy lines, they shifted into syncopated rhythms in the next four, simultaneously changing the lyrical focus as they barreled to the “wish you well” drink at the end.“Once we had that first half,” Warburton says, “we’re like, ‘OK, maybe we chill on the wish stuff.’ ”
After a pause, they repeated the hook for good measure.
“There’s a lot of information in the chorus,” says co-writer Jessie Jo Dillon (“10,000 Hours,” “Am I Okay?”). “I always think when a song does that, you need to either let the song breathe or repeat the hook as a tag because someone just had to digest a lot of information.”
The chorus took up enough real estate that they had little space left for the verses. Still, they compressed more wishful thinking into those stanzas. The opening line has the guy drinking three shots, parallel to a “Jim Beam genie” granting him three wishes. Pendergrass wasn’t certain that would go over when he suggested it. “I got a little bit of pushback on stuff like that,” he says. “I love doing weird, kind of quirky lines like that. Thankfully, they let me run down that road a little bit.”
Jim Beam is a small contradiction: The song hinges on a generic well drink, but the genie employs a specific brand. “He’s like, ‘Maybe I’ll start with the good stuff,’ ” Dillon says with a laugh. “Then, he’s wasting all his quarters on the jukebox, so he has to scale it back. I’ve so been there.”
That jukebox makes its appearance in the ultra-short second verse, and they specifically named an old-fashioned model instead of a modern, digital version — to rhyme “quarter” with “order,” and to carry out the wishing motif: The guy is throwing coins in a music machine instead of a fountain. “Who wants to sing about typing in your Apple Pay on the TouchTunes on your iPhone?” LaCorte asks rhetorically. “It’s a little less poetic.”
For a quickie bridge, they extended the wish motif – at closing time: He’s still alone and decides to wish upon a “2 a.m. star.” While the words pass fast throughout the song, they flow smoothly, allowing the listener to get absorbed in its musicality. “That’s one of my main priorities when I’m writing, is that I want to make sure that there’s nothing that sounds unnatural in the phrases,” Pendergrass says.
LaCorte whipped up a sparse, mostly acoustic demo with Pendergass singing lead. And Warburton developed a simple, melodic guitar riff. “I’d just been noodling,” Warburton recalls. “Chris was like, ‘Oh, what’s that? Put that in there.’ ”
“Wish You Well” became a favorite for Hang Your Hat Music GM/executive vp Jake Gear, who was hired as Universal Music Group Nashville vp of A&R in March 2024. Around then, he gave the demo to Mason, who was signed to MCA Nashville, without any kind of suggestion that he might want to cut it.
But Mason fixated on it and, after a month of listening, committed to it. The demo was strong enough that they used it as the foundation for the master recording, and the guitar was so rhythmic that they flirted with skipping drums. Ultimately, Aaron Sterling added parts, first playing cajon, though he gradually moved to a more standard kit.
“We were kind of like, ‘Play the drums, but don’t draw attention to the drums,’ ” Mason recalls.Mason had trouble making the words feel distinct when he cut the lead vocal, so he came back twice, and they cut the tempo both times, finally settling at 169 beats per minute, about six beats slower than the original pace.
“It’s a very wordy song, a very fast song, and there’s a lot of syncopation to that melody,” LaCorte explains. “It takes a lot [of] reps so [that] it comes out naturally. But it definitely helped once we backed it down a few clicks.”
Justin Schipper overdubbed steel and Dobro, and Josh Reedy from Thomas Rhett’s road band delivered harmonies, which get a stark highlight in the final chorus in engineer Dave Clauss’ mix. The track was so commercial that MCA took it to country radio on Feb. 13, making it Mason’s first cut that was serviced to broadcasters. It’s at No. 56 after three charted weeks on the Country Airplay list dated March 29.
“Growing up listening to country radio, I think you kind of just know,” Mason reasons. “It’s just got that X factor and that little bit of a hit thing, and I think it has the best chance on a first listen to grab people’s ear.”
Jason Aldean, Brooks & Dunn, Luke Bryan, Cody Johnson, Megan Moroney and Keith Urban are among the acts who will appear at Nissan Stadium as part of CMA Fest, which will run June 5-8 in Nashville and span 10 stages.
Also slated for Nissan Stadium are Kelsea Ballerini, Dierks Bentley, Jordan Davis, Riley Green, Ella Langley, Ashley McBryde, Parker McCollum, Rascal Flatts, Red Clay Strays, Darius Rucker, Shaboozey, Black Shelton, Zach Top and Bailey Zimmerman.
Four-night stadium passes range from $240 to $1,061, while single-night stadium ticket starts at $79.80.
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CMA Fest, which began in 1972 as Fan Fair, will spread across Music City on stages both free and paid. The event has a new partner, bank and financial services company SoFi, in a multi-year partnership.
MŌRIAH will kick off the Chevy Riverfront Stage on Thursday morning, performing the national anthem. Other artists playing that stage over the festival run include Gavin Adcock, Tanner Adell, Cooper Alan, Drew Baldridge, Sam Barber, Gabby Barrett, George Birge, Tyler Braden, Colbie Caillat, Ashley Cooke, Dasha, Jackson Dean, Marcus King, Randall King, Brandon Lake, Chris Lane, Ella Langley, Maddie & Tae, Dylan Marlowe, Kameron Marlowe, Max McNown, Midland, Megan Moroney, Ian Munsick, RaeLynn, Redferrin, Josh Ross, Conner Smith, Austin Snell, Alana Springsteen, Thelma and James, Tigirlily Gold, The War And Treaty, Hudson Westbrook and Tucker Wetmore.
Appearing on the Dr. Pepper Amp Stage at Ascend Park are Rodney Atkins, Frankie Ballard, Casey Barnes, Danielle Bradbery, Blanco Brown, T Graham Brown, Karley Scott Collins, Billy Dean, Tyler Farr, Filmore, Josh Gracin, Ty Herndon, Braxton Keith, Erin Kinsey, Lakeview, Edwin McCain, John Morgan, Kylie Morgan, Jerrod Niemann, Jamie O’ Neal, Mason Ramsey, Owen Riegling, Emily Ann Roberts, Reyna Roberts, Kaylee Rose, Shaylen, Sister Hazel, Iam Tongi, US Navy Band Country Current, Darryl Worley, Charlie Worsham and Jake Worthington.
Artists playing The Chevy Vibes Stage at Walk of Fame Park are Angie K, Graham Barham, Blessing Offor, Craig Campbell, Dillon Carmichael, Mackenzie Carpenter, Ashland Craft, Kashus Culpepper, Dailey & Vincent, Jade Eagleson, Exile, Mickey Guyton, Kelsey Hart, Tayler Holder, Greylan James, Willie Jones, Tiera Kennedy, Vincent Mason, Madeline Merlo, Drake Milligan, Lorrie Morgan, David Nail, Meghan Patrick, Dylan Schneider, Shenandoah, MaRynn Taylor, Thompson Square, Pam Tillis, Lauren Watkins, Mark Wills, Rita Wilson and Waylon Wyatt.
The Good Molecules Reverb Stage at Bridgestone Plaza’s line-up includes Willow Avalon, Maddox Batson, Laci Kaye Booth, Brenn!, Franni Rae Cash, Chapel Hart, Julia Cole, Preston Cooper, Kolby Cooper, Wesley Dean, Melanie Dyer, Madeline Edwards, Mae Estes, Carter Faith, Lanie Gardner, Cole Goodwin, Fancy Hagood, Jack Wharff and The Tobacco Flats, Max Jackson, James Barker Band, Just Jayne, Alexandra Kay, Zach John King, Matt Lang, Bryce Leatherwood, Hannah McFarland, Walker Montgomery, Will Moseley, Elizabeth Nichols, Adrien Nunez, Scoot Teasley, Cameron Whitcomb, Blake Whiten, Austin Williams and Eli Winders.
Acts will perform free at The Hard Rock Stage with a slate that includes Ashley Anne, Palmer Anthony, Hayden Blount, BODHI, BoomTown Saints, Luke Borchelt, CECE, Hayden Coffman, Abbey Cone, Crowe Boys, Eddie and The Getaway, Sterling Elza, Brian Fuller, Giovannie and The Hired Guns, Colt Graves, Reid Haughton, Christian Hayes, The Heels, Hueston, Solon Holt, Preston James, Jason Scott & The High Heat, Britnee Kellogg, Alex Lambert, LECADE, Trey Lewis, Tyler Joe Miller, MŌRIAH, Clayton Mullen, O.N.E The Duo, Harper O’Neill, Pistol Pearl and the Western Band, Peytan Porter, RVSHVD, Sacha, Matt Schuster, Sophia Scott, SKEEZ, Kevin Smiley, Payton Smith, Liam St. John, Colin Stough, Troubadour Blue, Leah Turner, Alli Walker, Carson Wallace, Brendan Walter, Chandler Walters, Jay Webb, Wesko, Angel White and Sam Williams.
All artists perform for free to benefit the CMA Foundation, with a portion of ticket proceeds supporting music education programs. CMA Fest will be filmed for a special airing on ABC and Hulu later in the summer.
For more details and ticketing options, go here.
Lady A member Charles Kelley and his wife Cassie let fans in on a secret on Tuesday (March 25), revealing that they are expecting their second child this fall. In an Instagram post shared by the couple, they captioned the photos, “Biggest surprise of our lives! Baby Kelley coming early fall 2025 🍼👶🏻🤰🏼 Big brother […]
Maren Morris has announced the release date for her anticipated fourth studio album, Dreamsicle. The 14-track LP is slated to drop on May 9, with the first single, “Carry Me Through,” slated for release on Thursday morning (March 27). Morris has been doing a slow reveal of the new album on her newly wiped Instagram […]
Kenny Chesney, June Carter Cash and musician-producer-label exec Tony Brown have been given country music’s highest honor: They were named as the latest inductees to the Country Music Hall of Fame during a ceremony held Tuesday (March 25) at the Country Music Hall of Fame in Nashville.
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CMA CEO Sarah Trahern, Country Music Hall of Fame CEO Kyle Young and Country Music Hall of Famer Vince Gill revealed this year’s slate of individuals who have been named as the latest inductees to the Country Music Hall of Fame. The Country Music Hall of Fame launched in 1961, and “since then it has been the ultimate recognition of country music excellence,” Trahern told the audience.
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“We honor not just talent, but impact, not just success, but legacy,” Trahern added.
The three inductees will be inducted during the annual Medallion ceremony, set for later this year.
Chesney will be inducted in the modern era artist category. During his career, he’s become known for massive concerts, 33 No. 1 Billboard Country Airplay hits, his passionate No Shoes Nation fanbase, and his work ethic. Though Chesney released his debut single in 1993, it wouldn’t be until 1997 that he earned his first No. 1 with “She’s Got It All.” From there, he kept amassing songs that connected with fans, and in 2000, he earned a triple platinum Greatest Hits collection that included songs such as “How Forever Feels,” “That’s Why I’m Here,” “Don’t Happen Twice” and “She Thinks My Tractor’s Sexy.” He appeared on George Strait’s stadium tours in 1999 and 2000, which sparked his desire to create a career and sound that was solely his. His album No Shoes, No Shirt, No Problems debuted at No. 1 on the all-genre Billboard 200, and he soon sold out the University of Tennessee’s Neyland Stadium, while hits such as “There Goes My Life” and “I Go Back” kept coming. He’s now won four entertainer of the year awards from the Country Music Association and an equal number of EOY wins from the Academy of Country Music.
He continues breaking new ground as the first country artist to set a residency at the Sphere in Las Vegas. He’ll release his first book, Heart*Life*Music, later this year.
“I always felt like country music told a lot of truth,” said East Tennessee native Chesney on stage at the Country Music Hall of Fame. “It’s also fueled by a lot of dreams. I had a really big dream that not a lot of people saw coming. My dream started on the shoulders of the dreams of George Jones. It was built on the shoulders of the dreams of Randy, Teddy, Jeff and Mark of Alabama, Conway Twitty, Doc Watson,” he said.
“I wanted to spread as much positive energy as I possibly could. I just want to say thank you. This is beautiful,” Chesney concluded.
June Carter Cash will be inducted in the veteran’s era artist category.
As the daughter of Maybelle Carter (who in 1927 formed The Carter Family along with Sara and A.P. Carter), Virginia native June Carter Cash grew up in show business, teaming with her sisters Anita and Helen, along with Maybelle, to form Mother Maybelle and The Carter Sisters. The Carter Family laid much of the foundation for commercial country music and Carter followed in their musical footsteps, learning to play autoharp by age 10 and appearing on the Carters’ radio broadcasts. She also developed a talent for comedy, developing stage characters such as Aunt Polly Carter. A multi-faceted entertainer, in the 1950s through 1970s, she appeared on Gunsmoke, The Adventures of Jim Bowie and Little House on the Prairie. She was in the 1958 film Country Music Holiday, 1986’s remake of Stagecoach and multiple episodes of hit primetime Western drama Dr. Quinn, Medicine Woman.
The Carter Sisters joined Johnny Cash’s roadshow in 1961, sparking what would become one of music’s most well-known love stories. As a songwriter, Carter Cash wrote with Merle Kilgore what would become Johnny Cash’s 1963 hit “Ring of Fire,” which spent seven weeks atop Billboard’s Hot Country Singles chart. Carter and Cash wed in 1968. They won Grammys for their collaborations on “Jackson” and “If I Was a Carpenter.” Carter Cash was also a bedrock of support for Nashville’s greater music community, offering respite for artists at the couple’s Hendersonville, Tenn., home, including artists such as Waylon Jennings, Kris Kristofferson and Larry Gatlin. She also continued recording her own projects, and her 1999 album Press On won a Grammy for best traditional folk album. Carter Cash died on May 15, 2003, at age 73. Her final album, Wildwood Flower, released posthumously that same year, earned Grammys for best traditional folk album.
Carter Cash’s children, Carlene Carter and John Carter Cash, were on hand to accept the induction news for their mother.
“I can’t tell y’all what this means to us, to our whole family,” Carlene said. “My mom was a force of nature. Everything she did, she did with grace and style and finesse and humor. I was so proud to be her daughter. Anything that Is good about me is because of that woman.”
John Carter added, “You look up here — will the circle be unbroken. Of course that song has ancient origins, but there’s one person who sang that song more than anyone else in her lifetime and that was my mother, June Carter. She was a songwriter, a musical historian, a comedian, but she carried the torch for country music history with her though her lifetime. Millions of people knew Carter Family songs because of my mother … She appreciated the music, but she brought it all together with a laugh. ‘Anchored in love’ is one of her life mottos, and ‘press on.’ But blessed to be here today. She did not know a stranger …she would be so grateful for this.”
June Carter photographed circa 1965.
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Producer, label exec, musician and North Carolina native Tony Brown will be inducted into the non-performer category, which rotates every three years with the songwriter and recording and/or touring musician categories.
Early in his career, Brown spent time playing in bands for the Oak Ridge Boys, Elvis Presley, Rodney Crowell and Emmylou Harris. He played on Harris’ projects including Blue Kentucky Girl. As a label executive, Brown signed hitmakers including Alabama and Gill. As a producer, he had his first hit with Steve Wariner’s 1983 song “Midnight Fire,” produced with Norro Wilson.
In 1978, he joined RCA’s Free Flight Records; soon after it closed, he transferred to RCA’s Nashville division, signing group Alabama. In After heading back onto the road to tour with Rodney Crowell and Rosanne Cash’s The Cherry Bombs, Brown returned to RCA and to Nashville, signing Gill. Brown moved from RCA to MCA Nashville, helping it become country music’s kingpin label in the 1990s and becoming president of the label. He brought Gill to MCA and signed artists including Patty Loveless and Marty Stuart and developed working relationships with artists including Wynonna Judd, and production relationships with artists including George Strait and Reba McEntire. He also aided numerous Americana artists, signing and producing artists including The Mavericks, Joe Ely, Lyle Lovett and Allison Moorer. He left MCA to co-found Universal South Records with Tim Dubois in 2002.
Tony Brown speaks onstage during the Country Music Hall of Fame Inductee Announcement at Country Music Hall of Fame and Museum on March 25, 2025 in Nashville.
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Brown has won six Grammys and is a member of the Gospel Music hall of Fame. His accolades also include Leadership Music’s inaugural Dale Franklin Leadership Award, the ACM’s icon award and the Americana Music Association’s lifetime achievement award. He’s aided record sales of more than 100 million units during his career.
Taking the stage, Brown said, “I’ve had a lot of big things happen in my life and career — this is the biggest. This is cool, I don’t care who you are. I’m totally blown away … never ever imagined that I would be. Thank you to the CMA, the Hall of Fame, Vince Gill, all the people who helped me get here … the engineers, songwriters, song pluggers. This is better than money … this is about making an impact and when it comes down to it, that’s the reason we all get into this business, to make an impact.”
Trisha Yearwood added to her lengthy list of career accolades on Monday (March 24), when she was honored with the 2,805th star on the Hollywood Walk of Fame, during a ceremony held in Los Angeles.
Media personality Cody Alan, known for his work on SiriusXM and CMT, emceed the event, which honored Georgia native Yearwood’s numerous career milestones over the past three decades, and her journey from aspiring singer to multi-faceted entertainer, singer, author, television show leader, actress and businesswoman.
Two of Yearwood’s friends and fellow country artists, Reba McEntire and Carly Pearce, celebrated her at Monday’s ceremony.
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“What matters is the impact she’s continued to have on this industry, the genre, on me and on all of the next generation of female country artists,” Pearce said.
Pearce recalled several of the kind gestures Yearwood has made to her over the years, including greeting her backstage at the Opry and sending gifts from Yearwood’s line of pet products, for Pearce’s dogs Johnny and June, and inducting Pearce as a member of the Grand Ole Opry.
“What a full-circle moment and honor for me to get to be here to help usher in this historic achievement after all the times Trisha has stood by my side,” Pearce said. “She is as beautiful on the inside as she is the outside, and I believe her loved ones would say that she is the same, down-to-earth girl she has always been. I’m grateful to have such a wonderful blueprint for what it means to have an impactful career, but also most importantly what it means to be a good person. In an industry where people will chew you up and spit you out, Trisha is the warm hug. And don’t we all just need a Trisha Yearwood and a warm hug in our lives? This star is one not everyone will achieve, but where you belong.”
Yearwood’s fellow Hollywood Walk of Fame member McEntire recalled first meeting Yearwood at the ACMs in the 1990s, at a party after the show.
“I came by and sat with you and your mom…and I thought, ‘I love her already, she’s sittin’ with her mom,’ cause my mom and I were real close, just like you and your mom,” McEntire said. “Your dry sense of humor and wit won my heart….You were funny and the years just kept going by and we got to hang out and be with each other, we got to sing together and have dinners together. You taught me a lot about cooking on your cooking show and she was like, ‘Oh poor little Reba. I’m going to help her learn how to cook,’” she said with a grin. “And I appreciated that more than you know. But our friendship throughout the years means the world to me, because girls out on the road need a buddy and we are in the country music business where girls stick together. We have fun together, we complain and gripe to each other, because you can’t do that with anybody else, nobody else understands. So congratulations today, I’m thrilled to pieces for you…I love you with all my heart and congratulations.”
Among those in attendance was Yearwood’s husband and fellow country artist and Hollywood Walk of Famer Garth Brooks, who could be seen wiping away tears during the ceremony.
Hollywood Chamber of Commerce president/CEO Steve Nissen introduced Yearwood to the audience and welcomed her to accept her star on the Hollywood Walk of Fame. The ceremony also took place near the iconic Capitol Records building, which also happens to be the place where Yearwood recorded her 2019 album Let’s Be Frank, an album of Frank Sinatra classics.
“This street represents creative genius, innovation, brilliance, recognized by your peers,” Nissen said, before Yearwood was presented with a resolution from the city council of Los Angeles.
Yearwood said, “It’s one of those surreal moments. My team, Team TY, who are all here and who I love, we all talk about being where your feet are and I’m trying to be where my feet are, but it’s very surreal to be here. It’s such an honor and the thing that makes it so special are the people who are here. I see a lot of faces in the crowd, who have been coming to see me since 1991. I love you and you know that, because all I ever wanted to do was to sing.”
To Pearce, Yearwood said, “Carly, your words were so kind. I want to tell you that when I met you for the first time, it was at a CMT Awards show and I just immediately knew that you were genuine. I knew I wanted to be your friend. So it’s been my honor to get to know you a little bit.”
Of McEntire, Yearwood said, “The person that taught me how to do that was the first artist who was so kind to me at an awards show and that was Reba McEntire, who just exemplifies friendship and class. She sent me flowers at my first awards show when nobody even knew I was in the dressing room. I though they were from my mom and dad and then I saw they were from Reba and I’m like, ‘Oh, okay.’ I’m so blessed that you and I have become more than just colleagues, but friends that get to hang out, because you’re right. There’s a misconception that female artists in particular are always climbing at each other and trying to get at each other, but the truth is, we’re all cheering for each other and with each other. This is an example of that. These girls, from every generation of country music, we’re all for each other.”
She also thanked the members of her team, Team TY, saying, “We are a team, I love you so much.” She added, “My family, my sister Beth, who is the crier, more than my husband actually. Her and her husband John are here representing our parents, who I know are here in this moment and just loving every second, especially my mom. She’s loving a star on Hollywood Blvd.” Yearwood continued by thanking her longtime producer Garth Fundis, saying, he is “the man who brought me ‘She’s in Love With the Boy,’ he brought me ‘The Song Remembers When,’ he brought me ‘Walkaway Joe,’” and thanked him for “helping me make my dreams come true.”
She also thanked her husband Brooks, calling him, “the one who has really been a cheerleader and one who, as many accolades and awards as he has won, I never see him get more excited than he does when I receive something. And for all the people who want this for me, nobody wants it more than you and I appreciate you for being my support. We’re down a few stars from each other, but we’ll figure out something, we’ll put out some breadcrumbs or something,” she added, jokingly. “I want to thank you all for taking out your time on this gorgeous day to be here for this star.”
McEntire and Pearce then joined Yearwood to reveal Yearwood’s newly minted star on the Hollywood Walk of Fame.
Among the Georgia native’s accolades are three Grammy wins, three CMA Awards, membership in the Grand Ole Opry and the Austin City Limits Hall of Fame, the ACM Honors icon award and CMT’s inaugural June Carter Cash humanitarian award. She won her first Grammy for best country vocal collaboration, for a collaborative rendition of the Patsy Cline classic “I Fall to Pieces” with Aaron Neville. She picked up two more wins, for best female country vocal performance (“How Do I Live”), and for best country collaboration with vocals (“In Another’s Eyes”) with husband Garth Brooks.
The Belmont University alumna has amassed numerous hits including her breakthrough “She’s in Love With the Boy,” as well as “How Do I Live,” “XXXs and OOOs (An American Girl),” “The Song Remembers When,” “I Would’ve Loved You Anyway,” “Believe Me Baby (I Lied),” and “Thinkin’ About You.”
Beyond the 15 albums she has released, she is also host of the Emmy-winning Food Network show Trisha’s Southern Kitchen. She’s written four New York Times bestselling cookbooks and has had cookware, furniture and home accessories lines. She also co-owns the Nashville bar Friends in Low Places with Brooks, with menus created by Yearwood.
Ahead, Yearwood is prepping her upcoming new album, which will feature her own work as a songwriter on each of the tracks. She’s previewed the project with the lead song “Put You in a Song.” Beyond her own business initiatives, Yearwood supports a range of charitable causes, including her longtime work with Habitat for Humanity, her support for breast cancer research and her nonprofit Dottie’s Yard which aids shelters and animal rescue causes.
The Hollywood Walk of Fame launched in 1961. Other country artists with with stars on the Hollywood Walk of Fame include Brooks, Roy Acuff, Clint Black, Johnny Cash, Patsy Cline, Brooks & Dunn, Freddy Fender, Lefty Frizzell, Crystal Gayle, Vince Gill, Alan Jackson, Loretta Lynn, McEntire, Tim McGraw, Buck Owens and Charley Pride.
This week’s collection of new music features a somber new track from Eric Church, who has set his upcoming album, Evangeline Vs. The Machine, for May. Jeannie Seely welcomes Hannah Dasher and Tiera Kennedy for a new collaboration, while Lukas Nelson, Valerie June and Riley Roth offer new music.
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Check out all of these and more in Billboard‘s roundup of the best country, Americana and bluegrass songs of the week below.
Eric Church, “Hands of Time”
Horns, guitars, passionate choral voices and Eric Church’s signature swaggering voice swirl together on this new release written by Church and Scooter Carusoe. The song builds into a punchy, rock-fueled anthem as Church sings of turning to simple pleasures — particularly music — to fend off the impact of the passing decades. “We ain’t as young as we used to be, but young at heart is so easy/ When you let some loud guitars and words and rhymes handle the hands of time,” he sings, giving praise to artists including Kris Kristofferson, Tom Petty and Bob Seger; suitably, the sound of a ticking clock winds down the song. “Hands of Time” is from Church’s upcoming new album, Evangeline Vs. The Machine, out May 2.
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Lukas Nelson, “Ain’t Done”
After parting ways with his longtime band Promise of the Real in 2024, Lukas Nelson transitions into his first solo outing with “Ain’t Done,” from his upcoming debut solo album American Romance, out June 20 on Sony Music Nashville. Written by Nelson and Aaron Raitiere, “Ain’t Done” pulls back on the hard-charging, full-band sound, opting for a more bare-bones sound bolstered by slabs of fiddle. He looks at life’s various shifts with an even-keeled perspective, in a song that seems in some ways to mirror his own current season of musical transition. “There’s a guarantee with every evening sun/ Nothing lasts and God ain’t done,” he sings. Though in a newly solo venture, Nelson’s new music still brims with the insightful songwriting and grizzled voice he’s known for.
Valerie June, “Sweet Things Just For You”
Valerie June previews her upcoming album Owls, Omens and Oracles (out April 11 on Concord Records) with this musical collaboration with Norah Jones (on backing vocals) and producer M. Ward. Breezy and straightforward, this romantic track finds June singing about absorbing the light and positivity from a significant other, and desiring to mirror that love and affection back toward them. Plucked guitar bolsters this sweetly sung piece of sincere affection, which offers a charming glimpse into June’s upcoming project.
Jeannie Seely, Hannah Dasher and Tiera Kennedy, “Who Needs You”
“Miss Country Soul” Jeannie Seely, who has performed more than 5,400 times on the Grand Ole Opry during her 58-year career, teams with a new generation of country artists — Tiera Kennedy and Hannah Dasher — on this twangy post-breakup anthem that feels perfectly suited for a girls’ night out. Written by Seely, “Who Needs You” features the three entertainers musing that 100-proof whiskey, a new romance and some moments of recreational smoking are all preferred alternatives to returning to an ex-lover. Seely’s voice brings in a slice of gritty wisdom, Dasher’s vocal purrs with sweetness, while Dasher offers up both humor and wit. “Who Needs You” is one of a slate of collaborations Seely is releasing, including work with Mae Estes (“Let’s Get Together”) and Madeline Edwards (“Anyone Who Knows What Love is (Will Understand)”).
Riley Roth, “Right Where We Left Off”
After releasing the 2024 TikTok wedding anthem “Give Me Away,” Riley Roth returns with a sentimental new song centered on paying homage to unbreakable friendship. Time and distance can’t chip away at the rock-solid bond these friends have forged over years of supporting each other through heartbreak, life pivots and a host of trials and triumphs. This sweetly sentimental track and churning, bubbly instrumentation fits her soft, conversational voice well. “Right Where We Left Off” was written by Roth with Lauren McLamb and Kyle Schlienger.