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Following singer-songwriter Zach Bryan‘s breakup with ex-girlfriend Brianna LaPaglia (aka Brianna Chickenfry), it seems some online users have been intent on trying to discover whether the Billboard Hot 100 chart-topper has a new girlfriend. And according to Bryan, some of those users have been “harassing” his friends in the process.
In a series of Instagram Stories on Jan. 9, Bryan railed against “f–kin weird couch warriors” whom he claimed have been “attacking and belittling my friends on the internet because you’re assuming I have a girlfriend.” Bryan added, “Everyone wonders why I quit touring and don’t want to be attached to music anymore, meanwhile you’re calling my friends ugly and harassing them?”
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He also clarified his current dating status, saying, “I don’t have a girlfriend and don’t plan on having a girlfriend however I do have normal friends that I love very much and would go to the ends of the earth for…you do not know me. You never will know me. Stop acting like you do.”
He continued, “I am allowed to have love, laughter and good people in my life. No matter how bad of a person you think I am, go ahead and come for me. I can take all the hatred because I’m not a child. But do not come for my friends who do nothing but love and care for me. Everyone wants you to have fun and make great music but you guys are making it really hard to do that with my friends getting insulted and death threats every day.”
Bryan also noted, “Every day I lose a little more faith in humanity and everyday I get closer to never being in the public’s [sic] eye again which is incredibly sad because I truly do really love humans and being happy and joking around and laughing a lot. I love my life. I’ve worked very hard for it. Whether you think I deserve it or not. Stop being such sad and fat fingered internet sleuths to my friends. We’re all humans and I’m so tired of people thinking social media is a way to have a high moral ground on people they’ve never met? Guess people aren’t humans anymore since they can hide behind screens? Weird a–holes man ok I’m done.”
His series of Instagram Stories entries continued as the former Navy member (he was honorably discharged following eight years of service), who also weathered the passing of his mother in 2016, spoke out against people trying to give him unsolicited advice about grief and coping with fame.
“Ahh, one more thing: I don’t need people telling me to hang in there, sympathizing with me, or giving me advice on how to handle something or things they’ve never coped with,” he wrote. “I lost my mother, I’ve been in war zones, and I’ve battled this whole fame thing for five years. Respectfully I don’t need your unsolicited advice. I’m a grown man. I promise I can get through some little bullies on the internet hahaha. I am so terrifyingly unphased [sic] by the fake s–t people say about me online but coming for people I love and care for is my line and my final straw. Okay have a good day everyone love you miss you.”
Bryan recently wrapped his The Quittin’ Time Tour, which played a slew of top venues, including numerous stadiums, throughout 2024. Last year, he also issued the album The Great American Bar Scene, which rose to No. 2 on the Billboard 200.
A month ago, when holiday shoppers were scrolling through websites for gifts and rockin’ around the Christmas tree, it was easy to miss the quiet release of a three-song EP by the developing sister trio The Castellows.
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But tucked onto the end of Alabama Stone, issued Dec. 6 by Warner Music Nashville (WMN), was an exquisitely melancholy song, “Girl That Boy,” that’s a bit of a mystery. Even though the listener doesn’t know it’s a mystery the first time through until the last few seconds.
At the end of its three-and-a-half-minute run, “Girl That Boy” employs a lyrical flip, unexpectedly changing its innocent meaning. It’s jarring, refreshing – and practically demands a second listen, if for no other reason than to figure out how the storyline ended up in such a surprising place. It’s such a fluid revision that the song’s conclusion can be seen in at least five or six nuanced ways, a scenario that’s entertaining to the group.
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“People will talk to me about our songs and be like, ‘Oh, I love what you meant when you did that lyric,’” says The Castellows’ Ellie Balkcom. “I’m like, ‘That’s not what I meant, that’s not what I was intending.’ But also seeing alternate meanings from what other people have [imagined] is so cool.”
The inverted finale in “Girl That Boy” isn’t just a surprise to the audience. All five writers were likewise shocked when the song’s narrative wrapped with an unplanned meaning. “It just turned into a completely different song,” says Kendell Marvel (“Either Way,” “Right Where I Need To Be”).
Marvel and The Highwomen’s Natalie Hemby (“Bluebird,” “Pontoon”) started building the mystery with all three of The Castellows – 20-something sisters Ellie, Lily and Powell Balkcom – on Nov. 29, 2023, in Nashville. Marvel didn’t know much about the group, but he was quickly impressed by their skill set and demeanor.
“They were super-smart, you can tell – very respectful and just talented musicians, so far ahead of their time for their age,” Marvel says. “I was really blown away by how grown up they were with their songwriting. And I just had that title, ‘Girl That Boy,’ and had this idea on what I thought it should be, and I thought they were the right artists for it. They were the right age to be saying something like this.”
He envisioned “Girl That Boy” as a mother warning her daughter about the pitfalls of dating a specific guy. But instead of drawing on The Castellows’ firsthand dating experiences, the writers instead focused on a long-established relationship. “They’re very close to their parents,” Hemby notes, “and we all started talking about what their mom would say about their dad. It was an interesting journey.”
Hemby started playing piano in the key of D, easing into a musical progression with a handful of major-seventh chords and minor triads that created a frail framework. She also launched into a melody that emphasized the moody notes in the chords. The text opened with a conversational line that incorporated the hook: “Mama said, ‘Girl, that boy will try to hold your hand.” They repeated the “Girl That Boy” title at the beginning of each successive section of verse – that boy would “try to kiss you” and “try to change your name.”
“We were using things we see in our parents to write that song,” Ellie says, “even if we weren’t [doing it] deliberately.”
But at the end of the last verse, as Mom tells her daughter that this guy is actually good for her, she suddenly changes the relationship: “Girl, that boy, he was your dad.” Suddenly, it was clear that “Girl That Boy” wasn’t really the romantic song it seemed; instead, it celebrated the protective nature of a typical father-daughter relationship. “We didn’t write the song thinking, ‘Oh, let’s flip it at the end,” Hemby recalls. “That was something we just ended on. It was kind of an accident.”
Though they’d written the verses in linear fashion, they struggled with the chorus that day and ultimately tabled it for another two weeks, meeting up again at 9 a.m. on Dec. 14 to tackle it again before they headed off to other writing sessions. “Just because you started that day doesn’t mean you’re supposed to finish it that day,” Hemby says. “It’s good to let it breathe for a minute.”
When they reassembled at Concord Music, the work went fairly quickly. They developed a chorus that suggested youth – “He’s gonna make you mad and act a fool/ ‘Cause he’s got a lot of growing up to do” – but would fit the eventual flip. To match it, the center of the chorus melody landed about six notes higher than the verses, providing a lift, though it concentrated on the related key of B-minor, emphasizing the mystery sonically. And that chorus never once included the hook.
Marvel recorded a gruff-but-emotional work tape, and the Balkcoms made their own work tape with three-part harmony that was, Ellie says, “rough around the edges.”
WMN tapped Durham, N.C.-based producer Brad Cook (Nathaniel Rateliff & the Night Sweats, Bon Iver) to produce two songs. But once they got into Sound Emporium, they expanded the work to five tracks, including “Girl That Boy,” which Cook hadn’t previously heard. After Ellie played it through, the studio group – including Cook on bass, Powell on banjo, Ellie and Mike Harris on guitar, and Eric Slick on drums – instinctively chased down the arrangement without any real planning. Not that they needed any.
“A big part of my job is reharmonizing things,” Cook says. “Maybe we can pull out a different emotion if we reharmonize a part of the song, or switch up the changes here and there. But that one was definitely as-is.”
The musicians applied a less-is-more approach, with minimal fills and swells while The Castellows’ parents watched from the control room. Once those spare instrumental parts – including Ellie’s piano overdub – were completed, the Balkcoms cut their vocals facing each other with three different mics in the center of the main studio with Lily on lead vocal, Ellie singing high harmonies and Powell on the low end. It created more of a unified dynamic than had they worked in separate vocal booths.
“I’ve had this happen with young people before, where most of their entire experience has been them hearing each other in proximity,” Cook notes. “To separate that can take out an element of what they understand at this stage. I hadn’t done that, frankly, in a very long time, trying to get isolated group vocals with minimal bleed in the same room.”
At a later date, Cook had Thomas Rhett’s steel guitarist, Whit Wyatt, put a little more melancholy on the track, and Cook overdubbed a cello part he wasn’t sure The Castellows would appreciate. “We told him to turn it up,” Ellie says.
The result is a gorgeous, haunting performance that sounds a tad harmonically like the Trio: Dolly Parton, Linda Ronstadt and Emmylou Harris. It may have made just a small ripple during the holidays, but some those who unwrapped “Girl That Boy” have flipped out over its flip, and its sweet vulnerability.
“I try not to pay attention to it too much,” Ellie says, “But people who know us personally [were] like, ‘I cried when I heard the end of the song.’ My cousin sent me a picture of her in tears. We’ve gotten a really positive reaction from it. I’m happy – really happy – it’s out.”
Chris Stapleton is extending his All-American Road Show through summer 2025, and the burly-voiced Kentucky native is using the trek to not only play some iconic U.S. venues such as New York’s Madison Square Garden, but also to highlight the talents of an array of artists who will be opening shows on the tour. Explore […]
The state funeral for former President Jimmy Carter featured a number of reverent tributes to the nation’s 39th commander-in-chief. But one of the most touching moments during Thursday morning’s (Jan. 9) event came when country couple Garth Brooks and Trisha Yearwood performed a moving cover of John Lennon’s 1971 homage to peace, “Imagine.”
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Brooks played the song’s iconic melody on an acoustic guitar, singing, “Imagine there’s no heaven/ It’s easy if you try/ No hell below us/ Above us, only sky,” his voice echoing through the majestic 188-year-old Washington National Cathedral, which has hosted the funeral and memorial services for almost all of the 21 Presidents who’ve died since Congress approved its charter in 1893.
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The deliberate pace of the performance — and the addition of a piano accompaniment — appeared to move many of the dignitaries on hand, which included all the former living Presidents. Soon-to-be-ex-President Joe Biden bowed his head at one point as his successor, former President Donald Trump seemed to close his eyes briefly during the performance.
“You may say I’m a dreamer/ But I’m not the only one,” Brooks sang as wife Yearwood joined in, matching his vocals on the lines, “I hope someday you’ll join us/ And the world will live as one.” That final line was delivered as the couple looked into each other’s eyes and held the moment for a beat, with Brooks leaning in to give Yearwood a kiss on the cheek.
The choice of the song — which was one of three-time Grammy winner Carter’s favorites — was an interesting one, given the late 39th President’s deep faith. Carter taught Sunday school in his native Plains, GA nearly every weekend after leaving the White House in 1981 and often spoke of the importance of religion in his life. In contrast, Lennon’s song features the lines “Imagine there’s no countries/ It isn’t hard to do/ Nothing to kill or die for/ And no religion, too.”
The song’s messages of peace, unity and “no need for greed or hunger,” and the dream of a “brotherhood of man,” however, more closely mirror Carter’s humanitarian post-White House efforts, which included building houses with Habitat for Humanity, and a Nobel Peace Prize in 2002 for his efforts to promote human rights around the world.
The performance was one of the first public appearances by Brooks and Yearwood — who often joined Carter on his Habitat For Humanity efforts — since an anonymous woman filed sexual assault charges against Brooks in October, accusing him of sexual battery, assault and battery; Brooks has adamantly denied the claims.
Carter, who died on Dec. 29 at age 100, was the longest-lived President in U.S. history and the first to live to the century mark. In addition to Biden and Trump — as well as their wives, First Lady Dr. Jill Biden and Melania Trump — the funeral was attended by former Presidents Barack Obama, Bill Clinton, former Secretary of State Hillary Clinton and George W. and Laura Bush, as well as Vice President Kamala Harris and Second Gentleman Doug Emhoff; CNN reported that former First Lady Michelle Obama was unable to attend due to a scheduling conflict.
In addition to the Brooks/Yearwood performance and a number of other moving tributes from Carter’s family, the funeral included a eulogy by Biden, who is less than two weeks away from the end of his term, after which he will be replaced by twice-impeached former President Trump.
The President repeatedly hailed Carter’s deep faith and strong moral outlook, noting that he was likely the first Senator to endorse Carter’s long-shot 1976 candidacy, “based on what I believe is Jimmy Carter’s enduring attribute: character, character, character.” Biden added, “Jimmy Carter’s friendship taught me, and through his life, taught me, that strength of character is more than title or the power we hold. It’s the strength to understand that everyone should be treated with dignity, respect, that everyone, and I mean everyone, deserves an even shot.”
After the funeral, Carter’s body will be flown back to Georgia for a private family funeral before he is buried on the grounds of his home in Plains next to his late wife of 77 years, Rosalynn Carter.
Watch footage of the “Imagine” performance below.
Devastating wildfires have ravaged thousands of acres in and around Los Angeles over the past few days, burning homes and businesses and devastating communities including Pacific Palisades, Pasadena and Altadena. The wildfires also claimed a home in Pacific Palisades that at one time belonged to country singer Brad Paisley and his wife, actress Kimberly Williams-Paisley. […]
Two of country music’s most unfiltered, visionary artists —Jelly Roll and Eric Church — will close out 2025’s annual Country Radio Seminar in Nashville by teaming up for an unscripted, intimate conversation.
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The event will take place on Friday, Feb. 21, as the two CMA Award-winning artists close out this year’s radio-focused seminar, which runs Feb. 19-21 at the Omni Hotel in Nashville. The annual seminar features a mix of radio and music industry-focused panels, networking events, concert, label luncheons and the annual New Faces of Country Music Showcase. (Jelly Roll was a featured performer in the New Faces of Country Music showcase in 2023, while Church was part of the showcase in 2007.)
Last year’s Country Radio Seminar featured conversations from artists including Lainey Wilson, Trisha Yearwood and Megan Moroney.
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“We are thrilled to have Eric Church and Jelly Roll close out CRS 2025,” RJ Curtis, Executive Director of CRS, said in a statement. “Their ability to connect with fans and push the boundaries of the genre makes this session a perfect culmination of this year’s seminar.”
Jelly Roll recently earned his first all-genre Billboard 200 chart-topping album with Beautifully Broken, and was nominated for entertainer of the year at the 2024 CMA Awards. Last year also saw the Antioch, Tenn., native launch his Beautifully Broken headlining arena tour and play his first international tour dates. He appeared at the Kids’ Choice Awards and on WWE, and teamed with MGK for the collaboration “Lonely Road,” as well as with Post Malone for the song “Losers” as part of Posty’s F-1 Trillion album.
Earlier this year, following the devastation of Hurricane Helene, which impacted Church’s home state of North Carolina, he released the song “Darkest Hour (Helene Edit)” and teamed with Luke Combs, Billy Strings and more to hold Concert for Carolina, a benefit concert that raised more than $24 million for hurricane relief efforts.
From a new album to a new tour, Billboard tries to deduce what Queen Bey’s mysterious announcement will entail.
The upcoming Field & Stream Music Fest has revealed its slate of performers for the Oct. 3-5 event set for Winnsboro, S.C. Eric Church, Miranda Lambert, Riley Green, Bailey Zimmerman, Lynyrd Skynyrd and ZZ Top have top billing at the festival, which is co-produced by Field & Stream alongside key investors Church, Morgan Wallen and Southern Entertainment.
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The three-day festival will feature more than 40 artists performing on multiple stages. Alongside the headliners, the fest will feature performances from artists including Shane Smith & The Saints, Kameron Marlowe, Boy Named Banjo, Ashland Craft, David Lee Murphy, Taylor Richardson, Maddie Rean, Whey Jennings, Larry Fleet and more.
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One of the key differentiators for this upcoming fest is the number of activities it offers beyond hearing musical sets. The fest offers themed “villages,” such as the Ugly Stik Fish on America Village, which gives fishing tips and casting competitions, while the OnX Hunt Village showcases various outdoor gear and gives expert-led demonstrations. The GameWatch Football Showdown Village delivers a place for sports fans to watch games on massive screen and offers a fully stocked bar and various activities. The fest also offers excursions such as trophy fishing, archery, mountain biking and off-road tours, while the At the Field & Stream Expo will highlight interactive exhibits and showcase new outdoor innovation from top brands.
The 2025 Field & Stream lineup comes after last year’s festival (which was to be its inaugural year) was postponed due to the destruction Hurricane Helene brought to the Carolinas and other states. Last year, Church and Wallen teamed up to acquire the iconic Field & Stream brand. In addition to announcing the music festival, the acquisition also included reviving Field & Stream in print, starting the Field & Stream 1871 Club and more.
Pre-sales for the 2025 Field & Stream Music Fest launch Thursday, Jan. 9, for Field & Stream 1871 Club Members, with tickets on sale to the general public Friday, Jan. 10.
See the full lineup below:
Multi-faceted musician Billy Strings is bolstering his 2025 touring schedule with a slate of added headlining concerts throughout the spring and summer.
The nearly 20 newly-added dates begin April 3 with three concerts in St. Augustine, Fla. at the St. Augustine Amphitheatre, with more shows set for states including Georgia, Michigan, Missouri and Illinois. The trek winds down with two shows at Lexington, Ky.’s Rupp Arena on June 20-21.
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Pre-sale for all of his April through June shows launch Jan. 8, and general on-sale begins Jan. 10. These shows follow several of Strings’s show which are slated for January, February and March, including six sold-out shows in Asheville, N.C. in February, and a trio of shows in Nashville, Tenn. in February and March.
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Beyond touring, Strings has issued a pair of collaborations in recent months, appearing on Post Malone’s F-1 Trillion album on the song “M-E-X-I-C-O,” and teaming with Zach Top on the Apple Music Sessions Nashville EP, where they revisited two of Top’s own songs, as well as a cover of Ricky Skaggs’s “Don’t Cheat in Our Hometown.”
In October, Strings’s album Highway Prayers became the first bluegrass album to reach No. 1 on Top Album Sales chart since 2002. Strings’s album Live: Vol. 1 is also up for best bluegrass album at the 2025 Grammy Awards, which return to Los Angeles’ Crypto.com Arena on Sunday, Feb. 2.
See the list of added shows for Strings’s 2025 Spring tour dates below:
April 3: St. Augustine, Fla. (St. Augustine Amphitheatre)April 4: St. Augustine, Fla. (St. Augustine Amphitheatre)April 5: St. Augustine, Fla. (St. Augustine Amphitheatre)April 9: Tampa, Fla. (Yuengling Center)April 11: Savannah, Ga. (Enmarket Arena)April 12: Savannah, Ga. (Enmarket Arena)April 15: Charlottesville, Va. (John Paul Jones Arena)April 17: Cary, N.C. (Koka Booth Amphitheatre)April 18: Cary, N.C. (Koka Booth Amphitheatre)April 19: Cary, N.C. (Koka Booth Amphitheatre)May 30: Grand Rapids, Mich. (Van Andel Arena)May 31: Grand Rapids, Mich. (Van Andel Arena)June 6: Rosemont, Ill. (Allstate Arena)June 7: Rosemont, Ill. (Allstate Arena)June 11: Kansas City, Mo. (T-Mobile Center)June 13: St. Louis (Chaifetz Arena)June 14: St. Louis (Chaifetz Arena)June 20: Lexington, Ky. (Rupp Arena)June 21: Lexington, Ky. (Rupp Arena)
Country Music Hall of Famer Reba McEntire is set to star in and co-produce the upcoming film The All-Girl Filling Station’s Last Reunion, an adaptation of the 2013 novel of the same name by Fannie Flagg, Deadline reports. The All-Girl Filling Station’s Last Reunion follows an Alabama family whose legacy and bonds are tested when […]