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Warner Chappell Music has signed a global publishing deal with artist-writer Morgan Wallen. As part of his deal, Wallen will have the ability to sign songwriters in partnership with WCM.

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Wallen has earned 10 No. 1 Billboard Country Airplay hits and has sold out arenas and stadiums on his One Night at a Time tour. But he’s also been deeply involved in writing many of his own chart-topping hits including “7 Summers,” “Chasin’ You,” “You Proof” and “Thought You Should Know.” Wallen’s third studio album, One Thing at a Time, has spent 18 weeks atop the Billboard 200 chart, and was named Luminate’s top album of 2023 in the U.S. Wallen was honored with the songwriter of the year accolade at the 2023 BMI Country Awards last year.

As a songwriter, Wallen’s prolific abilities as a songwriter have extended to writing songs that have become hits for Kane Brown, Jason Aldean, Keith Urban, Corey Kent and other artists.

Wallen said in a statement: “I look forward to working with Warner Chappell as my new music publishing partner and would like to thank them for also offering support in signing songwriters I believe in. In many ways, I feel like I’ve always been a songwriter first, and because of that, the publishing community is especially close to my heart. I’m honored to use this partnership as an opportunity to give other songwriters a helping hand. Thanks to Ben, Phil, Jessi, and their great team.”

Ben Vaughn, president/CEO, Warner Chappell Music Nashville, said in a statement, “When you listen to the craftsmanship of songs that Morgan is writing, such as the modern-day classics ‘7 Summers’ and ‘Thought You Should Know,’ and the impactful songs he’s written for other artists like ‘You Make It Easy’ (Jason Aldean) and ‘Wild As Her’ (Corey Kent), you start to understand that the man from East Tennessee is quickly becoming one of the most important songwriters of this generation. Our entire Warner Chappell team is so proud of the opportunity to represent his songs.”

Jessi Vaughn Stevenson, Sr. Director, A&R and Digital, Warner Chappell Music Nashville, added, “Morgan’s songwriting style has been original and distinct from the beginning and it is so exciting to get to work with someone who has seen massive commercial success built on authenticity.”

Country music icon Toby Keith has died at 62 following a three-year battle with stomach cancer. The singer-songwriter known for such patriotic anthems as “Courtesy of the Red, White and Blue (The Angry American)” and “Made in America” passed “peacefully last night on February 5th, surrounded by his family,” according to a statement on his official website. “He fought his fight with grace and courage.”
Keith was diagnosed with cancer in 2021 and revealed the news to fans a year later, telling them that he was undergoing chemotherapy, radiation and having surgery. He returned to the road to play a pair of pop-up gigs in his hometown of Norman, OK during the summer of 2023 and made his first TV appearance since the diagnosis in September, when he performed at the first-ever People’s Choice Country Awards, at which he received the Country Icon award.

At the time he gave an update on his condition, saying, “I’ve walked some dark hallways. Almighty’s riding shotgun. But I feel pretty good, you know? You have good days and bad days. It’s a little bit of a roller coaster. I’m doing a lot better than I was this time last year… I’ve always rode with a prayer. As long as I have Him with me, I’m cool. You just have to dig in. You don’t have a choice.” That night, the visibly skinnier singer elicited many tears in beers when he sang the moving “Don’t Let the Old Man In,” a track about a man facing death that he’d written for Clint Eastwood’s movie The Mule.

The 6′ 3″ singer who as born Toby Keith Covel on July 8, 1961 in Clinton, OK worked in the oil industry and played in the USFL football league before pivoting to music. Keith busked on Music Row in Nashville in an attempt to break through, handing out his demos to no avail and making a vow to get a contract before hitting 30 or quit the business. His big break came a short time later when a flight attendant handed his demo to Mercury Records exec Harold Shedd, who signed him to the label.

Keith’s 1993 self-titled Mercury debut featured such traditional country tunes as “Should’ve Been a Cowboy” and “A Little Less Talk and a Lot More Action.”

Keith, who wrote or co-wrote many of his own songs and had a chart-topper out of the gate with “Cowboy,” a trad country song that harkened back to a dustier time with references to Gunsmoke, ropin’ and ridin’, six shooters and Gene Autry and Roy Rogers; it went on to be one of the most-played country songs of the decade.

His follow-up albums, 1994’s Boomtown and 1996’s Blue Moon continued his early streak of success with hits such as the No. 1 Billboard hot country songs charting “Who’s That Man” and “Big Ol’ Truck” (No. 15) from the former and “Does That Blue Moon Ever Shine on You?” (No. 2) and “Me Too” (No. 1) from the latter.

His fourth and final album on Mercury, Dream Walkin’, continued his hot run on the Billboard country songs chart with another passel of top 10 charting tracks, including “We Were in Love” (No. 2), “I’m So Happy I Can’t Stop Crying” (No. 2) and the title track (No. 5). He moved over to Dreamworks Records in 1999 for How Do You Like Me Now?, whose title track proved to be his mainstream breakthrough, spending five weeks at No. 1 on the country chart and providing his first pop charting track when it hit No. 31 on the Billboard Hot 100. He followed up with 2001’s Pull My Chain, which spun off three more hot country songs chart-toppers: “I’m Just Talkin’ About Tonight,” “I Wanna Talk About Me” and “My List.”

In a town where artists often rely on professional songwriters to help hone their voice, Keith was proud to write or co-write many of his own tracks, telling Billboard in 2018 that, “I wanted to be better at it and I wanted to write the best songs I could write. So if I wouldn’t have gotten a recording contract and had some success, I would have still been pitching songs. God forbid, if something ever happened to you and you couldn’t sing no more or perform, you could still write songs.”

The singer won the Academy of Country Music’s top male vocalist and album of the year award in 2001 and the following year his duet with hero Willie Nelson, “Beer For My Horses,” from 2003’s Unleashed album, peaked at No. 22 on the Hot 100, marking Keith’s highest-charting pop single to date. Despite the playful title, the lyrics penned by Keith and and frequent collaborator Scotty Emerick hinted at a a dark underbelly to the American dream, with images of people being shot, abused, someone blowing up a building and stealing a car.

The vengeful refrain tapped into a deep vein of outlaw values and patriotic themes Keith would become known for on lines such as, “Grandpappy told my pappy, back in the day, son/ A man had to answer for the wicked that he done/ Take all the rope in Texas find a tall oak tree/ Round up all them bad boys, hang ’em high in the street/ For all the people to see/ That justice is the one thing you should always find/ You got to saddle up your boys, you got to draw a hard line/ When the gun smoke settles we’ll sing a victory tune/ And we’ll all meet back at the local saloon.”

Following the death of his father — a Navy veteran — in a traffic accident in 2001 and the Sept. 11 terror attacks, Keith channeled his rage and emotion into the controversial hit “Courtesy of the Red, White and Blue (The Angry American)” from his 2022 Unleashed album. The jingoistic song hit No. 1 on the hot country singles & tracks chart and No. 25 on the Hot 100 and became a flag-waving staple of Keith shows thanks to the lyrics, “Justice will be served and the battle will rage/ This big dog will fight when you rattle his cage/ And you’ll be sorry that you messed with the U.S. of A./ ‘Cause we’ll put a boot in your ass/ It’s the American way.”

Through 19 albums, Keith repeatedly returned to themes of American life and symbolism on songs such as “American Soldier”and “Made in America.” He also mixed in many signature, more light-hearted drinking songs, including “I Love This Bar,” “Whiskey Girl,” “I Like Girls That Drink Beer,” “Get Drunk and Be Somebody” and one of his most enduring anthems, “Red Solo Cup,” which marked his peak Hot 100 success at that point when it reached No. 15.

In addition to his long music career, Keith also dabbled in acting, appearing Ford truck commercials and starring in the 2005 film Broken Bridges as country also-ran Bo Price, as well as 2008’s Beer For My Horses, which he wrote and starred in. The entrepreneurial singer also lent his name a chain of Toby Keith’s I Love This Bar & Grill restaurants, with outlets from Oklahoma to New York, Michigan, Las Vegas, Arizona, Minnesota, Massachusetts, Cincinnati and several other states.

Keith was inducted into the Songwriters Hall of Fame in 2015, the Nashville Songwriters Hall of Fame in 2021 and received the Merle Haggard Spirit Award from the ACM in 2020, as well as the National Medal of the Art in 2021. As a testament to his prodigious songwriting abilities — he scored 52 top 10 hits and 32 No. 1s — Keith released a 13-track collection entitled 100% Songwriter in November, featuring some of his biggest hits.

Keith Urban offers a joyous, retro feel with his new release, while Lee Brice and CCM duo for King + Country team up for an introspective ballad. Relative newcomers Karley Scott Collins and Tyler Braden offer stellar releases, while Stephanie Lambring delves into the complex nuances of motherhood in her latest release.

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Keith Urban, “Straight Line”

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His first release since 2022’s “Brown Eyes Baby,” Urban’s newest feels like a glorious throwback to some of this Aussie singer/guitar slinger’s classic hook-filled hits. Lively lead guitar, propulsive rhythms, an instantly singable melody and layers of harmonies lead this energetic track. Urban’s vocal, crackling like a warm fire, is at the fore in the mix, as he sings of wanting to shake off monotony and rekindle a zest for life. The song, an early glimpse into his upcoming album, was written by Urban, Chase McGill, Jerry Flowers and Greg Wells, with Urban and Wells producing.

Karley Scott Collins, “Marlboro Reds”

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Sony Music Nashville artist Collins, who was recently named to CMT’s Next Women of Country Class of 2024, wrote this soulful groove with Alex Kline and Scott Stepakoff. Operating over soulful, bluesy twang and swamp-rock, Collins pays homage to her cigarette-smoking, coffee-drinking, thrice-married, wisdom-imparting grandmother. Collins’s voice is equal parts cool gravel and mysterious haze, perfectly suited to this moody groove.

Tyler Braden, “Devil You Know”

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Warner Music Nashville artist Braden officially released “Devil You Know” after teasing the song with a TikTok video that went viral a few weeks ago. On the full track, the Alabama native is all burly-voiced bravado, noting that he’s put his demons in the rear view but warning, “Don’t mistake my kindness for weakness/ ‘Cause I can flip that switch.” Crunchy guitars, galloping rhythm and a ferocious production meld on this confessional grit-country track written by Sam Martinez, Graham Barham, Zack Dyer and Jon Robert Hall.

Stephanie Lambring, “Good Mother”

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With a song both lyrically and melodically haunting, Lambring excavates the complex range of emotions that accompany motherhood, detailing both the mundane (laundry) and fun (pink fingerpaint), as she wrestles with both a child’s overwhelming dependency and the ever-present notion that every meal, every day, every nap means one less day her child will be this little. Along the way, she finds a way to conceal her darker emotions from her child in the name of being a good mother. “Good Mother” is the debut single from Lambring’s upcoming album, Hypocrite, out in April via Thirty Tigers.

Lee Brice and for King + Country, “Checking In”

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Adding to the recent canon of country-Christian collaborations, eight-time Country Airplay chart-leader Lee Brice teams with CCM sibling duo and Curb Records labelmates for King + Country on this tender, well-crafted composition that delves into the regret of an adult too busy to spend time with a parent who calls just to “check in,” and longing to reconnect with them when it’s too late and they’ve passed on. Brice’s voice is warm and conversational as always, and pairs well with the duo’s polished tones. Michael Farren, Kenneth Cooper Hart and Garrett Jacobs wrote “Checkin’ In,” with production from Ben Glover. The song is included on the soundtrack to for King & Country’s film Unsung Hero.

On Feb. 5, 1994, John Michael Montgomery began a career-best four-week domination on Billboard’s Hot Country Songs chart with “I Swear.” The ballad marked his second of seven No. 1s on the ranking.
Authored by Gary Baker and Frank J. Myers, the love song also became a smash for pop/R&B vocal outfit All-4-One, whose version ruled the all-genre Billboard Hot 100 for 11 frames beginning that May.

For Montgomery, “I Swear” was released as the lead single from his album Kickin’ It Up, the first of his two No. 1s on Top Country Albums. The set also arrived atop the Billboard 200, becoming his lone chart-topper, and produced two other Hot Country Songs leaders: “Be My Baby Tonight” and “If You’ve Got Love.”

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Montgomery was born Jan. 20, 1965, in Danville, Ky. His musically inclined family includes older brother Eddie Montgomery, who became half of the duo Montgomery Gentry (with Troy Gentry), and son Walker Montgomery, who made his Grand Ole Opry debut in December.

John Michael Montgomery boasts 20 Hot Country Songs top 10s, from “Life’s a Dance” (No. 4 peak, 1993) through “Letters From Home” (No. 2, 2004). He last led with “The Little Girl” in 2000.

Notably, Montgomery’s fifth Hot Country Songs No. 1, “I Can Love You Like That,” likewise became a hit for All-4-One. After his version topped Hot Country Songs for three weeks beginning in April 1995, All-4-One’s rose to No. 5 on the Hot 100 that August. (Both acts were signed to Atlantic Records at the time.)

Now 59, Montgomery is one of many venerable country hitmakers that have recently announced retirement tours. Among others: Lee Greenwood, The Nitty Gritty Dirt Band, Ray Stevens and Doug Stone.

On Sunday (Feb. 4), Lainey Wilson scored her first Grammy, taking home best country album for Bell Bottom Country. It previously won album of the year at the Academy of Country Music Awards and at the Country Music Association Awards — becoming just the ninth album to win all three awards. Wilson has had a […]

Morgan Wallen’s One Thing at a Time is back at No. 1 on the Billboard 200 for an 18th nonconsecutive week, rising 2-1 on the list dated Feb. 10. In doing so, it ties Garth Brooks’ Ropin’ the Wind for the most weeks totaled No. 1 on the all-genre Billboard 200 chart among country albums. Ropin’ the Wind logged 18 nonconsecutive weeks at No. 1 in 1991-92. (Country albums are defined as those that have appeared on Billboard’s Top Country Albums chart.)

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One Thing at a Time earned 66,000 equivalent album units in the U.S. in the week ending Feb. 1 (up 4%), according to Luminate.

One Thing at a Time continues to have the most weeks at No. 1 among all albums since Adele’s 21 logged 24 nonconsecutive weeks atop the tally in 2011-12. One Thing at a Time debuted atop the chart dated March 18, 2023, and spent its first 12 weeks at No. 1 through early June. It then logged another three weeks in a row atop the list in late June and early July, nabbed its 16th week in charge on the Oct. 14 chart, followed by its 17th frame atop the Jan. 20 chart. In the album’s 48 weeks on the list, it has never dipped below No. 6. One Thing at a Time finished 2023 as both the No. 1 year-end Billboard 200 album and Luminate’s year-end top album.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Feb. 10, 2024-dated chart will be posted in full on Billboard‘s website on Feb. 6. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of One Thing at a Time’s 66,000 equivalent album units earned in the week ending Feb. 1, SEA units comprise 64,000 (up 4%, equaling 87.32 million on-demand official streams of the set’s songs), album sales comprise 1,500 (down 8%), and TEA units comprise 500 (down 1%).

Since the Billboard 200 began publishing on a regular, weekly basis in March of 1956, only 15 albums have spent at least 18 weeks at No. 1 on the Billboard 200. Here’s a recap.

Most Weeks at No. 1 on the Billboard 200:Weeks at No. 1, Title, Artist, Year(s)54, West Side Story, soundtrack, 1962-63)37, Thriller, Michael Jackson, 1983-8431, Rumours, Fleetwood Mac, 197731, South Pacific, soundtrack, 1958-5931, Calypso, Harry Belafonte, 1956-5724, 21, Adele, 2011-1224, Purple Rain, soundtrack, Prince and The Revolution, 1984-8524, Saturday Night Fever, soundtrack, 197821, Please Hammer Don’t Hurt ‘Em, M.C. Hammer, 199020, The Bodyguard, Whitney Houston/soundtrack, 1992-9320, Blue Hawaii, Elvis Presley/soundtrack, 1961-6218, One Thing at a Time, Morgan Wallen, 2023-2418, Ropin’ the Wind, Garth Brooks, 1991-9218, Dirty Dancing, soundtrack, 1987-8818, More of the Monkees, The Monkees, 1967

Two former No. 1s directly follow One Thing at a Time on the latest Billboard 200, as 21 Savage’s American Dream falls 1-2 in its third week (61,000 equivalent album units; down 23%) and Drake’s For All the Dogs is a non-mover at No. 3 (51,000; down 4%).

Noah Kahan’s Stick Season rises 5-4 with 47,000 equivalent album units, though down 2% for the week.

The rest of the top 10 comprises former chart-toppers: Taylor Swift’s 1989 (Taylor’s Version) climbs 6-5 (45,000 equivalent album units; down 3%), SZA’s SOS steps 7-6 (42,000; up 3%), Swift’s Lover bumps 10-7 (40,000; up 6%), Zach Bryan’s self-titled album ascends 9-8 (nearly 40,000; up 3%), Swift’s Midnights climbs 11-9 (38,000; up 1%) and Wallen’s Dangerous: The Double Album goes 13-10 (37,000; up 6%).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Nate Smith’s “World on Fire” tops Billboard’s Country Airplay chart for an eighth total and consecutive week. It leads the list dated Feb. 10 with 32.1 million audience impressions Jan. 26-Feb. 1, according to Luminate.
The song — released on Arista Nashville/RCA Nashville, and which Smith co-wrote with Ashley Gorley, Taylor Phillips and Lindsay Rimes, the lattermost of whom solely produced it — ties three titles for the second-longest rule since Country Airplay began in January 1990: Morgan Wallen’s “Last Night” (beginning in May 2023), Alan Jackson and Jimmy Buffett’s “It’s Five O’Clock Somewhere” (August 2003) and Lonestar’s “Amazed” (July 1999).

Wallen’s “You Proof” dominated Country Airplay for a record 10 weeks, starting in October 2022.

“Eight weeks at No 1 … the crazy thing about this song is that it wasn’t even supposed to come out,” Smith tells Billboard. “It was starting to gain a lot of traction on social media and the demand was high. I’m so lucky to have a team that knew how to strategically release it alongside my debut album by releasing the deluxe version the same day [April 28, 2023] that the debut dropped. This song completely anchored the album.

“My mind is absolutely blown hearing the news that ‘World on Fire’ has gone No. 1 for an eighth straight week,” Smith marvels. “Thank you to the fans and thank you, country radio.”

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“Fire” is the second straight career-opening Country Airplay leader for Smith. The Paradise, Calif., native first led with “Whiskey on You” for two weeks last February. Both are on the deluxe edition of his debut self-titled LP. The set arrived at its No. 6 high on Top Country Albums last May.

What has kept “Fire” aflame on the radio? Says Tom Oakes, program director at Summit Media-owned KTTS Springfield, Mo., the hit is “a rare song – for KTTS, it has been testing at a power level since last summer and continues to. Like Luke Combs’ ‘Fast Car,’ it’s a song that listeners love and haven’t gotten tired of.”

Oakes added that “While it’s a record company’s mission to achieve No. 1s, my mission is finding the true hits which will become future gold library songs. This song, like ‘Fast Car,’ fits the criteria.”

The country contingent of this year’s Grammy Awards may be the closest that Nashville ever gets to time travel.
This year’s crop of nominees for the Feb. 4 ceremony includes best new artist candidates Jelly Roll and The War and Treaty, a Dierks Bentley collaboration with Billy Strings, best country album finalists Lainey Wilson and Zach Bryan, and Luke Combs’ remake of “Fast Car.”

Each of those nominations – and most of the other country contenders, too – manage to move in two different directions on the time continuum, pushing the genre into the future while still hanging onto something out of the past.

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The Grammys, according to John Carter Cash, are drawn to performances that are both “forward-thinking and connecting with the roots.” He should know: He’s nominated as an arranger on a new version of “Folsom Prison Blues” – most closely associated with his father, Johnny Cash – recorded by String Revolution featuring Tommy Emmanuel. The performance is an adventurous instrumental piece that wraps “Folsom” in folk and jazz ideals, absolutely widening the footprint of the song. Yet it remains significantly old-school: the original melody is intact during much of the recording, and it employs guitars that belonged to the Man in Black and his original guitarist, Luther Perkins.

The Grammys come under criticism every year among some country executives and broadcasters because the nominations don’t particularly line up with the biggest current projects in the genre. But that was never the intent of the awards, which are voted on by the creative class, rather than marketers and managers. Those creatives – including musicians, songwriters and producers – tend to reward the craft as much as the commerce, and the slate typically recognizes performances that build on bedrock influences while making a new statement. Sometimes, as in Bryan’s Kacey Musgraves Billboard Hot 100-topping collaboration “I Remember Everything,” that includes some of the most popular current music. But in others, such as Brandy Clark’s twice-nominated “Buried,” that means elevating music from outside the mainstream.

The nominations tend to honor artists and performances that respect the past without being bound by it. That is, to be sure, how the most original artists operate. “If you love country music, and you’re trying to do it, you love the old stuff,” Bentley notes. But “you can’t just go back and redo the old stuff. It’s already been done.”

There are exceptions. Combs’ revision of “Fast Car,” up for best country solo performance, is a faithful update of a classic, though the current circumstances are different: male singer Combs renders it from a different perspective than female originator Tracy Chapman, and it re-emerged in country instead of the folk/pop arena where she introduced it. Solo competitor Dolly Parton’s “The Last Thing on My Mind” is a reworking of a song she first cut with duet partner Porter Wagoner in 1967. And Vince Gill is a best country duo/group finalist with steel guitarist Paul Franklin for bringing attention to “Kissing Your Picture (Is So Cold),” an obscure Ray Price song re-recorded for a tribute album.

 “When I first heard Vince Gill, I thought, ‘Whoa, this is so cool, so new,’ and it was, of course,” Bentley remembers. “Listening to Vince now, that’s nothing but traditional country music, but the way he did it, it felt new. It’s the same thing with Morgan Wallen now. A lot of his songs are super country. My daughter listens to him, she goes, ‘Oh my god, this is so cool and new and different.’ I’m like, ‘That’s pretty country: dobro, and Bryan Sutton on the acoustic.’ So you kind of kind of trick everyone a little bit.”

Carly Pearce’s ability to walk the line between old and new is one of the reasons her Chris Stapleton collaboration “We Don’t Fight Anymore” secured a best country duo/group performance nomination. The spare, acoustic arrangement builds on the genre’s origins, as does its mature lyrical portrait of a debilitated relationship. But the melody and the phrasing are notably modern.

“They’re looking for artistic expression,” Pearce suggests. “That song is one of the most authentic to me, so I think it resonates, obviously, in a commercial way, but more in an artistic way, which is what I love about the Grammys. They see the whole vision of an artist and not just what’s played on the radio. For it to have that marriage together is really [key].”

Even Kelsea Ballerini’s best country album entry Rolling Up the Welcome Mat has that forward-thinking, roots-respecting aura. Compiled as a series of songs that documents her emotional journey following a divorce from Morgan Evans, it mostly features a boundary-testing, pop-leaning sound, though mining her inner world for her art is very much an old-school Hank Williams kind of approach.

“In my brain, it’s like I made a movie,” she says. “It’s solely focusing and zooming in on the songwriting and the storytelling, and to me, that is honoring the genre that I dig my heels into every day. The sonic elements that accompany it, to me, don’t hold as much weight as the story that you’re telling.”

Even personal history can influence the artistic time-machine effect. Songwriter of the year nominee Jessie Jo Dillon (“Memory Lane,” “Halfway To Hell”) compares Jelly Roll’s rise from a prison background and drug abuse to Johnny Cash’s messages about forgiveness. And Wilson sees Jelly Roll’s willingness to mine his experiences as a major influence on the format moving forward.

“Everybody’s past and everything – none of that matters,” she says. “We’ve all done things, we’ve all messed up. It’s about what’s on the inside, and Jelly Roll is nothing but good.”

Ultimately, the creatives who vote for the Grammys all draw from the same musical past as the nominees, and the country finalists list is a qualitative statement about how the genre can continue to evolve.

“It’s very, very difficult to know where you’re going if you don’t know where you come from,” says The War and Treaty’s Michael Trotter Jr. “We like to pay respect, homage, pay a nod to the past — because it’s still our present.”

At the Grammys, that past dictates how country moves into its future.

Since his debut single “Hurricane” ripped its way through to the pinnacle of the Country Airplay chart in 2017, entrenching itself there for two weeks, Luke Combs has proved his gale force strength as an artist. He’s earned 17 No. 1 Country Airplay hits in seven years, including “One Number Away,” “Forever After All,” and […]

Grammy-winning singer-songwriter Darius Rucker was reportedly arrested on three misdemeanor charges in Williamson County, Tennessee on Thursday (Feb. 1). Rucker’s attorney, Mark Puryear, said in a statement to Billboard that Rucker “is fully cooperating with authorities related to misdemeanor charges.” Explore Explore See latest videos, charts and news See latest videos, charts and news Rucker, […]