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Anthem Entertainment has acquired select copyrights in the catalogs of hit songwriter Luke Laird and Nashville-based music company Creative Nation, which is led by Luke and music industry executive (and Luke’s wife) Beth Laird. In an Instagram post, Beth Laird noted that Anthem has acquired the released songs in the Creative Nation catalog, alongside Luke Laird’s released songs.
The Creative Nation catalog includes more than 60 radio singles, including numerous chart-topping hits such as Sam Hunt’s “Hard to Forget” and Harry Styles’ “Watermelon Sugar” and “Adore You,” as well as songs recorded by Lady Gaga, Sam Smith, Carrie Underwood, Miranda Lambert, Little Big Town, The Highwomen, Tim McGraw, Sara Bareilles, Luke Combs, Morgan Wallen, Jordan Davis and Kacey Musgraves.
Pennsylvania native Luke Laird is a three-time Grammy-nominated songwriter, as well as the Academy of Country Music’s songwriter of the year in 2015. He has earned 24 chart-topping songs and six CMA Triple Play awards (with each CMA Triple Play honor recognizing three No. 1 songs within a one-year span). Among his hit songs are Kacey Musgraves’ “Space Cowboy,” Eric Church’s “Drink in My Hand,” Kenny Chesney’s “American Kids,” Carrie Underwood’s “Temporary Home” and Tim McGraw’s “Diamond Rings and Old Barstools.”
Creative Nation was founded in 2011 and works in publishing, management, artist development and records. The company supports a roster that includes singer-songwriter Kassi Ashton, “Pontoon” songwriter Barry Dean, “Humble and Kind” songwriter Lori McKenna, “Riser” songwriter Steve Moakler, Travis Wood and Ben West.
“Luke and I have worked hard to sign quality people and songwriters and continue to commit to that,” Creative Nation co-founder/CEO Beth Laird said in a statement. “We are excited to announce that Anthem Music Publishing purchased Creative Nation’s exploited songs from the past 11 years. I’m grateful to Jason Klein, Sal Fazzari, Andrew Jamal, Adrian Battiston, and Gilles Godard, and everyone at Anthem who worked with our team (Derek Crownover, Megan Pekar, John Rolfe, Chris King and Kella Farris) for making this such a smooth and transparent process. It’s great to know our past copyrights are being taken care of by a great publisher and we are excited to continue building Creative Nation.”
Luke Laird added in a statement, “Over the years I have been fortunate to have songs recorded by so many incredible artists. I’m grateful that a company as renowned as Anthem sees the value in these songs, and I’m excited my exploited copyrights have been sold to Anthem alongside the Creative Nation songs.”
Anthem Music Publishing Nashville president Gilles Godard added, “I have watched Luke and Beth build a world class catalog over the last decade with iconic copyrights and amazing diversity from country to global pop hits. It is an honor and a privilege to now represent this impressive legacy body of work.”
Anthem Entertainment has deepened its country music interests in recent years, including acquiring a majority share of singer-songwriter Jordan Davis’s publishing catalog last year.
Collaborations rule the day in this week’s Must-Hear Songs column, as triple-threat singer-songwriter-musician Charlie Worsham teams with newcomer Jordyn Shellhart, Grammy-nominated The War and Treaty pair with Wilder Woods, while Kameron Marlowe and Ella Langley trade vocal harmonies. Conner Smith, who just released his top-shelf debut project, also teams up with Hailey Whitters on a new track.
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Jordyn Shellhart feat. Charlie Worsham, “A Nice Thing to Do”
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Labelmates Worsham and Shellhart team up for an important and timely message of civility and kindness in this track, setting the scene of a high-powered businessperson who brushes off an industry admirer at a party. “What if your castle ever crumbles under you?” they sing, delivering a word of caution that there is no merit in embracing a manner of rudeness, and noting that whether or not the dismissed person ends up being powerful themselves at some point, kindness is still optimal.
Shellhart and Worsham both possess amiable, relaxed vocal styles, which bubble atop clean, graceful pop-country production; Shellhart wrote the song with Cameron Jaymes, with Jaymes producing.
Wyatt Flores, “Milwaukee”
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Even before releasing his EP Life Lessons, “West of Tulsa” singer Wyatt Flores has demonstrated his knack for wielding musical prose and melding it with a jangly country-rock style that frames a charismatic voice.
On his latest, which Flores wrote with Graham Barham, Gavin Lucas and Cole Miracle, fiddle and guitar drive this track depicting a wrenching moment of crashing into the realization that he should attempt to convince an exiting lover to return, but isn’t. “You can hate my eyes for watching you leave/ Hate my should-have-chased-you-down feet,” he sings. Along with his new project, he also recently made his Grand Ole Opry debut, and is opening shows for Charles Wesley Godwin at the Ryman Auditorium, as he steadily continues his impressive ascent to star status.
Kameron Marlowe and Ella Langley, “Strangers”
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Langley and Marlowe offer a mighty vocal pairing here, with each vocalist’s octave-jumping talents pushing the other’s to ever-heightened moments of angst. A moody, waltzy rhythm heightens the tensions here, as the song depicts two lovers caught in the grey area between remaining friends, lovers or strangers — knowing their emotions run too high for any of those categories to quite encompass their feelings and history. As they put it, “There’s too much love, there’s too much anger.” Langley and Marlowe wrote “Strangers” with Will Bundy and Chase McGill.
Conner Smith feat. Hailey Whitters, “Roulette on the Heart”
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Nashville native Conner Smith has a top 15 Country Airplay hit with “Creek Will Rise,” and he just released his stellar project Smoky Mountains. The album includes this collab with “Everything She Ain’t” hitmaker Hailey Whitters — one that further cements his place as one of country music’s most promising newcomers. Written by Smith with Jessi Alexander, Chase McGill and Mark Trussell, this churning mid-tempo track showcases the tale of a couple caught in a relationship that runs hot and cold. “Are you tryin’ to love me, are you tryin’ to kill me/ every night is a shot in the dark,” they sing, though it’s clear no resolution is coming swiftly. His crackling firewood burnished tones are a match for her airy, bright-lit twang.
Corey Kent, “This Heart”
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Heartbreak, crunchy guitars and sleek production collide as he blames his latest emotional-relational ache on his own heart, wishing he could stop the pain from seeping through. “I’d rip it out, girl, if I didn’t need it,” he sings, his beseeching tenor at once raspy and resonant. A collective of hit radio songcrafters are behind this one, written by Thomas Archer, Blake Bollinger, Jacob Hackworth and Michael Tyler.
Kylie Frey, “Miss Thang”
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Frey was recently feted as one of CMT’s Next Women of Country, and this Louisiana native offers plenty of reasons for the accolade with her latest release. This rollicking barnburner of a track is a lyrical confection, but rocks with driving percussion and sizzling fiddle. Frey, a third-generation rodeo gal, sings with a powerful dose of charismatic twang.
Wilder Woods feat. The War and Treaty, “Be Yourself”
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Singer-songwriter Bear Rinehart, a.k.a. Wilder Woods, teams with Grammy-nominated duo The War and Treaty for a new version of this song from Woods’ 2023 project Fever/Sky, resulting in this wondrous soul-Americana collab. The affirming, inspiring anthem of acceptance embedded in this song begs to be sung by high-caliber talents — the kind that Woods and The War and Treaty bring to the table — and they don’t disappoint.
Sammy Arriaga, “The Boat“
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Miami native Arriaga faces head-on a difficult but necessary conversation in this ballad, detailing the back-and-forth between a father and son, laying out which siblings will inherit certain belongings after the father’s death. Written by Arriaga with Devin Barker and Emma Lynn White, the song quickly dispels any notion that mere physical items are the crux of the conversation, as the son makes it clear that all those days spent with his father fishing on their boat were never really about casting lines and reeling in a good catch. A heart-tugging, solid release here from Arriaga.
All charges have been dismissed against Chris Young following an alleged altercation the country singer-songwriter had with Tennessee Alcoholic Beverage Commission agents on Monday evening in Nashville (Jan. 22), which resulted in Young’s arrest. Young had been charged with resisting arrest, assaulting an officer and disorderly conduct, all misdemeanors.
Nashville District Attorney Glenn Funk issued a statement on Friday (Jan. 26), stating, “Regarding the Chris Young incident–After a review of all the evidence in this case, the Office of the District Attorney has determined that these charges will be dismissed.” The charges were dropped after a review of evidence, including security camera footage.
According to WSMV and The Tennessean, an arrest affidavit claimed that around 8:30 p.m. on Monday evening, ABC agents entered the Tin Roof bar in Nashville to conduct a compliance check, which included checking the musician’s ID. The affidavit claimed that Young also approached the men and began asking them questions (which they answered), and he later began videotaping them. The affidavit went on to say that Young and his friends then followed the agents to the Dawg House.
After the agents checked IDs and began to leave the second bar, Young allegedly put his hands out to stop them from leaving the bar, and “struck” an agent on the shoulder, according to local news reports, citing the arrest affidavit that also states the agent pushed Young to create distance between them. The affidavit, according to reports, also notes that patrons of the bar got between the agents and Young, and the musician “began walking backwards and not complying with” the agents’ orders, and they eventually detained and put him in handcuffs.
However, video camera security footage from the Dawg House, which was obtained by Nashville’s NewsChannel 5 and shared on reporter Nick Beres’ Facebook account, showed a different story, seeming to depict an ABC agent shoving Young to the floor after he reached out to one of the agents. The musician gets up, puts his hands in the air and backs away from the agents, while other patrons in the bar come between him and the agents. One of the agents then moves in to speak with Young. A second video shows the same, but from a different angle.
Young’s attorney Bill Ramsey said via a statement on Friday, “Mr. Young and I are gratified with the DA’s decision clearing him of the charges and any wrong-doing.”
Young is gearing up for the release of his ninth studio album, Young Love & Saturday Nights, which will release March 22 via Sony Music Nashville.
HARDY notches his fourth top 10 as a recording artist on Billboard’s Country Airplay chart as “Truck Bed” revs from No. 12 to No. 9 on the Feb. 3-dated tally. It increased by 2% to 18.9 million in audience during the Jan. 19-25 tracking week, according to Luminate.
The song is the sophomore single from HARDY’s The Mockingbird & The Crow, which launched at No. 1 on the Top Country Albums chart dated Feb. 4, 2023, marking his first leader. It follows “Wait in the Truck” (featuring Lainey Wilson), which hit No. 2 on Country Airplay last April.
Prior to “Wait in the Truck,” HARDY’s “Beers on Me,” with Dierks Bentley and BRELAND, led Country Airplay for one week in April 2022 and “One Beer,” featuring Lauren Alaina and Devin Dawson, ruled for one frame in December 2020.
HARDY has co-written 11 Country Airplay No. 1s, including those two chart-toppers; he first reigned as a writer thanks to Morgan Wallen’s “Up Down,” featuring Florida Georgia Line, in June 2018. “Truck Bed” is HARDY’s 14th top 10 as a writer. He co-authored “Truck Bed” with Ashley Gorley, Ben Johnson and Hunter Phelps.
Brown’s 12th Top 10Kane Brown’s “I Can Feel It” enters the Country Airplay top 10 pushing 11-10 (18.9 million, up 2%). He achieves his 12th top 10, with his latest following five consecutive No. 1s, each of which dominated for one week: “Bury Me in Georgia,” which led last September; “Thank God,” with Katelyn Brown, his wife (February 2023); “Like I Love Country Music” (August 2022); “One Mississippi” (March 2022); and “Famous Friends,” with Chris Young (July 2021).
Brown logged his first of 10 Country Airplay No. 1s with “What Ifs,” featuring Lauren Alaina, for two weeks in October 2017. He subsequently led with “Heaven” (two weeks, May 2018); “Lose It” (one week, December 2018); “Good as You” (one, June 2019); and “Homesick” (two, March 2020). He has also hit the top 10 with “Cool Again” (No. 3, September 2020).
Still on ‘Fire’Nate Smith’s “World on Fire” leads Country Airplay for a seventh total and consecutive week (34.2 million, down 4%). It became his second straight career-opening No. 1, following “Whiskey on You,” which dominated for two weeks last February.
“World on Fire” marks the first title to crown Country Airplay for at least seven frames since Morgan Wallen’s crossover smash “Last Night” reigned for eight beginning last May.
Randall King has been reading the tea leaves, you could say.
“The pendulum for country music is really swinging and the honky-tonk sound is back,” the 33-year-old Texan tells Billboard, as he aims to two-step into the national spotlight with his second Warner Music Nashville album, Into the Neon, out today (Jan. 26).
Indeed, the neo-traditional country sound like that of the 1990s has been seeping back into country radio’s airwaves, whether from fellow Texans Cody Johnson (“’Til You Can’t,” “The Painter”) and Parker McCollum (“Pretty Heart”), bona fide ‘90s country legends such as Garth Brooks and Ronnie Dunn or newcomers such as Zach Top. With his new album, King is ready to join their ranks on the Country Airplay chart.
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King’s smooth vocal styling inevitably evokes comparisons to another “King” — George Strait — as well as Alan Jackson, but Into the Neon deepens his allegiance to the ‘90s country sound, following his 2022 project Shot Glass, while infusing it with stouter portions of rougher-edged production that King calls “a little more raw, and not as commercial in how they were mixed, a little closer to my [2018-released independent] self-titled record.”
King was raised in Hereford, Texas, a town with a population of around 15,000 located less than an hour southwest of Amarillo — stomping ground to artists including Aaron Watson, JD Souther and “Amarillo by Morning” writer Terry Stafford. He enrolled at Lubbock’s Texas Tech University, before transferring to South Plains College in nearby Levelland, Texas, following in the path of other South Plains alums-turned-country singers Lee Ann Womack, Josh Abbott and The Chicks’ Natalie Maines.
Like his labelmate Johnson (they also share the same management company, Durango Artist Management), King refined his sound through years filled with hundreds of shows in dusty dancehalls, tiny clubs and packed fairs and festivals — both in and beyond the 770 miles that elapse between the Lone Star State’s borders. He signed to Warner Music Nashville in 2019, and moved to Music City the following year, with an eye on the global spotlight. He followed with projects including 2020’s Leanna, a tender ode to his late sister, as well as 2022’s Shot Glass and Honky Tonk BS, in addition to a live project.
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For the new album, King’s co-manager Scott Gunter suggested working with Jared Conrad, a producer on the Johnson/Ian Munsick collab “Long Live Cowgirls,” who has also worked on music for Reba McEntire and Pentatonix. King and Conrad worked on a three-song demo session — including 2023’s “Green Eyes Blue” — as a trial run.
“I gave him the direction I was looking for and let him take the reins, watched how he worked with the band,” King says. “As soon as I heard it, I was like, ‘This is it. This is what I’m aiming for.’ He smoked it.”
King co-wrote six songs on the album, but also drew heavily on Nashville’s songwriter community, a move he says “helped bring in an element that I didn’t have with my own writing — more open and dynamic.”
“When My Baby’s in Boots” was written by Trannie Anderson, Jordan Walker and Michael Carter, while “Hard to Be Humble” was written by Ben Hayslip, Corey Crowder and Chris LaCorte. A nod to the increasing artist-writer community in Nashville, the album also includes songs written by fellow artists including Jake Worthington, Mitchell Tenpenny, Greylan James, Will Jones and “World on Fire” hitmaker Nate Smith.
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On the slow-burn title track, the protagonist isn’t quite riding off into the sunset, but rather makes a midnight rambler’s destination to the next neon sign, the next bar stool or the next honky-tonk town. Elsewhere, he offers premier twangers such as “Coulda Been Love” and clever wordplay of album opener “One Night Dance.”
One of the album’s most stunning — and personal — songs is the ending track “I Don’t Whiskey Anymore,” which King wrote with Gordie Sampson. The song was inspired by an incident from King’s early days of his relationship with his girlfriend.
“When we first started dating, I was a big whiskey drinker — that was my go-to,” he says, recalling how an incident two years ago effected a change. “It was our anniversary, and when Tampa Bay stomped a mud hole in my Kansas City Chiefs, I took her to Kansas City to go to the PBR bar there. We got a table and it was eight of us. Me and five guys finished about three bottles of whiskey and were working on our fourth and we had no control over our emotions. Chiefs lost, everybody’s upset and it was a chaotic bad night. It’s hilarious that it’s our anniversary now, but I learned that night that if I was going to make a relationship work and last, I had to make changes. One of those was learning to let go of things that weren’t good for you, and one of those was drinking whiskey. I cut that out of my life to be a better person.”
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The rewards were both personal and professional. “After I quit drinking, I had taken an allergy test and realized I was allergic to several types of trees, including oak,” he explains. “The barrels whiskey is kept inside, all that resides in the whiskey — so I was literally drinking what I was allergic to. When I stopped drinking whiskey, I realized my voice opened up dramatically, and I have my full vocal range for the first time in years. I can hear that difference, even from Shot Glass to now.”
One thing noticeably absent from the project is seemingly a requisite in today’s marketing-minded country music scene: collaborations. King says he held off on recording the current version of the album until the last minute, in order to build up the best arsenal of songs he could muster.
“Once we did start recording, there wasn’t a lot of time to bring other artists in, otherwise it would have delayed the project,” says King, though he notes that it is still too early to tell what the year could bring—like the title track’s protagonist, he’s open to what opportunities come along.
“I don’t know if it will happen, but it’s a goal of mine to put out an alternate version of the album with collabs on it,” noting he has a list of potential partners for every song on the album. “Clay Walker, Miranda Lambert, they would be phenomenal. We did reach out to Megan Moroney, but I think she had the single with Old Dominion that had just dropped. So it didn’t work out on timing, but maybe down the road.”
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Morgan Wallen is surprising fans with a re-recorded version of an older fan favorite, announcing a song called “Spin You Around (1/24 Version)” coming out Thursday night (Jan. 25). While it’s a welcome treat for fans, Wallen is also attempting to thwart what he calls “the dark side of the music business.”
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Via Instagram, Wallen explained, “I’m writing y’all from a duck hunting trip because I want to fill you in on something happening tonight. Back in 2014, I went to Florida to try my hand at making original music & songwriting for the first time. This led to a recording deal with a local investor & an artist management deal that I deeply regret. Unfortunately, I signed both deals without any legal representation.”
Wallen noted that they made 13 songs, saying, “Some were ok, most were terrible as I was just learning how to write in general & figuring it all out. I was not the only collaborator, so many of these songs were not my idea nor met my standards. We deemed 5 worthy-enough to make the Stand Alone EP which includes a fan-favorite, ‘Spin You Around.’”
The five-song Stand Alone EP was released in 2015 via Panacea Records.
Wallen continued: “Tonight, those colleagues I parted ways with almost 10 years ago plan to release a ’10th anniversary’ edition of Stand Alone against my wishes & include eight unreleased songs, distributing them with the assistance of my former managers. For months I’ve been exploring every avenue possible to acquire the rights to this old music & keep the quality of my catalog consistent with songs I choose to release & believe in.”
Wallen also called it “an example of how the dark side of the music business can suck the soul out of artists.”
Wallen emphasized: “I want you to know this is NOT my new music, & I don’t want to see this happen to anyone else. I cringe when I listen to these songs & I’m very concerned my fans may mistakenly believe this is a new release by me.”
To counteract the release of that 10th-anniversary project, Wallen recorded his own version of “Spin You Around” this week in Nashville, working with producer Joey Moi and instrumentalist Bryan Sutton. Moi has worked on all three of Wallen’s Big Loud label albums, including 2018’s If I Know Me, 2021’s Dangerous: The Double Album and 2023’s One Thing at a Time, while Sutton has offered his musicianship to of many of Wallen’s songs. Wallen signed with Big Loud in 2016.
Wallen also designed the artwork for the song in the woods while duck hunting.
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Additionally, Wallen noted he is donating $100,000 from the Morgan Wallen Foundation to the Volunteer Lawyers & Professionals for the Arts (VLPA) program.
“I hope young aspiring musicians read this story and know they should never have to give up their creative freedoms for an opportunity in this business,” he said, adding, “Trust me, when new music is ready, you’ll hear it directly from me.”
Wallen also told fans that he begins recording his next album at the end of February. “I’m feeling inspired creatively & super excited to make more music I’m proud of,” he said.
Read his full message below:
The Red Hot Chili Peppers, Jelly Roll and Hardy are cruising through Wisconsin this summer. The Harley-Davidson Homecoming Festival confirmed that all three will serve as headliners at the 2024 lakeside event slated for July 25-28 at Veterans Park in Milwaukee.
Also on this year’s lineup are The Offspring, Warren Zeiders and Cypress Hill. Priscilla Block, Destroy Boys, OtoBoke Beaver, Hueston, Shaylen and IronTom will fill out the billing.
“We can’t keep this a secret any longer,” reads an announcement on Homecoming’s Instagram. “Come party with the @ChiliPeppers, @JellyRoll615, and @Hardy along with other musical acts and entertainment as we take over Milwaukee July 25-28 with another H-D Homecoming Festival 🤘”
Described as a “celebration of music, moto-culture, and the H-D hometown of Milwaukee,” the festival will also offer food and beverages from local vendors, chances to ride Harley-Davidson vehicles and opportunities to take tours of the company’s museum and factory. Sales for both two-day and one-day passes, as well as General Admission, GA+ and VIP packages, opened Jan. 18 on the Homecoming website.
The 2024 showcase follows last year’s 120th anniversary celebrations, which featured Green Day and the Foo Fighters. Cody Jinks, Social Distortion, Joan Jett & the Blackhearts, Phantogram, White Reaper and KennyHoopla were also all included on the 2023 billing.
And, as signified by the Harley-Davidson news, festival season is nearly upon us. This month has also already seen lineup announcements for Coachella, Governors Ball, BeachLife, Tomorrowland, Lovers & Friends, Bonnaroo and more.
See the 2024 Harley-Davidson Homecoming lineup announcement below:
Elle King has rescheduled four additional concerts following the backlash she faced for a recent performance at the Grand Ole Opry in honor of Dolly Parton. On her Instagram Stories Thursday (Jan. 25), the singer-songwriter revealed newly rescheduled dates for shows in Indiana, Illinois and Michigan, in addition to the now Sept. 21 date for her previously rescheduled show at Billy Bob’s Texas in Fort Worth, Texas.
The Stories post noted that her show in Shipshewana, Ind. is now slated for March 21, followed by a March 22 show in Waukegan, Ill., and two shows on March 29-30 in Harris, Mich. The shows were originally scheduled for Feb. 22, Feb. 25 and Feb. 23-24, respectively.
“Your tickets will be valid for the new dates. If you can’t make the new date, refunds are available at point of purchase. See you there!” the post read.
King’s website currently shows tour dates running from March 1 through Oct. 18.
Billboard has reached out to King’s rep for comment.
The news comes after King’s recent profanity-laced performance during a tribute show at Nashville’s Ryman Auditorium in honor of Dolly Parton’s 78th birthday. Video from the performance shows her attempt to cover Parton’s “Marry Me,” during which King slurs her words and forgets the lyrics to the song. At one point, King herself tells the audience that she is “f–king hammered.”
The singer has yet to offer a statement on the performance, though the Grand Ole Opry did share a public apology on X in response to a fan comment, saying, “We deeply regret and apologize for the language that was used.”
In 2023, King released her debut country album, Come Get Your Wife, which includes the Dierks Bentley collaboration “Worth a Shot.” She earned a top 10 hit on the Billboard Hot 100 in 2015 with “Ex’s & Oh’s,” and has since had two No. 1 Country Airplay hit collaborations: “Drunk (And I Don’t Wanna Go Home)” with Miranda Lambert, as well as “Different for Girls” with Bentley.
Walker Hayes has officially responded to Zach Bryan calling him out on X (formerly known as Twitter), and he made it fittingly “Fancy.” So fancy, that he wrote a song about the situation. “Woke up this morning, read something mean / Something in the orange says you’re feeling green,” he sings on the track posted […]
Elle King rescheduled her Friday show at Fort Worth, Texas, venue Billy Bob’s Texas following her controversial performance at a Grand Ole Opry concert over the weekend. The Billy Bob’s show will now take place on Sept. 21.
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The news comes after King’s profanity-laced performance during a tribute show at Nashville’s Ryman Auditorium in honor of Dolly Parton’s 78th birthday. Video from the performance shows her attempt to cover Parton’s “Marry Me,” in which King slurs her words and forgets the lyrics to the song. At one point, King herself tells the audience that she is “f—ing hammered.”
“I don’t know the lyrics to these things in this [expletive] town,” King sang at one point during the performance, adding, “Don’t tell Dolly ’cause it’s her birthday.”
In video footage from the performance, one of King’s bandmembers suggests that they perform one of King’s songs, to which King responded, “I’ll tell you one thing: I can barely play another person’s song; let’s see if I can play one of mine.”
The Grand Ole Opry offered a public apology on X, stating, “We deeply regret and apologize for the language that was used.” However, King’s camp has made no public statement regarding the Opry performance.
Though a rep for King confirmed to Billboard that the Texas show had been rescheduled, her team did not offer a reason for the move.
King’s next scheduled concert, according to her tour calendar, is for a Feb. 22 concert in Shipshewana, Indiana.
In 2023, King released her first country album, Come Get Your Wife, which featured the Dierks Bentley collaboration “Worth a Shot.” King is known for pop hits including 2015’s “Ex’s & Oh’s” and “America’s Sweetheart,” as well as two No. 1 Country Airplay collaborations: “Drunk (And I Don’t Wanna Go Home)” with Miranda Lambert as well as “Different for Girls” with Dierks Bentley.