Country
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Morgan Wallen is the leading male finalist at the Billboard Music Awards, set for Sunday, Nov. 19, and he was just announced Monday (Nov. 13) as the latest performer on the 2023 awards show.
Wallen has 17 nods across 16 categories at the 2023 BBMAs, including top male artist, top Billboard 200 artist, and top Hot 100 artist. And he’ll use his performance on Sunday’s show not to highlight a radio single, but a fan-favorite track.
Knoxville, Tenn., native Wallen will take the stage during the awards to perform “98 Braves” and will perform at the Braves’ home field, Truist Park in Atlanta, while the country singer is in the middle of his sold-out U.S. tour.
“’98 Braves” peaked at No. 27 on the Billboard Hot 100 earlier this year, the week Wallen’s One Thing at a Time album debuted. The country superstar’s latest album spent 16 nonconsecutive weeks atop the Billboard 200, while its single “Last Night” spent 16 nonconsecutive weeks atop the all-genre Hot 100.
“’98 Braves” applies the similar philosophies of chance in baseball to life in lyrics such as “You win some and lose some/ It ain’t always home runs, and that’s just the way life plays.” The song was written by John Byron, Josh Miller and Travis Wood.
Wallen’s other BBMA nods include “Last Night” for top Hot 100 song, top streaming song and top country song, while he earned a second nod in the top country song category with “You Proof.”
Previously announced 2023 BBMA performers include Bebe Rexha & David Guetta, Karol G, NewJeans and Peso Pluma.
Wallen has previously won BBMA honors, including top country artist and top country male artist in 2020, as well as top country album that same year, for his 30-song project Dangerous: The Double Album.
Taylor Swift is the top finalist at the 2023 BBMAs with nods in 20 categories. Wallen and SZA are tied with 17 entries each, followed by The Weeknd (16); Drake and Zach Bryan (14); Luke Combs (10); 21 Savage, Metro Boomin and Miley Cyrus (nine each); Beyoncé and Rema (seven each); Bad Bunny and Peso Pluma (six each); and Ariana Grande, Guetta, Eslabon Armado, Karol G, NewJeans and Selena Gomez (five each).
The 2023 Billboard Music Awards Presented by Marriott Bonvoy — which will be produced by dick clark productions — will have a first-of-its-kind collaboration with Spotify “Fans First,” which will bring fans up close and personal with their favorite artists. Performances and awards will roll out across the BBMAs and Billboard social channels, as well as via BBMAs.watch on Sunday, Nov. 19. Billboard Music Awards performers will be revealed daily on BBMAs social channels.
One special BBMAs performance and two exclusive acceptance speeches will be hosted at hotel brands within the Marriott Bonvoy portfolio. Additionally, Marriott Bonvoy will be providing a select group of fans access to attend five BBMAs performances via Marriott Bonvoy Moments. Other sponsors include Lexus, who will be surprising one lucky fan with VIP treatment with a private ride in a luxury Lexus vehicle to the one-of-a-kind performance.
Warner Records has launched underscore works recordings, a joint venture with Charly Salvatore’s Nashville-based management company underscore works.
The new label will focus on discovering and developing fresh country music talent, and launches with two new signings: Dipper and Wesko.
Salvatore launched underscore works in 2022; the company works with artists including Warren Zeiders, Priscilla Block and Dalton Dover. Zeiders, who is signed directly to Warner Records, debuted on Billboard’s Hot 100 with “Pretty Little Poison,” which is currently in the top 20 on the Country Airplay chart.
Texas native Dipper recently released his debut EP Evergreen, including his first single, “She’s Got Wings.” Dipper also signed a global publishing deal with Bailey Zimmerman, The Core Entertainment and Warner Chappell Music.
North Carolina native Wesko spent the past four years performing with his band and writing songs, while working as a foreman for an erosion control company and balancing a full college course load. He continued building his audience in North Carolina, as well as building his social media following before signing with underscore works recordings.
Warner Records’ Co-Chairman & CEO Aaron Bay-Schuck and Co-Chairman & COO Tom Corson said in a statement, “Together with Charly, we’ve already seen incredible success with Warren Zeiders – a newcomer to the scene who has quickly made a big impact. The underscore team shares the same dedication we have when it comes to artist development and building meaningful and lasting careers, making it a no brainer to expand our partnership so we can support even more special artists. Dipper and Wesko are two genuinely talented, hard-working musicians with bright futures ahead, and we look forward to collaborating with underscore to bring even more great music to fans around the world.”
Salvatore added, “Aaron, Tom, and the entire world-class Warner Records team have an amazing track record when it comes to breaking new acts and, more importantly, sustaining that momentum. They’ve been incredible partners with Warren, and there’s no one else I’d want to be running alongside as we take this exciting next step in the underscore works journey. With a deep passion for developing emerging artists, I’m thrilled to embark on this new chapter with remarkable talents like Dipper and Wesko, who are destined to captivate the world’s stage.”
Jelly Roll was overwhelmed with emotion after receiving his first Grammy nominations.
On Friday (Nov. 10), the country star shared a tearful video on social media after learning about his nods for best new artist and best country duo/group performance for the remix of “Save Me” with Lainey Wilson at the upcoming 66th annual Grammy Awards.
“I’m not sure if I should post this or not because I’m so emotional, but the greatest honor an artist can ever hear is that they’ve been nominated for a Grammy,” Jelly Roll said while weeping in a clip on Instagram. “I got to hear that this morning.”
The rising star — who took home new artist of the year award at the 2023 CMA Awards on Nov. 8 — noted that he attempted to record the video seven times.
“I haven’t cried like this since my daddy died,” he said. “I love you all, man, so f—ing much.”
Jelly Roll wrote in the caption that he was “embarrassed” to share the clip but that his wife, Bunnie XO, encouraged him post it because his “honesty and rawness” are two traits he’s known for among fans. “I’ll post a more complete thought about this when I get my head together, he wrote. “I just never would’ve imagined.”
The intimate post received congratulatory messages in the comments from numerous other stars, including Wynonna Judd, Wiz Khalifa, Miranda Lambert, Lainey Wilson, Flavor Flav, Tamar Braxton, Carly Pearce and others.
“YOU DESERVE IT ALL!!!!!!! We are so happy for you!!!!!!! Congratulations my sweet friend,” wrote Judd, who performed her hit “Need a Favor” with the rapper-turned-country singer at the 2023 CMAs.
“Jelly, I love ya. Your energy is contagious. See ya at the GRAMMYs,” Wilson added.
Click here for a full list of nominations for the 2024 Grammy Awards, set for Feb. 4, 2024, at Crypto.com Arena in Los Angeles.
See Jelly Roll’s reaction on Instagram below.
This year, country music had a major mainstream moment on Billboard‘s all-genre charts, with four country songs topping the chart: Morgan Wallen’s 16-week No. 1 hit “Last Night,” Zach Bryan’s duet with Kacey Musgraves “I Remember Everything,” Jason Aldean’s “Try That in a Small Town,” and Oliver Anthony Music’s two-week viral No. 1 hit “Rich Men North of Richmond.” Meanwhile, Luke Combs’ cover of Tracy Chapman’s “Fast Car” spent eight weeks at No. 2 on the Hot 100, while Bryan also reached the top 10 this year with “Something in the Orange.”
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Dating back to the Hot 100’s 1958 start, the only other calendar year that had four or more country chart-toppers was 1975, when five songs became chart leaders.
Even with country music’s lofty, record-breaking showing on the all-genre chart this year, when the Grammy nominations were announced on Friday morning (Nov. 10), most of country music’s biggest artists of the moment — including Bryan, Combs, Wallen and Lainey Wilson, who just picked up the coveted CMA entertainer of the year trophy in a surprise win on Wednesday evening — were shut out of the four biggest categories: album, record and song of the year and best new artist.
Country’s only representation in the “Big Four” is Jelly Roll (who won new artist of the year at Wednesday’s CMAs) and the country/Americana duo The War and Treaty in the best new artist category. Though The War and Treaty’s music hasn’t gotten traction on mainstream country radio, the pair was nominated for vocal duo of the year at the CMA Awards, and their collaboration with Zach Bryan, “Hey Driver,” reached the top five on the Hot Country Songs chart. But primarily, their awards nods have come in Americana spaces, including a 2024 Grammy nomination for best Americana roots song.
“Unfortunately, country still isn’t given the respect it deserves by some Grammy voters….Stereotypes about country music still exist – twangy songs about my dog and my mom dying — and it can be perceived by some as not as good or influential as other genres,” posits Beverly Keel, co-founder of Change the Conversation and dean of Middle Tennessee State University’s College of Media and Entertainment. “I don’t think many Grammy voters are aware of the popularity and reach of country. While it doesn’t get the attention or respect that other genres do in terms of award nominations, media coverage and perception, the numbers reveal that a large number of people enjoy it.”
Despite his record-breaking sales and streaming year, Wallen was completely shut out of this year’s Grammy nominations, though his massive hit “Last Night” did earn a country song of the year nod (which goes to songwriters John Byron, Ashley Gorley, Jacob Kasher Hindlin & Ryan Vojtesak). Despite his album One Thing at a Time being one of the biggest-selling albums of the year, it earned no nominations in the all-genre album of the year category, or even the country album of the year category. This shutout seems to echo another loss for Wallen earlier in the week, when he was nominated in three top CMA Awards categories — entertainer of the year, album of the year and male vocalist of the year — but went home empty-handed.
Wilson, who picked up five total wins during the CMA Awards ceremony, was noticeably absent from the all-genre best new artist category, despite being eligible. Her lone Grammy nominations were for country album of the year (Bell Bottom Country, an accolade she also picked up from the CMAs this week) and best country duo/group performance, for her collaboration with Jelly Roll on “Save Me.”
Historically, country music hasn’t had an especially strong showing in the winners circle in the Big Four categories. Country albums that have taken home the coveted album of the year prize include Glen Campbell’s By The Time I Get to Phoenix in 1968, the soundtrack to O Brother, Where Art Thou? in 2002 and The Chicks’ Taking the Long Way in 2007. More recently, Taylor Swift’s country project Fearless won in 2010 (her two most recent wins were for her pop albums 1989 in 2016 and Folklore in 2020). The most recent country project to win album of the year was Kacey Musgraves’ Golden Hour at the 2019 Grammys ceremony.
It has been more than a dozen years since a country artist has taken home the trophy for best new artist, with Zac Brown Band winning at the 2010 ceremony. Lady A’s “Need You Now” was the most recent country winner in both the record and song of the year categories at the 2011 Grammys ceremony.
Country has received a slew of nominations in the record of the year category, including Shania Twain’s “You’re Still the One” in 1999, Willie Nelson’s “Always on My Mind” in 1983, with other nominations including Kenny Rogers’ “The Gambler” and “Lady,” Crystal Gayle’s “Don’t It Make My Brown Eyes Blue,” Johnny Cash’s “A Boy Named Sue,” Jeannie C. Riley’s “Harper Valley P.T.A,” and Bobbie Gentry’s “Ode to Billie Joe.” The Chicks won in the category with “Not Ready to Make Nice”; Olivia Newton-John’s multi-genre hit “I Honestly Love You” also took home the record of the year honor in 1975.
In the best new artist category, country winners have included Bobbie Gentry, LeAnn Rimes, Carrie Underwood and Zac Brown Band, while nominees have included Jeannie C. Riley, The Judds, Kentucky Headhunters, Shania Twain (notably, she lost to Hootie & The Blowfish, whose lead singer Darius Rucker would go on to become a star in the country genre himself), The Chicks, Brad Paisley, Lady A, Sam Hunt, Brandy Clark, Maren Morris, Kelsea Ballerini and Kacey Musgraves.
This year, the general field expanded from the Big Four to the Big Six, with producer of the year, non-classical and songwriter of the year, non-classical added to the field. While no country producers received a nomination, both Shane McAnally (Brandy Clark, Old Dominion, Carly Pearce, Chris Stapleton) and Jessie Jo Dillon (Jelly Roll, Old Dominion, Dan + Shay) garnered nominations for songwriter of the year.
In an interview with Billboard on the eve of the nominations, Recording Academy Chief Harvey Mason, Jr. acknowledged that creators in both the Latin and country fields were likely disappointed with the final nominations in top categories. Asked specifically about Combs’ cover of Tracy Chapman’s “Fast Car,” Mason noted, “That song, and country in general, had such a great year. [There were] so many really good records and great artists, so it was a surprise.”
He added, “We always feel like we can do better. We have to do more outreach in Latin communities, making sure that we’re representing the music accurately. We’re hearing from them things that we can do; making sure we have the right amount of membership and representation. Same goes for country. So, we have to make sure that we’re getting the right membership, which is something we have to talk about every year. When we look at the results of any given year, we always look and see where we can do better; where do we need to balance; where do we need to grow and evolve our membership. … It’s something that we pay close attention to, so we’ll continue to do work on our membership.”
Even within the country-focused categories, songs and albums that dominated country radio and albums sales over the past year did not dominate the nominations.
In addition to “Last Night,” best country song nominations also included Chris Stapleton’s current radio single “White Horse” and the Bryan/Musgraves duet “I Remember Everything,” which topped the Hot Country Songs chart for six weeks. Other nominees in the category were Tyler Childers’ more Americana-leaning “In Your Love” and Brandy Clark’s “Buried.” Childers’ “In Your Love” also earned a best country solo performance nod, as well as an overall best music video nod, while Childers’ Rustin in the Rain earned a best country album nod.
Other country categories, as is often the case, also leaned toward critically praised songs and albums over chart-toppers.
Projects including Wallen’s One Thing at a Time and Combs’ Gettin’ Old were absent from the best country album category, though Wilson’s Bell Bottom Country earned a nod, as did Bryan’s self-titled album. Other nominations are Kelsea Ballerini’s much-lauded divorce record Rolling Up the Welcome Mat, Brothers Osborne’s self-titled album, and Tyler Childers’ Rustin’ in the Rain.
Combs’ chart juggernaut “Fast Car” earned a best country solo performance nomination, as did Stapleton’s current top 20 Country Airplay hit “White Horse,” while the rest of the category was comprised of Childers’ “In Your Love” (which reached No. 7 on the Hot Country Songs chart, and is currently at No. 51 on the Country Airplay chart), in addition to Clark’s “Buried” and Country Music Hall of Famer Dolly Parton’s “The Last Thing on My Mind,” from the Doc Watson tribute album I Am a Pilgrim: Doc Watson at 100.
The best country duo/group performance category included the Stapleton/Carly Pearce collaboration “We Don’t Fight Anymore,” the Jelly Roll/Wilson collab, and the Bryan/Musgraves collab, with other nods going to Dierks Bentley’s bluegrass-tinged jam “High Note” with Billy Strings as well as Brothers Osborne’s “Nobody’s Nobody” and the Vince Gill/Paul Franklin collab “Kissing Your Picture (Is So Cold).”
Notably, Oliver Anthony Music, whose “Rich Men North of Richmond” was submitted for song and record of the year, after being one of the biggest breakthroughs of the year, received no nominations.
Country music did much better in the Big Four categories at the Grammy Awards for 1975, which, as noted, was the last time the genre sent four or more songs to the top of the Hot 100. Glen Campbell’s “Rhinestone Cowboy,” which topped both the Hot 100 and Hot Country Songs that year, was nominated for both record and song of the year (the latter for its writer, Larry Weiss). Eagles’ pop/country crossover hit “Lyin’ Eyes” was also nominated for record of the year. Linda Ronstadt’s Heart Like a Wheel, which was a No. 1 album on both the Billboard 200 and Top Country Albums, was up for album of the year. And Amazing Rhythm Aces, which had the pop/country crossover hit “Third Rate Romance,” was nominated for best new artist.
See the full 2024 country Grammy nominations below:
Best Country Solo Performance
For new vocal or instrumental solo country recordings.
“In Your Love,” Tyler Childers
“Buried,” Brandy Clark
“Fast Car,” Luke Combs
“The Last Thing on My Mind,” Dolly Parton
“White Horse,” Chris Stapleton
Best Country Duo/Group Performance
For new vocal or instrumental duo/group or collaborative country recordings. (Note: More or less than 5 nominations in a category is the result of ties.)
“High Note,” Dierks Bentley featuring Billy Strings
“Nobody’s Nobody,” Brothers Osborne
“I Remember Everything,” Zach Bryan featuring Kacey Musgraves
“Kissing Your Picture (Is So Cold),” Vince Gill & Paul Franklin
“Save Me,” Jelly Roll with Lainey Wilson
“We Don’t Fight Anymore,” Carly Pearce featuring Chris Stapleton
Best Country Song
A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
“Buried,” Brandy Clark & Jessie Jo Dillon, songwriters (Brandy Clark)
“I Remember Everything,” Zach Bryan & Kacey Musgraves, songwriters (Zach Bryan featuring Kacey Musgraves)
“In Your Love,” Tyler Childers & Geno Seale, songwriters (Tyler Childers)
“Last Night,” John Byron, Ashley Gorley, Jacob Kasher Hindlin & Ryan Vojtesak, songwriters (Morgan Wallen)
“White Horse,” Chris Stapleton & Dan Wilson, songwriters (Chris Stapleton)
Best Country Album
For albums containing greater than 75% playing time of new country recordings.
Rolling Up the Welcome Mat, Kelsea Ballerini
Brothers Osborne, Brothers Osborne
Zach Bryan, Zach Bryan
Rustin’ in the Rain, Tyler Childers
Bell Bottom Country, Lainey Wilson
During Wednesday night’s (Nov. 8) CMA Awards, Chris Stapleton further established his dominance in the male vocalist of the year category, picking up his seventh win in the past nine years. On Friday’s Grammy nominations announcement (Nov. 10), his song “White Horse” picked up a nomination for best country solo performance and best country song. Meanwhile, his collaboration with Carly Pearce, “We Don’t Fight Anymore,” earned a nod for best country duo/group performance.
Quite the way to usher in his new album, Higher, which was released on the same day.
Just eight years ago, Stapleton issued his debut solo album, 2015’s Traveller; a CMA Awards performance alongside Justin Timberlake that year introduced the world outside of Nashville to the show-stopping power of Stapleton’s voice and his swampy guitar grooves. With classic country sounds as its core tenet, that album was a mere sampling of the wider landscape of musical influences that Stapleton has explored in his subsequent four releases.
His previous album, Starting Over, had moments of looking outward, surveying the world around Stapleton on “Watch You Burn” and “Nashville, TN.” On the 14-song Higher, Stapleton largely explores variations on a succinct set of topics — love, lust and heartbreak — but his otherworldly voice, capable of both wall-shattering power and a velvety purr, gives a unique nuance to each.
Like Willie Nelson, Stapleton first found success as a writer of hits for other artists before seeing his own chart successes. Along the way, Stapleton has become a favored vocal partner for everyone from Adele and P!nk to Carly Pearce and Taylor Swift. His years fronting groups including bluesy-bluegrass outfit The SteelDrivers and rock group The Jompson Brothers have lent his headlining shows a freewheeling, jam-band feel.
Also like Nelson, Stapleton’s focus on the music, his excellence in constructing detailed stories and his uncanny ability to traverse musical landscapes have made him a timeless figure, and one that takes inspiration from a myriad of genres, as Stapleton weaves in country, soul, rock, and punk. On his new project, he also pulls in a couple of fellow singer-songwriters as co-writers, including Miranda Lambert and Carolyn Dawn Johnson.
Here, we take a track-by-track look at the songs on his new album Higher.
“What Am I Gonna Do”
Several years ago, Miami-based Loud And Live CEO Nelson Albareda tried to book Brantley Gilbert for a country festival there — but, he says, Gilbert’s agent wouldn’t even pick up the phone. Though Albareda would grow to be a giant in the Latin touring community — he was named Billboard’s 2023 Latin Power Players executive of the year — at that time he was still building his company.
“I called my accounting team and said, ‘Wire $300,000 to William Morris and put Brantley Gilbert on it. And an agent called me and said, ‘Hey, why’d you wire me $300,000?’ and I said, ‘Exactly for this. We’re on the phone. I want to make a deal.’” And that’s how Loud And Live booked Gilbert for 2016’s one-day Tequila Bay Fest, which also featured Montgomery Gentry (in the duo’s last show before Troy Gentry’s death) and Kip Moore, among others.
But Albareda had much bigger plans on his mind. He was keenly aware that country music appealed to Latinos — a Country Music Assn. study showed that Hispanic country music listeners increased 25% between 2006 and 2016 — and that the Miami market was highly underserved by country music tours, which tended to stop in Palm Beach, Fla. — located 75 miles north — instead.
Flash forward seven years and Albarada is realizing the dream that started so many years ago with this weekend’s two-day Country Bay Music Festival. Kicking off Saturday (Nov. 11), the festival, held on the Miami Marina Stadium grounds in Key Biscayne, Fla. near downtown Miami, will feature headliners Sam Hunt and Thomas Rhett, as well as Lainey Wilson, Chris Young, Lee Brice, Elle King, Blanco Brown and BRELAND, among others. For some local flair, Miami-based Latin acts Alexandra Rodriguez and “Cuban Cowboy” Orlando Mendez are also on the bill, as well as country duo Neon Union, which includes Miami-born Leo Brooks.
This time, Nashville agents were all in. Albareda says he had a phone call with 60 agents to talk about the festival and that former agent Gilbert Paz, who now works for Albareda, visited Nashville at least three times over the last two years to meet with agents and managers.
One of those meetings was with The Core Entertainment, whose clients Nate Smith and Josh Ross are playing the festival. The company’s co-founder, “Chief” Zaruk, remembers meeting with reps from Live And Loud several months ago. “They came to [Nashville] with the purpose of saying, ‘Here’s our concept,’ and to explain to people what their vision was for this festival. They did it very smartly,” he says.
The idea of playing to a more diverse audience immediately appealed to Zaruk. “The Latin scene is massive, so if there’s an audience there that we can tap into that also loves country, we’re excited about the opportunity to get into a new fan base,” he says. “It’s only going to help country music and it’s only going to help personally our artists and we’re really excited to see the reaction.”
Fans can attend the festival via land and sea. The Miami Marine Stadium grounds hold around 25,000 people, but eventgoers can also enjoy it from their own boats with the purchase of a BYOBoat pass. “One of the things we want to do is capitalize on what Miami is all about,” Albareda says. “The venue and the way that it’s laid out has a whole view of downtown Miami. Miami Marine Stadium was originally built as a stadium for boat races, so the stadium faces an entire marine basin. Through the years it’s become an iconic place to anchor your boat. What we’ve done for the first time is secured the permits to close the basin and issued permits for you to bring your boat.”
Albareda adds that the festival’s more than 100 boat permits have sold out, with prices based on how many feet the boat measures. Tickets for landlubbers are scaled from as low as around $144 for a one-day pass to two-day platinum VIP tickets priced at more than $1,000.
Sponsorship dollars are also rolling in, with Zelle serving as the primary partner. “We are 300% above what our original budget was,” Albareda says.
To build awareness for the festival, which Loud and Live is presenting in conjunction with its South Florida-focused live events division, EngageLive!, the promoter held a series of pre-parties at the VIVO! Dolphin Mall featuring free concerts by such acts as Frank Ray and Austin Snell and is slated to hold a kick-off party on Friday night (Nov. 10).
Albareda sees tremendous similarities between the Latin and country genres, including the loyalty of the fans to the artists, the tight-knit industry, the emphasis on family and songs that rely on storytelling. “When you look at country music, it’s all about the story, when you look at Latin music it’s about the story. They’re about ‘I’m in love’ or ‘I’m gonna have a tequila’ or ‘I’m gonna have a beer.’ Those cultural relevances are very similar between Latin and country so that is something that has really attracted me.”
Therefore, Albareda views Country Bay Music Festival as more than a one-off event. “I believe that Loud And Live is not only invested in Country Bay, but in figuring out how do we continue to grow within the country genre,” Albareda says, adding that the company is looking at promoting individual country shows within Miami beyond the festival and then building from there to other cities.
Country Bay’s biggest local competition comes from the three-day Tortuga Music Festival, held every spring in neighboring Ft. Lauderdale, Fla. (this year’s edition, which occurred in April, featured Shania Twain, Kenny Chesney and Eric Church, among others). But Albareda sees the two events as more complementary than competitive.
“The festivals are far enough apart and we wanted to differentiate with our diversity. Miami is a diverse city, we wanted a diverse line-up,” Albareda says. “The idea was to [be] reflective of what’s happening overall with music and even with country. Also, if you’re going to have it in Miami, you should reflect the diversity of a market like Miami.”
While it’s too early to know for sure how successful Country Bay will be financially, Albareda is bullish on country music’s overall future in Miami. “We expect hopefully to make money and, if not, to break even,” he says. “Whether it will be profitable or not, we have a multi-year internal commitment to build the festival. We are already picking talent for next year.”
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Each year, the CMA Awards bring the heat when it comes to onstage performances, and the 2023 iteration on Wednesday night (Nov. 8) wasn’t any different. Collaborations took over the evening, as Jelly Roll teamed with K. Michelle for the night’s closing performance, and opened the show alongside surprise guest Wynonna for “Need a Favor.” Meanwhile, […]
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