Country
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Lady A‘s Charles Kelley has opened up to CBS Mornings about his yearslong battle with alcoholism, which the singer said had a major impact on his relationship with his bandmates and family. “Cassie [Charles’ wife] would tell me some stories about how little things that [their seven-year-old son] Ward would say that I didn’t even know he was noticing. You know, ‘Daddy’s talking a little funny,’ or, ‘You and Daddy argue a lot,’” he said in the interview.
Last August the band postponed a tour to allow Kelley to enter treatment for alcohol abuse at a time when the singer said his drinking was taking a dark turn. “I remember joking, you know, with buddies. I was like, ‘Yeah, I’m definitely a functioning alcoholic.’ And I said, ‘I know I’m gonna have to stop at some point, but that’s not today,’” Kelley said.
And while he called it his “little joke,” Kelley said he knew it wasn’t funny. His bandmates, Hillary Scott and Dave Haywood, confronted him about his drinking five years ago, telling him, “‘Hey man, you might have had a little too much to drink that night.’ I was like, ‘Okay, well, has it affected how hard I work? Has it affected the shows?’”
Kelley said at the time he was dismissive of their concerns and snapped at them, leading to what he described as emotional and verbal “outbursts” that didn’t escalate to physical fights, but made him realize alcohol was fueling his anger. It was his son Ward’s comments pointing out the effects of his drinking, though, that “crushed” him.
The singer told Gayle King that he’d tried to quit before but had never gone to rehab because it scared him and he thought people who entered treatment had serious drinking problems. “What I’ve learned is, there’s degrees of alcoholics,” Kelley said. “You know, I think that’s one of the things too that I want to even share is, like, just because you’re not living on the street, or you’re not waking up in a bush, like some stories you may hear, it can get there.”
Realizing it was time to make a change, Kelley entered rehab for a month and he said the combination of attending “lots” of group meetings with other alcoholics and learning to use tools helped him, as did having a device he has to blow into to check it blood-alcohol level every morning and night.
“Slowly, but surely, that has built the trust back that eventually I think that won’t be a necessity,” Kelley said of building back his relationship with his wife, band and everyone else in his life. HIs wife Cassie told King that she learned that Kelley’s journey to sobriety would also require her to do some heavy lifting while he was in rehab after their marriage hit a rocky stretch on a trip to Greece last year when the singer got into an argument with her and turned off his phone and took off for the night to drink with strangers.
When Cassie threatened to call a divorce attorney and urged him to get help Kelley saw the light and flew directly to treatment. “It just makes me feel so grateful at how close I came to losin’ it all,” Kelley said. “And I think the thing that’s hard is to know how much it affected Cassie the most, and my band, and the people around me. And how much it emotionally kinda wrecked them for a while. And that, I can’t really say I’m sorry enough. And it’s just gonna take time to rebuild that.”
Lady A are on tour now, on which they play Kelley’s original song, “As Far As You Could,” which he’s described as his goodbye letter to alcohol.
Watch the interview below.
If you or someone you know is struggling with substance abuse or addiction, the Substance Abuse and Mental Health Services Administration (SAMHSA) National Helpline at 800-662-HELP (4357) is available 24/7.
Jelly Roll will headline the inaugural Billboard Country Live in Concert at the Marathon Music Works in Nashville on June 6, while the first Billboard Country Live in Conversation on June 7 will feature an intimate Q&A with Garth Brooks.
Billboard Country Live in Conversation — a one-day ticketed conference for fans and industry insiders, also taking place at Marathon Music Works — will also have a number of sessions with top country acts discussing the hottest issues in country music, including Carly Pearce, Bailey Zimmerman, Brian Kelley, Lauren Alaina, Megan Moroney and Lady A’s Hillary Scott.
“We’re thrilled to launch the first year of Billboard Country Live with acts that have something to say and sing about,” said Melinda Newman, Executive Editor of Billboard, West Coast and Nashville. “From Jelly Roll performing in a small setting to discussions with some of the biggest names in country including Garth Brooks, it’s our privilege to highlight the tremendous talent that thrives in Nashville with premier programming we hope will bring people back for years to come.”
In addition to Jelly Roll’s kick-off performance on June 6 — for which Nate Smith will serve as the opening act — the “Son of a Sinner” singer will sit for a Billboard Country Live in Conversation Q&A on June 7 to close the day of engaging sessions.
The Women of Country panel that day will include Hillary Scott of Lady A, Carly Pearce, Lily Rose and Madeline Edwards. The Future of Country panel will feature rising stars Megan Moroney, Bailey Zimmerman, Nate Smith and Priscilla Block, while the 50th Anniversary of CMA Fest panel will include country hitmakers spanning the event’s half-century: Brian Kelley, Lauren Alaina, Terri Clark and Bill Anderson.
A panel on the music behind Paramount Network’s wildly popular neo-Western drama Yellowstone will include Honey County‘s Dani Rose, artist manager Brian Schwartz of 7s management and the show’s music supervisor, Andrea von Foerster. Jessie Jo Dillon, Nicolle Galyon and Chase McGill will be on hand for a songwriter-in-the-round session, during which they’ll play their hits and tell the stories behind the creation of the songs. More names will be announced at a later date.
Tickets for both events are available for purchase starting Friday (May 12) at live.billboard.com. For additional information and more announcements, follow Billboard on Instagram and Twitter (@billboard) or check the hashtag #BillboardLive.
Country music invariably draws on the past to create its present, and with Brothers Osborne’s new single, “Nobody’s Nobody,” part of that past could be traced to an unlikely source: 1986 top 40 radio.
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The track is built on a pulsing Wurlitzer piano figure that sounds a tad like a synthesizer, and that element could have easily fit back in the day alongside Pet Shop Boys’ “West End Girls,” Level 42’s “Something About You” and The Rolling Stones’ “Harlem Shuffle.” The Osbornes’ vocals, however, are decidedly 2023 country, creating a fresh sonic juxtaposition.
“Nobody’s Nobody” “fits in pop radio in the same way that Don Henley would have fit on pop radio,” says guitarist John Osborne. “There’s still a big organic element to it. It’s all organic instruments.”
The upbeat music and humble message of “Nobody’s Nobody” came together fairly organically last year, though it took a bit of effort to find the spark. Brothers Osborne had essentially recorded their next album, their first with producer Mike Elizondo (Keith Urban, twenty one pilots), but the duo decided to take an extra week to write new material in an attempt to beat the existing songs. On the first day, Sept. 26, they were joined at Elizondo’s Phantom Studio in Gallatin, Tenn., by singer-songwriter Kendell Marvel (“Don’t Think I Can’t Love You,” “Right Where I Need To Be”), and they chased down several ideas that were OK, but not quite inspiring. Marvel and the Osbornes stepped outside for a break, and while they cleared their minds, Elizondo stayed indoors, where he stumbled onto that pulsing Wurlitzer sound, essentially a string of watery, bubbling 16th notes.
“I had a delay pedal on it,” he remembers. “It was kind of creating this certain rhythm, and when you play a chord, then the delay creates a rhythmic offshoot of it.”
Meanwhile, the other three debated their options outdoors. Since things weren’t really jelling, they could have easily called it a day. But Marvel mentioned a title he had thought about, “Nobody’s Nobody.” He wasn’t entirely certain where to take it, but he envisioned it as something sad.
“I didn’t hear it that way at all,” says lead vocalist T.J. Osborne. “I actually heard it as, ‘[If] nobody’s nobody, [then] everybody is somebody.’ And then they were like, ‘Oh s–t, OK.’ ”
When they returned to the studio, that positive ideal seemed to match up well with Elizondo’s propulsive keyboard bed, and they set to work with a new sense of purpose, developing “Nobody’s Nobody” in perhaps 45 minutes. The opening lines contrasted a hall of fame inductee against someone else whose stardom might be short-lived. But the next two lines level the playing field a bit: “Some people never ever make a name/ But change the game in someone’s story.” Beethoven’s mother exemplifies the thought: Most people know nothing about her, but it’s a good bet that she had an effect on his enduring art.
“I think most people aren’t meant to go down in the history books, but everyone has changed the trajectory of someone else’s life,” T.J. notes. “That is just a really simple line, but it speaks to me in such a way that just hits every time I hear it.”
The individual phrases in that opening verse ended primarily with blue notes, providing just the right amount of angst and grit. “Most American music has blues influence,” says John. “It’s almost impossible to not have some version of that because it’s so intrinsically a part of American culture and American roots. And it’s also something that we love to sing and play. So it’s just in our DNA.”
The song’s atmosphere changed subtly when they reached the chorus, which uses longer notes and a bed of harmonies while inserting that “everybody’s somebody” sentiment. After celebrating a range of people — “sinner, saint or son of a gun” — they flipped to the “nobody’s nobody” hook. And they tagged it with a slow-cooking “No, no, nobody” post-chorus that extends the hook into a bit of a mantra. “I didn’t want that to stop,” T.J. says. “It just feels so good.”
Elizondo built the demo, then played bass when they tracked the master version at Phantom with John on guitar, Abe Laboriel Jr. on drums and Phil Towns playing keyboards. They tried a number of different approaches they hadn’t attempted on previous albums, starting with John layering more guitar parts into the fabric than in the past. “As a guitar player, if you ask me to play more, I’m not going to say no,” he quips.
He played some distinctive stabs in the chorus, with the sound intentionally washing out as the notes fade over Towns’ pulsing keyboards. John also created an instrumental bridge for “Nobody’s Nobody,” a series of rising, dexterous patterns.
“One of my favorite bands of all time is Tom Petty & the Heartbreakers, and I didn’t realize until I got further into playing guitar how important of a guitar player Mike Campbell is,” says John. “When I listen to Mike Campbell, everything is so incredibly intentional and does as much service to the song as possible. And I always wanted to lean in that direction.”
T.J.’s lead vocals embraced the song’s inherent humility with appropriate understatement, completing each of his performances with admirable consistency. “Once he’s got it locked and programmed in his brain, he will give you three, four takes of each section — or top to bottom, depending on the process — and they will be nearly identical,” Elizondo says of the singer.
The Osbornes handled the harmonies differently from past efforts. They stacked loads of vocals into the background, and T.J. contributed to the supporting voices with his brother for the first time. They sang the parts face-to-face on separate mics in the same room, with Elizondo encouraging them to keep building.
“I’m a student of all the greats you’d hear about, like [producer] Roy Thomas Baker doing all the Queen vocals with everybody on one mic,” says Elizondo. “They would sing each note three or four times, and then they’d go to the next note and they just kept layering and layering.”
Brothers Osborne’s team, including EMI Nashville and Q Prime South, was nearly unanimous in assessing “Nobody’s Nobody” as the best first single from their next album, and the duo agreed. EMI released it to country radio via PlayMPE on April 6. It climbs to No. 47 after four weeks on the Country Airplay chart dated May 13.
“The subject matter really aligns with who we are and what we’d like to see in the world,” John notes. “It’s crazy right now, everyone’s so divided. Everyone is just looking for a reason to hate another [person]. And for us to have a song that isn’t just your typical life or love song — it has a positive message — it’s just all the more reason for us to put this out first.”
A bracco Italiano named Lepshi won his breed’s debut at the United States’ most prestigious dog show. And dog lovers just might not be the only audience that won’t forget something like that.
Lepshi (prounouced LEEP’-she) happens to be co-owned by country music and 1883 series star Tim McGraw. But that distinction was just playing in the background of a chorus of cheers as Lepshi and eight other examples of his handsome Italian hunting breed took their turns in the ring Tuesday (May 9) at the Westminster Kennel Club dog show.
“He’s a wonderful ambassador for the breed,” handler Ryan Wolfe said after the 6-year-old’s win. Lepshi aces the breed’s trademark ground-covering trot, Wolfe explained, and “he loves everybody.” McGraw, known for hits including “Something Like That,” and his wife, country luminary and 1883 co-star Faith Hill, have had a number of bracchi at home and featured them in social media posts. In one 2020 video, a bracco howls along as one of the couple’s daughters sings some high notes.
“Stromboli is happy that Maggie is home from college!!!!!” McGraw wrote at the time. A message was sent Tuesday to a representative for him about Lepshi’s groundbreaking Westminster win. Wolfe, who handles the dog for McGraw and co-owners Kristi Libertore, Tony Libertore and Jenell Tonini-Zanotto, said it was “an honor to be first.”
Lepshi was eliminated in the semifinals but made the judge’s initial cuts in his group.
The bracco ( pronounced BRAH’-koh) has an ancient heritage in Europe. It became eligible to compete at Westminster this year after getting recognized by the American Kennel Club, which is the nation’s oldest dog registry and acts akin to a league for many U.S. dog shows. Recognition is voluntary and entails inking an agreed-upon standard for the dogs and various other criteria.
AKC recognition can increase everyday recognition, which has some bracco owners cautioning that would-be owners need to understand what the soulful-looking, amiable dogs require.
“We want these dogs hunting,” said Siva Aiken, whose bracco Tillie-rye Hogwallop — yes, she uses that whole name — was named the breed’s best female competitor Tuesday. (When a female wins, a male gets such an award.)
Bracchi can be easygoing at home, but only if they get enough activity, Aiken said. Tillie-rye Hogwallop, for instance, hunts quail, pheasant and other birds. She and Aikin’s other bracchi also roam two to six miles a day (three to 9.5 km) a day at a nature preserve near Aiken’s home in Aiken, South Carolina.
“It’s not a breed for everyone,” she said. “This breed needs to be worked.”
Editor’s note: this story contains discussion of suicide.
Three months after the death of Kellie Pickler‘s husband, Kyle Jacobs, reports about his cause of death have emerged. Songwriter/producer Jacobs, 49, was found dead in an apparent suicide in the couple’s Nashville home on Feb. 17, where police said they found him with an apparent self-inflicted gunshot wound in an upstairs bedroom/office.
On Tuesday (May 9), E News reported that a spokesperson for the Davidson County Medical Examiner confirmed that Jacobs died by suicide, with toxicology results revealing that the songwriter behind Garth Brooks’ Hot Country Songs chart-topper “More Than a Memory” did not have any drugs in his system at the time of his death.
The examiner’s report also noted that Jacobs had a history of “pseudoseizures, gastrointestinal bleeding, elevated liver enzymes, and chronic alcohol use,” according to Taste of Country, which obtained a copy of the autopsy. Officers were called to the Pickler’s Tennessee home in Feb. after the 2006 American Idol alum said she couldn’t find her husband when she woke up.
Jacobs and Pickler wed on Jan. 1, 2011, and previously starred together in the reality show I Love Kellie Pickler for three seasons. Jacobs was also behind songs recorded by Trace Adkins, Clay Walker and others, as well as producing a number of Lee Brice hits, including “I Drive Your Truck,” “Hard to Love” and “Drinking Class.”
If you’re thinking about suicide, or are worried about a friend or loved one, contact the National Suicide Prevention Lifeline, available 24 hours, at 988.
BMG/BBR Music Group has named Peter Strickland as its new general manager, reporting to BMG Nashville president Jon Loba. He previously worked with the label for nearly two years as a consultant.
Strickland will oversee the financial and daily operations of BMG/BBR Music Group, streamlining distribution channels and physical-product sales as well as spearheading the label’s comedy initiatives. He succeeds Rick Shedd, who retired in April.
During his career, Strickland has held several executive-level titles at Warner Music Nashville (WMN), including as vp of sales; vp of sales & marketing; senior vp of brand management & sales; executive vp/GM; and chief marketing officer. In addition to those roles, he also created two comedy imprints and executive produced Jimmy Fallon’s 2013 Grammy Award-winning comedy album, Blow Your Pants Off, before opening his management company, Marathon Talent, in 2018.
“Peter and I worked together early in our career, where I had the chance to see his creativity, passion and energy up close,” Loba said in a statement. “Working with him again over the last year as a consultant, it is evident those same qualities burn hotter than ever. Beyond that, he is the consummate team player and was the obvious choice to step into the GM role upon Rick Shedd’s retirement. We couldn’t be more excited to officially bring him into the BMG family!”
“It’s an honor to be asked to join this incredible team,” Strickland added. “Jon Loba has built a great culture at BMG, and in reuniting with Jon, I look forward to contributing to the next chapter.”
Morgan Wallen leads all five of Billboard’s country charts (dated May 13), marking the record-rewriting fourth time that the East Tennessee native has achieved the quintuple domination.
He passes Luke Combs, who managed the feat in three distinct weeks.
Wallen’s “Last Night” inhabits the penthouse on the streaming-, airplay- and sales-based Hot Country Songs chart for a 13th frame. On Country Airplay, it vaults 5-1, becoming Wallen’s ninth leader, up 21% to 29.5 million in audience April 28-May 4, according to Luminate.
The track also drew 32.4 million official U.S. streams and sold 9,000 downloads, as it rules Country Streaming Songs for a 13th week and Country digital Song Sales for an 11th frame.
Plus, parent album One Thing at a Time commands the Top Country Albums chart for a ninth week (138,000 equivalent album units, down 8%), encompassing its entire run on the ranking so far.
This is the fourth week that Wallen has controlled all five country charts. He first did so on the Feb. 25 dated rankings, thanks to “Last Night” on Hot Country Songs, Country Streaming Songs and Country Digital Song Sales; “Thought You Should Know” on Country Airplay; and his prior LP, Dangerous: The Double Album, on Top Country Albums.
Wallen went on to top all five country surveys with the same titles on the charts dated March 4 and 11.
Prior to Wallen, just two artists accomplished the fivefold feat (dating to the start of Country Streaming Songs in April 2013). Luke Combs dominated the charts dated March 9 and 30 and April 6, 2019, after Kane Brown first achieved the honor on Oct. 28, 2017.
Concurrently, “Last Night” crowns the all-genre Billboard Hot 100 for a fifth week, marking the first song to top both that tally and Country Airplay simultaneously in the 33-year history of the latter chart.
The ACM Awards are bringing a country music party to Frisco, Texas!
Dolly Parton and Garth Brooks will co-host this year’s Academy of Country Music Awards, set to air May 11 at Ford Center at the Star in Frisco, Texas.
But they will also be guiding an evening of strong performances, highlighted by duets from Carly Pearce and Trisha Yearwood (in celebration of the 25th anniversary of Yearwood winning the ACM’s female artist of the year award). Also collaborating are Cole Swindell and Jo Dee Messina on the remix of Swindell’s “She Had Me at Heads Carolina.” Ashley McBryde will welcome Brandy Clark, Caylee Hammack, Pillbox Patti and John Osborne (on guitar) for a performance of “Bonfire at Tina’s” from McBryde’s collaborative Lindeville project, which is nominated for album of the year. HARDY, who leads this year’s nominees with seven nods, will also make his ACM Awards performance debut.
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Morgan Wallen had been slated as a performer, but pulled out of the awards show Tuesday (May 9) and is canceling six weeks of shows due to being placed on vocal rest. Sources tell Billboard that the ACM does not plan on replacing Wallen’s performance slot due to already having a stacked lineup of performers.
While Wallen will not be replaced, the ACM’s announced earlier in the day that pop star Ed Sheeran will be performing. It will be the “Shivers” singer’s first time on the show; he just released his new album, Subtract, on May 5.
Additionally, the ACMs revealed this year’s presenters, as well as contributions from four-time ACM National On-Air Personality of the Year winner Bobby Bones, whose “Backstage With Bobby Bones” interview segment will be featured throughout the evening.
Following HARDY in terms of nominations this year are Lainey Wilson with six nods, then Cole Swindell, Kane Brown, Luke Combs and Miranda Lambert with five nods each.
The awards show will be streaming live for free to a global audience via Prime Video and the Amazon Music channel on Twitch. The full rebroadcast will stream the following day for free on Amazon Freevee.
See below for the full list of performers and presenters announced for this year’s ACM Awards.
Performers:
Jason Aldean
Kane Brown
Luke Combs
Ed Sheeran
Cody Johnson
Miranda Lambert
Ashley McBryde
Jo Dee Messina
Dolly Parton
Jelly Roll
Cole Swindell
Keith Urban
The War and Treaty
Lainey Wilson
Bailey Zimmerman
Carly Pearce
Trisha Yearwood
HARDY
Jordan Davis
Brandy Clark
Caylee Hammack
Pillbox Patti
John Osborne
Presenters:
Gabby Barrett
BRELAND
Brandy Clark
Jordan Davis
Mickey Guyton
Tyler Hubbard
Dustin Lynch
TJ Osborne
Jon Pardi
Carly Pearce
MacKenzie Porter
Dak Prescott
Emmitt Smith
Tanya Tucker
Keith Urban
Trisha Yearwood
The ACM Awards is produced by Dick Clark Productions. DCP is owned by Penske Media Eldridge, a Penske Media Corporation (PMC) subsidiary and joint venture between PMC and Eldrige. PMC is the parent company of Billboard.
Morgan Wallen shared some hard news with fans on Tuesday morning (May 9) in an Instagram video in which he revealed that he needs to take six weeks off from his current tour. “I’m just gonna go ahead and get straight to it. I got some bad news from my doctors at the Vanderbilt Voice Center yesterday. After taking 10 days of vocal rest I performed three shows last weekend in Florida and by the third one I felt terrible,” the singer said.
“So I went in and go scoped yesterday and they told me that I re-injured my vocal cords and that I have vocal fold trauma,” he added, swallowing hard. Wallen said his doctor’s advice was that he go on vocal rest for six weeks. “So that’s what I’m gon’ do,” he said, noting that that his team advised him not to talk at all, but that if he needed to it was okay for something like his announcement.
He added that he tore his lat muscle while on tour in Australia and while he’s been trying to work through that injury in private, the upcoming time off should help with that issue as well. Wallen said his team is almost finished rescheduling all his current and upcoming dates, with news about all the shows expected soon. Following last week’s trio of shows in Jacksonville, West Palm Beach and Tampa, Wallen was not scheduled to perform again until a May 18 gig at Hersheypark Stadium in Hershey, PA.
In addition to two shows at MetLife Stadium in East Rutherford, NJ, Wallen had gigs on tap in Austin and Houston, TX on May 24 and 26, a pair of shows in Atlanta on June 2-3, an appearance at the Pepsi Gulf Coast Jam in Panama City Beach, FL, two shows at Veterans United Home Loans Amphitheater in Virginia Beach, VA on June 8-9 and a June 10 spot at the Carolina Country Music Fest in Myrtle Beach, SC on June 10. The singer was booked to play a series of stadium shows in Pittsburgh, Philadelphia, Chicago and Detroit through the end of June. At press time spokespeople for Wallen had not announced which shows have been impacted or potential replacement dates.
In addition to his headlining shows, Wallen is also forced to bow out of the Thursday’s (May 11) ACM Awards and the ACM’s Lifting Lives event on Wednesday (May 10), where he was slated to take the stage alongside Hardy, Lainey Wilson, Ernest and Bailey Zimmerman at the annual charity function for those struggling with health issues.
“They told me that if I do this the right way, I’ll get back to 100% and they also said that if I don’t listen and I keep singing, then I’ll permanently damage my voice,” Wallen said of his doctor’s advice. “So for the longevity of my career, this is just a choice I had to make. I hate it. But I love you guys, and I appreciate all the support that you always give me.”
According to a release from Wallen’s spokesperson, tickets for the original dates will be honored for all rescheduled performances and a 30-day refund window will open at the point of purchase when the new dates are announced; missed festival dates will be rescheduled for 2024.
Wallen made news last month after canceling a planned show at Oxford, MS’s Vaught-Hemingway Stadium on April 23 after his opening acts performed and just moments before he was to take the stage. “I thought I was going to be good to go and I just wasn’t,” he said in a message to the 60,000 disappointed fans who were sent home that night without seeing him.
See Wallen’s Instagram statement below.
Jelly Roll will be the subject of a new documentary by ABC News, the outlet shared on Tuesday (May 9).
Titled Jelly Roll: Save Me, the film promises to follow the country-rap sensation’s “journey of redemption in real time” as he works through his mental health and addiction struggles and grapples with his rising fame.
Leading up to his hometown show at Nashville’s Bridgestone Arena, the doc will chart the “Need a Favor” singer’s life story — including stints in the criminal justice system as both a teen and an adult before he broke out into the mainstream in with his 2022 single “Son of a Sinner.” Jelly Roll will also shine a light on his philanthropic work by visiting the juvenile detention center where he was incarcerated multiple times during his adolescence to share his story and attempt to make a meaningful impact on the current generation of at-risk youth.
Jelly Roll: Save Me is set to premiere May 30 exclusively on Hulu before the release of the rising star’s debut country album Whitsitt Chapel, which will arrive on June 2 via BBR Music Group.
In April, Jelly Roll swept the 2023 CMT Music Awards with the most awards of the night including male video of the year, male breakthrough video of the year and CMT digital-first performance of the year — all for “Son of a Sinner.” At the show, he couldn’t help but pinch himself after seeing Gwen Stefani perform No Doubt’s “Just a Girl” with Carly Pearce, revealing in an interview that the band’s live act was the second concert he ever attended in his life.
Check out Jelly Roll’s post announcing his forthcoming documentary below.