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Reigning CMA Awards entertainer of the year Luke Combs is gearing up for a double-header of a tour next year, when his Growin’ Up and Gettin’ Old Tour launches in April.
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The 25-show outing will visit 13 cities, with nearly every city getting two nights — Fridays and Saturdays — of shows.
The tour kicks off April 12-13 in Milwaukee, WI. Combs will also play two nights at New Jersey’s MetLife Stadium, Los Angeles’ SoFi Stadium, Jacksonville’s Everbank Stadium and Phoenix’s State Farm Stadium, before wrapping with two shows in Houston at NRG Stadium on Aug. 9-10.
Since his breakthrough hit “Hurricane” spent two weeks at the pinnacle of Billboard’s Country Airplay chart back in 2017, Combs has become known for his wellspring of hits, becoming one of the biggest country music sensations of his generation. But with this tour, he continues doubling down on introducing fans to other musicians he loves, from contemporary country acts, to those that lean more into the Americana and Red Dirt genres.
The Friday night lineup of shows will feature Combs’ headlining set, in addition to guests Charles Wesley Godwin, Hailey Whitters, The Wilder Blue, Cody Jinks and The Avett Brothers. The Saturday night opening acts will include Jordan Davis, Colby Acuff, Drew Parker and Mitchell Tenpenny.
Growin’ Up and Gettin’ Old Tour. 13 cities. 25 shows. ⁰⁰Join/login to my fan club at https://t.co/RzSYEvromx to receive pre-sale info (info also emailed to members).Tickets will go on sale to the public next Friday, August 25 at 10 AM local venue time. pic.twitter.com/GEXiuJ2A2b— Luke Combs 🎤 (@lukecombs) August 15, 2023
“We got an opportunity to do two shows in some U.S. markets on the World Tour, but when I found out we were going to be able to do two shows for most all of the cities on the 2024 tour, I decided I wanted each show to have their own unique set up of openers, as well as my own unique setlist,” Combs said in a statement. “I thought this would give people an opportunity to come to both nights if they want, but see two completely different shows.”
He added, “With country music being such a wide genre and being a huge fan of it all myself, I wanted to open up my stage to acts that lean into Outlaw, Americana and Red Dirt on Friday nights, as well as having a night with people I have toured with in the past, who are more contemporary country,” he explained. “I’m super excited to have both groups be out on the road with me for the Growin’ Up and Gettin’ Old Tour!”
The tour takes its name from Combs’ recent pair of albums, 2022’s Growin’ Up, and its 2023 companion Gettin’ Old, and will follow his current 44-show World Tour, which visits three continents and 16 countries, and continues through the fall with concerts in Europe and Australia.
Combs recently helped country music make history on Billboard’s Hot 100 chart, as his rendition of Tracy Chapman’s classic “Fast Car,” alongside Morgan Wallen’s “Last Night” and Jason Aldean’s “Try That in a Small Town,” recently commanded the top three slots on the Hot 100, the first time in the chart’s history that three country songs had reached that milestone. “Fast Car” also spent five weeks atop the Country Airplay chart, and two weeks atop the Adult Pop Airplay chart.
Tickets for the Growin’ Up and Gettin’ Old Tour go on sale to the general public on Aug. 25 at 10 a.m. local time here, while Combs’ fanclub members will have access to a presale beginning Aug. 23 at 10 a.m. local time.
See the full list of dates below:
April 12 – Milwaukee, WI @ American Family Field
April 13 – Milwaukee, WI @ American Family Field
April 19 – Buffalo, NY @ Highmark Stadium
April 20 – Buffalo, NY @ Highmark Stadium
April 27 – University Park, PA @ Beaver Stadium
May 3 – Jacksonville, FL @ EverBank Stadium
May 4 – Jacksonville, FL @ EverBank Stadium
May 10 – San Antonio, TX @ Alamodome
May 11 – San Antonio, TX @ Alamodome
May 17 – Santa Clara, CA @ Levi’s® Stadium
May 18 – Santa Clara, CA @ Levi’s® Stadium
May 31 – Phoenix, AZ @ State Farm Stadium
June 1 – Phoenix, AZ @ State Farm Stadium
June 7 – Salt Lake City, UT @ Rice-Eccles Stadium
June 8 – Salt Lake City, UT @ Rice-Eccles Stadium
June 14 – Los Angeles, CA @ SoFi Stadium
June 15 – Los Angeles, CA @ SoFi Stadium
July 19 – East Rutherford, NJ @ MetLife Stadium
July 20 – East Rutherford, NJ @ MetLife Stadium
July 26 – Washington, D.C. @ FedExField
July 27 – Washington, D.C. @ FedExField
August 2 – Cincinnati, OH @ Paycor Stadium
August 3 – Cincinnati, OH @ Paycor Stadium
August 9 – Houston, TX @ NRG Stadium
August 10 – Houston, TX @ NRG Stadium
Shania Twain is inviting fans to “Come On Over” when she launches her latest Las Vegas residency in May 2024 at the 7,000-seat Bakkt Theater at Planet Hollywood Resort & Casino.
The upcoming slate of 24 shows — titled Shania Twain: COME ON OVER – The Las Vegas Residency – All The Hits! — are set for May, August, September, November and December. This marks Twain’s third career residency, following her Still the One residency (2012-14) and the more recent Let’s Go! Residency (2019-22).
“If you want to change things or you want the show to evolve, it’s as if the whole building, the whole theater is my playroom for a while,” Twain told Billboard via Zoom of why she loves residencies. “I love that I get consistency that I can build a show that I don’t have to worry about moving around. It’s a very different approach to the production when you have the luxury of things being maybe a little more fragile and if there are things you couldn’t take on the road. It’s a controlled environment, no variables you have to worry about — you can get the sound and lights the way you want it. That custom element of the production is a luxury.”
Of her Planet Hollywood venue, she adds, “The Bakkt Theater feels more intimate to me than some other theaters. It’s a real party vibe and inspires me to be close to everybody. This residency is going to be more interactive, with more fan interaction.”
The new slate of shows will take place in May (10, 11, 15, 17, 18, 23, 25 and 26), August (23, 24, 29 and 31), September (1, 4, 6 and 7), November (29 and 30) and December (4, 6, 7, 11, 13 and 14).
General on-sale begins Monday, Aug. 21, at 10 a.m. PT at Ticketmaster.com, while Citi card members will have access to presales beginning Aug. 16 at 10 a.m. PT through Aug. 20 at 10 p.m. PT, and Live Nation/Caesars Entertainment presales will happen Aug. 17-20. Twain’s fans will have access to a presale beginning Aug. 16 at 2 p.m. PT.
Shania Twain: COME ON OVER – The Las Vegas Residency – All The Hits! takes its name from Twain’s 1997 album Come On Over, which yielded massive international hits including “That Don’t Impress Me Much,” “Man! I Feel like a Woman!,” “You’re Still the One,” “From This Moment On” and “Don’t Be Stupid (You Know I Love You).” On Aug. 25, Twain will release the multiple expanded U.S. and International “Diamond” editions of Come On Over, in celebration of the project’s 25th anniversary.
Twain, who was named the Country Music Association’s entertainer of the year in 1999, recalls of those heady music-making and tour years, “It’s funny, because I don’t have very vivid memories of that time, because it was such a whirlwind. It was single after single, and video after video. It was as if I couldn’t keep up. And I was on tour for the first time since I had had my first radio hit. Everything bottlenecked, so it was the tour, trying to fit in choosing the next single, and what the video would be like, styling the videos, editing the videos. I was hands-on with everything, and it exhausted me. So I didn’t get to enjoy a lot of it in the moment. But I’m celebrating now.”
Twain tells Billboard that fans can expect the Come On Over residency to be filled with many of her classic hits — including, of course, songs from Come On Over — but also songs from her recently released Queen of Me album.
“On the Queen of Me Tour, I change out the set list quite often, so it’s giving me ideas [for the residency],” Twain says. “I haven’t settled in entirely to my set list for the Come On Over residency because of that exact factor, so I’m still working that out. Everyone loves ‘Giddy Up!,’ and ‘Waking Up Dreaming’ is a total bop for everyone. I have kids come up onstage and their parents would’ve grown up with Come On Over, and a few times I will ask the little kid, who might be like 5 or 6 years old. I’ll ask them what their favorite song is, and they will say ‘Queen of Me.’”
Whether on her current tour (which will launch its second leg in September in the United Kingdom) or as part of a residency, Twain’s concerts are known to be eye-popping spectacles of color, upbeat music and high fashion — something Twain says won’t change during the upcoming residency.
“I’m in a new chapter of creative expression that I’m obsessed with,” the five-time Grammy winner says. “For the Queen of Me Tour, I went through all my boxes, and deep in to all my closets and in storage, for all the fabulous garments. I hadn’t touched a lot of them in 25 years. It’s re-imagining them, and in some cases dismantling them and putting them back together in a new way. I have this new passion for how I see myself in them onstage, and that’s going to apply to the residency as well.
“I have so much experience, from touring, with performing in fashionable clothes and thinking about how they move, how they wear when I’m sweating. I’m always thinking, ‘Can I kick and run in them? How do they look in motion and in still photographs?’ I enjoy building these clothes. I’m great with the scissors. I’m not a good sewer, but I have a great team. I’m a great pinner and I’m in there literally designing the looks for every show.”
As a hands-on, creative professional, Twain says she still has more ideas she would love to incorporate into her residencies.
“I haven’t done this yet, and I don’t know if I can. I’ll have to find a way. I want to have a huge, inflated sphere that I can run around in over the audience — I should never have said that out loud,” she says with a laugh. “But I really want to do that, because I think the fans always have so much fun when balls are thrown into the audience, and I want to be in that. I’m gonna make a giant transparent beach ball and I’m gonna get in it and roll around while I’m still young enough to do it without getting hurt. I don’t know how I would do it — I always get a ‘No’ from production; they’re like, ‘That’s not even possible.’ I’m gonna figure out a way to do it at some point, so I can get out there and go everywhere in the room.”
Outside of the residency, Twain has other dreams — including one very collaborative one she has her sights set on.
“One of my dreams is to do a whole album of duets,” she says. “It’s a common dream, I think, to sing with your favorite singers, and I would get a chance at quite a few by doing a whole album of duets.”
However, she notes, one of those dream collaborations would have included the late Country Music Hall of Famer Glen Campbell, who died in 2017 after his battle with Alzheimer’s Disease. “Glen was one of my dream duet singers,” Twain says, “so that isn’t going to happen now and that’s sad. So I better get to it while everybody else on my list is still around.”
The apple doesn’t fall far from the tree! Gwen Stefani‘s eldest son Kingston Rossdale — whom she shares with ex-husband Gavin Rossdale — hopped onstage at his stepdad Blake Shelton‘s bar and live music venue, Ole Red, on Friday (Aug. 11). In a clip circulating TikTok, the 17-year-old is seen making jokes with the crowd […]
Singer-songwriter Oliver Anthony’s name was all over the interwebs this past weekend thanks to his viral hit “Rich Men North of Richmond.” A performance of the song shared by radiowv — a YouTube channel that highlights musicians around West Virginia — just five days ago now stands at over nine million views on YouTube. The […]
This week in country: Carly Pearce offers up a tribute to the genre, Cody Johnson honors a life-changing, steadfast love, Carrie Underwood sees what’s good — and what’s missing — in an ex’s new relationship, and HunterGirl elevates a career-surging story.
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Meanwhile, O.N.E the Duo bring sass and substance to their new release and Ingrid Andress teams with Switchfoot in this week’s batch of new music. Check it all out below.
Carly Pearce, “Country Music Made Me Do It”
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“I wear my hair a little too high/ and my heartbreak on my sleeve,” Grammy winner Pearce declares on this new release, her warm, dusty voice succinctly wrapping her musical lineage (from Loretta Lynn to Dolly Parton to Barbara Mandrell) into a single verse.
Digging deeper, and working again with Josh Osborne and Shane McAnally, Pearce artfully lays the blame for a litany of life choices on the imprint left on her by decades of country music. Early heartbreaks, flirtations with whiskey, her small town-to-ballgown journey of stardom, divorce and more are laid at the proverbial feet of three chords and the truth.
Since her debut single in 2017, Pearce has forged her commitment to the genre with her twangy vocals, Opry performances, traditionally oriented instrumentation and songs like “Dear Loretta” and “What He Didn’t Do.” With her new release, this CMA female vocalist of the year winner is simply saying it ever more boldly.
Cody Johnson, “The Painter”
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Johnson became a CMA Award-winning juggernaut last year with “‘Til You Can’t,” an ode to making the most of every moment and cherishing time with loved ones. Here, he reprises his sentimental tone, offering a glorious ode to a lover who brings a kaleidoscope of colors to his life, someone who “finds the beauty in the thrown away and broken things.”
As with “‘Til You Can’t,” Johnson may not be a writer on this song (that distinction goes to Benjy Davis, Kat Higgins and Ryan Larkins), but he proves yet again that he possesses a keen ear for great song and a standout lyric.
HunterGirl, “Ain’t About You”
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“Strumming strings used to feel like breathing/ Now it takes your breath away, counting years and counting reasons it won’t work,” HunterGirl sings, laying dreamy vocals over reverberating chords, elevating the doughty struggle of turning a passion into a viable career.
HunterGirl crafted this song solo, just weeks before her career-pivoting audition for American Idol, in which she earned runner-up status.
William Michael Morgan, “In Walked You”
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Morgan first broke through with “I Met a Girl” back in 2015, earning a No. 2 hit on Billboard‘s Country Airplay chart. Though subsequent singles failed to replicate that early success and Morgan parted ways with his former label home in 2019, he continues issuing his sterling brand of neo-traditional country. His latest, written by Shane McAnally, Josh Osborne and Ross Copperman, proves a perfect foil for Morgan’s smooth, ’90s country-indebted voice. The softly swinging melody, burnished fiddle and guitar — and gentle meet cute tale of love in a barroom — should excite any fans of George Strait and Alan Jackson.
Carrie Underwood, “Give Her That”
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Her ex-lover has moved on to a new relationship, giving his new love roses, love and possibly even a diamond ring — but she knows he’ll never be able to give away the time he previously had with her. Over rippling, R&B-tinged guitar, Underwood sings of cataloging items and moments both simple and profound — an old Lynyrd Skynyrd band shirt, his mama’s necklace. Sonically, this track doesn’t break new ground, but rather fits comfortably within the bounds of her upcoming deluxe version of Denim & Rhinestones, out Sept. 22.
Steep Canyon Rangers, “Recommend Me”
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This venerable bluegrass outfit takes inspiration from a literary title (Wiley Cash’s When Ghosts Come Home) on this new song. Vocalist Graham Sharp’s warm, cracked vocals convey a tale of two characters who are committed to one another, no matter what trials they have had to traverse. Atop subdued, shimmery fiddle and guitars, the song’s lyrical apex comes as one of the characters reaches a stark realization: “Once I thought that in my arms/ This world might never do you harm/ And all this time I could not see It’s been you protecting me.”
“Recommend Me” is is an early glimpse into SCR’s upcoming album Morning Shift, out Sept. 8 on Yep Roc Records.
O.N.E the Duo, Blood Harmony
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This mother-daughter duo’s debut album finds their familial harmonies soaring over a churning of pop and R&B, yet dripping with country twang, fiddle and harmonica. Sultry R&B and searing fiddle team up as they take on “”Jolene and Jezebel” in “Hoedown.” “Hearts Like Mine” feels more down the center, reminiscent of the pop-inflected country currently dominating radio, while the muddy, bluesy “River of Sin” is a stellar harmony showboat. The smoky “One Minute to Midnight” oozes sex and soul. Overall, a top-shelf offering for those who prefer smooth R&B Southern style, and shot through with tantalizing harmonies.
Ingrid Andress with Switchfoot, “On Fire”
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Twenty years after the release of Switchfoot’s breakthrough album The Beautiful Letdown, they give the project a refresh, welcoming artists to reimagine many of the album’s tracks — including this vibey take on “On Fire.” “Hearts Like Mine” hitmaker Andress supplies her smooth, serene voice to this track, working with her longtime co-producer Sam Ellis to bring a more polished, cleaner rendering than the original, but one that still evokes a crush-struck yearning.
Two-time CMA Entertainer of the Year Luke Bryan brought a truckload of hits to his sixth consecutive time selling out Nashville’s Bridgestone Arena on Saturday night (Aug. 12) as part of his 36-city Country On tour. He last headlined the venue in 2021 and played two back-to-back, sold-out dates in both 2013 and 2017. Saturday night, the instant the lights went out, the cheers and screams went up, reaching the rafters as stage lights and smoke signaled the onstage arrival of one of the foremost country entertainers to emerge out of Nashville in the last 15 years.
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This hip-shaker and hit-maker, who also manages to be one of country music’s most relatable “everyman” personas, dubbed the evening a “big ol’ Nashville honkytonk party,” as he launched with “Kick the Dust Up,” and packed many of his 26 No. 1 Billboard Country Airplay hits into a two-hour set.
Early in the evening, he took a moment to acknowledge his recent trio of show date cancellations, saying, “As y’all know last weekend I had to cancel three shows, but I was not going to cancel Nashville under any circumstances,” a declaration that elicited cheers from the devoted crowd. Bryan’s voice sounded slightly haggard around the edges, making it clear he was still battling illness. “So, I’m going to sound good on some songs and I’m going to sound like s— on some songs. But when you see me drinking out of this cup,” holding up a red plastic cup, “I’m drinking tequila.”
The sentiment became an ongoing humorous moment, with the crowd cheering each time he lifted the red cup to his lips. The singer-songwriter grinded it out Saturday evening, offering his fans the best he had to give — and those loyal followers stayed with him the whole way, taking over singing the words to songs such as “Crash My Party” and “My Kind of Night.”
The 47-year-old has long since diversified his brand beyond solely lobbing hit songs at the charts and headlining sold-out tours — in addition to his Luke Bryan’s 32 Bridge Food + Drink, which since its 2018 opening has been a staple in the pantheon of celebrity bars flanking downtown Nashville’s Broadway, he’s served as a judge on American Idol since 2017, and this year will reprise his role as a CMA Awards co-host, alongside NFL legend Peyton Manning. But in the end, key to his success as one of country music’s foremost ambassadors for more than a decade has been his long-perfected onstage blend of lovable goofball, sultry swagger and positive attitude, and his insistence on recording songs that largely bring — and keep — fans in those good spirits, from his debut single “All My Friends Say,” to his current top 15 hit “But I Got a Beer in My Hand”
The tour’s namesake brought a highlight of the evening, as Bryan, situated center stage with his guitar, paid tribute to farmers, military members, small-town denizens, U.S.A. and Music City itself, with the crowd offering chants of “U.S.A! U.S.A.!” as the song concluded.
“Thank you so much for this energy in here tonight,” he said, as he shared a bit of his journey. He played his breakthrough as a songwriter, Billy Currington’s 2006 hit “Good Directions,” and noted that he quickly tore through all the money he made as a writer on the song. “I bought a bass boat and two four-wheelers and I spent all my damn money.” His rendition of “Good Directions” proved a vigorous reminder that underneath that charismatic onstage persona is a sturdy songwriter who in addition to writing many of his own songs such as “We Rode in Trucks,” and “Someone Else Calling You Baby,” co-wrote songs for Bryan co-write songs for Florida Georgia Line (“That’s How We Roll,” a collab with Bryan) and Travis Tritt (“Honky Tonk History”).
Later in the evening, Bryan again acknowledged lingering vocal issues, joking, “If y’all give me a three-star review on Yelp tonight, I’m gonna be pissed.”
He saved many of his bigger hits for the second half of the show, piling on songs including “Crash My Party,” “My Kind of Night.” He welcomed two of his openers, Jackson Dean and Chayce Beckham, to the stage to perform the Jordan Davis hit “Buy Dirt,” which featured Bryan as a collaborator. The much-beloved song truly didn’t really need a vocalist Saturday evening, as the crowd took over singing the entire chorus, with Bryan ending by praising Davis for allowing him to be part of the song. The evening’s jamband vibe grew, as opener Ashley Cooke joined for a curious cover of Dua Lipa’s “Levitating,” following by a crowd-rousing rendition of Dolly Parton’s “9 to 5.”
Bryan switched to piano offering a snippet of the 1981 Lionel Richie and Diana Ross collaboration “Endless Love.” The rest of the evening would bring a mingling of covers and his own hits, such as his own 2009 hit “Do I,” Ronnie Milsap’s 1981 hit “(There’s) No Gettin’ Over Me,” Aerosmith’s “Sweet Emotion,” and Bryan’s “Rain Is a Good Thing.” He offered a solo acoustic rendition of his 2013 hit “Drink a Beer,” a tender ode to loved ones that has become a light-up-the-room staple in concert. He ended with his signature anthems “Country Girl (Shake It For Me),” “Play It Again” and the all-too appropriate “I Don’t Want This Night to End,” which found seemingly every fan in the house with hands raised high in boozy appreciation for the hit-filled evening.
“Never in my wildest dreams would I have thought I would be in this arena, playing whatever I want for two hours,” he told the crowd.
Ashley Cooke Takes Her Best ‘Shot’
Cooke made perhaps her biggest Music City showing to date, in the first opening slot on Bryan’s tour, flexing laid-back, accessible style with an infectious pop-punk energy as she regaled the crowd with songs from her recently-released debut album, Shot in the Dark. Her pitch-perfect vocals led “Getting Into,” before welcoming fellow concert opener Dean for a sultry take on another album cut, “What Are You on Fire About.” Commanding center stage, standing close and mingling their voices effortlessly, the two brought an undeniable energy and camaraderie to the stage.
“I can’t tell you how many years I dreamed of getting up on this stage..it’s pretty freakin’ cool,” Cooke said. Taking up a guitar, she took listeners through her musical journey, offering snippets of the first concert she ever saw — performing Hilary Duff’s “Come Clean,” and following it with Florida Georgia Line’s “Cruise,” before she got a surprise when “Cruise” co-writer Chase Rice joined her onstage for the song. She offered T-Pain’s “Buy You a Drank” and Morgan Wallen’s “Chasin’ You.”
Cooke, signed to Big Loud Records, worked the early evening crowd with her conversational style and encouraging the audience to light up Bridgestone with a sea of cell phone lights for her performance of her RIAA-certified gold record, “Never ‘Til Now,” before rounding out her set with songs including “Back in the Saddle.”
Chayce Beckham Translates Television, Viral Success to the Stage
Beckham, a former American Idol winner and a polished entertainer and vocalist further bolstered his career surge thanks to his viral hit “23,” which has also cracked the top 40 on the Country Airplay chart. His 30-minute opening set at Bridgestone was a potent testament to the road-tested stage presence he’s forged in the two years since his Idol triumph.
Beckham launched with “Doin’ It Right,” following with “Keeping Me Up All Night,” and using his time before a Music City crowd to preview his upcoming Aug. 25 release “Little Less Lonely,” which drew a solid reaction.
Bryan’s openers generously have access to the full stage and walkway, which Beckham used to his advantage. Slinging his guitar over his back, he strutted to the front of the walkway, kneeling at the edge of the stage to shake hands with those in the front rows.
He dedicated “Til the Day I Die” to a friend, Lance, who died last year. With his dark hair and dark attire, he evoked a certain throwback country essence, as he namechecked Red Foley, Merle Haggard and the classic Haggard/Nelson song “Pancho and Lefty.”
“This is about staying true to who you are and not letting anyone tell you any different … we miss you, Lance.”
He concluded with a muscular rendition of Jason Isbell’s “Cover Me Up,” and his own breakthrough hit, “23.”
“I moved to Nashville a few years ago,” Beckham said. “I never thought I’d be up here singing this song for you … I love calling this place my home.”
Jackson Dean Evokes a Gruff, Outlaw Cool
Newcomer Dean broke through last year with his freewheeling, defiance-fueled “Don’t Come Looking,” which became a top 5 Country Airplay hit. The song would be an apt introduction to Dean’s enviable musical talents with his soulful brand of country with its Southern rock-soaked edges and flashes of grunge. Ambling onstage in his signature feathered hat, Dean sang “I ran like hell from wedding bells/ And I rambled my whole life,” in his opening song, “Trailer Park,” staking his claim of freewheeling musicality early.
Though Chris Stapleton is a peerless vocalist, newcomer Dean shares a similar vocal essence — one uninhibited and unpredictable, veering from serrated to soulful on a whim. But his vocal gifts only tell half the story; it’s not that common for an absolute newcomer to release a live album — much less a live album recorded on the historic stage of the Ryman Auditorium — but that’s what Dean did earlier this year, following the 2022 release of his Big Machine Records debut album, Greenbroke.
On the considerably larger Bridgestone stage, he offered the fan favorite “Heavens to Betsy,” about a deceased man trying to reconnect with his daughter from heaven — or someone “looking for redemption in his own way,” as Dean put it. He followed with an adrenaline-fueled take of Fred Eaglesmith’s 1998 song “49 Tons,” before dipping into the gruff-yet-vulnerable “Fearless (The Echo).”
“I’ve walked in here a lot of times and I’ve always thought about playing int his room, and here we are,” he said, launching into “Don’t Come Looking.”
Morgan Wallen debuted a brand new look at his Ohio concert on Friday (Aug. 11).
The 30-year-old country music superstar surprised fans at Ohio Stadium in Columbus by walking onstage without his signature mullet hairstyle. Instead, the “Last Night” singer wore a red baseball cap with a completely bald head peeking underneath, along with a freshly shaved face.
“Before we get any further, I didn’t like my long hair anymore, so I shaved it off,” Wallen told concertgoers in a fan-captured video on TikTok.
The bold transformation is drawing mixed reactions from fans on social media.
“Morgan Wallen shaved his mullet. No, I’m not okay and need 3-5 business days to process. Prayers welcomed,” one fan wrote on X, formerly known as Twitter.
“Alright, I didn’t care for Morgan Wallen’s mullet, but bald ain’t it baby,” another person added.
A different observer agreed, commenting on X, “Hey @MorganWallen why’d you do us dirty. Lookin like a cue ball and took that beautiful mullet away from us. I SCREAMED and I’m HEARTBROKEN.”
But some fans are embracing Wallen’s hairless look.
“After @MorganWallen chopped off that mullet, bet there’s a mile long line at every barber in Nashville today. Looking sharp bud,” one person wrote on X.
Another added, “Yes, his mullet is gone, BUT he’s still sexy as hell. Look at that face, that smile, and …..that voice! Yup! Still sexy @Morganwallen You do you baby!”
Wallen is currently touring North American in support of third album, One Thing At a Time, which spent 15 weeks at No. 1 on the Billboard 200. He’s also enjoying success with his hit single “Last Night,” which has spent 15 weeks atop the Billboard Hot 100 chart.
See more reactions to Wallen’s shaved head on X below.
Morgan wallen shaved his mullet right before I’m going to see him. I am unwell.— Lyss 🍓 (@lochLysMonster) August 12, 2023
Morgan wallen cutting off that mullet was the right decision— maleny (@maleny_alvarado) August 12, 2023
Morgan Wallen cutting off his mullet isn’t the news I wanted to wake up to this morning 😔 pic.twitter.com/IwlHzy9SkS— 𝔍𝔞𝔦𝔩𝔢𝔫𝔢 ♥ Yankees Season (@Jay_Altagracia) August 12, 2023
Virginia country singer Oliver Anthony, a former factory worker, is going viral thanks to his song “Rich Men North of Richmond,” a scathing tale of greed and injustice that is rapidly being embraced and promoted by right-wing pundits.
“I’ve been selling my soul, working all day/ Overtime hours for bullsh– pay,” he sings in the song’s opening lines. A video, posted by radiowv, shows Anthony offering an acoustic performance, funneling the pain, frustration and angst of the working class into lines that rage against greedy rich men. The song takes on high taxes, abuse of welfare, and selfish politicians, with lyrics that have resonated mightily with music listeners. Elsewhere, he sings, “Lord, we got folks in the street, ain’t got nothing to eat and the obese milking welfare/ Well God, if you’re 5-foot-3 and you’re 300 pounds/ Taxes ought not to pay for your bags of fudge rounds.”
In a YouTube video posted Aug. 7, Anthony shared that the performance video of “Rich Men North of Richmond” was his “first song to get out there that has been recorded on a real microphone and a real camera, and not just on my cell phone.” He also noted that he began writing his own music in earnest in 2021.
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“Things were not good for a lot of people and in some respects I was one of those people,” Anthony said. “I had wasted a lot of nights getting high and getting drunk and I had sort of gotten to a point in my life where even things that I did care about didn’t mean anything to me anymore. This is certainly no Dr. Phil episode, but I found an outlet in this music. I started uploading a couple of songs.”
He uploaded “Ain’t Gotta Dollar” last year and notes he’s since put out approximately a dozen songs he recorded on his cell phone, including “90 Some Chevy” and “Living in the New World.”
Of “Rich Men North of Richmond,” he said it centers on the problems of the working class, noting, “The universal thing I see is no matter how much effort they put into whatever it is they’re doing, they can’t quite get ahead because the dollar’s not worth enough, they are being over-taxed. … I want to be a voice for those people. And not just them, but humans in general.” He went on to add, “As long as you’re above the dirt, you’ve got a fightin’ chance.”
Anthony’s grizzly, acoustic sound and straightforward songwriting style is already drawing stylistic comparisons to artists including Zach Bryan and Tyler Childers.
Here, five things to know about Anthony and “Rich Men North of Richmond”:
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A Performance Video That’s Become a Sensation
Through his Morgan Wallen Foundation, the “Last Night” hitmaker — along with the Major League Baseball & MLB Players Association Youth Development Foundation and other local donors — teamed with Habitat for Humanity of Greater Nashville to help revitalize the Parkwood Community Club baseball and softball complex in North Nashville.
The Morgan Wallen Foundation has donated $500,000, with the MLB-MLBPA YDF donating the same amount, for a total of $1 million donated toward revitalization efforts. Other donors include the Speer Foundation, Airbnb, Nashville Sounds baseball and Wallen’s booking agency, the Neal Agency.
Wallen grew up playing baseball as a child and had hoped to pursue a career in baseball, until an injury sidelined those aspirations and he set his sights on a music career instead.
“I started the Morgan Wallen Foundation to support youth in two areas – sports and music,” Wallen said via a statement. “When I heard about Parkwood, right here in Nashville, I knew I wanted to help. Every child deserves a chance to play ball and be part of a team, and I truly appreciate this opportunity to be part of Parkwood’s next inning. I can’t wait to come back out here and see the park once it has been renovated.”
“In visiting the historic fields, I instantly felt the significance of Parkwood to Nashville’s baseball and softball community,” said Jean Lee Batrus, Executive Director, MLB-MLBPA Youth Development Foundation, via statement. “These sports have the power to strengthen lives and communities. YDF is thrilled to team up with Habitat for Humanity and other partnering organizations who are equally passionate about empowering youth access to baseball and softball.”
“The Nashville Sounds utilize the power of baseball to positively impact our community,” added Adam English, General Manager, Nashville Sounds. “Through our participation in “The Nine” program, this project is a great way for us to make an impact in giving all kids access to the best baseball facilities possible. My hope is that renovating these fields will yield a new generation of great ball players in Nashville, just like six-time MLB All-Star Mookie Betts.”
The contributions will support a larger fundraising goal aimed at creating a 59-acre park, as well as providing homes for 26 Habitat for Humanity homes in District 2.
The MLB-MLBPA YDF is a joint initiative by Major League Baseball and the Players Association to support efforts that aid in improving the caliber, effectiveness and availability of amateur baseball and softball programs across the United States and globally.
More than two dozen artists will pay homage to Country Music Hall of Famers The Judds (mother-daughter duo Wynonna and Naomi Judd) on A Tribute to The Judds, out Oct. 27 on BMG.
Among the participating acts are Dolly Parton, Jelly Roll, Reba McEntire, Lainey Wilson, Carly Pearce, Megan Moroney, Blake Shelton, Trisha Yearwood, Ashley McBryde, Gabby Barrett and LeAnn Rimes.
“To have all of these artists, most of which are my friends, come together and lend their voices and artistry to reimagine these songs, is so special,” Wynonna Judd, who also appears on the project, said in a statement. “These songs are so timeless and I am so excited for them to live on for generations to come.”
On Aug. 18, music lovers will get a first glimpse into the project with a song still to be chosen.
Among the collaborations on the set are Shelton and wife Gwen Stefani pairing for “Love Is Alive”; Wynonna and Yearwood performing “Cry Myself to Sleep”; Parton and Wilson teaming for “Mama He’s Crazy”; Jelly Roll, K. Michelle and The Fisk Jubilee Singers on “Love Can Build a Bridge”; and Wendy Moten playing “Had a Dream (For the Heart)” with O.N.E The Duo.
Nearly all of the upcoming album’s 14 tracks were produced by Brent Maher, The Judds’ original producer and a six-time Grammy winner. CMA Award-winning producer/songwriter/musician and Wynonna Judd’s husband, Cactus Moser, produced “Cry Myself to Sleep.”
“To all of you who listen to this music, I wish you could have been with us in the studio when we recorded these songs,” Maher said in a statement. “There was a joy and passion along with some poignant moments in re-recording these Judds songs that are impossible to describe. I hope you enjoy this record as much as we enjoyed making it.”
Allan Geiger
The album pays homage to The Judds’ 40th anniversary of being signed by music executive Joe Galante to RCA Records in 1983 and reunites much of the team that helped develop their success: Galante serves as an executive producer on A Tribute to The Judds, as does Renee Bell, an A&R exec at MCA Nashville when Wynonna issued her solo work for the label. Galante’s previous work with The Judds brought about numerous accolades, including six multi-platinum studio albums, five Grammy wins, nine CMA Awards and eight ACM Awards.
“Renee Bell and I were thrilled to be part of A Tribute to The Judds as executive producers,” Galante said in a statement. “After my signing of The Judds in 1983 and Wynonna going to MCA when Renee was director of A&R, it was a special reunion for all of us. With Brent Maher at the helm of producing all of the timeless Judds music we are honoring, it was the perfect combination. We couldn’t be more excited about the incredible artists that have brought their own styles to these great songs.”
A Tribute to The Judds will partner with the National Alliance of Mental Illness (NAMI) in honor of Naomi Judd, who died by suicide at age 76 on April 30, 2022, one day prior to The Judds’ induction into the Country Music Hall of Fame.
Six months after Naomi died, Wynonna continued on with The Judds’ tour, which had been planned and announced prior to her mom’s death. Many of country music’s female artists, including Yearwood and McBryde, joined Wynonna on various dates on the tour, helping her to honor Naomi’s life, as well as the illustrious career Naomi and Wynonna built together as The Judds.
Full track list for A Tribute to The Judds below:
Girls Night Out – Reba McEntire, Carly Pearce, Jennifer Nettles, Gabby BarrettMama He’s Crazy – Lainey Wilson and Dolly PartonWhy Not Me – Megan MoroneyGrandpa (Tell Me ‘Bout The Good Old Days) [feat. Sonya Isaacs] – Cody JohnsonRockin’ With The Rhythm Of The Rain – Ashley McBryde and Shelly FairchildYoung Love (Strong Love) – Ella Langley and Jamey JohnsonHave Mercy – LeAnn RimesLove Is Alive – Gwen Stefani and Blake SheltonHad A Dream (For The Heart) – Wendy Moten and O.N.E The DuoI Know Where I’m Going – Barnett, Lynne & WestLet Me Tell You About Love – Carl Perkins and Raul MaloJohn Deere Tractor – Rob Ickes & Trey Hensley and Molly TuttleCry Myself To Sleep – Wynonna Judd and Trisha YearwoodLove Can Build a Bridge – Jelly Roll, K. Michelle, and The Fisk Jubilee Singers
