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Jimmie Allen has been removed from the performer lineup for this year’s CMA Fest after sexual assault allegations in a new lawsuit, according to a statement from the Country Music Association obtained by Billboard.
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CMA Fest is slated for June 8-11 in downtown Nashville. Allen had been slated to perform during the festival’s closing evening, on Sunday, June 11, on the main stage at Nissan Stadium. Tim McGraw, Luke Bryan, Dierks Bentley and Ashley McBryde are also on the June 11 lineup. Last year, CMA Fest welcomed an estimated 80,000 country music fans daily to downtown Nashville, and this year, will celebrate 50 years of connecting artist and fans.
The removal comes hours after a civil lawsuit was filed Thursday (May 11) against Allen, as an anonymous “Jane Doe” who previously served as a day-to-day manager for Allen claims to have been repeatedly sexually harassed and raped by Allen, and that Allen’s management company fired her when she complained.
The lawsuit, first reported by Variety and independently obtained by Billboard, was filed Thursday in Tennessee federal court. The anonymous “Jane Doe” accuser claims that Allen “manipulated and used his power” over her job as a day-to-day manager in order to “sexually harass and abuse her” over a period of 18 months from 2020 to 2022.
“Plaintiff expressed in words and actions that Jimmie Allen’s conduct was unwelcome, including pushing him away, sitting where he could not reach her, telling him she was uncomfortable and no, and crying uncontrollably,” the woman’s attorneys write in the complaint. “However, Allen made clear that plaintiff’s job was dependent on her staying silent about his conduct.”
In a statement to Billboard, Allen admitted to a sexual relationship with his accuser but denied all allegations of wrongdoing. Allen also said he is determined to defend himself against the lawsuit.
“It is deeply troubling and hurtful that someone I counted as one of my closest friends, colleagues and confidants would make allegations that have no truth to them whatsoever,” Allen says. “I acknowledge that we had a sexual relationship — one that lasted for nearly two years. During that time she never once accused me of any wrongdoing, and she spoke of our relationship and friendship as being something she wanted to continue indefinitely.
“Only after things ended between us, did she hire a lawyer to reach out and ask for money, which leads me to question her motives. The simple fact is, her accusations are not only false, but also extremely damaging. I’ve worked incredibly hard to build my career, and I intend to mount a vigorous defense to her claims and take all other legal action necessary to protect my reputation.”
Allen has also been suspended by his record label BBR Music Group (Allen records for the label’s Stoney Creek imprint), including the ceasing of of radio promotion for his current single “Be Alright.”
“In light of today’s allegations against Jimmie Allen, BBR Music Group has decided to suspend all activity with him, effective immediately,” a label representative said via a statement to Billboard.
Delaware native Allen had also previously been slated to deliver a commencement keynote address at his alma mater Delaware State University. In a release obtained by Billboard, it was noted that Allen is no longer delivering the commencement address and has been replaced by Congresswoman Lisa Blunt Rochester. According to the release, Allen informed the university he would no longer be available to participate in the ceremony.
Cole Swindell is happily engaged to his girlfriend Courtney Little — but the process of getting a ring on her finger got a little stressful. The country music superstar sat down with Audacy’s Katie & Company, where he revealed that he got stuck in traffic while picking up the ring, all thanks to Taylor Swift‘s The Eras […]
A week after winning his landmark copyright case, Ed Sheeran is celebrating by playing the Academy of Country Music (ACM) Awards in Frisco, Texas tonight. Though only announced Tuesday (May 9), his appearance has been in the works for a few weeks when an unrevealed artist invited him to play together.
That artist and their performance are a secret, but Sheeran is also playing “Life Goes On,” from his new album – (Subtract).
If he has it his way, Sheeran will be making a lot more country music. “I talk about this to my wife all the time. I would love to transition into country,” he tells Billboard backstage at the Ford Center at The Star at Frisco following rehearsal. “I love the culture of it, I just love the songwriting. It’s just like brilliant songs.”
Sheeran considers himself a major country music fan. He’s lived in Nashville twice for extended periods of time in 2013 and 2018 and found himself very inspired by the local songwriters. “It’s like a community. There’s not really a place in Europe where you could point and say, ‘That’s the home of songwriting,’” he says. “It’s not just for country music. Nashville is just a hub of incredible songwriters, incredible performers. And I really felt inspired just being there being around everyone.”
He has Taylor Swift to thank for turning him on to country music. “I’d never really listened to country music as a kid growing up. It was only being on Taylor’s Red tour and living in Nashville and her basically introducing me to that side of it.”
Now he’s a convert, adding that “there’s a radio station in England called [CountryLine Radio] that me and my wife have on all day, every day in the kitchen.”
As country grows in popularity internationally, he predicts more artists experiencing global success. “Luke Combs could probably play a stadium in England. I think if he put on Wembley [Stadium] next summer, he could sell it.” (Combs, who is on a world tour, already has two O2 Arena dates in London on his October calendar.)
As Sheeran celebrates his May 4 copyright victory during which a jury ruled that his 2014 hit “Thinking Out Loud” did not copy Marvin Gaye’s 1973 classic “Let’s Get It On,” he hopes that his willingness to fight instead of settle helps other songwriters, though he admits it may take some time to change the current culture where such suits have “become a big money business,” he says.
“But the more that people step up and fight, the less it’s going to happen because the reason it has become a culture and a big money business is because of the threat of it. And so, people settle because they don’t want to spend a lot of money on lawyers and take time out,” he says. “I took time out of promoting my album two weeks, I spent a lot of money on lawyers to prove my innocence. And I think that if that happens more and more and more, it’ll just stop people thinking that they can just do a hit and run basically.”
Streams, sales and radio airplay of Gordon Lightfoot’s catalog jumped by triple-digit percentages following the Canadian singer-songwriter’s death.
In the April 28-May 4 tracking week, official on-demand U.S. streams of Lightfoot’s music ballooned 290% to 14 million, according to Luminate, from 3.6 million the prior week (April 21-27).
Additionally, Lightfoot’s catalog moved 41,000 song downloads, a 3,629% surge from 1,000 the previous frame.
His overall album consumption totaled 20,000 equivalent album units, up 511% from 3,000. Of that sum, 6,000 units were via album sales.
Lightfoot’s radio airplay audience vaulted by 317% to 3 million impressions, from 730,000.
The influx of interest in Lightfoot’s deep catalog — he first reached a Billboard chart in 1969 — sparks his appearances on multiple surveys dated May 13. That haul includes the No. 1-selling track in the United States, as “If You Could Read My Mind” bows atop Digital Song Sales with 10,000 sold, up 4,162%.
Additionally, “Sundown” (9,000 sold, up 2,976%), “The Wreck of the Edmund Fitzgerald” (7,000, up 3,429%) and “Carefree Highway” (4,000, up 4,283%) also enter the top 10, at Nos. 3, 5 and 10, respectively.
The four songs encompass Lightfoot’s career Billboard Hot 100 top 10s. “Mind” reached No. 5 in February 1971, “Sundown” reigned for a week in June 1974, “Highway” hit No. 10 that November; and “Edmund Fitzgerald” peaked at No. 2 in November 1976.
All four songs appear on Rock Digital Song Sales at Nos. 1-3 and 5, respectively. They’re joined by 1975’s “The Soul Is the Rock” (No. 12; 2,000 sold).
“Sundown” leads a trio of Lightfoot songs on the multimetric Hot Rock & Alternative Songs chart (where older titles are eligible to appear if in the top half with a meaningful reason for their resurgences). The song bows at No. 11, with its download sales joined by 3.3 million streams, up 64%.
“Mind” (No. 17; 2.1 million streams, up 99%) and “Edmund Fitzgerald” (No. 20; 1.9 million streams, up 127%) also enter the survey.
“Sundown,” “Edmund Fitzgerald,” “Highway” and “Rock” reach Country Digital Song Sales, at Nos. 2, 3, 5 and 13, respectively.
On the all-format Billboard 200, Lightfoot’s Gord’s Gold collection returns at No. 95 thanks to 11,000 units, up 3,086%. It’s the set’s first appearance on the chart since January 1977, after it reached No. 34 a year earlier.
Gord’s Gold also reaches Americana/Folk Albums (No. 3) and Top Rock & Alternative Albums and Top Country Albums (No. 17 on both).
Multiple Lightfoot songs dot Billboard’s LyricFind charts, which rank the fastest momentum-gaining tracks in lyric-search queries and usages globally and in the U.S., provided by LyricFind. “Sundown” leads the way at No. 1 on LyricFind U.S. with an 884% increase in lyric searches and usages following Lightfoot’s death, according to LyricFind.
Lightfoot died of natural causes in Toronto May 1 at age 84.

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.”