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The upcoming ABC series Doctor Odyssey has some country music cred, judging from the series’ new trailer. The teaser, which arrived Tuesday (Sept. 17) features both Kelsea Ballerini and Shania Twain, who will have guest-starring roles, though details on those roles have not been revealed.
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The trailer features a scene with Ballerini being checked out by Dr. Max, while another moment features Twain dancing in the ship’s ballroom with Don Johnson, whose role has also not yet been detailed.
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Doctor Odyssey stars actor Joshua Jackson (Dawson’s Creek, Dr. Death), who portrays Dr. Max, an on-board doctor for a luxury cruise ship. He and the rest of the ship’s medical team work to navigate medical crises. Other stars in the series include Johnson (Miami Vice, Nash Bridges), Phillipa Soo and Sean Teale.
Ballerini expressed excitement for her work on the series after the teaser arrived. “Spent the last few weeks literally screaming crying and throwing up in the dramatic, fabulous world of #doctorodyssey and crossing guest star off the bucket list,” Ballerini wrote on Instagram Tuesday, accenting her caption with a heart emoji. “This incredible show premiers [sic] september 26th on @abc and streams on @hulu. (more soon on my episode and obsession with the utterly lovely kind and brilliant cast).”
Ballerini previously appeared on the television series Nashville in 2016, but is known for her cinematic music videos, such as those from her 2023 project Rolling Up the Welcome Mat, and the clip for her song “If You Go Down (I’m Goin’ Down Two).” Twain has made appearances in television series including Monarch, Broad City and A Man in Full.
Doctor Odyssey is written and executive produced by Jon Robin Baitz, Joe Baken and Ryan Murphy, with Paris Barclay directing and executive producing.
Doctor Odyssey will premiere Sept. 26 on ABC, and will also stream on Hulu.
Watch the series’ trailer below:
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Dolly Parton has nothing but fondness for the world’s biggest country-dabbling pop stars: Taylor Swift and Beyoncé.
In a new interview with Variety published Tuesday (Sept. 17), the 78-year-old country legend gushed about both superstars as well as weighed in on the CMA Awards snubbing Bey’s Cowboy Carter this season. “Taylor Swift is amazing what she has done with her career,” she said of the “Anti-Hero” singer, who started out as a country artist before transitioning to pop in 2014. “I just admire her very much and how she’s handled her business, her personal life and what all she has meant to so many young people. [She’s] been a great inspiration.”
As for the “Texas Hold ‘Em” musician, Parton thinks Cowboy Carter — which featured a voice recording from the “9 to 5” artist as well as Bey’s cover of “Jolene” — is a “great album” that she was “fortunate” to be a part of. “[Beyoncé’s] a country girl in Texas and Louisiana, so she grew up with that base,” Parton said. “It wasn’t like she just appeared out of nowhere.”
Even so, Parton thinks that the CMAs — which angered fans Sept. 9 by failing to acknowledge Cowboy Carter in any of its 2024 categories — didn’t necessarily shut out the Destiny’s Child alum “on purpose.” “There’s so many wonderful country artists that, I guess probably the country music field, they probably thought, ‘Well, we can’t really leave out some of the ones that spend their whole life doing that,’” Parton told the outlet. “I don’t think it was a matter of shutting out, like, doing that on purpose. I think it was just more of what the country charts and the country artists were doing, that do that all the time, not just a specialty album.”
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“But it was a wonderful album,” Parton added. “She can be very, very proud … I think everybody in country music welcomed her and thought that, that was good.”
The 10-time Grammy winner also added that she’s “open to anything” when it comes to performing “Jolene” with Beyoncé at some point in the future. And whether it’s the “Break My Soul” singer or Swift — or any of the newer female singers finding success, such as Chappell Roan or Sabrina Carpenter — Parton says she’s “proud of all the gals.”
“I’m old enough to feel like their aunt or somebody that’s kind of looking down and saying, ‘Yay, you go!’” she added. “I think they’re all great in their own way.”
A decade ago, Midland’s Mark Wystrach, Jess Carson and Cameron Duddy holed up at the iconic Sonic Ranch studios in Tornillo, Texas, and made their initial recordings as a trio. They refined their simultaneously modern and retro sound, fused by their contrapuntal harmonies, in a process that was later highlighted with the release of their 2021 project The Sonic Ranch (and its corresponding documentary). That same year, Sturgill Simpson released his seminal, Dave Cobb-produced album Metamodern Sounds in Country Music.
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“We were referencing a lot of stuff from the ‘70s and ‘80s,” Midland’s lead singer/guitarist Wystrach tells Billboard. “When we heard [Simpson’s] album, we felt like it was exactly, in so many ways, like what we were trying to capture to pay homage to the music we love, but in a modern and contemporary way.”
From that point, Cobb, also known for his work with Chris Stapleton and Jason Isbell, became an aspirational producer for the trio. They realize that ambition with their new, eight-song project Barely Blue, out Sept. 20 on Big Machine Records.
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Though the two projects were recorded approximately 1,600 miles apart (Barely Blue was recorded Cobb’s Georgia Mae Studios in Savannah, Ga.) and are separated by 10 years of touring and recording, two top 5 Billboard Country Airplay chart hits in “Drinkin’ Problem” and “Burn Out,” and an ACM Award win for new vocal duo/group of the year, there are distinct similarities between the two projects.
“It completes a full circle back to our first album, where it was a fully immersive, experiential recording process, as opposed to going in with a set list of songs that we had to cut,” Wystrach says, adding, “I think he was probably the most fun we’ve ever had in the studio. Getting to work with Dave was one of the best musical experiences, I think collectively, of our lives.”
As much as Midland’s top-flight musicianship itself, the aura of Savannah is baked into the grooves of Barely Blue.
“It’s important for Dave to get you into the spirit and set the table,” bassist/vocalist Duddy says. “Because we were in his hometown, the first thing he did was we got in the car, and he drove us around the neighborhood. He’s very proud of Savannah and the culture. He was a great tour guide and historian for the city, so you feel like you’re part of the surroundings.”
“I don’t think it’s a coincidence that Johnny Mercer grew up right there and wrote [the lyrics to] ‘Moon River’ about that area,” adds lead guitarist/vocalist Carson. “It’s so storybook and picturesque, I think it comes through on the album, too.”
Far removed from the daily workhorse vibe of Nashville, the trio found a free-flowing creative spirit at Cobb’s studio. There, a process marked by recording time, followed by dinner, wine, relaxed conversations and more recording late into the evening, sparked what Duddy describes as “freedom to experiment, because there’s no ticking clock.”
The trio entered the studio with nearly 20 songs they were considering for the project, eventually trimming the slate to Barely Blue’s succinct set, constructing and deconstructing each song until it fit with the album’s overall vibe.
“It’s a way we’ve always wanted to record because when we read stories of how some of our favorite albums were made, like the Rolling Stones in France making Exile [on Main St.], they’re in this sort of live-in space and they have time on their hands to tinker with things. ‘Lucky Sometimes’ is a song that we recorded, listened back to, and went back and tore down to the studs. The original version of it had drums and it was just a very different-sounding song.”
“Dave was pretty opinionated when it came to the songs that he felt worked together,” Duddy recalls. “There’s a dark art to picking songs that work together, and sometimes you’re too close to the material to know what’s best for it. Dave was very instrumental in finding and threading those songs together.”
The members of the group contributed writing to seven of the album’s eight songs, including the slow-rolling romance of “Baby It’s You,” the tumbling harmonies of “Old Fashioned Feeling,” the languid swagger of “Lucky Sometimes” and the Carson solo write “Halfway to Heaven.”
The lone outside cut is “Vegas,” written by Ryan Beaver, Jeff Hyde, Jeremy Spillman and Ryan Tyndell. The song is the first the trio has recorded from outside writers, other than recording occasional cover songs.
“The work tape we had [for “Vegas,”] we really blew that up and made it something that felt like it fit into this puzzle we were constructing,” Wystrach says of the song that hinges on revamping the long-standing phrase “What happens in Vegas stays in Vegas.” “You can almost smell the heartbreak on that song, and the longing and nostalgia to it. It does really sound like a firsthand experience, and I think all of us have collectively kind of lived the story of that song — and it’s such a classic turn of a phrase that’s been part of the pop culture vernacular for so long.”
Wystrach, Duddy and Carson were joined in the studio by Cobb, keyboardist Philip Towns, percussionist Chris Powell, and multi-instrumentalist Leroy Powell for a recorded effort they feel captures the energy of their live shows for the first time in a long time, while still sounding radio ready.
“I think the three of us collectively feel the last three albums didn’t really reflect what we sound like live. I think all of our favorite albums sound kind of like the live show, and that’s something we wanted to pursue and incorporate in this album,” Wystrach said. “What people are hearing is a live-tracked album that is imperfect, human, it’s got a rawness to it.”
The UTA-booked group will take the new songs on the road when their The Get Lucky Tour launches Sept. 19 including stops at Red Rocks Amphitheater and at ACL Live. They’ll also return to Indio, California’s Stagecoach Festival in 2025.
In a world that is filled with over-saturation in so many facets, Midland adheres to the ethos of “keep people wanting more.”
“We certainly did that when it came to building our live show,” Duddy says. “We never tried to jump ahead and play into a venue that might’ve been bigger. We specifically tailored our live show to where it’s going to sell out. Not everybody can just walk up at the door and there might be some empty seats.
“That’s kind of way this album is — we wanted to really be able to spotlight each of those songs because we believed in them,” he continues. “We do feel like those eight songs are able to tell such a story and have such a landscape both through us and Dave.”
Over the past decade-plus, Illinois native Brett Eldredge has earned five No. 1 Billboard Country Airplay hits (including the two-week chart-toppers “Don’t Ya” and “Wanna Be That Song”) and has seen two of his albums rise into the top 3 on the all-genre Billboard 200 chart.
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Thanks to his velvety, timeless vocal delivery, his annual holiday-themed Glow concerts and two albums comprised of primarily classic holiday songs (2016’s Glow and 2021’s Mr. Christmas), he’s also earned a reputation as an essential artist to help usher in the spirit of the holiday season.
On Sept. 27, Eldredge will extend that reputation with his third holiday album, Merry Christmas (Welcome to the Family), an eight-song collection of original holiday songs. Eldredge, who is managed by Q Prime South, is also turning a new page professionally, as the album will be the first released on Eldredge’s own independent label, Warm and Cozy Records. Eldredge previously parted ways with his longtime label home, Warner Music Nashville.
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“The run we had together at Warner was very special and it ended with respect and love,” Eldredge tells Billboard via email. “I am so grateful for the wonderful team of humans at Warner and the work and belief they always had for me. At the end of the day, I missed the feeling of betting on myself. That feeling when you first get to town, knocking on doors and playing anywhere they would let me in the doors with my guitar and an eager voice that wanted to be heard…I have that hunger to bet on myself and starting my own label felt like the perfect way to do that.”According to Q Prime South’s Randi Tolbert, ADA will handle distribution for the label, with Q Prime South and Q Prime New York label services handling duties including marketing, press, radio and digital.
Asked if there are plans to sign additional artists to his Warm and Cozy label, Eldredge notes that at the moment, his sights are set on releasing his own music, and he’s immersed in “making music that I love by cutting out expectations or outside pressures and anything that would influence my creative spirit. I love the freedom of it all so far…I am going to focus on that for now, but who knows what the future holds!”
Among the original songs on the new album is “Sweet December,” a duet with Kelly Clarkson (the two previously collaborated on “Under the Mistletoe,” featured on Clarkson’s 2021 holiday album, When Christmas Comes Around).
“After singing ‘Under the Mistletoe’ together, I knew there was no one else in the world I wanted to sing this song with,” Eldredge says in a statement. “Kelly’s voice has this soulful retro feeling. I’ve never done a Christmas song in this style, and I really love it.”
Clarkson adds in a statement, “I’ve been fortunate enough to record songs with Brett, go see him live, and have him on my show! He has one of my favorite voices and I will sing with him anytime, anywhere! I hope people dig ‘Sweet December’ as much as we do!”
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The vinyl edition of the upcoming album will be released Oct. 25, bolstered by Welcome to the Family: The Game, an exclusive board game printed onto the vinyl edition’s gatefold.
For Eldredge, seeing the growing success of his holiday-centered music is a fulfillment of the dreams and ideas he had as a young vocalist, inspired by the sounds of timeless holiday songs each season.
“I think the success of this Christmas business or any business is to dig into what sparked it before it mattered to anyone else but yourself,” he tells Billboard. “That’s how I feel about this whole Christmas dream that has blown up to a level I only used to dream about as a kid, sitting by the tree singing along to Nat King Cole and Bing Crosby. That whole feeling of, ‘What if one day I could make music classic and cool like this, with my own holiday original songs? What if I could make people feel the way I do right now just listening and dreaming?’ When it all gets overwhelming, which indeed any type of success or ‘business’ does, I like to imagine taking a seat next to that 12-year-old me and saying, ‘Can you believe we are doing this?’”
Eldredge also notes to Billboard that fans can likely expect to hear a variety of sounds from him in the future as he explores musical avenues.
“I love so many types of music and I am inspired that we now live in an era where there can be a home on different playlists for different styles,” he says. “It honestly makes the live shows more fun and expansive too. I have a lot of different styles and sounds in my bag of magic tricks that I can’t wait to get out to the world!”See the tracklist for Merry Christmas (Welcome to the Family) below:
1 “Merry Christmas (Welcome to the Family)”
2 “It Must Be Christmas”
3 “Sweet December” (featuring Kelly Clarkson)
4 “Warm and Cozy”
5 “The Night St. Nick Got Sick”
6 “Season of Lights and Wonder”
7 “Who Will You Be Kissing on New Year’s Eve?” (featuring Idarose)
8 “Welcome to the Family” (Reprise)
Flavor Flav is seemingly everywhere these days. The Public Enemy hype man who became Team USA’s number one athletic supporter this summer when he opened his heart, and wallet, to help Team U.S.A.’s water polo squad — and other athletes — has made a number of new industry friends during this year of the Flavaissance.
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But few have had as much of an impact was rapper-turned-country superstar Jelly Roll. In an interview with People magazine, Flav, 65, describes what it is about Jelly, 39, that he finds so endearing and inspiring. “I’m proud to say it… that’s my guy,” said Flav, who the magazine said put on a Jelly Roll T-shirt during the interview.
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“Let me tell you something: Jelly Roll is one of the most positive people right now, man. And his music is so positive, so dope and it ways so much,” Flav added of the singer who gearing up to release Beautifully Broken (Oct. 11), the follow-up to his 2023 breakthrough album Whitsitt Chapel. “And not only that, but Jelly Roll’s music helped out a lot of people that have been down, you know what I’m saying? And the whole nine.”
And while they don’t seem to have a lot in common on the surface, Flav said he thinks he and Jelly essentially serve the same purpose in their music. “That’s another role that I play. I play the role like a Jelly Roll, you know what I’m saying? Because there’ll be a lot of people that be down in life and when they see me, I brighten up their day and it takes away that negativity that’s going on inside of them,” said Flav, whose indefatigable energy and positive vibes are always on full display in much the same way Jelly uses his music to speak to others who are struggling in an effort to lift them up. “Jelly Roll has the same effect. So me and Jelly Roll have something in common, man.”
The two men’s bourgeoning relationship has been chronicled on social media over the past year, including their meet cute in Sept. 2023 backstage, in which Jelly told Flav how much he loved him as the PE rapper casually dropped a bunch of Jelly’s song titles to prove his superfandom. “I’m just the son of a sinner man… I’m just one drink away from the devil,” Flav joked. In December, Jelly posted an Instagram video in which Flav brought him a birthday cake before his slot at last year’s Jingle Ball.
They also hung on the red carpet at the iHeartRadio Music Awards in Los Angeles in April and Flav spoke out in support of Jelly later that month when some online trolls were bullying the singer over his weight.
“On a personal note, Jelly Roll is one of the nicest, one of the absolute nicest men on the planet,” Flav said at the time. “A lot of people would love to be like Jelly Roll. All y’all trying to judge my boy Jelly Roll, I think y’all need to take a step back and judge yourself.”
Flav also introduced Jelly Roll at his The Night Before show in Detroit in April and was spotted shouting along to “Somebody Save Me” at one of Jelly’s shows in August.
Thomas Rhett will be kicking up his boots in 2025, when his Better In Boots Tour launches in June.
The Live Nation-produced tour will bring Thomas Rhett’s energy-fueled show and cascade of nearly two dozen No. 1 Billboard Country Airplay chart hits to 30 cities across North America, in states including New York, Virginia, Florida and Georgia. “Wind Up Missin’ You” hitmaker Tucker Wetmore will offer direct support on the tour, while “Austin” singer Dasha and sibling trio The Castellows will perform on select shows.
The tour will follow Thomas Rhett’s seventh album About a Woman, which released in August. The album features “Don’t Wanna Dance,” which interpolates Whitney Houston’s smash hit “I Wanna Dance With Somebody,” as well as songs such as “Fool,” “Can’t Love You Anymore” and “Overdrive,” which draw on inspirations from artists ranging from The Oak Ridge Boys, Alan Jackson and The Rolling Stones.
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Five-time Grammy nominee Rhett recently told Billboard about another song from the album, “Church,” which pays homage to both fellow country singer Eric Church’s music, as well as Rhett’s own love story with his wife, Lauren.
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“This is Lauren’s favorite on the album, because when we were in high school, I bought [Church’s] Carolina record, which was his second album,” he says. “I had to buy a new copy every three months because I just wore it out. It kept skipping — but he was like our Zach Bryan. He was that dude who kind of got played on the radio but could care less if he was or not, and he was kind of grungy and would say things in songs that most people weren’t saying. I learned the entire album on acoustic guitar, and any time we were at a party, that’s all I played — so this song means a lot to us, because he was the soundtrack to our teenage years.”
Tickets for most of the Better In Boots tour dates will go on sale Friday, Sept. 20, at 10 a.m. local time on Thomas Rhett‘s website, with the remaining shows going on sale in the coming weeks.
See the full list of the Better in Boots 2025 Tour dates below:
This week, Billy Strings and Margo Price link up for a stoned-cold country sound, while Koe Wetzel offers a party-worthy romantic rebuff and Mae Estes sings a gut-punch of a song about the guys who give “good ‘ol boys” a bad name. This week’s crop of new tunes also features songs from Anne Wilson, Parker McCollum and more.
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Check out all of these and more in Billboard‘s roundup of the best country songs of the week below.
Billy Strings/Margo Price, “Too Stoned to Cry”
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Americana mainstay Price welcomes prolific bluegrass artist Strings on guitar and vocals on this lilting heap of honky-tonk heartbreak, produced by Beau Bedford and written by Andrew Combs (and previously released on his 2014 album Worried Man). They sing of coping with touring life’s pressures and long hours through various vices — or as they put it, “Walking the line between hellbent and high.” The two singers’ world-weary voices bring a heft of believability to this sad country track.
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Anne Wilson, “Stand”
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Earlier this year, Wilson made a genre-melding project with the country/contemporary Christian album Rebel, spearheaded by songs such as “Rain in the Rearview” and “Strong.” She continues in that vein with her latest, as she sings of summoning strength to “stand for love when all you see is hate.” Bright production and a balanced country-pop instinct are a shining foil for her powerful, twangy vocal and a message of holding fast to one’s convictions.
Mae Estes, “Good Ol’ Boys”
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Estes lends her bluegrass-tinted lilt to this tale of small-town deception. She boldly sings of a “good ol’ boy” who seems unfailingly polite and picture perfect to the rest of the community. Thus, Estes sings, the members of that tight-knit town likely would never believe how his personality changes in private quarters. But to those his monstrous side has impacted, the concept of a “good ol’ boy” instills more wariness than trust. The writers here are Autumn McEntire, Marti Dodson and SJ McDonald.
Parker McCollum, “What Kinda Man”
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Grungy guitar gives way to a ferocious mashup of harmonica, blazing rock and honky tonk twang on McCollum’s latest. “It’s harder than it looks to walk that line,” he sings, reminiscing about living life on the edge, until he meets the one who has him rethinking his ways. As always, McCollum offers up an exemplary, gritty and undoubtedly country vocal styling.
Angie K, “Stay”
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El Salvador-born Angie K, known for songs including “Happily Ever After,” employs a grainy, soulful rasp that’s enticing on this romantic, bilingual track. Lush background vocals and velvety instrumentation, accented with flashes of Latin guitar, heighten the sultry flavor here. Angie K, David Borys, Tom Pino and Jason Haag are the writers behind the song. “Stay” is featured on Angie K’s self-titled EP, which will be released Oct. 25.
Koe Wetzel, “Casamigos”
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Following the release of his ninth studio album 9 Lives in July, Wetzel finally releases this fan favorite. This laid-back rocker with an ample sing-along-chorus is an anthem of defiance. “Mary Jane took my license/ And Casamigos took my friend,” he sings, before making it clear that while a cascade of less-than-stellar decisions may have cost a few things dear to him, there is one romantic relationship in particular he’s just fine with losing. Wetzel brings a jam-band vibe and a display of bravura to this stinging romantic rebuff.
In 2019, when Brooks & Dunn collaborated with such hot new artists as Luke Combs, Ashley McBryde and Brothers Osborne for Reboot, a collection of duets covering some of the superstar duo’s most beloved songs, they could have never imagined that within five years there would be a whole new crop of burgeoning stars to revisit the concept.
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Reboot proved to be such a tremendous success — providing the Country Hall of Fame pair with their first No. 1 on Billboard’s Top Country Albums chart in a decade — that it seemed natural to, well, reboot Reboot, but with a few twists.
Reboot II, out Nov. 15 on Sony Music Nashville, features a legion of new country artists, many of whom were just experiencing their first flushes of success or weren’t even signed yet five years ago, including Megan Moroney, Hailey Whitters, Lainey Wilson, Ernest and Warren Zeiders, but the new set also broadens the concept to include rockers Halestorm and bluesmen Marcus King and Christone “Kingfish” Ingram. Among the other artists on the album are Morgan Wallen, Jelly Roll, HARDY and Corey Kent.
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“What was even more impressive was to sit down with this bunch and turn them loose to do the songs in whatever way fit their artistic vision,” Ronnie Dunn tells Billboard. “The fun part was we weren’t chasing the original recordings or arrangements or our versions. We turned them loose to do whatever they wanted to do and, I’m biased, but it was really refreshing.”
Brooks & Dunn ‘REBOOT II’
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Hearing some of their songs, while still recognizable, turned on their heads and recreated with new arrangements, tempos or even as different genres, “made me realize how good we are,” Dunn says with a laugh, before seriously adding, “I think how lucky we are to have these songs that you can push the chameleon button on, and they change colors and keep on ticking.”
Unlike the first edition, where Kacey Musgraves and a few other artists upended their takes but for the most part the remakes stayed true to the originals, half the fun of listening to Reboot II are the unexpected roads some of the songs down — such as Moroney and Dunn’s slowed down, sultry duet on “Ain’t Nothing ‘Bout You,” The Earls of Leicester’s spirited bluegrass take on “How Long Gone” and Marcus King’s high-octane version of “Rock My World (Little Country Girl),” which screeches out of the gate.
It turns out Brooks & Dunn, one of country’s most successful duos with 20 No. 1s on the Country Airplay chart — would have happily embraced more reinventions on the first go-round. “I think artistically, Kix and I kind of wanted to let the horse run like we did on this on the first one — but the mandate was, ‘Hey this is an experiment. We haven’t done it before, so let’s try to keep the truck between the lines.’ And we were very pleased with it. But this is a whole different animal.” Then with what can only be described as a mischievous laugh, he adds, “I mean, this is gonna offend some people!”
Surprise more than offend more likely, given how Halestorm turns Brooks & Dunn’s classic “Boot Scootin’ Boogie” up to 11 with screaming guitars and Dunn going head to head with lead singer Lizzy Hale.
“[Halestorm] did not disappoint,” says Kix Brooks, adding that more than 30 years into their partnership, it’s good for Brooks & Dunn to shake things up a bit. “At this point in our career, we can’t really be nervous about that, especially on a record like this, and especially inviting some of the artists we did, like Christone “Kingfish” Ingram and Halestorm. Halestorm is a really badass, really tight rock band and whatever song they come in with heads are going to bang.”
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Furthermore, Brooks says some of the artists upped Brooks & Dunn’s game in a way that delighted them. “It was fun to see Ronnie go toe-to-toe with Lizzy,” he says. “I was like, ‘Good luck pal’ — but he did. I feel like a lot of the stuff really challenged us in a way that maybe we weren’t before. Kingfish came in on ‘Hard Workin’ Man’ with this funky blues thing, because that’s what he does with his band… then it’s like, ‘Holy crap. How are we going to plug into this?’ That was a whole new level of fun.”
Like the first Reboot, Brooks & Dunn were in the studio with the acts — no artists added their parts separately as happens in many such collaborative albums.
“I felt like it would be rude not to be [there],” Dunn says. The duo largely left it to their guests to come up with new interpretations, but were there to assist if the artist got “bogged down, and it would become a team sport to figure things out.”
While Dann Huff produced Reboot, this time he still did the majority of Reboot II’s tracks — but artists were also encouraged to use producers and musicians they routinely work with, which added Joey Moi, Kristian Bush and Jerry Douglas to the mix (along with some unintentional levity). “Kristian, who was producing Megan, has a very cosmic approach to producing,” Brooks says. “He was doing this thing with his hands like, ‘We just need to interweave this and that into that,’ and I was like, ‘You got that, don’t you, Ronnie?’”
“We almost threw him out the window,” Dunn says with a laugh — adding that making Reboot II “was the most fun we’ve ever had,” in part because there was no pressure.
The album contains 18 tracks, including six songs that were on Reboot, remade with different artists for Reboot II. “You think, ‘How can I do it differently? How can it not be repetitive? And everybody found a new way to give it a twist,’” Dunn says. Brooks cites Luke Combs’ straight-ahead read on “Brand New Man” for Reboot, whereas Warren Zeiders slows the tune way down on Reboot II and give it a “Nirvana kind of groove.”
When asked if there could be a Reboot III five years from now, Dunn says, “We would probably have to write a lot more new songs,” before adding, “we’re both writing all the time.”
The new versions also seem to lead new fans to discover the duo. “Asking our crowds this summer on tour, ‘How many of you are at your first Brooks & Dunn show?’” and probably 70% of that crowd now has their hands in the air,” Brooks says. “They’re just finding these songs. We kind of have this rebirth on stage that’s kind of hard to describe.”
Though Brooks & Dunn took a touring hiatus from 2010 to 2015, they now have no desire to see the end of the road. Their first leg of their 2025 Neon Moon tour, produced by Live Nation, will start March 13 in Lubbock, Texas and run through April 26 in Louisville.
“We’ve finally gotten to a place where we can kind of not worry about anything, just get out there and enjoy it,” Brooks says.
“We’re still drawing the same size crowds we did in our heyday, so let it rock,” Dunn says, adding with a laugh, “And we’re still pretty.”
Brooks & Dunn – Reboot 2 TRACK LIST
“Play Something Country” – Lainey Wilson
“Neon Moon” – Morgan Wallen
“Rock My World (Little Country Girl)” – Marcus King
“Ain’t Nothing ‘Bout You” – Megan Moroney
“Brand New Man” – Warren Zeiders
“Believe” – Jelly Roll
“She Used to Be Mine” – Riley Green
“She Likes to Get Out of Town” – The Cadillac Three
“Boot Scootin’ Boogie” – Halestorm
“Ain’t No Way To Go” – Mitchell Tenpenny
“How Long Gone” – The Earls of Leicester
“I’ll Never Forgive My Heart” – Jake Worthington
“She’s Not the Cheatin’ Kind” – Hailey Whitters
“Hard Workin’ Man” – Christone “Kingfish” Ingram
“Hillbilly Deluxe” – Hardy
“Indian Summer” – Ernest
“Drop in the Bucket” – Thousand Horses
“Only In America” – Corey Kent
Tommy Cash, a country singer and the younger brother of Johnny Cash, has died. He was 84.
The news of Tommy’s passing was confirmed on Saturday (Sept. 14) in a social media post by the Johnny Cash Museum in Nashville.
“We are saddened to announce that the world lost a bright light last evening with the passing of Tommy Cash,” reads a statement on Instagram from Icon Entertainment CEO Bill Miller, who founded the museum.
A cause of death was not provided at press time.
Tommy died on Friday, just one day after the 21st anniversary of late country music icon Jonny Cash, who passed away on Sept. 12, 2003, from complications of diabetes.
“Tommy Cash was a loyal supporter of the Johnny Cash Museum and a very beloved member of our extended family as well as a highly respected member of the music industry,” Miller added. “This great man will be deeply missed by his friends and many loyal fans around the world. Please keep Tommy’s beloved wife, Marcy and his family in your prayers.”
Tommy was born in Dyess, Ark., on April 5, 1940. Following the artistic path of his older brother, Tommy enlisted in the U.S. Army and worked as a radio DJ for the Armed Forces, and later performed as a musician with Hank Williams Jr.‘s band.
Tommy’s solo music career began to take off after scoring his first record deal in 1965. Three years later, he released his debut album, Here’s Tommy Cash, and scored his first top 10 on Billboard‘s Hot Country Songs in 1970 with “Six White Horses,” a tribute to John F. Kennedy, Robert F. Kennedy and Martin Luther King. The track, which reached No. 4, was later covered by country great Waylon Jennings.
Tommy scored two more top 10 hits on Hot Country Songs in 1970 with “Rise and Shine” and “One Song Away.” He went on to perform as a musician over the decades, teaming up with his big brother Johnny on “Guess Things Happen That Way” in 1990.
“He performed around the world throughout his career, carrying on the Cash legacy long after his brother, Johnny Cash, passed in 2003,” Miller concluded in his statement.
See the Johnny Cash Museum’s announcement about Tommy Cash’s death on Instagram here.
Jelly Roll and mgk are helping Spotify launch its new vodcast series Countdown To, which offers viewers a behind-the-scenes introduction to artists’ upcoming projects as they count down to album launch day.
In July, Spotify expanded its Countdown Pages tool, which helps artists and their fan bases gear up for album launches by allowing listeners to preview tracklists, watch clips, acquire artist/album merch and see a timer count down the seconds until album launch.
With Countdown To, artists sit down with their fellow artists, album collaborators, family members and friends to dive into a new album’s music, themes and inspirations. The interview-spearheaded series is located on the artist’s Countdown Page, while the full video will be available as a vodcast episode on Spotify, and on Spotify’s YouTube page.
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The inaugural episode features Jelly Roll in conversation with mgk, as the countdown ticks to the release of Jelly Roll’s upcoming album Beautifully Broken on Oct. 11. Jelly Roll and mgk previously teamed up for the song “Lonely Road.”
“I felt early in this writing process, it was becoming my journal of mental health,” Jelly Roll said, adding, “It’s the longest time I’ve took writing a single project… I really wrote this record hoping that people would feel that they were spoken for. What I hear the most from people is, ‘Man, this song says what I can’t.’ And that sticks with me, dude… That’s what I want them to get from this album.”
They also discussed how they went from enemies to friends, with mgk saying, “So, our beginnings were interesting,” and sending Jelly Roll into a deep laugh. “It is so funny how much I love you now,” said mgk, “because like, God, I hated you so much back then.”
Jelly replied with a laugh, “I was just a spiteful, bitter f–kin’ dude, you know what I’m saying?” adding, “I explain this to people and they don’t understand the concept because of our age now. Whenever I talk to my daughter, I’m like, ‘You gotta understand there was only like seven white rappers on Earth at this time, so it was so competitive when you was in that pool, that we were kind of automatically forced against each other anyways.”
“For sure,” mgk said. “You’re bred to hate each other.”
“And you were just like, just skinny and handsome,” Jelly Roll said. “So I was like, I was just a hater. I was just a hater, dude! It’s hard to grow up in front of the whole world.”
“This might be one of my favorite mgk disses, was, ‘F–k Machine Gun Kelly and his mohawk,’” mgk said, eliciting more laughs from Jelly Roll. “Because you just had this Southern drawl on your voice, where you didn’t say ‘mohawk,’ you said ‘mo-hawck.’ And that mohawk, dude, my mohawk was f–kin’ just a nice, eight inches of just egg whites and cheap hairspray…”
Jelly Roll’s song “I Am Not Okay,” featured on Beautifully Broken, is currently at No. 9 on Billboard‘s Hot Country Songs chart. Meanwhile, the album shares its name with Jelly Roll’s just-launched arena tour, which also features openers Warren Zeiders and Alexandra Kay.
Jelly Roll also talked about the struggle of balancing life on the road with being there for his family, and the two also discussed the ever-broadening reaches of country music, and compared the widening borders of rock and country.
“Countdown To is the latest effort in our ongoing commitment to spotlight artists and their new music on Spotify,” Sarah Patellos, head of Spotify Music Studios, said in a statement. “Working with director Karam Gill and mgx creative, these intimate conversations are shot documentary-style to really get to the root of each artist’s creative journey.”
See Jelly Roll and mgk’s discussion below:
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