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Two-time CMA Awards entertainer of the year winner Luke Bryan, NFL luminary Peyton Manning and reigning CMA Awards entertainer of the year Lainey Wilson are set to co-host the 58th annual CMA Awards.
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Bryan is a four-time CMA Awards host this year, while NFL legend Manning is a three-time CMA Awards host and they will be joined by first-time host Wilson on the live broadcast from Nashville’s Bridgestone Arena on Nov. 20 on ABC; the show will be available the next day on Hulu.
Bryan, a two-time CMA Awards entertainer of the year winner who just released his new album Mind of a Country Boy, previously told Billboard that, “just a lover of the genre and the people, the artists and the night” are what keeps him coming back as a CMA Awards host. “To be asked to host the CMAs for the first time was a dream come true, and something I never thought I’d be able to achieve. Going from a kid watching the CMAs at home with my family to being a host is pretty surreal. I walk out on that stage right before we deliver the monologue and it’s always a pinch myself moment and I’m always just honored to represent country music the best way I can.”
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“I could not be more excited to host the CMA Awards this year with Luke and Peyton,” Wilson said in a press release. “It’s such an incredible honor and something I’ve always dreamed of doing. We’re planning a really great show for y’all, so make sure to watch on November 20!”
“I am honored to be back hosting the CMA Awards again this year,” Manning added. “The past two years have been a lot of fun, and I know Lainey is going to bring a special flare. Hopefully she can help me keep Luke in line! Either way, I’m excited for an incredible night of celebration and country music.”
Bryan told Billboard of Wilson joining as a co-host, “Peyton and I have had a great run, and obviously Lainey is as hot as a firecracker in the world of country music, and we’ll be excited to watch her hosting abilities unfold in front of our eyes, and really love her as a person and am just excited to work with her on stuff and be there. So I know she’s running around busy as can be, so we’re glad to have her for a few days. And I know Peyton’s excited about it, too.”
Wilson is the reigning CMA Awards entertainer of the year, and is in the running to win the same category this year.
When she co-hosts the awards show, Wilson will become the first person to host or co-host the CMA Awards in the same year that he or she was nominated for entertainer of the year since Carrie Underwood, who co-hosted and was nominated for the top award in both 2016 and 2019.
Sonny James, who co-hosted the first CMA Awards in 1967, was an entertainer of the year nominee that year. In the intervening years, 10 other stars have also doubled up in this way: Kenny Rogers (1979), Barbara Mandrell (1980-82), Willie Nelson (1983 and 1986), Randy Travis (1990), Reba McEntire (1991-92), Vince Gill (1992-98), Brooks & Dunn (2004 and 2006), Brad Paisley (2008-12), Underwood and Wilson.
Leading this year’s CMA Awards nominees are Morgan Wallen (with seven nominations), followed by Cody Johnson and Chris Stapleton with five nominations each. Wilson and Post Malone have four nomination apiece, while Louis Bell, Luke Combs, Charlie Handsome, Hoskins, Jelly Roll, Megan Moroney and Kacey Musgraves have three nominations each.
Performers and presenters for the CMA Awards will be announced in the coming weeks.
Watch Bryan, Manning and Wilson in a promotional clip for the CMA Awards below:
Following news the death of Kris Kristofferson at the age of 88 on Sept. 28, tributes have poured in from some of the biggest names in the music industry, honoring the legendary songwriter and actor whose influence spanned decades.
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Dolly Parton, Reba McEntire, Eric Church, and more have shared personal reflections on the man they admired, loved, and called a friend.
Dolly shared a close friendship with Kristofferson, with the pair performing duets such as “From Here to the Moon and Back” and “Put It Off Until Tomorrow” over the years.
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“What a great loss,” Dolly said. “What a great writer. What a great actor. What a great friend. I will always love you.”
Country star Reba McEntire said, “What a gentleman, kind soul, and a lover of words. I am so glad I got to meet him and be around him. One of my favorite people. Rest in peace, Kris.”
Travis Tritt, who appeared in the spaghetti Western TV movie Outlaw Country alongside Kristofferson wrote, “Sad to hear of Kris Kristofferson’s passing. He was an inspiration to me and I was fortunate to get to know him on the set of Outlaw Justice that we filmed in Spain in 1998. My heartfelt condolences go out to Kris’s wife, Lisa and all of his family, friends and fans.”
For songwriter Diane Warren, Kristofferson was the epitome of a multi-talented artist.
She wrote, “Brilliant songwriter, Rhodes scholar, great actor, not to mention criminally handsome,” she noted in her tribute. “How often do U get all that in one human? Write in Power forever Kris Kristofferson. We are losing too many greats and we just lost another one.”
Country star Eric Church shared his admiration for Kristofferson as both a role model and a friend. “The ultimate life well lived. Thank you for being a beacon of light in a darkening world. You were my hero and my role model. And even then, you managed to exceed my expectations when you became my friend.”
“So long Captain. Till we meet again.”
Rosanne Cash, singer and daughter of legend Johnny Cash, said: “Here was a man. A man I knew most of my life. A piece of my heart and family history. I expected he’d leave the planet fairly soon, but it doesn’t change the magnitude of the loss.”
Cash’s words hold even more weight considering one of Kristofferson’s final public performances was with her. The two performed a heartfelt duet of “Lovin’ You Was Easier” at Willie Nelson’s 90th birthday celebration in April 2023.
She continued, “And yet we will always have him— his enormous legacy, his resonant spirit, the lasting power of his authenticity, his staggering gifts as a poet— in word, on screen, in his being. For the last several decades, there was no Kris without Lisa and her beauty and steadfastness is a constant inspiration. I send you all my love, Lisa.”
“Travel safe, dear brother. I will always love you.”
Barbra Streisand, who co-starred with Kristofferson in the 1976 version of A Star Is Born, also paid tribute to him earlier, recalling the first time she saw him perform at L.A.’s Troubadour. Their on-screen chemistry in A Star Is Born helped cement both actors’ status in Hollywood, with the film’s soundtrack—featuring their duet “Evergreen”—becoming a No. 1 hit on the Billboard 200.
Kris Kristofferson, a Rhodes scholar with a deft writing style and rough charisma who became a country music superstar and A-list Hollywood actor, has died.
Kristofferson died at his home in Maui, Hawaii, on Saturday (Sept. 28), spokeswoman Ebie McFarland said in an email. He was 88.
McFarland said Kristofferson died peacefully, surrounded by his family. No cause was given. He was 88.
Starting in the late 1960s, the Brownsville, Texas, native wrote such classics as “Sunday Mornin’ Comin’ Down,” “Help Me Make It Through the Night,” “For the Good Times” and “Me and Bobby McGee.” Kristofferson was a singer himself, but many of his songs were best known as performed by others, whether Ray Price crooning “For the Good Times” or Janis Joplin belting out “Me and Bobby McGee.”
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He also starred opposite Ellen Burstyn in director Martin Scorsese’s 1974 film Alice Doesn’t Live Here Anymore, starred opposite Barbra Streisand in the 1976 A Star Is Born and acted alongside Wesley Snipes in Marvel’s Blade in 1998.
Kristofferson, who could recite William Blake from memory, wove intricate folk music lyrics about loneliness and tender romance into popular country music. With his long hair and bell-bottomed slacks and counterculture songs influenced by Bob Dylan, he represented a new breed of country songwriters along with such peers as Willie Nelson, John Prine and Tom T. Hall.
“There’s no better songwriter alive than Kris Kristofferson,” Nelson said during a November 2009 award ceremony for Kristofferson held by BMI. “Everything he writes is a standard and we’re all just going to have to live with that.”
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As an actor, he played the leading man opposite Barbara Streisand and Ellen Burstyn, but also had a fondness for shoot-out Westerns and cowboy dramas.
He was a Golden Gloves boxer and football player in college, received a master’s degree in English from Merton College at the University of Oxford in England and turned down an appointment to teach at the U.S. Military Academy at West Point, New York, to pursue songwriting in Nashville. Hoping to break into the industry, he worked as a part-time janitor at Columbia Records’ Music Row studio in 1966 when Dylan recorded tracks for the seminal Blonde on Blonde double album.
At times, the legend of Kristofferson was larger than real life. Cash liked to tell a mostly exaggerated story of how Kristofferson, a former U.S. Army pilot, landed a helicopter on Cash’s lawn to give him a tape of “Sunday Mornin’ Comin’ Down” with a beer in one hand. Over the years in interviews, Kristofferson said that with all respect to Cash, while he did land a helicopter at Cash’s house, the Man in Black wasn’t even home at the time, the demo tape was a song that no one ever actually cut — and he certainly couldn’t fly a helicopter holding a beer.
In a 2006 interview with The Associated Press, he said he might not have had a career without Cash.
“Shaking his hand when I was still in the Army backstage at the Grand Ole Opry was the moment I’d decided I’d come back,” Kristofferson said. “It was electric. He kind of took me under his wing before he cut any of my songs. He cut my first record that was record of the year. He put me on stage the first time.”
One of his most recorded songs, “Me and Bobby McGee,” was written based on a recommendation from Monument Records founder Fred Foster. Foster had a song title in his head called “Me and Bobby McKee,” named after a female secretary in his building. Kristofferson said in an interview in the magazine, Performing Songwriter that he was inspired to write the lyrics about a man and woman on the road together after watching the Frederico Fellini film La Strada.
Joplin, who had a close relationship with Kristofferson, changed the lyrics to make Bobby McGee a man and cut her version just days before she died in 1970 from a drug overdose. The recording became a posthumous No. 1 hit for Joplin.
Hits that Kristofferson recorded include “Why Me,” “Loving Her Was Easier (Than Anything I’ll Ever Do),” “Watch Closely Now,” “Desperados Waiting for a Train,” “A Song I’d Like to Sing” and “Jesus Was a Capricorn.”
In 1973, he married fellow songwriter Rita Coolidge and together they had a successful duet career that earned them two Grammy awards. They divorced in 1980.
He retired from performing and recording in 2021, making only occasional guest appearances on stage.
Jelly Roll brought a pair of new tracks during his musical guest debut on the season 50 premiere of Saturday Night Live. The 39-year-old country singer and rapper brought positive energy to Studio 8H on Sept. 28, performing new songs “Liar” and “Winning Streak,” both of which will appear on his upcoming album, Beautifully Broken, […]
On Sept. 28, 2002, Diamond Rio’s “Beautiful Mess” began a two-week run at No. 1 on Billboard’s Hot Country Songs chart, marking the group’s fourth leader.
The song was written by Sonny LeMaire (of Exile), Clay Mills and Shane Minor. It was released as the lead single from Diamond Rio’s album Completely, which also generated the act’s fifth and most recent No. 1 single, “I Believe.”
In April 1990, Diamond Rio (formerly known as The Grizzly River Boys, then The Tennessee River Boys), signed with Arista Records Nashville. The group then was comprised of lead vocalist Marty Roe, Gene Johnson, Jimmy Olander, Brian Prout, Dan Truman and Dana Williams.
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In June 1991, Diamond Rio’s debut Hot Country Songs entry, “Meet in the Middle,” hit No. 1 – making the act the first group to reign with a rookie single. The band has notched 19 career top 10s, including its other leaders “How Your Love Makes Me Feel” in 1997 and “One More Day” in 2001. The group has tallied 29 top 40 entries, through the No. 30 hit “God Only Cries” in 2006.
Said Oleander to Billboard in 2014 of Diamond Rio’s early ‘90s breakthrough, “I see these guys in these fantastic coiffed mullets and I remember the idealism that we had — ‘We’re going to do this. We’re going to reinvent that’ — and all that stuff. I’d do the same all over again.”
In 2022, Diamond Rio underwent its first lineup change in 33 years, as drummer Prout retired and was replaced by Micah Schweinsberg (formerly of gospel act The Crabb Family). Later that year, vocalist/mandolinist Johnson announced his departure from the group to focus his efforts in bluegrass.
Currently on the road, Diamond Rio makes its next stop in Wharton, Texas, on Sept. 29.
Here’s how nostalgic Brad Paisley is: “I find myself before an amazing event is even finished thinking, ‘Oh man, this is really gonna be a bummer when it’s over!’,” he says.
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So it should come as no surprise that the country star decided to look back at a historic chapter in his life and career when creating “Truck Still Works,” his new single that drops today on EMI Music. The song serves as a companion of sorts to 1994’s charming, uplifting “Mud on the Tires,” which became one of his biggest hits.
The catchy, mid-tempo tune, which Paisley premiered on the People’s Choice Country Awards Thursday night (Sept. 26) as a medley with “Mud on the Tires,” questions if he and his female companion can turn a truck that’s been sitting dormant for years into a wayback machine that can transport them back to an earlier, care-free time. As the lyrics ask, they can “see if them miles of corn still got that shade of green” or “find out if that dogwood limb is still there to hang our shirts.” “It’s no more complicated than the nostalgia of it,” Paisley says of the song. “We all want to recapture certain aspects of life.”
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When “Truck Still Works” co-writers Rodney Clawson, Will Bundy and Hunter Phelps first approached Paisley and DuBois, who co-wrote “Mud on the Tires,” about revisiting that song in some manner, the trio expressed apprehension about stepping on the Paisley/DuBois classic. However, Paisley says, “Chris and I were like, ‘Oh no! Lean in!’ This is truly a sequel.”
Brad Paisley ‘Truck Still Works’
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It felt right and good to revisit that time again, Paisley says. “I look back on the Mud on the Tires era as an album and a time period where everything did sort of launch in a bigger way for me. ‘Mud on the Tires’ was a call to action, a metaphor, it felt like a lifestyle.” For Paisley, the title track became his fourth No. 1 on Billboard’s Hot Country Songs chart and the album’s fourth Top 5 hit and further catapulted his career. To this day, Paisley ends his shows with “Mud on the Tires.” “If I don’t do it, people want their money back,” he says. “I can’t imagine my identity as an artist without that, so it’s really fun to kind of lean into this.”
Once they “leaned in,” the five co-writers had a blast planting Easter eggs in “Truck Still Works” that hark back to “Mud on the Tires, ” while still creating a song that felt “entirely new,” Paisley says. In addition to the lyrical references, Paisley even threw in musical reminders, such as using similar guitar patterns and chord inversions.
Those musical cues were enough for ardent fans, including Jelly Roll and Post Malone, to guess the song was a “Mud on the Tires” sequel based on a small snippet Paisley posted on Instagram and X earlier this week. “It’s fun to think back when Jelly was a young’un, he might have even bought ‘Mud on the Tires,’” Paisley says.
The throwbacks extend to the single artwork, which features the truck that Paisley had when “Mud on the Tires” came out and serves as his farm truck now.
The song intentionally doesn’t answer if the truck does, indeed, still work, leaving it up to the listener’s imagination. “That wouldn’t be cool,” he says, to bring the song back to reality. “It’s still the metaphor of it, the idea of can you recapture that thing when everything’s [now] different,” he says.
The song shifts sonic gears for Paisley who last September released Son of the Mountains: The First Four Tracks, an EP of a quartet of songs in part inspired by his growing up in West Virginia. The album tackled such serious subjects as the opioid crisis, which has hit his home state particularly hard, on “The Medicine Will.” It also looked at the ways we are all alike no matter where we’re from with “Same Here,” which featured a spoken word passage by Ukrainian president Volodymyr Zelenskyy.
That album is now on hold. “I ended up getting really excited about a few of these things that I started to write, and we came up with an entirely new project,” he says.
Given the weightiness of some of the topics on Son of the Mountains, Paisley wanted to take a break. “There’s a lot of it that’s very heavy. A lot of [the album] exists to deal with things and I don’t know if anybody really wants to deal with things right now. I don’t. And if I’m going to put the rest of that album out, I have to be willing to sort of discuss some very heavy things. I don’t know that I would even want to do that right now.”
Instead, he says the lighter fare on Truck Still Works is what “I think people really want to hear right now.”
The new album, which will likely come out in early 2025, will be his first full-length album since 2017 and his first since moving from Sony Nashville’s Arista imprint to Universal Music Group Nashville’s EMI Records. Paisley says “Truck” is a good indicator of the album’s direction.
“The project has some deeper things on it but, like the song itself, is really about creativity and nostalgia and you know the themes that you want to hear right now,” he says. “Sometimes, like in these times, it’s great to give people something they just want to turn up and takes them to a place where they feel good.”
Luke Combs claims a second week at No. 1 on Billboard’s Country Airplay chart (dated Oct. 5) with “Ain’t No Love in Oklahoma.” The song increased by 2% to 30.7 million audience impressions Sept. 20-26, according to Luminate.
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Co-authored by Combs, the hit from the soundtrack Twisters: The Album is the 13th of his 18 Country Airplay leaders to dominate for multiple weeks – and marks another notable career achievement: Combining all his No. 1s, he has now spent more than a year – 53 weeks – at the summit. Kenny Chesney has logged the most weeks at No. 1 (83), dating to the chart’s 1990 start, followed by Tim McGraw (80), George Strait (66), Alan Jackson (60), Blake Shelton (57), Toby Keith and Combs (53 each).
“I’m really blown away,” Combs tells Billboard. “The support from country radio for my music and fans has always been more than I ever could have imagined. I’ve always known they were huge supporters of my music but this proves it in more ways than one.
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“I never thought I would get one week at No. 1, but when I did, I felt like I had won the lottery,” Combs marvels. “So, for my songs to have spent a full year at No. 1 with guys I grew up listening to and admiring is more than I could have ever dreamed of. Thank you, country radio, for letting this young man from North Carolina, who most had never heard of when y’all started playing my music, live out his dreams and do what he loves.”
Combs’ longest-leading Country Airplay No. 1 is “Beautiful Crazy,” which posted a seven-week command beginning in March 2019, followed by “Forever After All” (six weeks, starting in June 2021) and “Fast Car” and “Even Though I’m Leaving” (five each, beginning in July 2023 and November 2019, respectively).
Says Tom Oakes, SummitMedia operations manager and program director of Country Airplay reporter KTTS in Springfield, Mo., Combs’ success “is a testament to his ability to relate to the audience. He comes across as an everyday guy working hard to make his mark, raise a family and overcome the challenges life serves up. It comes through his songs, which speak to listeners on a level which they experience and live every day, whether it’s a serious or more dramatic theme, or just flat-out fun.
“At the core of his staying power is his ability to consistently appeal to listeners, as seen through long-term positive research on his music and his success on the concert circuit,” Oakes adds. “‘Oklahoma’ is different production-wise, as it is a straight-out rocker. Whatever he comes with next will likely be different in style and fresh-sounding.”
While accepting best crossover song at the 2024 People’s Choice Country Awards Thursday (Sept. 26), MGK (formerly Machine Gun Kelly) gave the biggest thank you to someone he used to have bad blood with: Jelly Roll.
Now, the two are both friends and collaborators, with their July duet “Lonely Road” taking home the crossover award at the ceremony, which the “Son of a Sinner” star didn’t attend. “Dude, Jelly Roll. Bubba!” MGK cheered on the stage on behalf of his song partner. “Jelly, I love you. We went from 10 years ago, hating each other, to elevating each other.”
“Comparison is the thief of joy,” the rapper-turned-rocker added, holding up his trophy. “There’s enough room on this couch for everybody. We found camaraderie in the chaos.”
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Jelly and the “My Ex’s Best Friend” singer previously addressed their decade-old feud in a Sept. 13 vodcast episode, helping Spotify launch its musician-focused Countdown To series. “It is so funny how much I love you now,” MGK said during their conversation, sitting face to face with the country star. “God, I hated you so much back then.”
“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,” Jelly added with a laugh at the time. “You were just like, just skinny and handsome. 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.”
In addition to dropping “Lonely Road” in July, Jelly and MGK also shot a music video costarring their respective partners, Bunnie XO and Megan Fox. The visual finds the musicians struggling to provide for their families, so they organize a heist that ends with MGK behind bars, leaving the Jennifer’s Body actress to raise their fictional newborn baby without him.
Watch MGK thank Jelly Roll at the People’s Choice Country Awards below.
Austin City Limits (ACL) will celebrate its 50th season with an assist from Texas native and Grammy winner Kacey Musgraves. The season will launch Saturday, Sept. 28, with an hour’s worth of music from Musgraves. Explore Explore See latest videos, charts and news See latest videos, charts and news In the previously taped appearance, she […]
Since earning his first Billboard Country Airplay top 5 hit with “All My Friends Say” in 2007, Luke Bryan has amassed 26 Country Airplay No. 1s — representing a mix of somber heartbreak tunes such as “Do I,” and a string of celebratory anthems revolving around rural settings and young love. As such, Bryan quickly ascended to headlining stadiums on the strength of his hitmaking (and yes, onstage hip-shaking), collecting five entertainer of the year trophies (two from the CMA and a trio of trophies from the ACM).
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To be sure, on Bryan’s eighth studio album, Mind of A Country Boy (out Friday, Sept. 27 on UMG Nashville), there are hook-filled, rowdy party sparkers such as “But I Got a Beer in My Hand” and “Country On,” but embedded in the album are also songs that accelerate the country quotient, and songs that convey the perspective of an artist nearly two decades into his career, speaking from maturity as a husband, father and seasoned musician.
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“I think it reflects where I’m at in life. I’ve had the party songs throughout my life and when I look at my career, I’ve put out the music I’ve always wanted to and this is the music I want out now,” Bryan tells Billboard.
That family aspect touches many songs on his new album, such as “Pair of Boots.”
“I have boys that were raised seeing their boots and cowboy boots everywhere,” says Bryan — who, with his wife Caroline, are parents to two teenage sons. “I think a pair of boots on a young boy teaches them about growing into manhood and I think it’s a tip of the cap to dads that start their kids off wearing boots. And certainly, if you’re a dad with boys, you get it.”
One of the standout songs on the album is “For the Kids,” which Bryan wrote with Justin Ebach and Old Dominion’s Brad Tursi. The song depicts a couple whose flame has fizzled out, but who are holding their marriage together simply for the sake of the kids. Though Bryan says the song’s story arc does not reflect his own nearly 18-year marriage to wife Caroline, he does feel it “might be one of the best songs I’ve written.”
Bryan says he and Caroline, who have been married since 2006, have been intentional about putting family first.
“I think we keep it all real,” he says. “There’s a time for me to go be a celebrity and there’s a time for me to go be a husband and a dad. It’s about communication and having a support group around you, a group of friends you enjoy being around and making sure you have positive people in your life. I think as you talk to people who have been married 30, 40 years, there’s always times in the marriage where there are bumps in the road, times that the kids might have been the thing that really held the whole unit together, and then there’s times when you’re an empty nester. I think this song touches on the journeys of marriage and what it takes to see it through forever.”
As a father to two teenage boys, 16-year-old Thomas (“Bo”), and 14-year-old Tatum (“Tate”), Bryan realizes his sons’ college years are not too far in the future.
“We’ve created a household where everybody hopefully wants to converge on [it when they can]. When they’re in college, you’re kind of empty-nesting, but when the fall breaks and Christmases and hunting seasons… when hunting season comes in, they start migrating back to the farm, where we can all hunt together. We take it year by year. The main thing is just to enjoy the time together, and get them through school and just raise them to be good boys and we know they’ll come back around.”
Another song on the album, “Jesus About My Kids,” written by Jeff Hyde, Tucker Beathard, Ben Stennis and Brad Rempel, delves even deeper into the role of fatherhood, contemplating how the approach to spirituality shifts as his kids grow older.
“I think a lot of parents can relate to the sentiment of praying for their kids,” Bryan says. “When they’re young, you try to lay the groundwork. We’re a Christian household and we’ve raised them that way to have those morals, and we try to set the tone at an early age of teaching them to be respectful and kind and polite. Then you hope that they can take that into the later years of their lives and be respectful, humble, with good manners. They’re doing good right now — we’re not having to bail ‘em out of any jails.”
Though Bryan has had a hand in writing many of his own songs, including “Someone Else Calling You Baby” and “We Rode in Trucks,” this time around, of the new album’s 14 songs, a dozen of them are outside cuts from many of Nashville’s top-shelf writers including Rhett Akins, Chase McGill, Hillary Lindsey, Ben Hayslip and Dallas Davidson.
“It’d be scary to know how many we went through, but I think we probably recorded a total of 18 songs, three of the ones that didn’t make it, I think I had a hand in writing,” Bryan says. “I always overcut [songs for an album] and then if mine make the cut, then they do. But this time I leaned on a lot of writers around Nashville and I always loved the opportunity of doing that.
“I’m a fan of the Nashville songwriting community, and I feel like that whole songwriting machine is one of the most amazing things in entertainment,” he continues. “I just get the songs to listen to and rarely know who writes them. I just like to try to use the mindset that the best song typically wins. And when those writers get cuts on the album, they always walk up to me and they’re appreciative and it’s endearing, and I’m always happy to be able to get the town fired up about one of my albums.”
A close listen to the album also finds Bryan and his longtime producers Jeff and Jody Stevens employing subtle ways of upping the ante, such as Bryan’s use of falsetto on the song “Closing Time in California.”
“I knew it was an opportunity to show that I had that in my bag, in my arsenal,” Bryan says. “We’ve heard the story [in this song] a million times—a small-town girl moves to Hollywood and there’s always that love interest that gets left behind. But you can feel the pain of all of that in the song, and the first time I heard it, I knew it was special.”
Over the course of his career, Bryan has performed for over 14 million fans, and is steadily adding to that count on his current headlining Mind of a Country Boy Tour, which runs through October, while his annual Farm Tour wraps this weekend (Bryan’s Farm Tour aids farming communities and since its 2009 inception, has awarded over 80 scholarships to students from farming families who attend local colleges and universities). He also keeps pushing himself in terms of his work on television. On Nov. 15, Bryan will host the new Hulu series It’s All Country, which finds Bryan exploring the stories and inspirations behind a slate of classic hit country songs. Next year, he will return as a judge on ABC’s American Idol, alongside Lionel Richie and Carrie Underwood.
He says whether he’s in the studio or onstage, he’s still always aiming at setting the creative bar higher.
“No matter how many years I’ve been kind of in the mix, and as long as I can find songs that push me to new boundaries, we’re always trying a new musician here and there, always trying new sound engineers and mixing people, just always trying to stay on top of my game,” Bryan says. “I’m always trying to go above and beyond, try to just outdo myself a little bit every time.”