Country
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Growing up in Commerce, Texas, an hour east of Dallas, Don Louis spent much of his childhood putting in long hours on his family’s 12-acre farm.
“I was blessed to have that discipline,” he tells Billboard. “I grew up feeding the pigs, picking the eggs and stuff. I always had that work ethic because my step-pop made me… I was the oldest brother and even if had to split the work with my brothers, it was always, ‘Go back and check your brother’s work.’ That fell on me.”
Still, he recalls his mother listening to music around the house, and how he spent time singing to himself when he was going about his farmwork. “Growing up, I heard Garth Brooks, Keith Whitley, Darius Rucker and Toby Keith. Toby and Garth had those soulful little runs,” he says.
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His new album, Liquor Talkin’, out today (Aug. 23) on Empire/Money Myers Entertainment, offers a deft blend of twangy country constructs, alluring dance grooves and glimmers of simmering R&B. Connecting them all is Louis’s velvet-meets-sandpaper voice.
Louis says he didn’t expect to name the album Liquor Talkin’, but realized it’s an apt title.
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“After I listened to the whole album, that’s how every one of these songs was — it felt like a different emotion or feeling when you’re maybe three shots deep,” he says. Those potential, varied, alcohol-fueled emotional paths of pain, joy, and open-heartedness are steeped in threads of country, soul, dance music, and more. Throughout all, his perspectives are soaked in the grooves.
The title track distills a hip-shaking shimmy, as does “Foot Loose,” while “Mine in My Mind” leans into a more traditional, dancehall groove. “I’m Gone” is a musing on how he wants his life looked upon when he’s gone — with celebration, not mourning: “That song is like, ‘Y’all have a good time, a celebration, and pour one out for me. Smoke a left-handed cigarette and enjoy that time we had together because you can’t buy more time.”
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“Long Time Comin’” chronicles making his way as a country artist, while he calls “Stick to Whiskey” “my pain song.”
Pain, in its iterations of heartbreak and disappointment, is a feeling Louis is well-acquainted with. He worked at a sawmill, pulling 13-hour shifts six days a week, before pursuing college football. Louis had dreams of playing in the NFL, and played football at Ouachita Baptist University and at Southern Arkansas University. However, those dreams were derailed after he was sidelined by a knee injury.
“I thought football was going to be my exit for the generational curse breaker of blue-collar work,” he recalls. “I remember thinking, ‘I know I’m not just supposed to be flipping logs my whole life.’ Not that I wasn’t good at it, and not that I didn’t bring love into what I was doing, but there was something inside me that felt I was supposed to shine in doing my own thing.”
With a sports career out of the picture, he threw himself full force into another love: music. In his free time, Louis would freestyle with friends, but it wasn’t until a girl downplayed his talent that he felt driven to prove people wrong.
“This one girl was in my truck and she played a certain rapper and the lyricism wasn’t hitting me well. I said, ‘He’s poppin’, he’s huge right now, but to me, it’s not good. I think I could do this just as well.’ And she said, ‘Nah, probably not. You can’t even sing.’ I had never sung in front of anyone.”
Coincidentally, Louis met someone with a nearby recording studio, and he recorded a version of his song “Lost Ways.” Initially, Louis’s music leaned more heavily into R&B, pop, and hip-hop, but he kept experimenting with sounds that would let his naturally twangy, burnished voice shine. Louis credits his late friend and fellow creative Chad Sellers with helping him write songs with a country construct. Still, getting label execs to take his country sound seriously had some trying moments.
“I remember we were doing the A&R vibe and I’m from the country, but they didn’t know that,” he recalls. “They only knew the music I had done previously. They were like, ‘This kid ain’t going to come in here and sing no kind of country.’ You should have seen their face when that first note came out—it was like, ‘Just let him sing how he wants to sing.’”
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He wrote songs and played for mostly empty rooms as he continued refining his skills and sound. It was after one of those shows in 2023 that his breakthrough started.
“I was at a show, struggling,” he says. “I think we played three hours for $250. Nobody was in the room, so basically it was practice.”
Later that night, he posted a video clip for the slow-burn two-stepper “Neon You,” written by Sellers, Dalton Little and Easton Hamlin. “I went back and it had 25,000 views — that’s the most attention I’d had on anything at the time,” he recalls. “I went to sleep that night and it was blowing up all night. I woke up and it was at like 75,000 views.”
In 2023, he released the Sellers-produced EP This Is for You, which included “Neon You.” The song now has more than 5 million listens on Spotify alone, as does Louis’s sultry 2020 release “Addict” (a TikTok video of “Addict” has earned over 4 million views). At present, Louis has over 400,000 monthly Spotify listeners, and over 4 million TikTok likes. He signed with Empire Nashville, and he and his label team were already building his fanbase step by step, even before the success of Beyonce’s Cowboy Carter put a spotlight on Black country artists — including his Empire Nashville labelmate, “A Bar Song (Tipsy)” hitmaker Shaboozey.
Even as he sees the breadth of sounds widening that connect country with various other genres, and sees a rapidly expanding fanbase, he’s mindful of all the grind and creative struggles that fans don’t see.
“Everyone sees game day. You don’t see the practice that happens in between,” he says. “People will say ‘This is great music,’ or ‘What a great show.’ They don’t see when I’m staying up til 3:00 a.m., trying to write a song that encompasses my soul, my spirit and moves people’s hips, but also a song when they listen, they go, ‘This is deep.’”
As he releases his new album, and prepares for a slate of shows in the coming weeks in Texas, Colorado and Las Vegas, Louis is keeping his eyes on the next turning point.
“I don’t think there’s ever a level of contentedness. There’s a level of success you want to get to and then you got to set a new milestone,” he says. “I’m already working on a second album, I’m already five songs deep. You have to keep feeding it and stay hungry.”
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They say you should never meet your heroes. Well, they never told Jelly Roll that, because in a new behind-the-scenes video posted on Thursday (August 22) the “Save Me” country star details the out-of-body experienced he had in June when he flew to Detroit to meet his hip-hop top dog: Eminem.
The five-and-a-half minute clip opens with Jelly on the phone telling someone that he’s on his way to meet Slim Shady as he speeds down the highway with a police escort. In the clip, Jelly explains that his early morning road trip came after he played two shows at Nashville’s Grand Ole Opry the night before, a whiplash of back-to-back career pinnacles that are truly hard to comprehend.
“I am fixin’ to meet Eminem. To some degree one could say we’re going from the Grand Ole Opry to meet Eminem,” he says while riding in the backseat of an SUV and stating the obvious, but also possibly talking himself off a ledge of disbelief at his good fortune. He explains that the trip was sparked by Marshall tapping him to sing in a Bob Seger tribute as part of the NBC Live From Detroit: The Concert at Michigan Central special that aired in June featuring Diana Ross, Jack White, Big Sean, Eminem and others celebrating the re-opening of the city’s restored train station.
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In the prime-time show, Jelly took the stage with event co-producer Eminem for a duet on Em’s 2002 song “Sing For the Moment.”
“Forty-year-old Jason DeFord is losing his mind,” Jelly says using his birth name. “Because I know for sure that 15-year-old Jason DeFord would faint! This is unreal, it’s really cool” he adds, staring out the window and contemplating this surreal moment. He then breaks down the mechanics of rappers expanding their local or regional fame to larger areas while recalling his attempt to break into the game more than a decade ago.
“Guys like Eminem were proud to be from Detroit, Michigan because superstars don’t come out of Detroit, Michigan,” he says, rehearsing an a cappella run of Aerosmith’s “Dream On,” which is interpolated in the Eminem song the duo performed. “We’re in the middle of some insanely historical s–t.”
Walking into the station and taking the stage for rehearsals, the big moment when the two men finally meet comes about half-way through the video. After a friendly greeting, Jelly admits to Marshall that he’s been “a little nervous” all day about their meet-up, wondering if the rap god even knows who he is. “Nah, I’ve been knowing you for a minute,” says a low-key Slim Shady.
Later, Jelly says that moment — standing next to Eminem and taking some promo shots — was on his Mount Rushmore of personal high points, along with meeting Garth Brooks and Dolly Parton. “Where I literally stood next to somebody and was like ‘this is f–king wild!,’” he says before picking out his wardrobe for the performance and having a chill hang with fellow performer Melissa Etheridge backstage.
The video ends with footage of the epic, orchestra-assisted performance and Jelly on his way out of town marveling at what just happened while re-watching the whole thing on his phone as he speeds to his next gig.
Watch Jelly Roll’s Eminem meet cute video below.
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Shaboozey dominates Billboard’s Country Airplay chart (dated Aug. 31) for a fifth week with “A Bar Song (Tipsy).” The song drew 29.8 million audience impressions (down 2%) Aug. 16-22, according to Luminate. Explore Explore See latest videos, charts and news See latest videos, charts and news The track by the Virginian (born Collins Obinna Chibueze) […]
08/23/2024
See how we broke down every track from Wilson’s new album.
08/23/2024
Lainey Wilson, one of country music’s brightest stars, is back with her latest album, Whirlwind, released today (Aug. 23) via BBR Music Group/BMG.
The album follows her critically acclaimed 2022 project Bell Bottom Country, which took home the Grammy for Best Country Album.
Whirlwind features 14 tracks, including standout singles “4x4xU” and “Ring Finger,” showcasing Wilson’s signature blend of storytelling and Southern charm.
The album also includes a collaboration with Miranda Lambert on the track “Good Horses,” a track that reflects the pull between life on the road and the comforts of home that was written at Lambert’s farm.
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“Miranda said, ‘Come hang out and take a nap. Me and Brendan [McLoughlin, Lambert’s husband] will feed you and then maybe we can write a song.’ They made burgers and pasta, we had everything,” Wilson told Billboard in a recent interview.
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“I had this [song] idea for quite a while and a lot of people had passed us up on writing it. Looking back on it, I’m glad they did because it was supposed to be us who wrote it together. But I think the magic kind of came from me and her having a lot in common when it comes to that love of the road, having a gypsy soul.”
Fans can expect a mix of emotions and experiences throughout the album, as Wilson digs deep into her life, love, and career.
“For this, it had to be quality over quantity. I couldn’t write 200 songs to get to my 14 [songs on Whirlwind]. I had to map out what I want to share, where do I want to get vulnerable, and really figure out the message I want to bring,” about the writing process for Whirlwind.
Wilson has been on a roll lately, earning accolades such as CMA Entertainer of the Year, ACM Entertainer of the Year, and a recent induction into the Grand Ole Opry.
Stream Lainey Wilson’s Whirlwind in full below.
The Chicks hit the stage at the 2024 Democratic National Convention on Thursday night (Aug. 22) to play “The Star Spangled Banner,” on the fourth and final day of the DNC at Chicago’s United Center before a crowd fired up and waiting for Democratic presidential nominee Kamala Harris to speak. Introduced as the winners of […]
On his 2023 full-length album, Pretty Little Poison, Warren Zeiders covered a little-known 14-year-old Chris Stapleton song, “Inside Your Head,” which Stapleton had recorded as part of rock duo The Jompson Brothers.
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While many artists would regard a Stapleton-sung song as beyond anything they would dare attempt, the task was undaunting to newcomer Zeiders.
“It’s full circle for me. I’m a huge Stapleton fan,” he tells Billboard. Zeiders includes another Stapleton song, “Love on the Line” on his new album, Relapse, out Friday (Aug. 23) via Warner Records. Zeiders is perhaps one of the few country music newcomers with the growl and grit in his voice capable of making such a song his own.
The Pennsylvania native grew up playing lacrosse and while a student at Maryland’s Frostburg State University, a series of sports concussions forced him onto the sidelines permanently. Zeiders, 24, turned his interests to music. In December 2020, he released the original song “On the Run,” and soon signed with Underscore Works’ Charly Salvatore for management. He quickly followed with his breakthrough hit “Ride the Lightning,” which has been certified platinum by the Recording Industry Association of America. His EP The 717 Tapes followed in 2021, and this February, “Pretty Little Poison” become his first No. 1 on Billboard‘s Country Airplay chart (the song has also earned RIAA double-platinum status).
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On his new 10-song album, Zeiders seems poised to continue that surge, with the title track currently sitting at No. 36 on Billboard‘s Hot Country Songs chart. The album centers around a heart-shattering arc from romance to betrayal on songs including “Intoxicated” and “Stone’s Throw Away.” Scattered across the album are one-word titles, such as “Addictions,” “Betrayal” and “Intoxicated,” which draw on drug and/or alcohol-fueled imagery, but often delve more into entanglements of the soul.
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“In ‘Addictions,’ it’s about choosing my addictions over a lover — and when I wrote that song, I was thinking about the addiction I have for the music industry,” Zeiders says. “I’m choosing that over being with someone. It is saying, ‘I can’t be the person you want me to be right now, because I’m in my 20s and focused on this career.’ It’s fun to take that concept, like a drug term, and flip it on its head.”
Outside of the Stapleton-written song, Zeiders co-wrote very song on Relapse. Sonically, his new album, which Zeiders co-produced with Mike Elizondo and Ross Copperman, traverses a number of genres. Some of the newer songs stem from a June writing retreat in Miami, where he worked with pop hitmakers J Kash, Blake Pendergrass, and Ali Tamposi, who have written tunes for acts like Justin Bieber, Maroon 5 and Selena Gomez, as well as for country hitmaker Morgan Wallen.
“It’s been fun for me, stepping outside of that box and watching those people come into the country scene and want to be part of it,” Zeiders says. “Between JKash [co]-writing one of the biggest songs in country music, ‘Last Night’ for Morgan Wallen, it’s been cool to see.”
As with many songs in today’s data-driven music ecosystem, fans led the way in deciding the release of his new radio single, “Relapse,” after Zeiders and his team saw the response on Instagram and TikTok.
“It was definitely very clear to see on TikTok and Instagram that people were very much so connecting with ‘Relapse,’” Zeiders says.
In-person, Zeiders’ laid-back, joyous persona belies the tough-guy persona crafted in his press materials and album artwork — but his collection of breakup-driven songs are heartfelt.
“People like to joke about it, but I’m a lover boy. I’m a teddy bear at heart. But I know with the long hair and cowboy imagery I give off a different perception. I do have a tendency of breaking my own heart,” he says. “I fall for these women and these kinds of things and maybe it’s not the right fit. It’s like, ‘I’m going away for two months on tour — and can they handle the distance?’”
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“Betrayal” is a song Zeiders relates to all too well, alluding to a past romantic breakup: “That was an interesting part of my life. Not a fun one, but it is what it is. We all got our stories — but more than anything the overall process has been a fun one, and a totally different vibe from the first record.”
Zeiders will soon open shows for Jelly Roll on his The Beautifully Broken Tour this fall, while gearing up for a jam-packed 2025 — which includes both a slate of headlining U.K. shows beginning in January, followed by his stateside The Relapse Tour, which launches in March, with shows in cities including Nashville, Atlanta and Pittsburgh.
“I’m going on the biggest tour in the fall and being a direct support artist for Jelly Roll, who is touching so many lives, and [he’s] just massive in pop culture right now — the man is everywhere,” he says. “I feel that being in front of that many people night after night, whether it’s [playing for] my fans [or] having a chance to win over his and bring them into the fold, what’s going to be on my mind night after night is leaving a lasting impact, being a great opener for Jelly, making sure the fans are ready for him.”
Zeiders notes that he’s never traveled to the U.K., but as with picking songs, he’s letting fan demand lead the way on the European tour.
“Just looking at the numbers and looking at the demand, what’s super cool is I’m able to skip some steps. I’m not just going into 400, 500-seat rooms. We’re doing 1,000 and 2,000-seat rooms for my first appearance. It’s exciting to see the fan base and the people supporting my music and wanting me to come over there. The demand is there, and it’s going to be a fun experience.”
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“I’m here for a day then we’re back out, just coming here long enough to run a few errands and repack a bag,” Lainey Wilson tells Billboard in her signature Louisiana twang, on a rare day in Nashville for the singer-songwriter. She’s preparing for a slate of West Coast dates on her headlining Country’s Cool Again Tour — but even during her brief time in Music City, she’ll also attend the ACM Honors and make a surprise visit to her Bell Bottoms Up Restaurant & Bar, which opened in downtown Nashville earlier this year.
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At the same time, the four-time Billboard Country Airplay chart-topper is gearing up for the release of her new studio album, appropriately titled Whirlwind, out Friday (Aug. 23) via BBR Music Group/BMG.
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That swirl of touring and recording has also come with a swiftly accumulating pile of accolades. In November, Wilson became the first woman since Taylor Swift in 2011 to take home the coveted CMA entertainer of the year honors. In February, she earned her first Grammy win, with her 2022 album Bell Bottom Country taking home best country album. In May, she doubled up on her entertainer of the year win, taking home the same accolade at the ACM Awards. Less than a month later, she was inducted as a member of the Grand Ole Opry. On Wednesday (Aug. 21), she was honored with the ACM’s coveted triple crown award and the organization’s milestone award.
The momentum has been hard-fought for this small-town Baskin, Louisiana native, who found work as a Hannah Montana impersonator early on (she recently had a full-circle moment, honoring Hannah Montana actress/singer Miley Cyrus during a Disney Legends event). She moved to Nashville in 2011, living in a camper near Bellevue while pursuing writers’ rounds and co-writing sessions. She released two independent projects before signing with BBR Music Group/BMG in 2018. In 2021, she released her major-label breakthrough, Sayin’ What I’m Thinkin’.
That same year, almost exactly a decade after moving to Nashville, she earned her first Country Airplay No. 1: “Things a Man Oughta Know.” She’s followed that with a steady stream of both solo and collaborative hits, including the top 5 hits “Heart Like a Truck” and “Wait in the Truck” (with HARDY), her three-week solo chart-topper “Watermelon Moonshine” and the two-week chart-toppers “Save Me” (with labelmate Jelly Roll) and “Never Say Never” (with Cole Swindell).
She says the process of writing for Whirlwind was markedly different from her previous projects. “I realized very quickly as my career grows and changes, there are a million other parts of this job that I just didn’t know existed,” Wilson says. “For this, it had to be quality over quantity. I couldn’t write 200 songs to get to my 14 [songs on Whirlwind]. I had to map out what I want to share, where do I want to get vulnerable, and really figure out the message I want to bring.”
While the new album includes some of Wilson’s mainstay co-writers, including Dallas Wilson and Trannie Anderson (who, collectively known as the Heart Wranglers, co-wrote “Heart Like a Truck” and several songs on Whirlwind), Wilson also was intentional about adding new writers to the fold — including Aaron Raitiere and Jon Decious, writers on songs like “4x4xU” and the funky kiss-off track “Ring Finger.”
“I knew they had this quirkiness to their writing that I wanted to tap into,” Wilson says, noting that they were going for a Jerry Reed feel on “Ring Finger.” “I had been telling them I wanted a song that showed my speaking voice, because a lot of people talk about my accent — whether they love it or hate it, they talk about it.”
“It’s fun for me to step out of my comfort zone and write from someone else’s perspective,” she continues. “But as I got deeper into the song, I think it was like verse two that I realized maybe I’m not stepping into someone else’s shoes—maybe this is really me. I do have a bit of a crazy side and a little spunk, and I haven’t gotten to show that side of my personality as much as I have with ‘Ring Finger.’”
Despite her success with duets, Whirlwind features just one collaboration—with a woman she calls “my sounding board for a lot of things,” Texas native and fellow singer-songwriter Miranda Lambert. The two, along with songwriter Luke Dick, wrote “Good Horses,” an ode to the pull of both the adventure of the road and the comforts of home, while spending a day at Lambert’s farm outside of Nashville.
“Miranda said, ‘Come hang out and take a nap. Me and Brendan [McLoughlin, Lambert’s husband] will feed you and then maybe we can write a song.’ They made burgers and pasta, we had everything,” Wilson recalls. “I had this [song] idea for quite a while and a lot of people had passed us up on writing it. Looking back on it, I’m glad they did because it was supposed to be us who wrote it together. But I think the magic kind of came from me and her having a lot in common when it comes to that love of the road, having a gypsy soul.”
“As we were sitting up on her balcony, three bluebirds flew up and landed on the balcony,” Wilson adds. “She and Luke were sitting in the same spot where those bluebirds had landed when they were writing [Lambert’s 2019 hit ‘Bluebird’].”
Lainey, who has become a mentor for rising women artists like Anne Wilson and Ella Langley, says of Lambert, “She’s become that girl in my life in the industry that just calls and checks on me. Even yesterday, she just sent me a text and said, ‘Love you. Wherever you are, I’m thinking about you. Sending you all the good vibes.’ I think it’s really important to have women like that in your corner in general, not with just the music industry, but you just got to have those folks around you. I met her about three years ago, and I’ve been able to go to her and she just has some good insight. I try to make sure that I go to people like that who have been there and done it.”
Another album standout is closer, “Whiskey Colored Crayon,” sparked from a word exercise from co-writer Josh Kerr, who took lists of hundreds of words, mixing and matching them to see if ideas spark. Landing on the words “whiskey” and “crayon,” they began etching the tearful-yet-hopeful story of how a young child’s innocent question to his teacher — asking for a whiskey-colored crayon to complete a drawing of his father — catalyzed change in his father’s life.
“I come from a family of teachers. My mama was a teacher, all my aunts, my grandma, my daddy taught for a minute,” Wilson says. “I see how much of a difference they make in kids’ lives and I know they hear so many different things from these kids. In country music, I think of sad stories and storytelling, but even when I’m telling a story like that, I can’t help but have some kind of triumph or resilience.”
Of course, some songs lean into Wilson’s own life, from the title track to a few love songs inspired by her boyfriend of over three years, Devlin “Duck” Hodges. “It is really fun to sing about love when you mean it,” she says of songs such as “4x4xU” and “Call a Cowboy.”
Simultaneously with her surging music career, Wilson has further been elevated in the spotlight through her role as Abby, a musician, on the hit series Yellowstone. This week, it was revealed that Wilson will be a part of the upcoming season of Yellowstone, through an ad calling for extras for a concert scene featuring the singer. The second half of season five, the final season of the show, premieres Nov. 10.
“I’ll tell you, I’m so excited,” Wilson says of her upcoming work on the series, though she’s mum on specifics. “We’re waiting to hear all of those details about how much involvement I’m going to have. But as soon as they let me know, I’m going to learn the lines and do my thing.”
Beyond Yellowstone and a seemingly ever-expanding slate of brand partnerships, which have included Kendra Scott, Wrangler, Charlie 1 Horse and Stanley, Wilson says she’s “starting to realize other opportunities are coming that I never knew existed. There is so much I want to do — I want to try voiceover acting. I would love to do a country cartoon; if you need a redneck cartoon, I got you. I’d love to play another role of some sort or write a whole soundtrack.”
She adds, “There’s so much I want to do, but as long as I can get up and do what I love to do every day, this ain’t a bad life to live.”
Having forged a reputation for relentless work ethic and having piled up accolades and milestones over the past few years, Wilson has allowed herself at least one splurge — though, true to her nature, it’s a practical one.
“I got me some land,” she says proudly. “I’m going to try to develop it here [near Nashville] soon and get it going, but it’s got some beautiful trails and eventually I’m going to build a barn on it and get some horses of my own up here. All of my horses right now are back home in Louisiana. Those are the things I guess my family just taught me to be super proud of — owning a piece of America. I don’t see myself going out and splurging on ridiculous things. I enjoy doing things for my family and stuff like that, but I don’t see myself changing much.”
Miranda Lambert will receive The Country Icon Award at the 2024 People’s Choice Country Awards, which are slated for Thursday, Sept. 26, at the Grand Ole Opry House in Nashville. Lambert will be honored for her 23-year career (dating back to the release of her self-released debut album), “during which she’s built an authentic, female-forward brand of country that has shaped the industry,” in the show’s words.
Last year, an ailing Toby Keith received The Country Icon Award at the inaugural People’s Choice Country Awards. He died a little more than four months later of stomach cancer.
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Lambert will receive award two weeks after the release of her ninth solo studio album, Postcards from Texas, which is due Sept. 13.
“A tour de force in country music for more than 20 years, Miranda Lambert’s groundbreaking albums continue to capture the hearts of fans around the world,” Jen Neal, evp, live events and specials, NBCUniversal Entertainment, said in a statement. “We’re so excited to celebrate her career, fierce individualism and innovation in the industry with the Country Icon Award.”
Lambert has long been an awards magnet. She has won a record 35 Academy of Country Music Awards, 14 Country Music Association Awards (more than any other woman) and three Grammys.
She has also been a major force on the Billboard charts, with five No. 1 hits on Hot Country Songs, seven No. 1s on Country Airplay, seven No. 1 albums on Top Country Albums and one No. 1 on the Billboard 200.
She has conquered Las Vegas with her twice-extended “Velvet Rodeo” residency and blurred genre lines with her work with such varied artists as Leon Bridges, Enrique Iglesias, The B-52s, Loretta Lynn, Sheryl Crow and Elle King as well as her inclusive anthem “Y’all Means All” for Netflix’s Queer Eye.
In addition to her musical pursuits, Lambert is a restaurateur, businesswoman, New York Times best-selling author and, perhaps most importantly to her, shelter animal advocate. She has raised nearly $10 million to date for rescue animals via her MuttNation Foundation.
Last year, the People’s Choice Country Awards presented a second special honor, the Country Champion Award, to Wynonna Judd. The show has not yet announced who, if anyone, will receive that award this year.
Hosted by Shania Twain, the 2024 People’s Choice Country Awards will air live on Thursday, Sept. 26 at 8 p.m. ET/PT across NBC and Peacock. Voting for the fan-voted show is open now and runs through Friday, Aug. 23 at 11:59 p.m. ET. Fans can vote online at www.votepcca.com. A limited number of show tickets and VIP packages are available now at Opry.com.
People’s Choice Country Awards is produced by Den of Thieves. Jesse Ignjatovic, Evan Prager and Barb Bialkowski will executive produce along with RAC Clark as executive producer and showrunner.
A pre-show, Live From E!: People’s Choice Country Awards, will kick off the night at 6 p.m. ET/PT on E! The pre-show is produced by Den of Thieves with executive producers Ignjatovic, Prager and Bialkowski.
When Randy Travis emerged as a game-changing country icon nearly 40 years ago, he won over the audience by mixing songs of infinite love — including “Forever and Ever, Amen,” “Deeper Than the Holler” and “I Won’t Need You Anymore (Always and Forever)” — with songs that address mortality, such as “Three Wooden Crosses,” “He Walked on Water” and “Before You Kill Us All.” And he blended both love and finality with the pledge of “’til death do us part” in “Forever Together.”
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Russell Dickerson has adhered primarily to the first half of that equation during his career, embracing long and lasting love in his singles “Yours,” “Every Little Thing” and “Home Sweet.” But with his latest release, “Bones,” he manages to combine both grown-up Travis themes: commitment and the end of life.
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“Bones,” he says, is “like ‘Yours’ with a mortgage payment.”
Dickerson suggested “Bones” during his last writing session of 2023, held around Thanksgiving at a wood-paneled studio on his Tennessee property. Co-writers Parker Welling (“Blue Tacoma,” “What’s Your Country Song”), Chase McGill (“Chevrolet,” “Next Thing You Know”) and Chris LaCorte (“23,” “Wind Up Missin’ You”) were down the road with it before anyone mentioned that Maren Morris already had a significant recent hit titled “The Bones.” No one was particularly concerned.
“I felt like we were pretty good,” McGill reflects. “They’re just completely different songs.”
Dickerson started strumming through a guitar progression, and LaCorte came up with a gritty riff that created a rough-cut musical tone for the work. On the lyrical side, they wanted to find different ways to incorporate the title throughout the song, so they developed a list of phrases that contained the word “bones,” including “shaking right down to my bones” and “flesh and bones.”
And as Dickerson kept singing a chorus setup line, “I’ll love ya ’til I’m six feet down in the ground,” they played with numerous payoff lines until McGill finally found the winner: “And the gold on my finger’s wrapped around/ Nothin’ but bones.”
“That was just kind of the — no pun intended — nail in the coffin,” Dickerson deadpans. “It’s like, ‘Holy cow, this is a song here.’”
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The melody for that chorus started at an anthemic level and maintained power through the bulk of the stanza until it reached its conclusion with calm serenity. As a result, that chorus sonically mirrors the story of the relationship it covers: intense at the start and steady over time until death brings it to a close. “We didn’t intentionally do that, but I think there’s a feeling about that song that we kind of just followed,” Welling suggests. “I think that’s why it all matches up.”
Welling has been friends with Dickerson and his wife, Kailey, since all of them attended Belmont University, and she spun specific descriptors about Kailey and the couple’s relationship for the opening moments. That verse ended with the singer “shaking right down to my bones” as he proposes. The second verse finds him putting the woman on a figurative pedestal, comparing her to an angel while grading himself as “just flesh and bones.”
“It’s like, ‘Thank you for choosing me,’” Dickerson says.
They inserted new lyrics in the final chorus to drive the point of “Bones” home, folding part of a wedding vow into a line LaCorte suggested about carving a pledge into his tombstone, a word the group changed to “headstone.” The image emerged earlier in the writing process, but they saved the drama of that visual for the song’s closing moments.
“We thought the headstone line in ‘Bones’ would have been a lot to have at the halfway point of [an earlier] chorus and then land on the ‘gold on my finger wrapped around nothing but bones,’ ” Welling says. “That’s just a lot of, like, casket.”
It was stark, but no more so than the deathly stories in Travis’ songs, George Jones’ “He Stopped Loving Her Today,” Vern Gosdin’s “Chiseled in Stone” or The Carter Family’s “Will the Circle Be Unbroken.” “What I love about country is you can go there,” McGill says. “You can say that.”
LaCorte produced most of the demo that day, creating the intro by layering two different acoustic guitars, one playing a pulsing figure and the other building melodic tension with the foundational minor-key riff. It was a little raw, as LaCorte recorded the part in an uncomfortable position. “It was recorded so haphazardly,” he says. “I had an SM7 microphone, but it was just lying on a table, and I was trying to scoot up next to it to play this thing.”
Dickerson rerecorded the demo vocals within a few weeks to ensure he had a version that showcased well for his team, and he recorded the final version in the spring. Producer Josh Kerr (Maddie & Tae, For King & Country) asked LaCorte to co-produce with him and Dickerson, and insisted that they use LaCorte’s imperfect acoustic guitar parts from the demo. The session came together so quickly that the night before, they were uncertain where that would happen. Ultimately, they booked Peter Frampton’s Studio Phenix for a 6 p.m. date with drummer Evan Hutchings, bassist Tony Lucido, keyboardist Alex Wright and guitarist Nathan Keeterle. After one pass that featured some syncopation, Dickerson asked the band to play the rhythms straight, like an elephant stomping through the jungle. It needed to sound simple and determined, even if it was compiled from different sources.
“A lot of the track is Chris and the bones of the demo — pun intended — and then some other layers,” Kerr says. “I added some drum programming in the second verse and some new synth layers, so it’s a true hodgepodge of things going on in this song.”
Several elements provided a ghostly effect, including a windy sound in the opening section. “That’s my old Moog Model D synthesizer, and it has this one mode on it that’s just called ‘Noise,’ ” LaCorte says. “Sometimes it just adds kind of a cool texture in the background, [but] it’s more felt than heard.”
LaCorte’s Dobro solo from the demo stayed in the master, though Kerr had him double it with electric guitar to create a quasi-slide tonality. Dickerson purposely sang parts of “Bones” a little off-kilter. The phrasing in the opening verse is intentionally awkward, and in the final chorus, he sings two lead vocals for a brief period that lend their own haunting quality, as the voices engage in a short-term battle.
“It’s gritty, it’s crisp, there’s a lot of depth and dynamic to it,” Kerr says of Dickerson’s performance. “That’s something that we really made a point of doing in this song.” Kailey was so enamored with “Bones” that she stayed out late one night just driving and listening to the cut. “If she digs it,” Dickerson says, “then that’s a good sign.”
But not everyone at Triple Tigers thought it should be a single. Several alternative titles were thrown around, though Dickerson held out for “Bones.” The label released it to country radio via PlayMPE on July 15.
“It’s a little jarring at first,” he concedes, “but once you really settle into the song, that kind of fades away. I had to fight for this song to be the single, but I’m betting everything on this song.”