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Kacey Musgraves has forged a reputation as a fearless musical communicator, an an entertainer who focuses on making her shows engaging, visually impactful, and as creative as her songs. As an artist and songwriter has been lauded by the Grammys (she’s won eight trophies, most recently best country solo performance for “The Architect”), the CMAs, […]
On Kameron Marlowe’s third Sony Music Nashville album, Sad Songs For the Soul, out Friday (Feb. 21) he’s veered from crafting a standard country project to fashioning a concept album focused on those with shattered hearts.
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As he sorted through songs he’d written since signing with Sony Music Nashville in 2020, he realized he had a stack of solid songs—all heartbreak anthems—that he had never put on previous albums.
“They’d kind of been sitting in my music vault for a while,” Marlowe tells Billboard. “I’d want to put ‘em on the projects, but I didn’t want to have too many sad songs on a project. So, I was like, ‘It’d be cool to just have one project where I can put them all together.’”
The Red Light-managed Marlowe acknowledges the inherent stress in releasing a project that is outside the norm of what fans have come to expect but says crafting the project rejuvenated his creative impulses. “It sounds different than my music usually does,” Marlowe says. “It’s more of a passion project for me. I felt like I was getting stomped creatively and I needed to open my mind and produce this a little differently.”
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Echoing the raw feelings of heartbreak, the album is stripped back, with sparse snares and cymbals in lieu of a full drumkit. Though the nearly 10-song project centers around pain and disappointment, each song approaches from the topic from a different angle, such as the Kendell Marvel co-write “Dear God.”
Marlowe calls Marvel “one of my favorite writers in Nashville that I’ve gotten to work with,” adding, “We really wanted it to be this conversation between this person and God, just throwing out all your faults and knowing why [an ex-lover] is gone, but praying to God she’ll still give you another shot.”
Elsewhere, “The Basement” feels reminiscent of the rock-infused brand of ‘90s country from artists such as Travis Tritt. “It feels like something he would’ve done back in the day,” Marlowe notes. “Travis is definitely one of my inspirations — I learned a lot of my singing from listening to him.”
He wrote one of the project’s standout tracks, “How’s the Leaving Going,” with Country Music Hall of Famer Vince Gill and lauded songwriter/NSAI Board president Lee Thomas Miller during a songwriter’s camp in Nashville.
“It’s a bit terrifying,” he says of the prospect of writing with Gill. “He’s the sweetest guy in the world, but he’s also insanely talented in so many ways — singing, guitar playing, songwriting. So it was intimidating stepping into that room. I trust myself when I’m writing, but when you are writing with a caliber [of writer] like Vince and Lee, you can question, ‘Is that line going to be all right?’ before you say it out loud. But it was so worth it. We wrote something I think is very beautiful.”
Marlowe also included a blistering, soulful cover of Cam’s 2015 hit “Burning House,” a song Marlowe calls “the coolest heartbreak song I think I’ve ever heard. You can see everything she’s talking about in that song.” It was that decision that set Sad Songs for the Soul in motion, though Marlowe’s initial concept for the album left room to expand on the project.
“The title was actually Sad Songs For the Soul Vol. 1: Heaven and the Bottle,” he says. “It was the full concept, in case I wanted to do a volume two down the road. I still may one day.”
While Marlowe’s grizzled voice and the slate of sad songs glue the project together, Sad Songs For the Soul leans on songs that touch on an array of styles, from rock-tilted anthems, torchy R&B-fueled numbers and gospel-influenced songs. The North Carolina native grew up soaking in the sounds of gospel music in his local church and becoming a worship leader. But by high school he had segued from church songs to rock anthems, starting a band with some local friends.
“I had no idea what I was doing at the time, but my high school teacher was so excited that somebody was playing music,” Marlowe recalls. “He created a class for me and my buddies to rehearse and learn how to put songs together. He would set up shows for us, which was exciting for me because I was learning how to build songs out, build a band and how to play those songs live.”
Marlowe pursued music during a short stint in college but dropped out to work to support his family, serving as an auto parts salesman for General Motors. Throughout, he continued playing music, putting up videos of himself singing cover songs on Instagram. One of those videos — a powerful cover of Chris Stapleton’s “Tennessee Whiskey” — led The Voice to come calling.
“They found me on social media, and — this is terrible that I even had this going on — but back then, I had my phone number in the bio of my [profile], thinking girls might reach out to me. But it ended up turning out to be a good thing, that The Voice found that number and reached out.”
He competed on season 15 of The Voice, singing songs from Hootie & the Blowfish, Waylon Jennings and Bob Marley, and advancing to the top 24 before being eliminated. Encouraged by the competition, he moved to Nashville and quickly found that fans gravitated toward his independently released, solo-written song “Giving You Up,” which led to Marlowe signing with Sony Music Nashville.
In the five years that have elapsed, Marlowe has issued many songs that evince his gale force of a voice, bolstered by an ever-maturing songwriting style. He issued 2022’s We Were Cowboys and 2024’s Keepin’ the Lights On, featuring songs including “Steady Heart” and the Ella Langley collaboration “Strangers.”
“I’ve learned how to persevere through the tough times and I feel like that’s something that I’ve leaned on pretty hard the past couple years, where I’m by no means a massive artist yet,” Marlowe says. “I would love to get there one day, but I’ve really tried to persevere and keep just staying in my lane and not worrying about what other people are doing — just following my path.”
Beyond the new album, the WME-booked Marlowe is opening shows for Parker McCollum and will launch his 2025 Keepin’ the Lights On Tour March 7. Given his nimble voice, it’s possible that path could at some point mean Sad Songs for the Soul could be just the first “passion project” he releases.
“My favorite thing is just to discover new songs,” Marlowe says. “I would love to do a soul kind of record one day or a rock record. But those would all be passion projects for me, because I feel like country music is what I am the most — but I could see a record with maybe some Kings of Leon songs that I love so much.”
Bill Medley confesses that he thought “my recording days were over” since it had been more than a dozen years since the legendary baritone from The Righteous Brothers had released an album. But, thankfully, the Rock & Roll Hall of Fame inductee was wrong. On Friday (Feb. 21), Curb Records will release Straight From the Heart, a collection of country songs that pairs Medley with such artists as Vince Gill, Michael McDonald, Keb’ Mo’ and Shawn Colvin.
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The 84-year-old, who still performs with Bucky Heard as the Righteous Brothers — his original partner, Bobby Hatfield died in 2003 — is the voice behind such timeless, foundational ‘60s hits as “Unchained Melody,” “(You’re My) Soul & Inspiration” and, of course, “You’ve Lost That Lovin’ Feelin,’” which was one of Phil Spector’s first productions using his layered Wall of Sound technique. Until 2019, the gorgeous classic was BMI’s most performed song in the performing rights organization’s repertoire for 22 consecutive years. Medley also paired with Jennifer Warnes for the iconic Grammy-winning “(I’ve Had) the Time of My Life” from the 1987 movie, Dirty Dancing.
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Straight From the Heart isn’t Medley’s first flirtation with country: He had a string of entries on Billboard’s Country Songs chart from 1979 to 1985 — including “I Do,” which reached No. 17 in 1984 — and played with such acts as Kenny Rogers, Alabama and Loretta Lynn.
In an expansive phone interview, the creator of blue-eyed soul talked about why he wanted to make the new album, recording in the studio with Spector and if it was more fun to tour with The Beatles or The Rolling Stones.
The new album spans songs as far back as the 1940s, with Hank Williams’ “I’m So Lonesome I Could Cry,” to the 2000s with Vince Gill’s “These Days.” How did you pick the songs?
[Producer] Fred [Mollin] made a list of songs, I made a list of songs — and it just came down to the writing of the song and the artist that did it. I would love to do 10 more of these albums, and pay tribute to a million more great country songwriters and singers.
It’s been a dozen years since you put out an album. How did this one come to pass?
Fred and I have been friends for quite a while, and we’ve been talking about doing this album. We started out to do kind of a small album, and then my manager called Mike Curb, and Mike has been a friend of mine since 1970. Good, good friend. So, it went from the small album to kind of this important album. I think Fred was just interested in getting my voice on tape while I was still able to do it.
Did you have any concerns about that?
[I’m] always worried about my voice, but I knew those songs. I’ve been locked in with a lot of great songs, like “You’ve Lost that Lovin’ Feeling” and “Unchained Melody,” and all those songs, they’re real melodic, and country songs give you the flexibility to do them the way you want. I’m 84, I’m not a country singer — but I love country blues songs. I’ve always thought George Jones was one of the great blues singers in the world.
Speaking of George Jones, many people consider “He Stopped Loving Her Today” the greatest country song of all time. What was your approach for taking on that one?
Fred mentioned it, and I just mentioned that I love the song. Who doesn’t? And I said, “No, I can’t go there.” But they thought that I could and should, and they made the track. They said, “OK, if you don’t like it, then we won’t put it on.” But after I sang it a few times, I just loved the song so much that I okayed it… I had the final say on all the songs, but that one for sure, if it just comes off like a bad version, I don’t want it on the album.
One of the first tracks that came out from the album was a cover of Ray Charles’ “Crying Time,” with Michael McDonald. You two have two of the most iconic voices ever. What was singing with him like?
Mike and I have known each other for years. He was a big Ray Charles fan. So was I. He’s just really musically open. He sounds phenomenal; he sounds like Michael McDonald. I did want Mike on the album, and I especially wanted him to sing with me on “Crying Time.” I knew that we could do a good job on that. I was concerned, and Mike probably was too, that because we have such distinctive voices, [we didn’t know] how we would sound when we were actually singing together, harmonizing with each other. And he’s just so good, it just worked out perfect.
Ray Charles is your all-time favorite singer, and you got to meet him when you did the TV show Shindig! Did you learn any good business pointers from Ray? He counted the money himself.
No, I didn’t learn anything from him, but I learned awfully quick [about the business]. When we had a hit with “You’ve Lost That Loving Feeling,” the first thing our agent did is put us with a business manager. That just saved our life, and we didn’t do anything stupid with our money. We were pretty down-to-earth guys. He was our business manager for a long time. Then he became my manager — and just a few months ago, he passed away. He’d been my manager for 60 years.
Did he get to hear the album before he passed?
Yes, he did. He said, “This is what you should have been doing all your life.”
You toured with Loretta Lynn and Alabama. Who else were you hanging with in those years?
I was working at a place in Phoenix where upstairs was a rock n’ roll, pop joint. Downstairs was this country bar. I was upstairs doing my [solo] show. I’d always go down to the country [bar] and they would ice up about five Coors Lights for me, and I would sit there and watch this guy. He would come over, and we would have a beer together and get to talking. And turns out it was Waylon Jennings. And so we became friends. Kris Kristofferson was a friend. Glen Campbell was a real good friend. And Kenny Rogers was a good friend. I just loved all of those guys. All my guys are gone.
You do “Sunday Morning Coming Down” on here. Is that a tribute to Kris?
No, I just love the song. It has such a great lyric. I really thought it was maybe one of the best songs that he’s written. He’s written some phenomenal songs. The truth is, I’m 84 years old and I probably have lived that [song]. I’ve had all the ups and the downs. Been married three, four times. That’s kind of why I picked certain songs. That one song I did with Vince Gill, “These Days,” is just the truth. Boy, I’ll take these days over any other days I’ve ever known.
You and Vince have a history. You were both nominated for best new male artist at the ACM Awards in 1985. Vince won. Did it seem weird to you that someone who had been having hits as long as you had was nominated because you had switched to country?
I thought it was very, very unusual — and I didn’t feel that I should necessarily be in that. I was thrilled that country music was accepting me. I thought that was really amazing and they always have, but being a newcomer of the year, I felt that somebody else should have been in that spot and not me. It was perfect for Vince, and he did pretty good. [Laughs.]
You’re obviously used to singing duets. What is the key to a successful duet?
For the Righteous Brothers and even Jennifer Warnes, it was kind of the beauty and the beast. You know, Jennifer sang so pretty, and Bobby Hatfield had a beautiful voice — and I always had this raspy kind of rock n’ roll voice. And so, I think for duets, if the two guys are lead singers, they have to sound different, or it’s just going to sound like the same guy doing the whole song. Girls are just so magical, because it’s so different. Simon & Garfunkel were pretty similar, and the Everly Brothers, for sure, were very similar. But I like the beauty and the beast idea.
You’re making your Grand Ole Opry debut on Feb. 22. Ringo Starr just made his Grand Ole Opry debut, so you have two guys in their 80s making their debuts.
That’s wonderful. He has a great band with him. I just don’t want people to think that I’m a rock n’ roll guy trying to sneak into country music. Country music has been a part of my life for years — and even in The Righteous Brothers show, I used to do what I would call a Ray Charles tribute, but it was all beautiful country songs like “Born to Lose,” “You Don’t Know Me” and “I Can’t Stop Loving You.” I just needed to do those songs.
Speaking of Ringo, who was it more fun to open for? The Beatles or the Rolling Stones?
Oh, you want to get me in trouble? [Laughs.] Well, it’s a pretty simple answer. The Beatles, when we opened for them, it was the first American Beatles tour — and the kids were just screaming and crying, yelling out, “John, John, Ringo!” Whatever. A lot of times when we were on, they’d be clapping and screaming, “We want The Beatles!” So then when they asked us to do The Rolling Stones, they hadn’t really made it yet. I think the next weekend after we worked with them, they became huge. So that was at least more musical, opening for them, so that was really more fun. But being with The Beatles was, obviously, more historic.
“You’ve Lost That Lovin’ Feelin’” ushered in the Wall of Sound. What was it like being in the studio with Phil Spector?
I remember he worked us real hard, real hard and real long, but it always got better so we didn’t mind it. Phil Spector was fine with us because we were kind of just a couple of street guys. He was used to working with a lot of girls. Working with him was fine, and we loved the song, but by the time the song was done, I think somebody asked us, “What do you think? Do you think it’s a hit?” I said, “There’s not a chance in the world that this will be a hit.” It’s way too long. It was over four minutes long — and, in those days, you did two-and-a-half minute records — and I sounded like I was on the wrong speed. I don’t know, it just sounded like a great record that could never be a hit. It’s just a remarkable record.
How was that different from making this album?
This was the most comfortable, easiest, rewarding album I’ve ever done. Working with those Nashville musicians was just such an honor, but, boy, just so easy and so good. I love the album and if something happens with it, that would be wonderful.
When Kane Brown embarks on his headlining The High Road Tour March 13 in San Diego, California, the tour will not only highlight 12-time Billboard Country Airplay chart-topper Brown’s consistent hitmaker status and enduring headliner draw but also marks a significant opportunity for his opening acts to solidify their own connections with Brown’s fanbase.
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As a precursor to the tour, Brown has released to DSPs “Says I Can (The High Road Tour Version),” a collaborative rendition of his country-leaning song featuring his tour openers, “Your Place” singer Ashley Cooke, “Austin” hitmaker Dasha, “Truth About You” singer Mitchell Tenpenny and five-time Country Airplay hitmaker Scotty McCreery trading off verses and joining together on a chorus ready-made for arena-sized singalongs.
“[The goal] is to really amplify everything we are trying to do, and also highlight the great talent that we are taking out on the road with Kane,” Brown’s longtime manager, Neon Coast’s Martha Earls, tells Billboard. “They are all super talented, so why not highlight them?”
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The concept of a headlining act welcoming openers back to the stage for a group singalong is a consistent element in country music concerts, whether they team up on one of the headliner’s own hits or pluck a tune from country music’s deep trove of fan favorites. Brown has regularly welcomed his openers to join him on songs during his shows, such as welcoming Restless Road to sing “One Mississippi” on his 2022-2023 Drunk or Dreaming Tour, or inviting Jordan Davis and Restless Road to sing on “Famous Friends” during Brown’s 2021 Blessed & Free Tour, which visited all 29 NBA basketball venues.
Brown’s dedication to spotlighting his opening acts stems from his own early days, when Brown was opening shows for Florida Georgia Line. “FGL asked him to come out and be one of four [openers] on their tour, and they were so nice to him,” Earls says. “And then it all came full circle in 2024, when we had [former FGL member] Tyler Hubbard as our direct support. They really set the precedent of how to incorporate openers and make them feel like they are part of the tour. That’s something that is important to Kane and why he’s always brought openers out on a song.”
Brown’s move is not without precedent: Five years ago, Miranda Lambert put out a cover of Elvin Bishop’s “Fooled Around and Fell in Love” prior to the launch of her 2019 Roadside Bars and Pink Guitars Tour, with openers including Maren Morris, Ashley McBryde and Caylee Hammack; they also performed the song together during Lambert’s concerts.
Earls notes the lilting, warm “Says I Can,” a track from Brown’s The High Road album, naturally lent itself to a sing-a-long.
The idea came from Brown’s A&R executive at Sony Music Nashville, Margaret Tomlin. “She said, ‘What if we made a recording of “Says I Can” and put the openers on it?’ We loved the idea, because at the end of the day, let’s make it all cohesive and make what people are seeing onstage, then [be what] they can hop in their car and listen to and remember that moment,” Earls says.
“All of the openers were eager and excited to be part of it, which felt nice and expressed like, ‘Okay, this is more than just going out and playing shows. This is about creating a moment for everybody every night,” Earls adds.
Brown first recorded the solo version of “Says I Can” last summer while making his The High Road album, while Cooke, Dasha, McCreery and Tenpenny put their vocals on The High Road Tour version of “Says I Can” during the days leading up to The High Road release on Jan. 31. Each artist contributed their individual part from various locales — Tenpenny was in Australia, Cooke was in Nashville, Dasha was in Los Angeles, and McCreery was gearing up for a songwriters’ retreat on the East coast.
“They are all complementary, but different,” Earls says of the artists’ vocals. “The vocals each came in and we threw it all at [Brown’s producer] Dann Huff and he mixed them together. [We wanted] to be able to put this out in advance of the tour and give the fans a glimpse of some of what they will experience.”
Brown tied in a social media aspect to the song and the tour, filming off-the-cuff video of himself FaceTiming with Cooke, Dasha, McCreery, and Tenpenny and holding up a green cup for a “Cheers Challenge” to promote the new song.
“I’m texting Dasha, like, ‘Can you answer a FaceTime right now?’” Earls recalls of pulling the video together. “There’s a funny video of her answering while she’s driving, and she’s like, ‘I can’t find an exit to pull off, let me call you guys back.’ So, it was all very sweet.”
The time span from inviting the opening acts to take part in the song to finished recording and making social media clip took less than two weeks. “I feel like we’re creating a little bond from the start, from before we even step out into the first show in San Diego,” Earls says.
“All of the teams stepped up and jumped on making the videos and making the social media moments happen. That was part of the fun, too,” Earls adds. “We see everything on social media — tour clips, music video clips. Why not interweave it all? An even more extreme example might be when Kane and Jelly Roll are performing at Buckeye Superfest [in Columbus, Ohio on June 25]. They have a song together [“Haunted”] and I can’t wait until that night when they play that song together. I think it is going to be so powerful and such a moment. That’s the fun part of collaborating in the music industry, and I think the sum can be greater than the parts sometimes.”
The first listen to the new Lee Brice single, “Cry,” can feel confusing.
The heart-broken lyric is easy to grasp, and the hook-filled chorus is practically a celebration. But when Brice shifts into an ascendant “Baby, baby, baby” melody about 40 seconds in, it seems momentarily as if “Cry” has broken into the chorus. Instead, the production simmers back down for an additional 60 seconds before the chorus officially begins.
That “baby, baby, baby” thing falls where songwriters typically place a pre-chorus, a short segment that eases the listener from the verse into the chorus. But, since the “baby, baby, baby” moment grows in volume, then slides backward, it operates like a reverse pre-chorus, playing a bit of a head fake with the listener.
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“That kind of threw me when I first heard it,” Brice concedes. “I was like, ‘Oh, is this the chorus?’ I mean, I didn’t know, you know – is it part of the verse? It was unique. But it didn’t throw me off as far as whether I like the song or not.”
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As “Cry” continues its three-and-a-half-minute run, that “baby, baby, baby” melody appears repeatedly in the background – sometimes quietly, sometimes louder – turning that quirky, counter-intuitive piece from a stumbling block into a unifying element.
“The first time I heard it, I was like, ‘Is that the chorus?’ – the ‘Baby, baby, baby,’” producer Ben Glover (Chris Tomlin, Anne Wilson) says. “And then I was like, ‘No,’ but it was cool. And then I heard the chorus hit, and I was like, ‘Well, I love that chorus.’”
“Cry” clearly works differently than the typical country song, and much of its peculiarity was embedded by the songwriters – Dallas Davidson (“Boys ‘Round Here,” “What Makes You Country”), Ben Hayslip (“Honey Bee,” “Small Town Boy”) and David Garcia (“Meant to Be,” “Southbound”) – when they gathered in Garcia’s office in 2019. Hayslip announced at the start of the session that he wanted to throw out the rules and write something that inspired them, rather than trying to craft something for the marketplace.
Davidson hails Otis Redding as his favorite singer, and Hayslip counts “When a Man Loves a Woman” as his favorite song, and it wasn’t long before the three writers started chasing a song with pieces of soul and doo-wop laced over their country tendencies. Garcia built a musical track with a chord pattern rooted in the 1950s and ‘60s. Davidson had begun experimenting with improvisational melodies, and he positioned himself at a microphone and belted out what became the basic structure of the first verse, beginning with a keeper line, “Who says a man don’t cry?”
“I sang my heart out, and I mumbled and stumbled, and, you know, this [or that] flew out, and they’re going, ‘Hey, see try this,’” Davidson recalls. “Then we’d sit back down and we’d type up a line. I’d go back in there and I’d sing it, and it was fun, man, but that was a total freestyle.”
And part of that freestyle included the “baby, baby, baby” reverse pre-chorus. They kept it.“On normal days, if we’re trying to write a radio hit, in our minds, we don’t do that part right there,” Hayslip notes. “But on this particular day, the mindset we were in was ‘Let’s just write something cool and different and write it for us.’”
The verses played up the drama of a tormented heart, the opening “Who says a man don’t cry?” providing the theme for subsequent variations: Verse two asks, “Who says a man don’t hurt?” and verse three follows with “Who says a man don’t beg?” That latter line was a nod to The Temptations’ “Ain’t Too Proud To Beg.”
“I had a lot of Motown going on in my head,” Davidson says. “All my favorites were talking to me – from Sam & Dave, Sam Cooke to Otis. There were a lot of voices in my head that day, going, ‘Sing it like this, boy. Sing it like this.’”
Garcia intensified his playing when they arrived at the chorus, and that turned “Cry” from a ballad into more of a Motown-like party with an energetic sound masking the self-pitying story.
“When he was playing on the chorus, this whole song became what it was,” Hayslip says. “When we first started writing this song with the verses, I don’t think we envisioned this song becoming what it became. We were writing a sad song, and the more the track kept going, we’re like, ‘Hey, this feels like an uptempo, feel-good song.’”
Meanwhile, Brice – on a day that he was working with Jerrod Niemann – invited Davidson over to his studio to hear his next album. Davidson was impressed by the project, but also thought it was missing one element, which could be filled by “Cry.” He played Brice the demo, and Brice immediately asked for rights to record it and started building his own version, playing guitars and keyboards, plus offbeat percussion – he employed a washboard, and played kick drum and snare with his thumb, instead of a drumstick. Niemann chipped in on percussion, and – according to the credits – so did the Holy Spirit, who didn’t actually sign the Musician Union’s session card.
“We had the real Holy Spirit with us,” Brice says with a laugh, “and he didn’t want no money.”
Brice laid down a lead vocal within a few days, though he struggled a bit and decided to give it all he had on one final take so that he would have a guide for the rest of the recording process. “I was sick, and I just threw it down,” he says. “I had to sing through it one time because I knew I needed at least a scratch vocal on there, and that ended up being the vocal on the song, for the most part. I think I went in and I hit a couple spots, but it was so real. I had to stretch so hard because I was so sick.”
Brice turned it over to Glover, who called on other musicians to work on “Cry,” and the team would frequently keep parts of a performance, then enlist another player to do more. As a result, the final features two basses, four electric guitars and four keyboards, plus programming from four different contributors.
They used some of Davidson’s demo vocal for harmonies, and took pieces of his quirky “baby, baby, baby” pre-chorus and threw them around the track, each sounding a little different from the others. “If it’s gonna be a thing,” Brice reasons, “let’s make it a thing.”
Glover added plenty of supporting vocals, too, including a section with Beach Boys overtones, and some electronically altered voices. Glover similarly applied filtering to a Hammond B-3 around the three-minute mark. “It sounds like R2-D2,” Glover says.
Niemann played a steel guitar solo, and Glover gave that its own sonic treatment. “We wanted it to sound a little bit like John Lee Hooker or that really nasty early Stratocaster,” Glover adds. “It sounds like it’s played through a tiny little amp – that kind of charm.”
In the end, “Cry” folds in country, old-school and doo-wop, but with enough modern elements that those retro influences sound current – think Amy Winehouse or Meghan Trainor. Curb released it as a single Jan. 31 after Brice identified that sound as a potential next wave.
“I started even hearing demos coming in where more people are doing this kind of vibe,” he says. “I don’t want to be following it. I want this to come out first.”
This week’s crop of new music features a surging and steamy new video from Riley Green, while Lainey Wilson teams with Myles Smith for a countrified version of his 2024 hit “Nice to Meet You.” This week’s slate of new music also features songs from Dierks Bentley, Muscadine Bloodline, Tigirlily Gold and bluegrass duo Nefesh Mountain.
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Riley Green, “Worst Way”
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Green released “Worst Way” as part of his 2024 album Don’t Mind If I Do, but the song has surged on the strength of his risqué, passionate video for the track. That clip has garnered more than 2.3 million views on YouTube, rising to the top of YouTube’s trending music video list. The video is primarily sensuous, but also adds in some mood-lightening humor — in one scene, couple draws stares as they take their romance to a public restaurant, with one grandmotherly-type older woman looking on in clear amusement and fascination. Elsewhere, the couple recreates the humorous kitchen scene from the 1988 movie Bill Durham. Musically, the song makes it clear he can deliver a sultry country track with aplomb.
Myles Smith and Lainey Wilson, “Nice to Meet You”
Grammy winner and four-time Country Airplay hitmaker Wilson teams with “Stargazing” hitmaker Myles Smith for a country revamp of Smith’s 2024 hit. In this song, he’s nearly ready to head home from a night at the bar, when a chance meeting develops into a chance to spend the night dancing away their worries. Wilson’s signature soul-twang vocal is front and center and meshes well with Smith’s smooth, pop voice, bolstered by stomps, handclaps and laid-back but hooky, folk-pop groove. Given the plethora of pop-country fusions that have proven bona fide hits over the past few years, look for this track to make an impact.
Dierks Bentley, “She Hates Me”
Bentley is known for his trademark humor on hits such as “Drunk on a Plane,” and he puts plenty more of that comedic side on display on his this radio-ready song, the Valentine’s Day-released “She Hates Me.” This polished country track finds Bentley offering a tale of a guy who ruefully realizes that his dreams reviving a former romance have been derailed by one thing — or several things. In fact, she despises nearly everything about him, from his dog and his hair, to his truck and his music. This is classic, comedic Bentley.
Nefesh Mountain, Beacons
Married duo Eric Lindberg and Doni Zasloff highlight the through-lines between bluegrass and Americana on this two-part project, with Zasloff’s pristine, airy vocal leading this 18-song musical tapestry that runs through songs about trusting in the meaning of regrets (“Regrets in the Rearview”), the Rodney Crowell classic “Song for the Life,” and the fleet-fingered, fiddle-fueled “This Is Me.” They take inspiration from not only their personal journey, but current events, on the clear-eyed but optimistic “Better Angels,” fusing traditional bluegrass song constructions with modern lyrical inspirations–and proving both the depth and breadth of their musicianship in the process. Further evincing their musical acumen, they are joined by a top-notch group of collaborators throughout, including pedal steel guitarist Greg Leisz, dobro player Jerry Douglas, mandolinist Sam Bush, banjoist Rob McCoury, guitarist Cody Kilby, fiddle player Stuart Duncan and bassist Mark Schatz, crafting a project that feels wholly progressive and creatively complex.
Tigirlily Gold, “Forever From Here”
This balmy new love song, fueled by jangly, breezy acoustics, serves as both a love song and a love letter to this sister duo’s North Dakota roots. Lyrically, the song brims with imagery of rural living — wide open plains, John Deere tractors and glowing red sunsets — while the song’s protagonist dreams of building a family and a future in those same, slow-rolling rural settings. “Forever From Here” was written by the duo’s Krista and Kendra Slaubaugh, along with co-writers Pete Good and Shane McAnally.
Muscadine Bloodline, “Chickasaw Church of Christ”
This duo returns with this acoustic-driven song from their upcoming album, … And What Was Left Behind, out April 11. Here, the song’s protagonist knows a breakup is unavoidable as his lover is moving away, but he still wants to see if one last meetup will lead to a spark for old time’s sake. Written by Muscadine Bloodline’s Gary Stanton, this tender, yearning track embodies both heartbreak and lingering love — paying tribute to the love the couple had, as Stanton expresses his determination to make the most of the rapidly dwindling time they still have together.
Post Malone has announced that his Big Ass Tour will head to the United Kingdom later this summer as part of a new European leg of shows.
The Texas-raised star will perform at London’s Tottenham Hotspur Stadium on Sep. 7, his largest-ever show in the U.K.
The Big A– Tour kicks off in North America on Apr. 29 at Salt Lake City’s Rice-Eccles Stadium, before heading through major stadiums in Dallas, New York, Chicago, Philadelphia, Miami and concluding at San Francisco’s Oracle Park on July 1. In April he’ll headline California’s Coachella Festival for the first time alongside Lady Gaga and Green Day.
Posty’s European tour dates will kick off in Cluj-Napoca, Romania, at Untold Festival on Aug. 8, the first of many festival appearances scattered among his own headline shows. There’ll also be shows in Berlin, Paris, Barcelona and Milan, alongside his appearance in London.
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Tickets for the tour and the London show go on sale at 12 p.m. (GMT) from Live Nation’s website. Support throughout the tour will come from Jelly Roll and Sierra Farrell, though Jelly Roll will not appear at his London show. See the full dates below.
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F-1 Trillion, his sixth studio LP, hit No. 1 on the Billboard 200 upon release in August 2024 and on the U.K. Albums Chart. Lead single “I Had Some Help” earned six non-consecutive weeks at the summit of the Hot 100, and the album was nominated for best country album at the 2025 Grammys.
Post Malone last performed in the U.K. in 2023 during an arena tour with stops in London, Manchester, Birmingham and Glasgow. He also headlined Reading & Leeds Festivals in 2019 and 2021.
Post Malone Big Ass World Tour 2025 dates:
Aug. 8: Cluj-Napoca, Romania (Untold Festival)Aug. 10: Budapest, Hungary (Sziget Festival)Aug. 12: Prague, Czech Republic (Airport Letnany)Aug. 13: St. Pölten, Austria (Frequency Festival)Aug. 15: Poznań, Poland (Bittersweet Festival)Aug. 16: Bratislava, Slovakia (Lovestream Festival)Aug. 18: Berlin (Parkbühne Wuhlheide)Aug. 21: Kaunas, Lithuania (Darius and Girenas Stadium)Aug. 23: Horsens, Denmark (Horsens & Friends at Nordstern Arena)Aug. 27: Milan, Italy (IDays Milano)Aug. 29: Zürich, Switzerland (Zürich Openair)Aug. 30: Munich (Superbloom)Sep. 3: Paris (Paris La Défense Arena)Sep. 5: Hanover, Germany (Heinz von Heiden Arena)Sep. 7: London (Tottenham Hotspur Stadium)Sep. 9: Arnhem, Netherlands (GelreDome)Sep. 12: Barcelona (Estadi Olímpic Lluís Companys)Sep. 14: Lisbon, Portugal (Estadio do Restelo)
A three-time Grammy winner and a two-time CMA female vocalist of the year winner, Trisha Yearwood has forged a reputation as a friend to songwriters over the years, an artist who respects the craft of music creation. She’s made enduring classics with her renditions of songs such as “The Song Remembers When,” “This Is Me You’re Talking To” and “Georgia Rain.”
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But on her upcoming album, Yearwood is delving more into her songwriting skills. The 10-song project is the first in her career on which she co-wrote each song; she also co-produced the project with audio engineer/producer/writer/musician Chad Carlson.
Yearwood gave a preview of the as-of-yet-untitled project with a show at Nashville’s intimate songwriter haunt, the Bluebird Cafe, on Wednesday (Feb. 12). She was joined by her co-writers including Carlson, Erin Enderlin, Leslie Satcher, Sunny Sweeney and Bridgette Tatum.
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The evening served as a preview not only for the album, but also Yearwood’s upcoming seven-city theater tour, which launches April 30 in Austin, Texas, and wraps May 17 in Lancaster, Pa. The shows will feature Yearwood performing a mix of her own hit songs as well as tracksw from the new album, and will also highlight the talents of artist-writers Sweeney and Enderlin.
Yearwood previously previewed the album with a performance during the 2024 CMT Music Awards, where she performed “Put It In a Song.” On Feb. 21, Yearwood will offer another glimpse into the album when she performs the song “The Wall or the Way Over” — a meditation on the power of words to both elevate and destroy those who hear them — on The Kelly Clarkson Show.
Tickets for Yearwood’s tour will go on sale starting Friday, Feb. 21, with a presale launching Feb. 19 at 10 a.m. local time on her website.
In addition to touring, Yearwood is also set to appear on NBC’s Opry 100: A Live Celebration on March 19 to honor the Grand Ole Opry’s centennial anniversary.
See the full list of Yearwood’s tour dates below:
April 30: Austin, Texas @ Austin City Limits Live at The Moody Theater
May 1: San Antonio, Texas @ H-E-B Performance Hall – Tobin Center for the Performing Arts
May 2: Grand Prairie, Texas @ Texas Trust CU Theatre at Grand Prairie
May 3: Stillwater, Okla. @ The McKnight Center For the Performing Arts
May 15: New York City @ The Town Hall
May 16: Glenside, Pa. @ Keswick Theatre
May 17: Lancaster, Pa. @ American Music Theater
It was a few weeks ago that Max McNown’s agents at Wasserman Music told the country upstart that his Feb. 11-12 sold-out Bowery Ballroom shows in New York City needed to move to accommodate another artist.
The agents, Jonathan Insogna and Lenore Kinder, initially pushed back against the highly unusual move until they discovered a few days later that it was because Sir Paul McCartney was playing surprise gigs at the 575-capacity room those nights. Ultimately, McNown’s management team, Live Nation, the Bowery and Wasserman quickly went into action to shift McNown’s two shows to the 1,200-capacity Irving Plaza in Union Square the same nights, and McNown ended up with an amazing story to tell.
When his agents were first asked to move the shows, “Honestly, we were a bit confused,” McNown tells Billboard. “My agent told me this was an unusual situation that a venue would ask you to move so we kind of knew there was something bigger going on, but our first response was, ‘I’m sorry you want us to do what?’”
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Shortly thereafter, when he and his team put the pieces together to realize he was getting bumped for the legendary Beatle, it all made sense at that point. “Paul wanted to play in a smaller venue and make it special. We had sold out Bowery months ago, so moving into a bigger venue and being able to accommodate more fans was great for us. A win-win in every way,” McNown says, but joked, “I am disappointed we weren’t able to get him to open for us.”
Though McCartney’s team didn’t give a reason for the specific date, Feb. 11 marked the 60th anniversary of the Beatles’ first gig in the U.S at the Coliseum in Washington, D.C.
McCartney’s team was extremely gracious and did offer McNown tickets, but he was unable to go since he was doing his own shows a mile up the road. McNown admits he was tempted, though. “I honestly really wish I could have pulled it off” to go to McCartney’s show, he says. “I always say touring is a job and there were too many people counting on me to play my own show to skip out on it. But yes, the term ‘tempted’ is an understatement.”
The Oregon singer-songwriter, who was Billboard’s November Country Rookie of the Month and topped Billboard’s Emerging Artists chart, first hit the Hot Country Songs chart last year with “A Lot More Free,” which reached No. 29, as well as peaked at No. 15 on the Hot Rock & Alternative Songs chart. His new album, Night Diving, came out Jan. 24. His new single, “Brown Eyes (Better Me for You),” is at radio.
Though he’s only 23, McNown is a lifelong Beatles fan. “My elementary school teacher would always sing ‘Yellow Submarine,’ ‘Let It Be’ and ‘Hey Jude’ every single Friday in my fourth and fifth grade class,” he says. “He always felt it was important to keep the younger generations educated on the true icons of musical history. Because of him, I know every word to those songs, and each of them now hold a level of nostalgia in my heart that’s pretty unmatched.”
His favorite Beatles song is the gorgeous “Blackbird,” which McNown may, in homage to Sir Paul, now record and post on his Instagram, he says. “I discovered that song on my own after being introduced to [The Beatles’] music in school at a very young age, which made it extra personal/special for me.” He’s also a big fan of “Yesterday,” “Here Comes The Sun” and “Twist and Shout.”
Since attending the shows wasn’t possible, McNown would love some merch or even an autograph, he says, but he’ll settle for an amazing story of the night he was bumped for a Beatle. “It is definitely something I’m sure I’ll be talking about for some time,” he tells Billboard. “This last few years have felt like one dream sequence, from going viral, to Kelly Clarkson covering my songs and now swapping venues with a Beatle. It’s unbelievable.”
Though McCartney is playing his third show at Bowery tonight, McNown couldn’t attend because he’s on his way to Boston for his show Friday night (Feb. 14).
Over the past year or so, Jelly Roll has been open about his dedication to working to transform his health. Last year, he ran his first 5K, taking part in Tom Segura and Bert Kreischer’s 2 Bears 5K.
Now, the country star is gearing up to run his second 5K race in May in Tampa, Fla, and he’s intent on helping others who also want to change their health for the better. The “Halfway to Hell” singer told fans on Instagram Feb. 11 that he is launching Jelly Roll’s Losers Run Club as he gears up for the race.
In the video, he also told fans just how much his poor health was impacting his daily life, and how that inspired him to want to change.
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“A little bit over a year ago, I literally struggled to walk down my hill to the mailbox, y’all. I mean, it was really bad,” Jelly Roll said in the video. “And I’d let myself get to the point of being absolutely just disgusted with myself. I was just sick and tired of it, and I was like, ‘Man, I’m gonna figure this out. And about the time I was trying to find something to motivate me, I saw that Tom Segura had teased doing a 5K By May, and I knew right then that if there was ever a place that I was gonna feel safe trying to do my first 5K, it was going to be at the 2 Bears 5K.”
As he launches Jelly Roll’s Losers Run Club, the star said he’s launching a Facebook group, and has teamed with the Strava app to help others train for the race and stay motivated. Jelly Roll’s trainer Ian Larios will be helping people who take part with lifestyle, nutrition and exercise coaching. Meanwhile, ultramarathoner Matthew Johnson put together two plan options — one for beginners, as well as an intermediate plan — for partakers to train for the race.
“Matthew Johnson has the fastest time running across the state of Texas,” Jelly Roll said in the video. “This man is an absolute machine. I love everything about him, the fact that he is dedicating the next 12 weeks of his life to try and help me and a bunch of people like myself to run in a 5K.”
“What we are trying to inspire here is just change and belief and community,” Jelly Roll summarized of the group’s mission. “Somewhere where you can go and feel judgment-free when you’re trying to figure this thing out. I know how rough it was at first and how embarrassed I was to just be sucking snot and air every time I walked down the driveway. But it felt so good to have friends and people behind me, telling me I was doing the right thing. … I believe that we can create huge change right here. I believe a huge group of people can come together right here and encourage each other to become what they always dreamed they could be.”
Watch Jelly Roll announce his Losers Run Club below:
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