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Sabrina Carpenter and Dolly Parton are a couple of smiling fugitives with a dark secret in the back of the truck in the charmingly felonious video for their collaboration on Sab’s 2024 Billboard Hot 100 hit “Please Please Please.”
In the new black and white video co-directed by Carpenter, 25, and Sean Price Williams that dropped on Friday morning (Feb. 14) as part of the expanded version of the pop singer’s Short n’ Sweet album, the women team up for a Thelma & Louise-style caper that involves kidnapping, at the very least.
The visual for the revamp of the song that adds some country twang and fiddle to the airy pop original that was Carpenter’s first Hot 100 chart-topper opens with the two women cruising down the road in a truck as Dolly, 79, reads the paper and Sabrina serves as her wheel woman. A flash of headlines hints at something sinister amid the grinning, cutting to banners announcing the killing of Butch Cassidy and the Sundance Kid in blaze of bullets, as well as breaking news about outlaws Frank and Jesse James, fictional women-on-the-fun Thelma and Louise, French pop royalty Jane Birkin and Serge Gainsbourg and 1950s serial killers Charles Starkweather and Caril Ann Fugate.
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Bolstered by banjos, acoustic guitars and brushed drums, the two women are in perfect harmony on the soaring chorus, though you knew Dolly wouldn’t go for the original NSFW refrain, replacing the “motherf–er” with the line, “I beg you don’t embarrass me/ Like the others.”
The two appear to be having a blast, blithely rolling down a dirt road as they sing to each other without a care as the camera pans out to reveal a truck bed filled with seemingly purloined cash and the writhing body of a man in a dirty white tank top and jeans with a burlap sack over his head.
Eagle-eyed fans noted that the new video appears to be a call-back to the original “Please Please Please” clip that starred Carpenter’s then-boyfriend Saltburn actor Barry Keoghan. In that one, the couple strike up a friendship after getting sprung from jail, before Keoghan goes back to his felonious ways and gets arrested again. Carpenter takes things into her own hands and handcuffs Keoghan — who is, ahem, wearing a white tank top and black jeans — to a chair at the end of that one, taping his mouth shut as he squirms.
By the end of the new video, Carpenter pulls over and shakes her head as the mystery man screams and bangs around in the back of the truck with police lights flashing in the distance. In an Instagram post promoting the new video, Carpenter gushed, “Dolly and me singing in a pickup truck!!!!!! I am so honored to have one of my biggest idols on a song that means so much to me.” Parton returned the sweet favor in a behind-the-scenes video featuring the two women joking about the “dirty words” in the original and how similar their voices sound, with Parton writing, “Turns out, two things can be short and sweet 😉”
The expanded version of Carpenter’s album features the new version of “Please Please Please,” as well as the bonus tracks “15 Minutes,” “Couldn’t Make It Any Harder,” “Busy Woman” and “Bad Reviews.”
Check out the “Please Please Please” video below.
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).
Want to ruin a friendship? Just tell your bestie that you don’t like the person they’re dating.
Most people learn that lesson the hard way somewhere in their teens or 20s. And Broken Bow artist Lanie Gardner, by writing “Buzzkill” about a guy’s difficult girlfriend, has discovered that saying it in a song can create the same negative outcome.
“I guess he still had some sort of feelings for this girl, so before it ever came out, it ended a friendship with him,” Gardner recalls.
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Oddly enough, the guy misread the song’s story. “Once he left that girl, the new girl – he thought it was about her,” Gardner continues. “When he left that [new] girl, it kind of revived a friendship. But it was just funny how that song has caused some ripples in real life.”
“Buzzkill” is the product of a writing session on Jan. 30, 2024, at the East Nashville home of writer-producers Katie Cecil and Chris Ganoudis. It was only the second time they’d collaborated; their first co-write had produced an emotionally dramatic piece, and they wanted to explore something different in their follow-up session. As they settled in with conversation, Gardner confessed her annoyance about a woman whose attachment to another friend had become an intrusion on her crew.
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“Literally, we would all be having fun, you know, out and drinking, and she would come around and she would start fights and mess with him the whole day,” Gardner says. “I just remember thinking, ‘Man, what a buzzkill.’”
Gardner hadn’t intended to build a song around the situation, but when she introduced that “buzzkill” phrase into the conversation, it made an immediate impression. “I was like, ‘Let me write that down,’” Cecil says. “You know, sometimes you kind of catch the title in the middle of someone’s venting session.”
The scenario had comedic possibilities, so Ganoudis developed a fast-paced mix of acoustic guitar rhythms and programmed 808 bass drum. It felt a little like rockabilly and a lot like the energy of KT Tunstall’s “Black Horse and the Cherry Tree,” and the track set an atmosphere that encouraged cheeky observation. The woman is portrayed derisively in the song’s opening salvos as a “Barbie doll, show stopper, beauty queen” and a condescending “Miss Hollywood takin’ over Tennessee.” Cecil and Ganoudis relocated from California about four years ago, and exaggerating about the women in the story came naturally.
“For lyrical purposes, you kind of have to make things the most dramatic version of themselves, to make it fun to sing and to drive the point home,” Cecil says. “So we were comparing this girl to the most insufferable L.A.-type girl you might come across who’s moved to Nashville but clearly just doesn’t fit in.”
Unlike Gardner and the “Buzzkill” woman, Gardner and Cecil worked well together, hunkering down on the song’s spirited lyrics. Ganoudis pulled on headphones and focused on the track separately, building the verses in a minor key and the chorus in a parallel major.
“You can’t sing the verse melodies over the chorus, or chorus melodies over the verse,” Ganoudis says.That brighter-sounding chorus allowed for more acerbic talk, and the protagonist insists on giving her friend an honest assessment of his girl: “They ain’t gonna say it but you bet your ass I will/ Yeah, buddy, she’s a buzzkill.”
“It’s not good to hate on people,” Gardner observes, “but it’s sometimes good to maybe call certain actions out.”
When they finished writing “Buzzkill,” Ganoudis supplied a track with plenty of energy, created by a spare number of instruments. But those sounds were routinely fattened, making the day’s production sound larger. “I’m really kind of minimalist in in my approach a lot of the times,” Ganoudis notes. “It’s just maximizing each one of those parts, so having less parts that do more, so that the bass is saturated in a way to make it take up the room that I want it to take up.”
Gardner laid down a vocal for it, caught up in the story’s surly sarcasm. “We did go back in and tighten some things up, but we were just such in a zone with ‘Buzzkill’ the day we wrote it, we didn’t have to recut the vocals again,” Gardner says.
Ganoudis took his time finishing the demo, turning it on Feb. 12 once he felt it was good enough to compete with anything else Gardner might be considering.
“When the labels are hearing it and the management’s hearing it, that’s a reflection of what we do,” Cecil explains. “That’s always good to get it sounding where we feel super confident that it will be a contender for a release.”
Ganoudis filled “Buzzkill” out further, playing nearly all the instruments on his own, while creating a framework with some intentional, built-in contrast.
“It’s kind of like a middle-up, middle-down approach,” he says. “The middle-down frequency spectrum of the track is pretty pop, you know. It’s got 808, it’s got a sample kick [drum] – like, there’s no live drummer on this thing. But then the top up is pretty honky tonk. That’s all live, you know. There’s no programming on the top up, with the guitars, and there’s some steel and all that.”
Ganoudis hired guitarist Gideon Boley to rip a fierce solo in the middle of the production, and Gardner returned to stack some tight harmonies on top of her original vocal. She threw in a bundle of ad-libs, too, including an off-the-cuff “one more for the people in the back” that adds to the glibness of the performance.
“That’s honestly one of my favorite parts of the song,” Cecil says. “I was like, ‘We gotta put that in there.’”SiriusXM picked it up, German choreographer Sascha Wolf developed a linedance for it, and Jonathan Craig produced a pool-hall video, released Feb. 3, that plays up the out-of-place snobbery of the buzzkill girlfriend. And just in case country broadcasters decide “Buzzkill” can aid their undying desire for more uptempo singles, Ganoudis fashioned a radio edit that replaces the “ass” reference in the chorus with a sneaky “whoop!”
Meanwhile, the friendship that “Buzzkill” killed appears to have survived, in part because the friend’s second relationship did not.
“All of a sudden,” Gardner says with a laugh, “we’re friends again.”
BBR Music Group/BMG Nashville has added to its artist roster, signing singer-songwriter Alexandra Kay to the label, Billboard can reveal.
BBR Music Group/BMG Nashville is also home to artists including CMA/ACM entertainer of the year winner Lainey Wilson, Billboard 200 chart-topper Jelly Roll, and “Try That in a Small Town” hitmaker Jason Aldean.
“There is not a better team that could be on this journey with me,” Kay tells Billboard. “I truly, from the bottom of my heart, think I am in the best hands in Nashville. I’m proud of my journey and am really excited to see what BBR can do with pouring gas on this fire.”
Kay is celebrating her new label deal by giving fans a taste of her new music, with the upcoming song “Cupid’s a Cowgirl” to release on Feb. 21.
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“It was just a really magical moment where we were just fed the song from the heavens and we were the outlet for it, and we had so much fun writing it,” Kay says.
Last year, Kay opened arena shows on Jelly Roll’s Beautifully Broken tour, and opened for Morgan Wallen’s sold-out Hyde Park show in London. On Feb. 23, she’ll launch her headlining Cupid’s A Cowgirl Tour in the U.S. and Canada, plus visit the U.K. and Europe on her All I’ve Ever Known Tour. Last year, she also teamed with Jelly Roll for the song “Leave The Light On,” as part of the soundtrack for the film Twisters.
“Having known Alexandra for a number of years, I came away from every interaction impressed not only with her talent, passion and work ethic, but also her strategic mind and determination to build a career not for a moment, but for a lifetime; a career anchored in the strong bond she is building with audiences around the world,” Jon Loba, president, Frontline Recordings, Americas, BMG, said in a statement. “It felt much like when I was first getting to know Jelly Roll. So, it was ironic when, completely separate from me, he saw the same qualities and invited her to tour with him last year. We are so excited to welcome Alexandra to the BMG family and look forward to continuing to help her build that lifetime career.”
The label deal marks a new milestone in a career that has already seen Kay find success on the Billboard charts and on the road. Illinois native Kay made her Grand Ole Opry debut in 2022. Her upcoming Europe shows will mark a return for Kay, who has previously performed at London, England’s C2C festival. Kay has also notched four top 10 songs on Billboard’s Country Digital Song Sales chart, including “Best Worst Ex” with Julia Cole, as well as “That’s What Love Is,” “Backroad Therapy” and “Everleave.”
She released her debut project, All I’ve Ever Known, in 2023; that same year, Kay rose to No. 12 on Billboard’s Emerging Artists chart. All I’ve Ever Known centered around healing from heartbreak after weathering a divorce, with songs including “Everleave” and “Painted Him Perfect.” Kay tells Billboard that her forthcoming album will have a decidedly more upbeat flair.
“I’m so excited for everybody to get a taste of this new era from me. I look back at All I’ve Ever Known, and it was a divorce album, and I look at that as I was surviving during that time. I’m thriving in this record and I know who I am. It’s full of confidence. It’s full of a healed heart that’s just wide open and ready to accept love again. And it’s definitely the most pop-leaning thing I’ve ever done, which is something that I’ve really been wanting to dip my toes into.”
Country singer-songwriter Lainey Wilson and her boyfriend Devlin “Duck” Hodges are engaged. On Feb. 12, Wilson and Hodges both shared a carousel of photos on Instagram, with Wilson showing off her engagement ring. They captioned the photos “4x4xU forever,” a nod to both their relationship and Wilson’s current top five Billboard Country Airplay hit “4x4xU.” […]
Country singer-songwriter Rory Feek’s daughter Hopie recently shared an update about their family, sharing in a video on Instagram that the results of a 23andMe DNA test revealed that Feek — who raised Hopie and her sister Heidi — is not Hopie’s biological father.
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“I’ve always felt a little bit different — and now I know why,” Hopie, 36, said in the video. “I took a 23andMe test and I got the results I never knew I needed,” she added, showing a photo of herself with a man she had recently met. “Turns out this is my dad — not the one everyone knows — and his name is B.C.” Hopie noted that upon meeting B.C., he “immediately loved me and was so excited to call me his daughter.” Hopie expressed gratefulness for “the new people who I have in my life and the new family who love me for who I am.”
Feek raised Hopie and her sister Heidi as a single parent following his split with their mother, Tamara Gilmer. Feek went on to marry Joey Martin in 2002; together, they also formed the musical duo Joey + Rory, competing on the CMT musical competition Can You Duet?, and earning Billboard Hot Country Songs entries including “Cheater, Cheater.” Joey and Rory welcomed daughter Indiana in 2014. Joey died in 2016 at age 40, following a battle with cancer.
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A few days after Hopie revealed the familial news in the Instagram video, on Feb. 11 Feek shared his own thoughts about the revelation in a blog post titled “A Different Dad,” published on his website. Feek noted that Hopie revealed the news to him in a meeting near where Joey is buried.
“I’m not sure what I thought Hopie was going to say, but I was not expecting to hear that,” he said in his post. “I just listened. Not quite sure that this was really happening–processing it the best I could.”
Feek also noted that the news did not completely surprise him, recalling a period of time just after Hopie’s birth, when he suspected that Hopie was not his. In his blog post, Feek wrote about recalling that the doctor had told him Hopie was born several weeks past her due date, which Feek had thought did not align with the timeline of when he had returned home from a six-month military deployment. In his blog post, Feek had also noted that at one point during his split from his ex-wife, he had asked her directly if Hopie was his child, and says that he’d been assured that Hopie was his.
“I told Hopie that I guess a part of me knew. But more than that, I told her I didn’t care. That this news and this blood test doesn’t change anything for me. ‘I love you as my daughter and I always will,’” he wrote. He also shared the “hurt” he has for Hopie, writing, “Hopie has such a tender heart, filled with child-like wonder and light, even in the darkest of days. It’s heartbreaking that she has had to deal with such an incredible amount of pain and loss in her relatively short life.”
That same day, Hopie wrote a response message on Instagram, expressing frustration and disappointment with Feek’s comments. “When I had the conversation with Rory, my one request was for him to be kind and not shame my mom. Today, he shared her private history in his blog, which is extremely disappointing. I shared my story because I couldn’t keep it all to myself anymore. I’m really not a public person, but because Rory is, my private life becomes content for his fans (who are often unkind online).”
Hopie also expressed displeasure and regret in having previously shared with Rory about her sexuality, noting that she felt Feek had used that information in order to sell books, such as his 2018 book Once Upon a Farm.
“From now on, I just wish my stories could be my own to tell and share,” Hopie wrote on Instagram. “I want to move forward and find happiness with the people who love me, far away from this online hate.”
Sony Music Nashville has restructured its radio promotion team, appointing Dennis Reese as senior vp, radio marketing & promotion. Reese will oversee the development and execution of the strategic radio promotional plans for both the RCA Nashville and Columbia Nashville imprints.
Reese will report to Sony Music Nashville chair/CEO Taylor Lindsey and president/COO Ken Robold, and will start in his new role on Feb. 14.
Reese spent the past year at Neon Coast, supporting the artist roster including Kane Brown, Restless Road, Nightly, Dylan Schneider and Kat Luna. His new role marks a returning of Reese to SMN; Reese previously spent seven years leading the RCA Nashville imprint. He joined RCA Nashville after working in pop music at Epic Records, Capitol Music Group, Elektra Records and Columbia Records.
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“We are thrilled to welcome back Dennis to the company,” Lindsey said in a statement. “His experience at both the country and pop formats, excellent leadership skills and dedication to the artists he’s worked is unmatched and we are fortunate enough to have him this time at the helm of our promotion team. SMN remains committed to promoting our artists at radio and we know Dennis will continue to bring the No. 1s and advocate for our artists every day.”
Reese’s appointment follows a recent organizational restructuring at Sony Music Nashville, with several radio promotion team staffers having exited as part of the restructuring. Among those that exited were SMN senior vp, promotion Lauren “LT” Thomas, Columbia Nashville senior director, promotion Lauren Bartlett, Columbia Nashville directors of promotion Paige Elliott and Lisa Owen, as well as Sony Music Nashville manager of promotion and artist development Paul Grosser.
Regarding the exits, Sony Music Nashville said in a statement obtained by Billboard, “Our focus is always on being the best partners for our artists and the creative community, especially in this rapidly evolving marketplace. Today we made changes to our team structure to streamline our resources and be more successfully connected to our valuable radio partners across RCA Nashville and Columbia Nashville.”
In November, Lindsey was named as chair/CEO, with Robold promoted to president/COO, as Randy Goodman announced his retirement after running the label since 2015.
Sony Music Nashville’s artist roster includes Brown, Luke Combs, Megan Moroney, Old Dominion, Nate Smith and more.
Fans will have options to see Country Music Hall of Famer George Strait and 11-time Grammy winner Chris Stapleton on the road this summer, as the two have extended their run of stadium shows, adding five concerts for 2025.
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“Burn It Down” hitmaker Parker McCollum will be the special guest on four newly added shows, slated for Philadelphia (set for May 10); Pittsburgh, Pa. (May 31); Buffalo, N.Y. (June 14); and Foxborough, Mass., (June 21), while Little Big Town will be the special guest on a newly added show on July 19 in Inglewood, Calif.
“I keep trying to slow down a bit but you keep calling me back,” Strait said in a statement. “Please don’t ever stop. I still love it just as much as I always have. Thank you for an amazing year last yearand I can’t wait to see you for a few more again this year. Chris will be back and glad to haveLittle Big Town with us in L.A. For the other cities, we’ve added Parker M. to the show whichwill be outstanding. Can’t wait to see you!!”
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Tickets go on sale Friday, Feb. 21, at 10 a.m. local time via Strait’s website. American Expresswill also offer card members access to Amex presale tickets, available for purchase startingThursday, Feb. 20, before the general public onsale.
No doubt, these upcoming shows will see Strait infuse his setlist with some songs from his most recent album, Cowboys & Dreamers. The album also features the Stapleton collaboration “Honky Tonk Hall of Fame.” Meanwhile, Stapleton is fresh off of his latest Grammy win; he picked up best country solo performance for “It Takes a Woman.”
See the full listing of the five new shows below:
George Strait w/ Chris Stapleton and special guest Parker McCollum:
May 10: Philadelphia, Pa. @ Lincoln Financial Field
May 31: Pittsburgh, Pa. @ Acrisure Stadium
June 14: Buffalo, N.Y. @ Highmark Stadium
June 21: Foxborough, Mass. @ Gillette Stadium
George Strait w/ Chris Stapleton & special guest Little Big Town:
July 19: Inglewood, Calif. @ SoFi Stadium
Singer-songwriter Ryan Hurd has signed with The Core Entertainment for management. The singer-songwriter will be managed by The Core Entertainment co-founders/CEOs Chief Zaruk and Simon Tikhman, as well as Brittani Johnson. The new management deal comes as Hurd gears up to release his sophomore album, the dozen-song Midwest Rock & Roll, on March 21 via […]