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In August 2022, Allison Crutchfield, an A&R executive at ANTI- Records, traveled to Asheville, N.C., on a mission to sign the rising singer-songwriter known as MJ Lenderman. By year’s end, Crutchfield succeeded — and had also joined his tight-knit circle of friends.
“I’ve never had a meeting with an artist where they’ve been like, ‘Just come over and we’ll have a barbecue, we’ll just drink beer and eat,’ ” recalls Crutchfield, who got to know Lenderman at the property where he was living with several others, including members of the ascendant alt-country group Wednesday.
At the time, Lenderman had just released his breakthrough album, Boat Songs, a collection of detailed vignettes set to fuzzed-out country-rock riffs, on independent label Dear Life Records. And the 25-year-old hasn’t slowed down since: In late 2023, Lenderman made his ANTI- debut with his acclaimed live album Live and Loose!; in early 2024, he hit the road with Wednesday, for which he sings and plays guitar; and in March, Waxahatchee (fronted by Crutchfield’s twin sister, Katie) released her lauded album Tigers Blood, for which she invited Lenderman into her small creative circle. Lenderman made his Billboard chart debut, on Adult Alternative Airplay, with his feature on that set’s aching lead single, “Right Back to It,” and performed it alongside Waxahatchee on The Late Show With Stephen Colbert.
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As Lenderman’s profile grew, he was assembling Manning Fireworks, which is set for release Sept. 6 and his first studio album for ANTI-. “It was kind of strange,” he says when reflecting on the whirlwind that accompanied becoming one of indie rock’s most heralded new artists. “I guess it was more of an obstacle of making the new record — just trying to figure out how to not think about that and make a record like I would before.”
For Lenderman, that wasn’t so long ago. A child of music lovers — “My dad was a Deadhead,” he says, detailing the Derek Trucks and Gov’t Mule shows he saw as a kid growing up in Asheville — Lenderman began playing guitar in early grade school and eventually gravitated toward indie and punk music as a teenager playing in bands around his hometown. Soon he began recording, and the pandemic afforded him more time to complete 2021’s Ghost of Your Guitar Solo and, eventually, Boat Songs.
When Lenderman’s manager, Rusty Sutton, passed along a Boat Songs promo to Crutchfield, she knew she had to sign him “probably 10 seconds” into its opening song. “In a medium like indie rock,” she explains, “where there really is only so much you can do, for someone to do something where they’re honoring the tradition of this type of music but to do it in a way that does totally feel refreshing and like something that we haven’t heard, it’s really exciting.”
Lenderman is heavily influenced by Neil Young — “I can trace back most bands that I like to Neil,” he says, citing the rock legend’s scuzzy mid-’70s phase — and he also counts Drive-By Truckers, Dinosaur Jr. and Will Oldham as key touchstones. But his music has connected with younger audiences thanks to its modern sensibility and the way it careens from absurdist humor to deep, sometimes dark, profundity. (One new song, “Wristwatch,” is an ode to loneliness where the narrator notes that he’s “got a houseboat docked at the Himbo Dome.”)
“Obviously, my real life is going to bleed through a little bit, but I try to keep it more from a third-person perspective,” he says. “I feel like that opens more possibilities — and it’s kind of more fun writing fiction.”
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For Manning Fireworks, recorded whenever he could find time between tours, Lenderman followed a familiar approach, reuniting with producer Alex Farrar at Asheville’s Drop of Sun Studios, where he has recorded tracks several times before. But the album, which expands Lenderman’s country-rock creative palette without losing its signature wit or intimacy, is far from a redux.
“I want my records to be dynamic,” Lenderman says. “For a while, I was trying to maybe take it up a notch and go louder or faster or something — and then that just really wasn’t where I was at. So I decided to go in the opposite direction and make it more acoustic and quieter.”
On Manning Fireworks, Lenderman does a bit of both. The music has never sounded richer, with fiddle and brass bolstering his guitar, but he also explores the flip side, like on album closer “Bark at the Sun,” which ends Manning Fireworks with a multiminute noise outro driven by “bass clarinet abuse drone.” While Lenderman “couldn’t tell you why” he made the creative choice — “it just felt right to me” — it’s indicative of his growth. “There’s a level of confidence coming from [him] at this point that feels different from Boat Songs,” Crutchfield says. “This is a person who is unbelievably talented and now understands how to wield that.”
Not that the eternally nonchalant Lenderman would ever describe his intuitive choices so grandly.
This story appears in the Aug. 24, 2024, issue of Billboard.
When André 3000 released his debut solo album, New Blue Sun, in November, hip-hop die-hards were understandably upset: The set spanned 88 minutes, showcased flute-playing in a new age and jazz paradigm and included zero words.
At 49 now, André 3000 suggested that topics like getting a colonoscopy and checking his eyesight didn’t fit into hip-hop subject matter. “Sometimes it feels inauthentic for me to rap,” he told GQ at the time of the album’s release, “because I don’t have anything to talk about in that way.”
Less than a month later, Lil Wayne, 41, said on Young Money Radio that he was “depressed” to hear 3Stacks’ comments because he has “everything to talk about.” Pusha T, 47, agreed, telling Idea Generation in live-event footage uploaded in December, “It is kind of stifling to the genre to even think like that. As long as you live in hip-hop in all capacities and as long as you’re still sharp with that pen, you got something to say. We want to hear it.”
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Ironically, the chatter about rappers reaching an expiration date occurred at the end of a yearlong celebration of hip-hop’s cultural longevity. In 2023, genre pioneers including DJ Kool Herc, Kurtis Blow and Roxanne Shanté were honored with a celebratory Hip Hop 50 Live event at New York’s Yankee Stadium. Meanwhile, icon-heavy arena tours kicked off, including Masters of the Mic: Hip-Hop 50 Tour (featuring Big Daddy Kane and Doug E. Fresh, among others), and LL COOL J’s F.O.R.C.E. Live outing (featuring Queen Latifah, Rakim and more).
That attitude has continued well into hip-hop’s 51st year, with sold-out shows and buzz-worthy albums released decades into artists’ careers. “It’s been interesting to watch rappers get older and redefine what’s acceptable and possible in hip-hop,” says Carl Chery, creative director and head of urban music at Spotify. “Rap has historically been perceived to be a young man’s game, but we’re now seeing rappers have critical and commercial success [into] their 40s.”
In July, Eminem released his long-teased concept album, The Death of Slim Shady (Coup de Grâce), led by the top 10 Hot 100 hit “Houdini.” Its debut atop the Billboard 200 ended Taylor Swift’s record-breaking streak at No. 1 with The Tortured Poets Department. That same week, Common released his Pete Rock-produced The Auditorium Vol. 1, and in August, Rakim dropped his first album in 15 years with G.O.D.’s Network (Reb7rth) while Killer Mike delivered Songs for Sinners and Saints. Still ahead, LL COOL J will return with his first album in 11 years with The FORCE, due Sept. 6, and Snoop Dogg and Dr. Dre have teased their joint album, Missionary, fresh off a performance at the Summer Olympics’ closing ceremony in Los Angeles. Will Smith has even returned to music with his first Christian/gospel single, “You Can Make It,” featuring Fridayy and Sunday Service Choir, which they debuted at the 2024 BET Awards in June.
How, then, are these rappers staying active while entering their fourth or fifth decades? Common believes it’s a matter of understanding the difference between “legacy” and “veteran.” “Sometimes when I hear ‘legacy,’ it makes me think that people don’t view you as still present in it,” he says, “that you are still creating music that is palatable and viable for the times. To me, it’s an honorable way of saying, ‘Man, you had a good run.’ ”
Meanwhile, being a veteran, he says, not only alludes but gives respect to the length of time an artist has sustained. “They have experience and some time in the art form,” he says — which is something Common felt was missing when he was starting out, as hip-hop was still a relatively new commercial art form. But now, at 52, he believes there is victory in having a passion that burns strong enough to want to keep writing raps.
“When we were coming up, we didn’t have any examples of people in their 40s and 50s making music,” he observes. “In my 20s, I was thinking, ‘Man, how am I going to make it in my 30s? Who is going to listen? I have to hurry up and make this happen.’ And now, in my early 50s, I’m like, ‘Wow, it’s a new life to this.’ ”
Chery says he’s been paying special attention to Eminem and Ye, both of whom have managed to appeal to a Gen Z audience. “Granted, Ye and Em have a unique appeal, but I wonder how many artists will be able to change their audience moving forward,” he says. “I’ve always been envious of how young rock listeners take pride in knowing Black Sabbath or Led Zeppelin. They’re students. A lot of younger rap listeners are dismissive of older music.” (Upon the release of Common’s The Auditorium Vol. 1, Grammy Award-winning producer 9th Wonder proposed on X that “adult contemporary hip-hop needs its own category” at the awards show; during this year’s ceremony, Killer Mike swept the rap categories.)
While Common is less concerned with how the music he makes today is perceived, there is one thing he knows he wants: longevity. He admires the arc of many jazz musicians’ careers, recalling seeing pianist Ahmad Jamal, who died in 2023 at 92, play in Chicago; as Common says, Jamal “played until he left the planet.” He says the same of drummer Roy Haynes, who is 99 — and whom Common saw perform just a few years ago.
“If André 3000 decided to rap about a colonoscopy, he’s going to make it dope as hell,” Common asserts, “because this dude rapped about going to Whole Foods and made a whole story out of that.”
This story will appear in the Aug. 31, 2024, issue of Billboard.
Clams Casino doesn’t believe in the age-old adage of having to finish what you start — at least in a single recording session. Born Michael Volpe (no relation to the New York Yankees shortstop and fellow New Jersey native Anthony Volpe), he rose to prominence serving as the sonic architect behind a majority of A$AP Rocky’s seminal 2011 Live. Love. A$AP mixtape, which ushered in a new era of NYC rap and kicked off the A$AP Mob frontman’s Harlem Renaissance.
But nearly 15 years later, Volpe’s atmospheric beats has continue to leave an impact on the next generation of artists. Being a fan of his work with Rocky, Clams Casino was already on The Kid LAROI’s radar when a mutual collaborator, Billy Walsh, connected the producer to the Australian musician when he was just 17 years old. Though nothing came of the initial studio session link-up, a year-and-a-half later, Clams Casino cooked up another intoxicating beat that he felt matched the vibe LAROI was looking for, and he turned out to be right.
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“I hadn’t spoken to LAROI in a long time and I just had a feeling,” he tells Billboard. “I sent him that one and he immediately responded that he loved it and went right in, recorded it on his own and sent it back in like a day.
“He used the MP3 I sent him as-is,” he continues. What came out was pretty much the original demo, which is cool about.” That result is the euphoric “Nights Like This,” which ended up landing on The Kid LAROI‘s debut album, The First Time, last November. And while it didn’t take off immediately, the track would slow-burn to success with the help of TikTok and break through in July on the Billboard Hot 100, where it has remained for the summer and currently sits at No. 67 in its ninth week on the chart.
The 37-year-old producer and LAROI then continued their magic with “Nights Like This Pt 2,” a heart-racing second installment that on The First Time‘s deluxe edition, released in August.
Below, Clams Casino breaks down all things surrounding “Nights Like This,” what stood out to him about The Kid LAROI and working with A$AP Rocky throughout his career.
How did “Nights Like This” come together? How did you originally get onto The Kid LAROI’s radar?
Clams Casino: It was a few years in the making. LAROI first reached out to me online when he was like 17. He was in the studio working with a mutual collaborator, Billy Walsh — I think he played him some of my stuff, and they were brainstorming and brought me out to [Los Angeles]. LAROI knew a lot of the music that I had done. Later on, he told me he was a big fan of the [A$AP] Rocky stuff. I went out to L.A. and we met up in the studio and we talked and played some stuff, but nothing really came out of that first time we met up. I kept it in the back of my mind.
I think it was a year-and-a-half later, and I was at my own studio in New York making beats. That [beat] came up, and I just thought this was the one to send to him. This is kind of what they were talking about what they wanted [during the initial session] and the sound they were referencing. I just sent that one beat. He was excited about it. I had a feeling this was the one and it worked out. Once it happened, it was quick, but the roots were a long time in the making.
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Do you remember actually cooking up that specific beat before getting it into his hands?
I had the melodic stuff sitting around a little bit. I knew it was a special one. I didn’t really know what to do with it. I had half of the beat kind of put away. I was like, “When the time is right, I’ll come back to it.” I don’t do full things in one sitting. A lot of stuff, I’ll come back to it months or years later. I messed around trying to do a different arrangement, and I think he was just stuck on the original demo. There was something about it; he kept going back to that. He was right about it. I tried some other things out, but he just wanted that original version, which is cool looking back on it.
What stands out about his artistry?
What’s exciting for me when I hear his music is that he has a very unique sense of melody — his delivery and his vocals. There’s something melodically that just feels like he’s delivering in the tones of his voice [with] a genuine feeling and it connects with his music because of that.
“Nights Like This” was teased back in 2022 and released in November. What do you think about its slow burn onto the charts?
It spread around very organically and I think that’s the best way it could happen. There was like zero push from the label at the beginning — they thought, like, “This is a little interlude or something.” I don’t think anyone took it seriously. From the beginning, I knew it was a really special thing and he did too. He was really excited about it. We had the freedom to do exactly what me and him wanted to do. People really connected with that.
Was there a moment you realized the record was taking off, and saw the fan reaction really moving?
I started seeing headlines, and all of a sudden, it was getting jumps in streams. I started seeing things online with people saying it was going crazy on TikTok. It just slowly started building. That’s how it really happened. I’m glad everyone’s hearing it now and they got around to it because that’s how I felt about it when it came out. I was happy and really excited and proud of that. Even just for it to come out in the first place I was happy, but I’m glad it got to that point. I always knew it was special. I’m glad it really connected with everybody else.
How did this lead into “Nights Like This Pt 2”?
The beginning of that idea came from something I made for myself. An instrumental solo project — that was the first thing when I was starting on my own new stuff. When I was listening back, I was going to save it for myself, and I was like, “Something about it feels like this should be the part two.” This was in March or earlier this year. So, a few months after the first was released. I sent LAROI not the full beat or anything, but melody stuff and it was a start.
He loved it, and he immediately started teasing it online. Ten minutes after I sent it to him, he was on Twitter saying, “Part two coming!” I was laughing about that — he was real excited about it. There was a little bit of back-and-forth after that. Him and [co-producer] Dopamine recorded it and did some other production and sent it back to me. We sent it back a few times. Dopamine did a lot of work on it and we went back a few times. We got it finished up.
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When did The First Time track “Strangers (Interlude)” come into play?
I actually didn’t know about that. I had no idea about that until the album came out. They had done that on their own. I felt like it set up [“Nights Like This”] really nicely. I love how it sounds sequenced on the album. It’s a clip from “Nights Like This” — just the intro to it and filtered out a little and a little skit on it.
Is there more to come from you guys?
Yeah, it feels like we’re just starting to figure it out. We’re both really excited. I’m like such a fan of his music and I’m happy that I’m able to bring what I bring to it. It just makes sense and it’s a beautiful thing. I’m always working on more that I want to send to him and we got some other stuff that we’re going to keep going [at] hopefully.
Outside of those collabs, what else are you working on?
I’ve been working on different stuff, like getting into scoring things. I worked on some original music for an independent movie that premiered at Cannes a few months ago. [It’s called] It Doesn’t Matter and the director is Josh Mond. I’ll definitely be doing more of that. In the meantime, I really have been having fun getting in with a lot of young producers and young people I’m inspired by. A lot of them have been inspired by me since they were younger, and now they’re coming up doing their own thing. It’s really crazy. I just been having fun getting in with all these new guys and seeing what happens. Producers [like] Evilgiane, who did the Earl Sweatshirt song recently. [I] been working with other guys like Ok. I did some stuff on the JT album with Aire Atlantica. I’m always experimenting and having fun doing stuff I haven’t done before. That’s what keeps me going.
Did you work on A$AP Rocky’s upcoming album?
We did work [on Don’t Be Dumb]. I don’t know what’s going to be used or not. It always seems up in the air until the last minute. We definitely had some things in the works. I don’t know what’s going to be released or not.
Can you speak to Rocky’s influence and his enduring legacy as a 2010s rap titan?
I’m just happy to be part of his story and the ride of his career. Seeing it from the beginning when we first met to where he’s at it now, it’s an amazing story. Remembering where it started and seeing where he’s at now, it’s awesome. I’m just happy to be able to see some of that and some of the behind-the-scenes things.
What do you think makes him special as an artist?
Overall, he has a clear sense of vision for everything. All aspects of it. The music, visuals and everything else. He’s always developing and sharpening that. I don’t really know what it is, but he’s got it.
Do you have a favorite collaboration over the years?
All of the first mixtape stuff [Live. Love. A$AP] is super important to me. That whole time, we weren’t really working in the studio. I was sending stuff, but then I’d come meet up with him every couple weeks and he’d play me what he did, but he was recording it [on his own]. The first song we officially did together was “Wassup.” Then we did “Bass” and “Palace” and all that stuff. It was happening one at a time over the spring and the summer leading up to the mixtape. I didn’t know what was going on, but I knew something good was happening. Those songs are really special. There was an energy there that something was happening. For me, it was exciting and I didn’t know what was going to happen, and we just kept following it.
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For me, I think I gotta go “LVL.”
That was a little bit after the mixtape. That’s another special one doubling down on the sound that we started. That’s when it went from this internet mixtape thing to a major label and we were doubling down on the sound like, “This is what we’re doing.” That’s one of my favorites too.
A version of this story appears in the Aug. 24, 2024, issue of Billboard.
These four memoirs from artists across genres and generations are among the most anticipated music books to arrive this fall.
Over the Influence: A MemoirBy Joanna “JoJo” Levesque
After breaking through in the mid-2000s with rhythmic pop hits like “Leave (Get Out)” and “Too Little Too Late” — which hit the Billboard Hot 100 at Nos. 12 and 3, respectively — JoJo retreated from the spotlight. Years later, she detailed an extended lawsuit with her record label, along with her own personal challenges. Now, with her memoir due Sept. 17, she discloses what happened during those years, illuminating exactly what kept her away — and what brought her back.
Life in the Key of GBy Kenny G and Philip Lerman
Grammy-winning saxophonist Kenny G has long been a jazz icon — known just as much for his skillful playing as his tight curls — but he has never let fans into his life like this before. Out Sept. 24 and written with author Philip Lerman (co-producer of America’s Most Wanted and co-author of host John Walsh’s memoir), the artist born Kenneth Gorelick details how he went from a bullied, skinny kid in Seattle to a teenage backing musician for everyone from Barry White to Liberace.
From Here to the Great Unknown: A MemoirBy Lisa Marie Presley and Riley Keough
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Two years ago, Presley asked her daughter Keough to help her finish an important, though daunting, task: her memoir. One month later, Presley died — and Keough was left with a mission to deliver her mother’s story, which is out Oct. 8. Keough gathered the tapes recorded for the book and listened in bed as Lisa Marie recounted her relationship with her famous parents: Elvis and Priscilla Presley.
Cher: The Memoir, Part OneBy Cher
As Grammy-winning, chart-topping icon Cher approaches 80, she will share the story of her extraordinary life in her own words — and two parts. In Part One, out Nov. 19, the artist born Cherilyn Sarkisian recounts her childhood and career beginnings up through her marriage to Sonny Bono, revealing more about the pair’s complicated relationship. There is no publishing date yet for Part Two, but as Part One’s bio teases, “It is a life too immense for only one book.”
This story appears in the Aug. 24, 2024, issue of Billboard.
While biking across Iowa this summer, Mark Michaels enjoyed a rare moment of reflection. “You’re riding about 80 miles a day among cornfields, and it gives you a lot of time to think,” the United Record Pressing chairman/CEO says. “I spent a lot of time while I was peddling thinking about United,” he adds of the oldest and largest American-owned, U.S.-based vinyl pressing plant in the world, which will celebrate its 75th anniversary this fall.
Michaels is speaking from his Nashville office, where he’s surrounded by signed records from Buddy Guy, Jack White and more of his icons, all expressing their thanks to him and his manufacturing team. (In 2014, White made history by recording, pressing and releasing a 7-inch of his single “Lazaretto” in under four hours, thanks to URP.) “It’s easy to forget those moments of euphoria and gratitude because you’re so focused on ‘How many records of this did we ship?’ or ‘What’s going on with that press?’ ” Michaels says. “But you don’t want too much life to pass by where you don’t stop and reflect.”
URP was founded as Bullet Plastics in Nashville in 1949, becoming Southern Plastics in the ’50s before landing on United Record Pressing in 1971. By the ’60s, a deal was signed for the plant to handle singles pressings for Motown, and in 1963, the first Beatles 7-inch, “Please Please Me”/“From Me to You,” was pressed, with a typo that spelled the band’s name as The Beattles.
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In 2007, a year before Record Store Day officially launched and just before the format was beginning its first-wave resurgence, Michaels bought the company — and helped sustain it through a particularly rough patch. As he recalls, half of URP’s output at the time was 12-inch singles created as promo records for DJs. “That was a lot of what we did, and shortly after I bought the company, the labels stopped doing that,” he says. “The DJs all got [music production software] Seratos, and the labels figured out that was a better business model. So all of a sudden, the health of the company was in serious jeopardy … We were doing everything to keep the lights on.”
By the summer of 2009, a career-changing order came in: a 50th-anniversary pressing of Miles Davis’ Kind of Blue (a favorite of Michaels) — the plant’s biggest order to date. Michaels himself oversaw quality control, checking a record at random every 30 minutes. “I remember one night, it was two in the morning and I’m in my office listening to these records, and I thought, ‘This is crazy, but goddamn, I’m lucky.’ And it just gave me this boost of energy. The next month, we got another order of that size.” Since, URP has manufactured vinyl for every major artist, from Adele to Taylor Swift.
In the early 2020s, URP faced another challenging period: the coronavirus pandemic. “Demand for vinyl exploded” during lockdown, Michaels says, but the orders put an unprecedented pressure on pressing plants to keep up. He says that was the catalyst for URP to expand, resulting in an $11 million project that built new infrastructure and supporting equipment and added 26 new presses. “The challenge is you can’t do that overnight,” he says. And now, not only can URP meet demand, but “the plant runs better than ever.”
He and his team of approximately 130 employees — all of whom have been sporting anniversary T-shirts that detail the plant’s various logos over the years — are now ready to toast such a feat and storied history, with Michaels saying the energy “is palpable” at the plant these days. A forthcoming celebration will bring together partners, customers, vendors and “people who support the format … There’s a renewed sense of pride and interest in what we do.”
Already, Michaels is focused on how to maintain it for the next 75 years, doubling down on the honor he has in keeping the process — and workforce — in Music City. “Seventy-five-plus years of history gives you a lot of gas in your tank in terms of pride,” he says. “You don’t make the first Beatles record in America, you don’t make all these Motown records, you don’t accumulate all this history and know-how and not have something special. And I never want to lose that.”
This story appears in the Aug. 24, 2024 issue of Billboard.
Nearly a decade ago, as a college senior, rising country singer Kassi Ashton signed a record deal with Universal Music Group Nashville (UMGN)/Interscope Records. Now 30 — and following the success of her highest-charting single to date — the California, Mo. native will finally release her anticipated debut album, Made From the Dirt, on Sept. 20.
Foundation
Singer-songwriter Ashton is a study in contrasts: a motorcycle enthusiast who designs and crafts many of her stage and red-carpet outfits from scratch (including for this year’s Academy of Country Music Awards, where she was nominated for new female artist of the year). As a child, she competed in pageants mostly as a vessel for showcasing her music. Even then, her vocal prowess was apparent, thanks to influence from vocalists including Adele, Aretha Franklin and (later) the country-soul of Chris Stapleton. Ashton soon started writing original songs, enrolling at Nashville’s Belmont University to study commercial voice and music business.
Discovery
In 2016, as college graduation neared, Ashton signed a management and publishing deal with Nashville-based Creative Nation. By 2017, she scored a label deal with UMGN in partnership with Interscope. But the ensuing years were spent refining her sound and weathering setbacks, with none of her singles promoted at radio — and no debut album. “I never felt like I should quit,” she says. “When I signed, they wanted me to go straight to radio. I said no because I didn’t have a song I wanted to sing for the rest of my life.” Her first full-length was also delayed by the pandemic in 2020, but in 2022, she finally issued her debut country radio single, “Dates in Pickup Trucks,” followed by “Drive You Out of My Mind.” The two songs built momentum, but this year’s “Called Crazy” has resonated most, rising to No. 32 on Billboard’s Country Airplay chart. “It came so easy,” she says. “I felt like I was finding a pillar.”
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Future
Nearly a decade after inking her label deal, Ashton will release her long-awaited debut album, Made From the Dirt, on Sept. 20. She teamed with longtime collaborator Luke Laird, as well as Oscar Charles, to craft an eclectic mix of uptempo jams (“I Don’t Wanna Dance”), grungy rock gems (“Son of a Gun”) and a heartfelt tribute to her late grandmother (“Juanita”). “I couldn’t have made this album at 23,” Ashton says. “It would have been rushed and not steady with who I am as a person. I can’t wait to see how what I’ve put energy, time and tears into is connecting.”
A version of this story appears in the Aug. 24, 2024, issue of Billboard.
When Rauw Alejandro performed at the Governors Ball music festival in New York in June, he wore a burnt yellow and beige pinstripe suit with skinny pants, reminiscent of 1970s hipster New York — and previewing what to expect from his next studio album, due out on Sony Music US Latin.
“My dad is from Brooklyn and I have lots of family in New York, and obviously, there’s a lot of Puerto Rican culture there,” Alejandro says, speaking from Rosarito Beach, Mexico, where he headlined the Baja Beach Fest in August. “It’s a little inspired in the ’70s, the Fania All-Stars, all that. It’s a whole character, and I call it a ‘character’ because I see it as an overall concept. Music goes hand in hand with the visuals, the videos, the photos.”
Alejandro, whose six albums have all reached the top 10 on Billboard’s Top Latin Albums chart, is no stranger to chameleonic shows of artistry. His aesthetic has changed from album to album, notably with 2021’s Vice Versa (which debuted at No. 17 on the Billboard 200), along with its disco-tinged hit single “Todo de Tí,” plus his most recent album, 2023’s Playa Saturno.
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The upcoming Cosa Nuestra — a title inspired by the genre-defining 1969 Fania All-Stars salsa album by Willie Colón with Héctor Lavoe on vocals — includes the already-released “Touching the Sky” and “Déjame Entrar,” slick blends of funk, disco and R&B. (The latter track is bolstered by a video featuring a cameo by actor Adrien Brody). Producers include Alejandro stalwarts like Mag, Tainy and Mr. NaisGai, as well as veteran salsa producers like Nino Segarra.
Alejandro is approaching his new music with a new agency (UTA) and, instead of new management, is working with “a collective, a family, where we all bring ideas to the table,” he says. The core group consists of veteran manager Jorge “Pepo” Ferradas (who also manages Camilo and Rels B and spent a decade with Shakira), Alejandro’s longtime associate Matías Solari and business manager/attorney José Juan Torres. Ahead of Cosa Nuestra’s late-fall release, Alejandro will perform at the Global Citizen Festival in New York in September and at two arenas in Japan in October as part of Coke STUDIO Live 2024 alongside NewJeans and Rita Ora.
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You spoke about creating a character for this album. Who is he?
I give them nicknames. This is Raúl, Raúl Alejandro, which has more of a telenovela vibe. It’s a bit more like Raúl Alejandro and His Orquestra, which is more serious. My dad’s name is Raúl, so everyone calls me Raulito. I was Raulito on Saturno, a younger character, more active in the street, in the neighborhood. But now I’m Raúl, a more adult guy living in New York and re-creating the era when Puerto Ricans immigrated to the city. My grandmother came in the 1930s, 1940s when there was a big economic depression in Puerto Rico. Many genres — hip-hop, jazz, salsa — came from that time. I love to really study the world I’m going into and try to live it in the present with my touch.
How did you decide on the direction of Cosa Nuestra?
I like to visualize my plans long term. I’ll sit in my house, read a book, smoke a joint with a little cafecito, look at the sky and try to make a mental map of what’s coming up. I don’t like to repeat projects, so planning helps me achieve that. Saturno is an album inspired by the ’90s with more uptempo, electronic music, so don’t expect my next project to be more of the same. Obviously, my essence comes from R&B, and that can fit in any kind of rhythm. It’s not just about the music, but the eras overall.
Your album title is inspired by a classic salsa album. Will there be salsa on yours?
Salsa is not my essence, but it’s something that’s in my blood and in my culture, and it’s something I love. I come from urban music, but I can do other genres. The Colón-Lavoe Cosa Nuestra had the elegance and the musicality and the instruments, which you will hear on this album. It’s the first time I use my band and live music on almost an entire project. I usually write with my keyboard and my computer, but on this project I’m going to the roots.
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You had a hit with “Santa” alongside Jamaican producer Rvssian and Nigerian singer Ayra Starr. Are you planning any Afrobeats or African-inspired music on this album?
Afro is mixed in everything because for me, African music is the mothership. We inherited so much African music in Puerto Rico; our cultural mix is so rich and flavorful, and African music is in our blood. I’ve worked a lot with Rvssian, he’s a good friend, and all our collabs are Afrobeats and dancehall mixed with reggaetón. But everything comes from Africa. I’d love to tour Africa.
Dance has been front and center in the music videos for this album’s singles. What inspired that?
I’ve been studying my ancestors and all the richness of Puerto Rico, so there’s a lot of typical dance and dance that the world may not know. I’ve already used those elements, but I haven’t explained them. Those movements are inspired by something cultural … They’re inspired in salsa, in bomba, in plena, in dances from my island, obviously mixed with jazz, contemporary dance and hip-hop. It’s another aspect of my career.
This story appears in the Aug. 24, 2024, issue of Billboard.
Clive Davis was feeling proud.
In early April, the chief creative officer of Sony Music Entertainment addressed a gathering of more than 500 members of the New York University community and music industry who had gathered in Brooklyn to celebrate the 20th anniversary of NYU’s Clive Davis Institute for Recorded Music, the school that the legendary music executive had endowed.
“It’s really incredible to see how far the program has come and how successful the students have been,” Davis told the crowd in a video message (noting he had a schedule conflict with a friend’s wedding). “There are students winning Grammy Awards in major categories, actually dominating the Billboard charts and occupying major positions at record labels, agencies and management companies.
“It’s great to see how my original concept for a new and original music program has become such a successful reality,” Davis added.
“What is my fond hope for the future? I hope students continue to find success and really emerge as the leaders in the 21st-century music business.”
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As if to highlight Davis’ assertion, earlier that same day in April, one of the most successful alums of the school, Maggie Rogers, announced her first arena tour, in support of her album Don’t Forget Me, which peaked at No. 6 on Billboard’s Americana/Folk Albums chart.
Among those gathered for this celebration of the institute, which is part of NYU’s Tisch School of the Arts, were Allyson Green, dean of the Tisch School, who said: “For the past 20 years, the Clive Davis Institute has fostered some of the industry’s most exciting new musical artists and creative business minds. Our outstanding faculty, leaders and staff cultivate an exciting learning environment that allows for both the freedom to experiment and the tools to navigate the competitive music world.”
D-Nice DJ’d the institute’s 20th anniversary party in April 2024.
NYU Photo Bureau
Successful alumni have included not only Rogers (whose career was memorably jump-started by a viral video of Pharrell Williams’ awestruck reaction to her recording of “Alaska” during an institute master class in 2016), but also Grammy-nominated producer Dan Knobler; Noah Yoo and Sedona Schat, aka Elektra Records act Cafuné; production duo Take a Daytrip’s Denzel Baptiste and David Biral, who earned album and record of the year Grammy nods for their work on Lil Nas X’s album Montero and single “Montero (Call Me by Your Name),” respectively; singer-songwriter Nija Charles, who shared the album of the year nomination for her contributions to Beyoncé’s Renaissance; and Grammy-winning producer Andrew Watt.
The institute accommodates about 250 students who work toward a bachelor of fine arts in recorded music. Its Brooklyn campus, which the program moved into in 2020, offers a seamless flow of spaces designed to inspire creativity and collaboration. Facilities include Oscilloscope Laboratories, the Beastie Boys’ studio formerly located in Manhattan that member Adam Yauch’s widow, Dechen Wangdu, gifted to the school.
The school also hosts its share of guest speakers and performers — Davis, Williams, Alicia Keys, Benny Blanco, Chris Blackwell, Jay-Z, Mark Ronson, Paul Simon, Rihanna and Stevie Wonder among them.
Nick Sansano, chair of the Clive Davis Institute, recently sat down with Billboard to describe the school’s program, which, like the music industry itself, is constantly evolving and rooted in a bit of rebellion.
How involved is Clive Davis in the institute?
What he did was lay out the design and the idea of this holistic curriculum where someone would not just learn about an instrument or be a studio rat or only study music business or legal affairs. His idea was to take everything out of their silos so you have this program that is about music, about music production, about music business — but really what it’s about is leadership, entrepreneurship, thinking holistically, about the future of the industry.
I don’t think he imagined how successful the whole thing would be and how much he would get out of it. He definitely feels that authentic pride, and once in a while he’ll even call with ideas out of the blue. He’s so checked in, and that has been a game-changer for us.
Oscilloscope Laboratories, the Beastie Boys’ studio formerly located in Manhattan, was donated and reconstructed within the institute’s Brooklyn building, including details like takeout menus the group kept on hand.
Carine Puyo
How has the curriculum expanded over two decades?
We’ve always had this ethos around here to push change through and ask questions later, because it could take forever to change curriculum at a university and by the time you do it, you need to go to the next one. It was hard to navigate in the beginning. But the university understood ultimately that we needed to move at our own pace. And we proved ourselves competent. The more we handled our own affairs, the more room they gave us.
The curriculum is always changing as new topics come up and others become irrelevant. New this fall are Reggaetón Revolution, the history of reggaetón, and Creating a Narrative in Audio, a podcasting class from the editorial and journalistic side.
We’re now at a point where we’re very realistic, very pragmatic about what we teach. We have to go beyond the topic at hand and look at it on a really macro level. In the beginning we were trying to set modalities in stone, but we emphasize objectives now more so than specific methodologies because how we get there today will not be how we get there tomorrow.
Much of that evolution, I imagine, is driven by your faculty.
We have a very experienced full-time faculty — a lot of us have been here since the beginning or first few years — and a lot of adjuncts, who will come and go based on what we need. When we do a hip-hop course on the Art of the MC, we have Black Thought from The Roots come in. If we have a Lou Reed class, we go to a biographer. [Author-critic] Will Hermes has taught a number of classes for us. We’re always looking at “What are we offering? Where are the holes and who are the experts in the field or on that very specific topic?”
It’s also a great way to find full-time faculty. When people realize the vibe of the place and sincerity of it… Good people are incredibly difficult to find, and we’ll do whatever we can to keep them here.
Professor Bill Stephney (left) and Chuck D at the institute in April 2024.
Kyra Williams
Isn’t that how you became part of the institute?
I’m a music producer, mixer and engineer, and I came in the first year to give a talk about my work with Public Enemy, Sonic Youth and other New York-centric artists. It was a wonderful experience. The students were asking really thought-provoking questions and getting emotional about it. I said to [the institute], “I’ve never taught before, but if you want to take a chance…” The whole thing was a big experiment. I wasn’t the only experimental hire.
How engaged is your alumni network?
One of my priorities was to change the relationship with the alums, and we’ve made a really conscious effort to reach out. I want alumni to feel as if they never left. When we have an event, when we have guest appearances, we invite all the alums — and the reaction to that has been incredibly positive. We now have 20 years of alums. We have people who have some real influence, and our students definitely benefit from that.
What has been the biggest benefit of moving the program to Brooklyn?
Space, and having all our spaces consolidated. When we were in Washington Square and our Mercer Street location [in Manhattan], we had classes all over the city because we kept running out of space. It was all decentralized. And not only was it expensive, but our students were running all over the place.
Our goal was to centralize everything. We have rehearsal spaces, we have edit suites, we have studios, we have piano practice rooms, we have musicianship labs. We have The Garage, a 100-capacity venue, on the first floor, and we have access to a 200-seat auditorium. We are very self-sufficient at this point, and we designed the space the way we wanted to design it. We began five years before moving in. We saw potential and convinced the university to allow us to hire our own acoustic designers and studio builders.
We had a very specific vision. We want you to walk in and feel as though you are part of a professional environment, and that should dictate what you say, how you act and so on. A place you are proud of. The university loves it. We are the showcase; everyone comes here.
Clive Davis (left) and MSNBC’s Ari Melber at the Clive Davis Institute in 2023.
NYU Photo Bureau
Still, a lot of learning also takes place outside this building. What’s the experiential component like?
We require a minimum of two internship credits, but most students are doing way more than that. It runs the gamut from the obvious major labels to some recording studios to smaller publishing companies. We have someone working full time on establishing and looking after these relationships.
We did a partnership with Atlantic this past year, and part of it was — along with some songwriting camps and some A&R sessions and field trips to their offices — a certain amount of priority internship opportunities for our students. We are trying to solidify more of those executive internship programs.
We prefer when a student comes with an idea and then we vet it. We don’t immediately say no to anyone. And we closely monitor [internships]. There are [labor] laws and there are NYU-mandated requirements, and you could run afoul of both. It doesn’t happen very often, but that doesn’t mean we don’t watch.
The institute’s offerings don’t come cheaply. The NYU website says the university’s general cost of attendance — tuition, food and housing — for the 2024-25 academic year is $87,488. How do you justify that cost and ensure a diverse student body?
We don’t just give people the sticker price and then that’s it. The university works with them, Tisch works with them, and then we as a department work with them on a very personal level. Most of our students who apply for financial aid do get substantial aid. And something new that’s just kicking in this fall is an NYU-wide policy that covers full tuition for students whose families make under $100,000 a year, which is a huge help.
Being so aware of the sacrifice many families make to get their kids here — it affects the overall tone of the institute because we realize that’s how much we need to give back. But we also have to deal with student issues we wish we didn’t, like students who can’t sustain. There are a lot of factors that go into it, including just living in New York, and we get involved with things like housing and food. We have supporters and financial donors that help us with professional development. We are able to do showcases; students are able to travel, to get concert tickets, to go to an exhibit. We just took eight students to Milan for a week. The year before, we took them to Norway. In January, we’ll take them to France. We’ll go that extra mile and subsidize.
Ultimately the goal of the department is to be free, through a large endowment, which we know is possible because we’re seeing it happen. We saw it at NYU Medical School, and we’re seeing it at other universities. [NYU Medical School became tuition-free in 2018 after raising the majority of the endowment needed to sustain the program.]
Professor Bobby Wooten and artist-in-residence Corinne Bailey Rae at the institute in February 2024.
Sam Hollenshead
How else does the institute use financial support to bolster the program?
A priority here is equity having to do with women and music. We’re working with the history that, for so long, women were excluded from production and some other business areas. It’s important to rebuild a certain amount of trust that has eroded over the years.
Our classes now are usually more than 50% women. We have a student-run organization called PAM, which stands for Producers Against Misogyny, and our Audio Engineering Society student chapter is run by women. We support these student groups and their events.
We also host a Future Music Moguls program, which is fully funded for high school students. It’s a whole-day affair on a Saturday during the spring semester where we give a mini version of our curriculum. Engaging with high school students is important to us — and a great way to recognize future talent.
How do you view the overall role of the institute in the music business?
Our ultimate goal is, we would like the music industry to change for the better, but we are not going to do that by banging on the walls and asking to get in. We’re going to do that by busting it out from the inside. Meaning, our students will infiltrate the industry — and we’re seeing that change now.
This story appears in the Aug. 24, 2024, issue of Billboard.
Joe Jonas’ upcoming album is not technically his solo debut: Back in 2011 during a Jonas Brothers hiatus, the middle JoBro released Fastlife, a club-aimed rhythmic pop foray featuring contributions from Lil Wayne and Chris Brown that couldn’t quite turn the then-22-year-old into a radio star. “I have so much love for those songs — they actually aged pretty well!” Jonas says today with a wide smile. “But it feels like a different person.”
Fastlife might as well be a lifetime ago for Jonas, now 35. Since then, he found his radio hit with 2015’s “Cake by the Ocean” as the leader of pop collective DNCE, then reunited with his siblings Nick and Kevin in 2019, for a Jonas Brothers comeback that produced the No. 1 smash “Sucker” and a global arena tour, among other achievements.
Jonas also married actress Sophie Turner in 2019, welcomed two daughters, then experienced a very public divorce in 2023. “I was going through a lot of life changes,” he says of the past few years, “finding out who I was as a person and father and friend, and living under the microscope of what the music industry can be. And I think, at such a crazy time in my life, I looked to music as an outlet.”
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The result is Music for People Who Believe in Love, a solo album full of unvarnished thoughts and sonic experiments that Republic Records will release Oct. 18. The full-length doesn’t sound anything like Fastlife, but it doesn’t resemble Jonas Brothers or DNCE, either. Jonas lands on a shimmery pop sound that synthesizes a wide array of influences, from garage-rock to alt-pop to ’90s country, while singing about navigating life’s uncertainties and finding gratitude amid loss.
“Things you can’t imagine/Remind you of what you’ve always had/Maybe they need to happen/So you know the worst ain’t all that bad,” he sings on “My Own Best Friend,” a pleading anthem marked by mournful whistling. Elsewhere, Jonas races through a fuzz-heavy synth workout on “Velvet Sunshine,” offers a gently strummed “lullaby to my kids” on “Hey Beautiful” and, on the wide-reaching lead single, “Work It Out,” addresses his “head full of insecurities” while slipping into falsetto over a percolating beat.
Jonas says that Music for People Who Believe in Love began with the song “Only Love,” a funked-up and flirtatious pop-rock jam that he originally conceived with his brothers. During the writing process in Australia as they worked with producer Joel Little, “I noticed that the song was going toward the direction of some personal stuff that I went through,” Jonas recalls. “So I go to Kevin and Nick, ‘Hey, can I use this as a catapult to go explore what this sound could be, and also what I’m trying to figure out emotionally?’ They were very supportive — Nick said, ‘Well, damn, I really like that song. But I get what you need to do, so go for it.’ ”
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Jonas quickly went to work, corralling studio whizzes including Alexander 23, Justin Tranter, Jason Evigan and Tommy English to Los Angeles’ House of Blues studio and knocking out the majority of the album in two-and-a-half weeks. Following the sunny Jonas Brothers full-length The Album in spring 2023 — and then a slew of tabloid headlines detailing his divorce last fall — Jonas says that hunkering down on a more personal project ultimately proved to be therapeutic.
“It was scary at times, and also freeing,” he says. “I’m not trying to come for anyone on this album. I’m not trying to put stuff on blast. I have a beautiful life that I’m grateful for. I’ve got two beautiful kids. I’m a happy person, and the music needed to resemble that — but also, the journey to get here.”
Republic vp of marketing strategy Alyssa LoPresti adds, “This campaign starts and ends with Joe. From his personal taste in music, which is highlighted by [his] notable and exciting choice of collaborators, to the way he’s engaging with fans on his platforms and the content he’s filmed to support the release, it is all authentic to who Joe is and reflective of this chapter of his life.”
Jonas says that more album tracks, and their featured guests, will be unveiled in the coming weeks following the July release of “Work It Out,” and that he’s “definitely” planning to showcase the album live, potentially around release week.
If Jonas’ last solo project was a bid for stardom when he was still figuring out who he was, Music for People Who Believe in Love represents a check-in from an artist at peace with his choices. “At the core of it,” he says, “if this body of work helps people through what they’re going through, that’s all I can really wish for.”
This story appears in the Aug. 24, 2024, issue of Billboard.
When the idea for the Americana Music Association emerged in the late 1990s, it came from a community that shared a vision. A collective of artists, label executives, journalists and radio programmers all believed in promoting music driven by ideals and creativity rather than revenue. The nonprofit launched in 1999 and held its first convention in Downtown Nashville the following year with performances from Rhonda Vincent, Sam Bush, Jim Lauderdale and Rodney Crowell. In 2002, the first Americana Music Honors & Awards show was held lauding Lauderdale, Buddy & Julie Miller, Johnny Cash, Emmylou Harris, Billy Joe Shaver and T Bone Burnett.
Over the past 25 years, the association has worked to fashion a community that supports an ever-growing, ever-evolving slate of artists whose roots music styles include country, folk, bluegrass, R&B and roots-rock. The Avett Brothers, Carolina Chocolate Drops (whose members then included Rhiannon Giddens), Mumford & Sons, Jason Isbell, Brandi Carlile, Margo Price, Sturgill Simpson, Brandy Clark and the late Levon Helm have had sterling career successes under the Americana banner, followed by the recent ascension of Noah Kahan, Wyatt Flores, Kaitlin Butts, Charley Crockett, Tyler Childers and Allison Russell.
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The Americana genre is “just a home base thing, for me — I’ve built my whole life within this community, including my family and my kids,” Carlile told Billboard last year when she received Grammy Award nominations in the pop, rock and Americana categories. “We’re just rooted in our Americana people. And what Americana really is is a rejection of some of the exclusive tenets of country music — I mean that politically; I mean that sonically. In terms of diversity, Americana is where you’re going to see it the most.”
Jed Hilly has been key to the Americana Music Association’s growth. After serving as head of label for Orbison Records, Hilly became the association’s executive director in 2007 and has been a foremost advocate for the genre. He sees the organization’s mission in simple terms: to advocate for the authentic voice of American roots music. During Hilly’s tenure, the Recording Academy expanded its Americana/roots categories at the Grammy Awards (there are now four), while Billboard updated the name of its Folk Albums chart to Americana/Folk Albums and the Merriam-Webster Dictionary added the word “Americana.”
In recent years, acts including Carlile, Crockett, Russell, the late John Prine, Billy Strings and The War and Treaty have won honors in top categories at the Americana Music Honors & Awards, and the association now boasts 4,000 members. In addition, the annual Nashville-based AmericanaFest has served to highlight a diverse array of talent, with last year’s event showcasing 200 acts with performances spanning 48 venues across the city. The 2024 AmericanaFest will take place Sept. 17-21.
As the Americana Music Association celebrates its 25th anniversary, Billboard spoke with Hilly about the organization’s beginnings, its evolution and the genre’s current surge in popularity.
Tell me about the origins of the Americana Music Association.
In the late ’90s, there was a movement against commercial country radio, which had dropped artists like Steve Earle, Emmylou Harris, Lyle Lovett, Rosanne Cash and the list goes on. The movement was started by Jon Grimson and Rob Bleetstein, [who were instrumental in launching] an Americana chart for [music publication The Gavin Report], where they cherry-picked the stations that were still playing that kind of music. Then in 1999, when about 30 people got together at South by Southwest in Austin, they wanted to start a trade association like others had done.
The credit goes to the founding fathers, mothers, sisters and brothers, people like Emmylou Harris, Buddy Miller, Rodney [Crowell]. We truly have changed the landscape of music. We’ve given prominence to those artists who otherwise might not be heard. Music in the ’90s became more commercial, with less artist development. SoundScan really shifted the landscape. But as T Bone Burnett says, “If you make a great album, you make a great album.”
Jed Hilly onstage during the association’s Honors & Awards nomination ceremony at the National Museum of African American Music in Nashville on May 7, 2024.
Tibrina Hobson/Getty Images
The Americana Music Association has done significant advocacy work in expanding the roots and Americana recognition at the Grammy Awards.
That was the first thing I was working on. Hats off to Robert Plant, Alison Krauss and T Bone Burnett [whose 2007 Raising Sand earned five Grammys, including album of the year]. We welcomed that album before it [went] on to win Grammys. It was our album of the year in the fall before the Grammys, when they were nominated and won all those awards. When Robert went into the press room at the Grammys with four or five Grammys stacked up, someone asked him which was his favorite, and Robert said, “Actually, it was the one we won in Nashville last fall.” That opened the doors. I engaged [the Americana Music Association’s] membership to support the Recording Academy’s membership [because the academy’s philanthropic division], MusiCares, is an organization I so respect. Significantly, the Americana album category became the fastest-growing category, percentagewise, for the Grammys.
In recent years, top Americana Music Honors & Awards winners have included the bluegrass-rock sounds of Billy Strings, Charley Crockett’s old-school country and soul sounds, the songcraft of John Prine, the strong voices of Brandi Carlile and Allison Russell and the country-soul sounds of The War and Treaty. How do you define Americana today?
Music evolves. Billy Strings crosses a contemporary line. Maybe a more radical version would be Mumford & Sons with that first album. They crossed a contemporary line. With blues, if Muddy Waters is the baseline, Bonnie Raitt made a contemporary form of the blues. [Bob] Dylan and the band [went] electric at [the Newport Folk Festival] — that was not folk music anymore; it was something else. I believe that it’s important for art forms to maintain their integrity. In 1955, rock’n’roll was Elvis Presley; 1961, it was Chubby Checker; and fast-forward to U2 winning [the Grammy for best rock performance by a duo or group with vocal] for The Joshua Tree. It evolves.
I also give credit to Danna Strong, who was the first Americana Music Association employee and is still our director of education and programs and conference producer. Danna came to me in 2010 and said, “No one’s honored Muscle Shoals. How do we do that?” We honored everyone in Muscle Shoals and asked Rick Hall [who has been called “the Father of Muscle Shoals”] to accept the award, but honored everyone who was part of that.
Did that change the way you looked at the awards?
We recognized inspiration as part of the criteria for a lifetime achievement award, and that came in part from Porter Wagoner. In my first year, I was reluctant to honor Porter and I hate that I was reluctant, but I was figuring things out. Porter, to me, was the epitome of country music, and I felt we were something different than country music. But I realized people like Buddy and Rodney all did Porter songs on their albums. That opened the door to other ideas, like [honoring] Richard Thompson [and] honoring Booker T. and the M.G.’s. That’s not what you would think of as the down-the-middle Americana at the time. It was about looking at the greater landscape of inspiration.
The Americana Music Honors & Awards is slated for Sept. 18 in Nashville, and the awards have become more inclusive in honoring the work of pioneers such as Mavis Staples and Allen Toussaint, but also celebrating the artistry and musicianship of contemporary artists including Brandi Carlile and Allison Russell.
Diversity is important. I woke up after the [Americana] awards show in 2013 or 2014 and realized that all of our lifetime achievement honorees were basically white, middle-aged men. Americana is the contemporary form of music that is derived from multiple roots genres. The best way I know to go about that is to find people who feel welcome in the community and show them off. The McCrary Sisters have been our in-house band for as long as we’ve been doing this, and they are extraordinary. We have partnered with the National Museum of African American Music. The Fairfield Four as a quartet deserves to be recognized and honored — let’s put a spotlight on that. Our goal is to be open and welcoming. Do we have a long way to go? Sure we do. Americana is a great American art form, and it’s an opportunity that welcomes all walks of life with an authentic approach to making music. I do believe that if everyone in the world listened to Americana music for one hour, the world would be a better place.
Over the past few years, artists such as Zach Bryan and Noah Kahan, who have a roots-driven sound, have dominated all-genre charts. They aren’t based in Nashville, but they are having a huge impact in driving listeners to seek out more Americana sounds. What is your take on that impact?
Americana’s rockin’ right now. Noah has participated in several events, and he’s nominated for artist of the year this year. When The Lumineers took off, we embraced them early and nominated them for emerging artist of the year. They didn’t really know what we were doing, so we sat down with them, and as time went on, they were like, “What can we do to help?” They did a show during AmericanaFest at The Cannery [Ballroom], so 700 people got to see them perform. I hope Zach will join us someday. I think he’s an Americana artist — he’s not a country artist, in my humble opinion. But we look at Wyatt Flores and Sierra Ferrell, Nathaniel Rateliff, Jason Isbell and Brandi Carlile selling out massive rooms. Whether or not Americana has a mainstream [radio] hit, we can build careers.
This story appears in the Aug. 24, 2024, issue of Billboard.