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This summer, singer-songwriter Yeison Jimenez achieved his lifelong dream of selling out the coveted Movistar Arena in Bogotá, Colombia — not once, but three times, with more than 40,000 collective fans attending the shows. The feat was not only historic for Jimenez, but for any música popular (regional Colombian) artist. “No one in the genre has been able to [sell out] a solo arena throughout Colombia,” he says.
Música popular — which fuses ranchera and the string music known as carrilera in Colombia — was born more than five decades ago in the country’s coffee region, which has four departments: Caldas (where Jimenez was born), Quindío, Risaralda and Tolima. Initially known as música de carrilera or música de cantina, its inspiration derived from regional Mexican music and first gained traction in small towns and local bars with the help of genre pioneers including Darío Gómez, Luis Alberto Posada and El Charrito Negro.
As Jimenez tells it, música popular traces back to Gómez in particular. The former notes that when the latter arrived at radio stations with the newborn fusion in the ’70s, they told him he was crazy.
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“This is not like vallenato, which is something authentically ours — we did not invent this,” música popular singer Pipe Bueno says. “We are a subgenre that comes from Mexico but with our essence and our flavor. The fact that we are Colombian gives it a different color.”
Lyrically, a regional Colombian song will often focus on despecho (heartbreak) or rejoicing in good times. Sonically, the arrangements can mirror the instrumentation of mariachi and ranchera music, such as trumpets, violins and the guitarrón (six-string acoustic bass), blended with the accordion, commonly used in vallenato.
As part of the new wave, Bueno and Jimenez — alongside artists including Paola Jara, Luis Alfonso, Jessi Uribe and Arelys Henao — have not only given the genre a modern twist but also propelled it to an international scale. Jimenez first reached Billboard’s Latin Airplay and Regional Mexican Airplay charts with “Tu Amante” in 2021, and he’s now touring nightclubs and theaters across the United States. Bueno, who entered the Latin Digital Song Sales and Latin Rhythm Airplay charts with his 2014 song “La Invitación” (featuring Maluma), has since collaborated with Grupo Firme and inked a deal with Warner Music Latina earlier this year.
“We are an aspirational genre,” Bueno says. “We have been at the top of the streaming charts alongside Peso Pluma. We are filling arenas. It wasn’t like this [when I started my career].”
“When we came into the game, we wanted to make music that would reach other countries and, above all, other generations,” Jimenez adds. “On one hand, there’s a lot of admiration. On the other hand, we are criticized a bit… I don’t pigeonhole myself because we are in another era.”
This story appears in the Sept. 28, 2024, issue of Billboard.
While accepting best crossover song at the 2024 People’s Choice Country Awards Thursday (Sept. 26), MGK (formerly Machine Gun Kelly) gave the biggest thank you to someone he used to have bad blood with: Jelly Roll.
Now, the two are both friends and collaborators, with their July duet “Lonely Road” taking home the crossover award at the ceremony, which the “Son of a Sinner” star didn’t attend. “Dude, Jelly Roll. Bubba!” MGK cheered on the stage on behalf of his song partner. “Jelly, I love you. We went from 10 years ago, hating each other, to elevating each other.”
“Comparison is the thief of joy,” the rapper-turned-rocker added, holding up his trophy. “There’s enough room on this couch for everybody. We found camaraderie in the chaos.”
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Jelly and the “My Ex’s Best Friend” singer previously addressed their decade-old feud in a Sept. 13 vodcast episode, helping Spotify launch its musician-focused Countdown To series. “It is so funny how much I love you now,” MGK said during their conversation, sitting face to face with the country star. “God, I hated you so much back then.”
“You gotta understand there was only like seven white rappers on Earth at this time, so it was so competitive when you was in that pool, that we were kind of automatically forced against each other anyways,” Jelly added with a laugh at the time. “You were just like, just skinny and handsome. So I was like, I was just a hater. I was just a hater, dude! It’s hard to grow up in front of the whole world.”
In addition to dropping “Lonely Road” in July, Jelly and MGK also shot a music video costarring their respective partners, Bunnie XO and Megan Fox. The visual finds the musicians struggling to provide for their families, so they organize a heist that ends with MGK behind bars, leaving the Jennifer’s Body actress to raise their fictional newborn baby without him.
Watch MGK thank Jelly Roll at the People’s Choice Country Awards below.
Austin City Limits (ACL) will celebrate its 50th season with an assist from Texas native and Grammy winner Kacey Musgraves. The season will launch Saturday, Sept. 28, with an hour’s worth of music from Musgraves. Explore Explore See latest videos, charts and news See latest videos, charts and news In the previously taped appearance, she […]
With the mystery of “LG 6.5” officially solved, Lady Gaga is ready to let fans in on the making of her newest album, Harlequin.
In a new interview with Rolling Stone, Gaga explained that the idea for her new album of jazz and pop classics came to her after she finished filming Joker: Folie à Deux. After performing for so long as her character Harleen “Lee” Quinzel (aka Harley Quinn), Gaga felt that she still had more to say. “I had such a deep relationship with Lee,” she said. “And when I was done filming the movie, I wasn’t done with her.”
As for why she teased the album as “LG 6.5,” the singer explained that she didn’t want fans to see this only as her next album. “It is my record. It’s a Lady Gaga record, but it’s also inspired by my character and my vision of what a woman can be,” she said. “It’s why the album does not adhere to one genre … it’s not my next studio album that’s a pop record, but it is somewhere in between, and it’s blurring the lines of pop music.”
The new project sees Gaga taking on a series of jazz standards — such as “Get Happy,” “World on a String” and “That’s Life” — much like she did in her Tony Bennett duet albums Cheek to Cheek and Love for Sale. While Gaga says she struggled with not having her friend and collaborator in the studio with her following his death in 2023, she thinks he would have appreciated Harlequin for its shapeshifting nature.
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“If I had put rock n’ roll chords over production in a record that I did with Tony years ago, I don’t know how he would’ve felt about that. Tony didn’t love rock n’ roll, but he would’ve said, ‘Wow, that’s amazing,’” she explained. “He was somebody who loved how risk-taking and different I am, and I always thought that was so cool. He was 60 years older than me, and he would flinch less than young people that I would meet … He was just a really compassionate, inclusive person. So he was definitely with us [in the studio], but he was mostly inside of me.”
As for fans still eager to hear what her long-awaited seventh studio album will sound like, Gaga remained tight-lipped, but offered a small hint. “The pop album is nothing like Chromatica. It’s a completely different record,” she said. “It’s meant to be ingested as a time in my life. And I’m also really excited about this idea that I don’t have to adhere to an era if I don’t want to. I can have a few going at once.”
The Del McCoury Band, Molly Tuttle and Authentic Unlimited were among the big winners during the 35th annual IBMA Bluegrass Music Awards held Thursday evening (Sept. 26).
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The Del McCoury Band was named entertainer of the year, while Molly Tuttle & Golden Highway’s City of Gold project was named album of the year. Authentic Unlimited picked up the lion’s share of the accolades, winning song of the year (for “Fall in Tennessee”), vocal group of the year and tying for music video of the year. The group’s Jesse Brock was also named mandolin player of the year.
The John Cowan and Missy Raines-hosted ceremony was held at the Martin Marietta Center for the Performing Arts in Raleigh, North Carolina.
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In addition to this year’s winners, previously announced inductees into the Bluegrass Music Hall of Fame Katy Daley, Jerry Douglas and Alan Munde were celebrated.
See the full list of this year’s IBMA Bluegrass Music Awards winners below:
Entertainer of the year: The Del McCoury Band
Vocal group of the year: Authentic Unlimited
Instrumental group of the year: The Travelin’ McCourys
Song of the year: “Fall in Tennessee,” recorded by Authentic Unlimited; written by John Meador & Bob Minner; produced by Authentic Unlimited; Billy Blue Records
Album of the year: City of Gold, recorded by Molly Tuttle & Golden Highway; produced by Jerry Douglas & Molly Tuttle; Nonesuch Records
Gospel recording of the year: “God Already Has,” recorded by Dale Ann Bradley; written by Mark “Brink” Brinkman & David Stewart; produced by Dale Ann Bradley; Pinecastle Records
Instrumental recording of the year: “Knee Deep in Bluegrass,” recorded by Ashby Frank; written by Terry Baucom; produced by Ashby Frank; Mountain Home Music Company
New artist of the year: East Nash Grass
Collaborative recording of the year: “Brown’s Ferry Blues,” recorded by Tony Trischka with Billy Strings; written by Alton & Rabon Delmore; produced by Béla Fleck; Down the Road Records
Male vocalist of the year: Danny Paisley
Female vocalist of the year: Jaelee Roberts
Banjo player of the year: Rob McCoury
Bass player of the year: Vickie Vaughn
Fiddle player of the year: Deanie Richardson
Resophonic guitar player of the year: Gaven Largent
Guitar player of the year: Cody Kilby
Mandolin player of the year: Jesse Brock
Music video of the year (tie):
“Fall in Tennessee,” Authentic Unlimited
“Alberta Bound,” Special Consensus with Ray Legere, John Reischman, Patrick Sauber, Trisha Gagnon, Pharis & Jason Romero, and Claire Lynch
When Billie Eilish sings, “I’ll love you ’til the day that I die” on “Birds of a Feather,” that deadline also includes the afterlife. In the Hit Me Hard and Soft single’s new Aidan Zamiri-directed music video that arrived Friday (Sept. 27), the 22-year-old pop star sits alone in an abandoned office building, smiling to […]
What’s the most difficult way to follow-up a terminally bleak, billion-dollar, Oscar-winning blockbuster superhero (adjacent) movie with no super heroes? Add in some live song and dance numbers, naturally. That’s what Joaquin Phoenix said the team behind the anticipated Joker: Folie à Deux decided to do, a choice that terrified the notoriously fearless actor from day one.
“How could we possibly do the music in the most honest way possible?” he asked in a joint interview with co-star Lady Gaga and director Todd Phillips that aired on Good Morning America on Friday (Sept. 27) about the bold decision to have untrained singer Phoenix and Grammy-winner Gaga sing together live on stage during the film’s fantasy sequences. “When we first started, I did not want anything to be spontaneous and I wanted to sound as good as possible,” said Phoenix, who was previously described as being “sick” with nerves over singing alongside Gaga.
Phoenix noted that it was Gaga’s idea to do it live, which he thought sounded great for her, since that’s what she does for a living. “You were really cool and kind of made me feel comfortable about that,” he said, with Gaga adding, “I can assure you that Joaquin using his natural voice was just so much more compelling than any lip synching would ever be.”
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While Phoenix said that he just didn’t want his Joker ride to end after his Oscar-winning first spin as washed-up clown Arthur Fleck in 2019’s intense Joker, Gaga said that original film really interested her in joining Phoenix and director Phillips’ demented world. “I loved Arthur so much, like, who would be the love in his life?” the singer said she wondered.
Plus, she added, there was something “so completely freeing” about playing Quinn, including the ability to sneak some bits of herself into the character that she’s always been a bit embarrassed, or private, about. “When I first saw the film I was like, ‘Oh, that’s in there! That part of me that I want no one to know about,’” said Gaga of her third starring role in a major motion picture following her breakout in 2018’s A Star is Born and a strong showing in the all-star ensemble in 2021’s House of Gucci.
Though she seems to always be poised and powerful, Gaga said those moments she sees herself in Quinn are when her chracter seems “so uncomfortable… she’s like on the edge. There’s definitely been times in my life where I felt that way.”
Even more challenging, Gaga recorded an entire Joker-themed album, Harlequin, out today, in which she channels her character Harley Quinn on a series of classic covers and a few originals. “Lee’s not a performer and I am and in a scene as a different character it’s just completely different,” Gaga said of tapping into what makes the Joker’s equally off-kilter love stand out from Gaga’s stage persona.
“It’s Lee’s reality, it’s their shared reality, it’s coming from that character not from me as a performer,” she said. “I don’t just sing that way in this movie, I also sing with my full voice.”
The 13-track album features a number of Harley-fied covers of “Good Morning” (from Singing in the Rain), “If My Friends Could See Me Now” (Sweet Charity), as well as a soul-funk version of “When the Saints Go Marching In” (here titled “Oh, When the Saints”), “That’s Entertainment,” the Carpenters’ “Close to You” and “World on a String” as well as two originals, “Folie à Deux” and the rock-edged “The Joker.”
The surprise companion album to the film was recorded alongside the sessions for Gaga’s upcoming as-yet-untitled seventh studio album, which is due out in February, with a first single dropping next month. Joker: Folie à Deux opens in theaters on Oct. 4
While recording his latest album, Eden, Eden Muñoz landed himself in the emergency room a whopping four times, all to monitor his fast-beating heart. “I consider myself a relatively healthy person,” the Mexican singer-songwriter says today, still sounding a bit perplexed by the situation. “It wasn’t stress — I know stress.”
After consulting multiple cardiologists, Muñoz visited one more (who was also a good friend) and finally got his answer: He was told that the process of making Eden proved too energizing. “It was a type of excitement that didn’t let me sleep because it felt like I was wasting time,” he recalls. “I needed to be in the studio.”
And though the hospital trips were nerve-racking, Muñoz welcomed the excitement — it was a feeling he hadn’t experienced in relation to music in a long time. Since launching his solo career two years ago after more than a decade fronting Calibre 50, he has enjoyed a whole range of new emotions. Most importantly, Muñoz says, “I know what it feels like to be happy again.”
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The 34-year-old first entered the scene in the early 2010s as Calibre 50’s lead singer, accordionist and songwriter. The group — which became one of the most successful norteño bands of all time — placed seven No. 1s on Billboard’s Regional Mexican Albums chart and landed more than 20 No. 1s on Regional Mexican Airplay. Despite the success, Muñoz felt something was off — and was craving more.
He announced his departure from Calibre 50 in early 2022 and, soon after, launched his solo career. “I was very limited as part of a group,” he says. “I felt that I could give a lot more at the production level.” As it turns out, making music on his own terms proved fruitful. Over the past two years, Muñoz has scored four top 10s on the Regional Mexican Airplay chart, including the title track to 2023’s Como en los Viejos Tiempos, which topped the list. He has also placed five entries on Hot Latin Songs, including a top 10 hit with his debut solo single, “Chalé!”
Edén Muñoz photographed on Sep. 7, 2024 at Old National Centre in Indianapolis.
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Yet it’s Eden, released in August, that Muñoz feels most proud of. “I had been pleasing others for so many years that it was only fair that I do what makes me happy for a change,” he says. “This album reflects that transition.”
Eden arrived as Muñoz’s second album on Sony Music Mexico, which he signed with last year in a partnership with Sony Music Latin, and his third full-length since launching his solo career. The project spans 15 songs on which Muñoz fuses the traditional banda and norteño sound that have characterized his music with genres that have also shaped his musical palette: bachata, country and rock’n’roll.
While mashing up música mexicana with other styles would have been frowned upon by purists just a few years ago, when it mainly catered to an older audience, the decades-old genre is now reaching a new generation of listeners, thanks to a wave of young Mexican and Mexican American hit-makers who have embraced a more nuanced approach. By modernizing lyrics and borrowing from genres including trap, hip-hop and country, regional Mexican music has earned the approval of Gen Z — and Muñoz is leaning in.
“When I was creating this album, I broke out of my comfort zone to rebuild myself,” he says. “This album served as an exercise to see how far I can go and where I draw the line so it doesn’t go outside of Mexican music. It was like creating the perfect salad with a balance of protein and carbohydrates.”
Edén Muñoz photographed on Sep. 7, 2024 at Old National Centre in Indianapolis.
Anna Powell Denton
Now, with Eden behind him, Muñoz’s heart is at peace. “I have my studio, a little lake next to us where I go fishing, and I love to cook. I have everything here,” he says of his home in Mazatlán, a resort city in Sinaloa, Mexico, where he lives with his wife and children when he’s not on tour. (His Como en los Viejos Tiempos U.S. trek began in August.)
His newfound creative freedom hasn’t only benefited the music, but has altered his perspective, too. “I know I’m not at No. 1, and I probably never will be, and that’s cool,” he says. “I feel f–king great. I do what I want. I work with the people I want to work with. I’ve matured. That, to me, is being in my prime.”
This story appears in the Sept. 28, 2024, issue of Billboard.
Soul Asylum frontman Dave Pirner is a proud Minnesotan again after having spent 25 years living in New Orleans. So it’s not surprising he’s watching this year’s presidential campaign with even more interest since a home state horse, Gov. Tim Walz, is representing as Vice President Kamala Harris’ running mate on the Democratic ticket. (Pirner was born in Green Bay, Wisc., but grew up in Minnesota.)
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“I’m excited about it,” Pirner, who launched his music career in the North Star state drumming for the punk band Loud Fast Rules, tells Billboard from a stop during Soul Asylum’s recent Jubilee Tour with Stone Temple Pilots and Live. “There’s a certain amount of excitement in Minnesota going on. It’s funny to have a dude like that representing Minnesota ’cause he does remind you of a sports dad. There’s that, ‘Oh gosh’ kind of ‘aw shucks’ thing going on. I think it was a good choice because he seems like a nice complement to (Harris) in that good ol’ boy way or something. But he’s progressive and he’s well-liked.”
Pirner does not recall ever having met Walz, a music fan who signed a bill renaming a stretch of the state’s Highway 5 after the late Prince. But Pirner says he’s “ready to go out there and support the home team. Put my name in the hat.”
He’ll have to fit any support appearances into a busy schedule, however. Soul Asylum has concert dates booked into early November, including with the Juliana Hatfield Three, but most importantly the quartet’s 13th studio album, Slowly But Shirley, comes out Sept. 27. The 12-song set is the follow-up to 2020’s Hurry Up and Wait, its debut with Blue Elan Records, and reunites Pirner and company with Steve Jordan, the current Rolling Stones drummer who helmed Soul Asylum’s 1990 album And the Horse they Rode In On, a highly regarded set that was eclipsed two years later by the double-platinum Grave Dancers Union.
“When we first worked with Steve, we weren’t that great,” recalls Pirner, Soul Asylum’s only remaining founding member. “We were still learning how to play together. And since then I’ve sort of embraced most of the things that Steve had passed on to me from back then. So I kinda knew what he wanted and I wanted to give it to him, and I think it came together in a really organic sort of way that I think you can feel on the record — I hope you can, at least. It did mark a progression.”
Pirner adds that what Jordan and the band were looking for was “just excitement and not too much thinking about what you’re doing. It was more like capturing the band playing the songs off of each other and really listening to the other people in the band and trying to come across in a way that it felt new, fresh.” To that end Jordan had the group — Pirner, drummer Michael Bland, guitarist Ryan Smith and bassist Jeremy Tappero — tracking together in the studio to capture the energy and attitude of live music.
“We’ve tried just about every single way to record something over the years,” Pirner notes. “Working on the previous records the home studio became part of the picture, and you could also take things home and work on them. It depends on the song…but in this situation each song was approached with the same sort of method, which was ‘Get out there and play it!’ It was great ’cause watching Steve and Michael work together was one of those musical experiences I kinda live for. Steve is such a player’s player, and he’s such a vibe guy in a way that he understands the concept of trying to capture lightning in a bottle, and I think that’s what we were going for. We didn’t overplay anything and we tried to get things on the third take or so. It came together pretty quickly.”
Pirner says Slowly But Shirley‘s songs came together in a variety of fashions — some jammed out by the band in rehearsals, others that he “had been working in in ProTools and computers and messing around and cutting pieces of songs together.” One track, “High Road,” has been around “forever” before being finished off this time. The album is a mélange of Soul Asylum styles, from the jangle of “Freak Accident” to the punchy rock of “Freeloader,” “Trial By Fire,” “The Only Thing I’m Missing” and “Makin’ Plans,” to the cool groove of “Waiting on the Lord” and the mellow melodicism of “You Don’t Know Me.” There’s also a funky edge to “Tryin’ Man” and “Sucker Maker,” which Pirner credits to his time in the Big Easy and having Bland, who spent seven years playing with Prince, in the band.
“I think I was subconsciously trying to take things in a direction that was a little more funky or groovy or swingy or whatever — without forgetting that I’m dealing with a four-piece punk rock band,” Pirner explains. “That’s what’s always made punk rock so interesting is it does have this kind of ‘ignorance is bliss’ adventure to it, where it’s gonna come out sounding like your sh-tty band. But sometimes people try things they probably shouldn’t be trying, and something new comes out of that. It’s discovery, which is the beauty of music.”
Pirner is planning on a long cycle for Slowly But Shirley, including more headlining dates before the end of the year and into 2025. “We’ll play at the opening of a letter, as we used to say,” he notes. This year, meanwhile, also marks the 40th anniversary of Say What You Will…, Soul Asylum’s Bob Mould-produced debut album, and Pirner says that the passage of time has not been lost on him.
“It doesn’t get easier,” he acknowledges. “It feels exactly like 40 years. It’s kind of a grind. It’s different when you’re starting out because you’re just excited about everything and you have a much higher tolerance level because everything is new. You’re living a fairly miserable experience, but it’s an adventure. I’m grateful for all of it; it’s just what I do and what I’ve always done and what I love doing. Sometimes it’s not fun at all, but I’m like, ‘Well, this is what I wished for my whole life, so shut up.’ And I much prefer this to digging a hole, I’ll tell ya that.”
Since earning his first Billboard Country Airplay top 5 hit with “All My Friends Say” in 2007, Luke Bryan has amassed 26 Country Airplay No. 1s — representing a mix of somber heartbreak tunes such as “Do I,” and a string of celebratory anthems revolving around rural settings and young love. As such, Bryan quickly ascended to headlining stadiums on the strength of his hitmaking (and yes, onstage hip-shaking), collecting five entertainer of the year trophies (two from the CMA and a trio of trophies from the ACM).
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To be sure, on Bryan’s eighth studio album, Mind of A Country Boy (out Friday, Sept. 27 on UMG Nashville), there are hook-filled, rowdy party sparkers such as “But I Got a Beer in My Hand” and “Country On,” but embedded in the album are also songs that accelerate the country quotient, and songs that convey the perspective of an artist nearly two decades into his career, speaking from maturity as a husband, father and seasoned musician.
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“I think it reflects where I’m at in life. I’ve had the party songs throughout my life and when I look at my career, I’ve put out the music I’ve always wanted to and this is the music I want out now,” Bryan tells Billboard.
That family aspect touches many songs on his new album, such as “Pair of Boots.”
“I have boys that were raised seeing their boots and cowboy boots everywhere,” says Bryan — who, with his wife Caroline, are parents to two teenage sons. “I think a pair of boots on a young boy teaches them about growing into manhood and I think it’s a tip of the cap to dads that start their kids off wearing boots. And certainly, if you’re a dad with boys, you get it.”
One of the standout songs on the album is “For the Kids,” which Bryan wrote with Justin Ebach and Old Dominion’s Brad Tursi. The song depicts a couple whose flame has fizzled out, but who are holding their marriage together simply for the sake of the kids. Though Bryan says the song’s story arc does not reflect his own nearly 18-year marriage to wife Caroline, he does feel it “might be one of the best songs I’ve written.”
Bryan says he and Caroline, who have been married since 2006, have been intentional about putting family first.
“I think we keep it all real,” he says. “There’s a time for me to go be a celebrity and there’s a time for me to go be a husband and a dad. It’s about communication and having a support group around you, a group of friends you enjoy being around and making sure you have positive people in your life. I think as you talk to people who have been married 30, 40 years, there’s always times in the marriage where there are bumps in the road, times that the kids might have been the thing that really held the whole unit together, and then there’s times when you’re an empty nester. I think this song touches on the journeys of marriage and what it takes to see it through forever.”
As a father to two teenage boys, 16-year-old Thomas (“Bo”), and 14-year-old Tatum (“Tate”), Bryan realizes his sons’ college years are not too far in the future.
“We’ve created a household where everybody hopefully wants to converge on [it when they can]. When they’re in college, you’re kind of empty-nesting, but when the fall breaks and Christmases and hunting seasons… when hunting season comes in, they start migrating back to the farm, where we can all hunt together. We take it year by year. The main thing is just to enjoy the time together, and get them through school and just raise them to be good boys and we know they’ll come back around.”
Another song on the album, “Jesus About My Kids,” written by Jeff Hyde, Tucker Beathard, Ben Stennis and Brad Rempel, delves even deeper into the role of fatherhood, contemplating how the approach to spirituality shifts as his kids grow older.
“I think a lot of parents can relate to the sentiment of praying for their kids,” Bryan says. “When they’re young, you try to lay the groundwork. We’re a Christian household and we’ve raised them that way to have those morals, and we try to set the tone at an early age of teaching them to be respectful and kind and polite. Then you hope that they can take that into the later years of their lives and be respectful, humble, with good manners. They’re doing good right now — we’re not having to bail ‘em out of any jails.”
Though Bryan has had a hand in writing many of his own songs, including “Someone Else Calling You Baby” and “We Rode in Trucks,” this time around, of the new album’s 14 songs, a dozen of them are outside cuts from many of Nashville’s top-shelf writers including Rhett Akins, Chase McGill, Hillary Lindsey, Ben Hayslip and Dallas Davidson.
“It’d be scary to know how many we went through, but I think we probably recorded a total of 18 songs, three of the ones that didn’t make it, I think I had a hand in writing,” Bryan says. “I always overcut [songs for an album] and then if mine make the cut, then they do. But this time I leaned on a lot of writers around Nashville and I always loved the opportunity of doing that.
“I’m a fan of the Nashville songwriting community, and I feel like that whole songwriting machine is one of the most amazing things in entertainment,” he continues. “I just get the songs to listen to and rarely know who writes them. I just like to try to use the mindset that the best song typically wins. And when those writers get cuts on the album, they always walk up to me and they’re appreciative and it’s endearing, and I’m always happy to be able to get the town fired up about one of my albums.”
A close listen to the album also finds Bryan and his longtime producers Jeff and Jody Stevens employing subtle ways of upping the ante, such as Bryan’s use of falsetto on the song “Closing Time in California.”
“I knew it was an opportunity to show that I had that in my bag, in my arsenal,” Bryan says. “We’ve heard the story [in this song] a million times—a small-town girl moves to Hollywood and there’s always that love interest that gets left behind. But you can feel the pain of all of that in the song, and the first time I heard it, I knew it was special.”
Over the course of his career, Bryan has performed for over 14 million fans, and is steadily adding to that count on his current headlining Mind of a Country Boy Tour, which runs through October, while his annual Farm Tour wraps this weekend (Bryan’s Farm Tour aids farming communities and since its 2009 inception, has awarded over 80 scholarships to students from farming families who attend local colleges and universities). He also keeps pushing himself in terms of his work on television. On Nov. 15, Bryan will host the new Hulu series It’s All Country, which finds Bryan exploring the stories and inspirations behind a slate of classic hit country songs. Next year, he will return as a judge on ABC’s American Idol, alongside Lionel Richie and Carrie Underwood.
He says whether he’s in the studio or onstage, he’s still always aiming at setting the creative bar higher.
“No matter how many years I’ve been kind of in the mix, and as long as I can find songs that push me to new boundaries, we’re always trying a new musician here and there, always trying new sound engineers and mixing people, just always trying to stay on top of my game,” Bryan says. “I’m always trying to go above and beyond, try to just outdo myself a little bit every time.”