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According to HipHopDX, Chance The Rapper is heading to trial after a judge shut down his attempt to dismiss a lawsuit from his ex-manager, Pat Corcoran.
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The two worked together for almost eight years before parting ways in April 2020. Corcoran says they had a verbal deal that guaranteed him a cut of Chance’s earnings for three more years, even after they stopped working together. He’s now suing Chance for $3 million in unpaid commissions.
Chance fired back, arguing that this so-called deal wasn’t in writing, which means it shouldn’t hold up in court. In Illinois, where Chance is from, any contract that lasts more than a year has to be written down to be legally valid. Due to this, Chance asked the judge to throw out the case. But the judge wasn’t buying it, so now the lawsuit is moving forward, and Chance will have to fight it out in court.
This case highlights how messy money and business can get in the music industry. A lot of artists and managers make handshake deals instead of signing contracts, which can lead to problems later on. Corcoran, who helped build Chance’s career, says he’s owed millions, while Chance thinks he doesn’t have to pay. Now, it’s up to the courts to decide who’s right. If Chance loses, it could cost him big.
More news to come as the story develops.
“If you’re keeping score at home…”
Anyone who has tuned in to baseball on TV or radio has probably heard Vin Scully or Bob Costas refer to the shorthand used to keep track of the game.
In a parallel world, anyone keeping score at the tavern will understand the results in Jordan Davis’ play-by-play of a guy attempting to drown out his past: “You and your memory, one/ Me and this bar, none.” His team is behind, trying desperately to catch up in what looks like a losing battle.
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When Davis — an avowed sports fan — related to “Bar None” from the outset, it was partly because it reminded him of high school athletics.
“I pitched in baseball, and I was losing a lot,” he recalls. “So this one felt right at home.”
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There haven’t been a ton of country hits centered on baseball — or even baseball metaphors — though a few exist: Alabama’s “Cheap Seats,” Kenny Rogers’ “The Greatest” and Bill Anderson’s “Liars One, Believers Zero” are good examples.
But none of that was at work in the “Bar None” backstory.
“When I brought in the general concept, I knew it was going to be about keeping score, but I didn’t have that lyric all settled,” remembers songwriter Lydia Vaughan (“If I Didn’t Love You,” “Friends Like That”). “I wasn’t having a specific sport in mind. Maybe the sport of heartbreak.”
Vaughan first considered “Bar None” as a title when she heard it in a conversation. She toyed with it, recognizing its colloquial meaning — “without exception” — but also seeing the keeping-score turn of a phrase as an interesting bit of wordplay. Despite fears that it might be too complicated, she introduced it last summer at Nashville’s Skyline Studio during a writing session with Hunter Phelps (“wait in the truck,” “Cold Beer Calling My Name”) and studio owner Ben Johnson (“Liar,” “Truck Bed”). Both her co-writers liked the concept of the score-related “bar none” hook, though Phelps was confused when Vaughan and Johnson considered employing the original meaning.
“I’d never heard the phrase ‘bar none’ before used as ‘no doubt’ or ‘with no exception,’” he says. “She had the hook of the chorus mapped out, and she said the hook, and I was like, ‘Well, that’s awesome,’ without knowing that.”
They spent perhaps 20 minutes debating the familiarity of “bar none” — Phelps even texted his wife, whose response was simple: “Yeah, everybody’s heard that phrase.” Ultimately, he trusted them and they plowed forward, with Johnson developing a fast-paced stomp-clap percussion bed to set a lighter tone.
“That’s actually what, for me, makes the song great,” Vaughan says. “It turns what lyrically is a sad, getting-over-somebody song into more of a fun drinking song, just sonically.”
Johnson devised a cascading instrumental passage for the intro, and it emerged as a signature sound for the piece.
“I actually slowed the track down about 20 beats per minute and played the riff really slow,” Johnson notes. “Then I sped it back up, and even though I played it on guitar, it kind of sounded like a mandolin or a banjo, and it gave it a cool, warbly effect.”
Verse one set the scene: guy attempts to numb his emotional pain at the bar. Verse two established the bottles on the back bar as his teammates. They purposely dropped internal rhymes (“burn,” “bourbon,” “hurtin’,” “certain”) and alliteration (“banged-up broken heart”) into key spots to create some playfulness, and they unintentionally cemented the sports theme with a mid-chorus reference to a scoreboard for the guy’s heartache. That part came with a short, melodic boost.
“Before that, the whole chorus was kind of on three notes,” Johnson says. “[We wanted] to get that part to lift up.”
When they needed a singer for the demo at the end of the day, Phelps was the best option — bar none — for a performance with a modest Lumineers vibe. “It sounds a little folky,” Phelps allows, “but it also sounds a little bluegrass, too.”
Around the time they wrote it, Davis appeared in a CMT Crossroads episode with NeedToBreathe, and he subsequently attempted to write something with a stomp-clap feel that mirrored that band’s core sound. When “Bar None” was sent his direction, he was an easy convert. “I didn’t even have to finish the entire first listen,” Davis says. “Right after that intro, I was like, ‘I’m pretty in on this.’ ”
Davis’ next album was mostly done, but he convinced MCA Nashville to let him cut four more songs, including “Bar None.” Producer Paul DiGiovanni (Travis Denning, Alana Springsteen) booked a session at Nashville’s Sound Stage with drummer Nir Z, bassist Jimmie Lee Sloas, guitarists Ilya Toshinskiy and Derek Wells, and keyboardist Alex Wright.
“That’s been kind of the hometown team for Jordan,” DiGiovanni says. They used the melody’s upper plateau on the “scoreboard” line to gauge the key, lowering it a bit to accommodate Davis’ expectation that it would become significant.
“I knew that it was going to be something that I was going to be playing for a long time and would potentially be going to radio,” he says. “I definitely didn’t want to cut something in a key that I was going to dread to see on the setlist every night. So I bumped it down a little bit, just to make those two notes on the back of the chorus a little easier to grab.”
Nir Z loosened the wire snares under his snare drum to eliminate some of the fuzz in the track’s percussion, and Toshinskiy opened his guitar boat road case to give the supporting track a variety of stringed instruments, with mandolin, banjo and bouzouki among the ream of options.
“He was like a magician [with] his hat, pulling out some crazy string thing I’d never seen before,” DiGiovanni recalls. “We kept most of the stuff, honestly. The song is driven by the acoustics of it, so it’s kind of like a wall of all these different timbres and octaves of different acoustic instruments.”
Davis was keenly aware of the “scoreboard” lines when he laid down the final vocal. “The back half of that chorus lifts pretty good,” he says. “It wasn’t super hard, other than those two lines.”
Trey Keller sang approximately 20 different harmony parts, some of which were blended with the instrumental riff to create a dreamy effect in the middle of “Bar None.” “I just knew he was going to crush this one,” DiGiovanni says.
Appropriate for a song with a sports hook, “Bar None” came up a winner. MCA Nashville released it to country radio on March 24, and with only a few days to accrue spins during the tracking period, it debuted at No. 57 on the Country Airplay chart dated April 5. Its energy is hard to ignore, but when Davis played a stripped-down version, he realized its appeal goes deeper.
“It’s not just a feel song,” he says. “It’s a well-written song. And I was excited. That was the day where I was like, ‘Awesome.’ ”
Save this storySaveSave this storySaveJustin Vernon paid a visit to The Tonight Show Starring Jimmy Fallon last night, where he explained the title of his forthcoming new album SABLE, fABLE. During their conversation, the Bon Iver frontman also talked about collaborating with Taylor Swift and Charli XCX, the awkwardness of being put on the jumbotron at WNBA games, what his neighbors think of his recording studio April Base in Fall Creek, Wisconsin, and more. Watch a video of his interview below.Earlier in the week, Vernon shared the lyrics of a still-unreleased song, “Day One (feat. Dijon and Flock of Dimes),” via a poem in the New Yorker. Out April 11 via Jagjaguwar, SABLE, fABLE will feature the singles “Everything Is Peaceful Love,” “Walk Home,” and “If I Could Only Wait (feat. Danielle Haim),” plus the four tracks from last year’s SABLE, EP.Last year, Vernon also rolled out Counterpart, a website designed to host covers of Bon Iver songs, photos, and videos submitted by people in response to prompts displayed on the page. His stop on Fallon is the latest in a string of notable indie rock artists, including Japanese Breakfast, Lucy Dacus, and Julien Baker and Torres.Revisit Brady Brickner-Wood’s track review of “Everything Is Peaceful Love,” and read about Bon Iver’s “S P E Y S I D E” at No. 29 on “The 100 Best Songs of 2024.”
Save this storySaveSave this storySaveFor decades, Bruce Springsteen fans have whispered of a suite of albums that the Boss recorded in full—particularly in the 1990s—but never released. That collection was known as Tracks II, and today, it became a reality. On June 27, seven albums of never-before-heard Springsteen music will be collected in a 9xLP/7xCD box set, spanning from 1983 to 2018. In a trailer, Springsteen describes going into his vault during the pandemic and polishing off these albums, in part to put to bed the narrative of his “lost ’90s.” Below, watch that trailer and listen to a new song, “Rain in the River,” from the Perfect World collection. Plus, check out the box set’s full tracklist.Among the seven albums are LA Garage Sessions ’83—a bridge between Nebraska and Born in the U.S.A.—the 1993 Streets of Philadelphia Sessions, the abandoned movie soundtrack Faithless, an E Street Band–assisted country album called Somewhere North of Nashville, and the Western Stars preface Twilight Hours. Inyo is described as a set of cinematic border tales, while Perfect World is “the one thing on this that wasn’t initially conceived as an album,” says Springsteen. The complete set includes 74 songs that have never been heard, and a further eight new versions of songs that otherwise found the light of day.Tracks II: The Lost AlbumsLA Garage Sessions ’8301 Follow That Dream02 Don’t Back Down On Our Love03 Little Girl Like You04 Johnny Bye Bye05 Sugarland06 Seven Tears07 Fugitive’s Dream08 Black Mountain Ballad09 Jim Deer10 County Fair11 My Hometown12 One Love13 Don’t Back Down14 Richfield Whistle15 The Klansman16 Unsatisfied Heart17 Shut Out The Light18 Fugitive’s Dream (Ballad)Streets of Philadelphia Sessions01 Blind Spot02 Maybe I Don’t Know You03 Something In The Well04 Waiting On The End Of The World05 The Little Things06 We Fell Down07 One Beautiful Morning08 Between Heaven and Earth09 Secret Garden10 The Farewell PartyFaithless01 The Desert (Instrumental)02 Where You Goin’, Where You From03 Faithless04 All God’s Children05 A Prayer By The River (Instrumental)06 God Sent You07 Goin’ To California08 The Western Sea (Instrumental)09 My Master’s Hand10 Let Me Ride11 My Master’s Hand (Theme)Somewhere North of Nashville01 Repo Man02 Tiger Rose03 Poor Side of Town04 Delivery Man05 Under A Big Sky06 Detail Man07 Silver Mountain08 Janey Don’t You Lose Heart09 You’re Gonna Miss Me When I’m Gone10 Stand On It11 Blue Highway12 Somewhere North of NashvilleInyo01 Inyo02 Indian Town03 Adelita04 The Aztec Dance05 The Lost Charro06 Our Lady of Monroe07 El Jardinero (Upon the Death of Ramona)08 One False Move09 Ciudad Juarez10 When I Build My Beautiful HouseTwilight Hours01 Sunday Love02 Late in the Evening03 Two of Us04 Lonely Town05 September Kisses06 Twilight Hours07 I’ll Stand By You08 High Sierra09 Sunliner10 Another You11 Dinner at Eight12 Follow The SunPerfect World01 I’m Not Sleeping02 Idiot’s Delight03 Another Thin Line04 The Great Depression05 Blind Man06 Rain In The River07 If I Could Only Be Your Lover08 Cutting Knife09 You Lifted Me Up10 Perfect World
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President Donald Trump announced a sweeping tariffs policy this week as part of the administration’s “Liberation Day” initiative, which kept with one of his top campaign aims. The tariffs will be set at 10% across the board as several nations, including allies, will face varying percentages of tariffs on imports.
As seen in outlets such as CNBC and CNN, President Donald Trump’s new reciprocal tariff would levy a 10% tariff on all global imports, with China, the EU, Vietnam, and Taiwan paying far larger tariffs. Sparking concerns among economic experts is how the White House has come up with its percentages, as some are saying the math doesn’t add up. Further, according to swirling reports and social media accounts, Trump has called for tariffs against remote unoccupied lands, one of which houses penguins, according to reports.
As seen on CNN, Trump intends to impose a 54% tariff on China, the second largest importer to the United States after Mexico, with the Asian superpower promising to respond with tariffs of their own. The network has also tallied several comments from other nation leaders who are all pushing back against the aggressive measures that have caused global markets to stumble in rapid succession.
As Trump spoke from the Rose Garden on Wednesday, the reciprocal tariffs will be calculated by putting together tariff rates and other economic factors that have impacted trade numbers, then dividing that number in half. Canada and Mexico will face 25 percent tariffs, which Trump says are centered around pushing back against the supposed flood of fentanyl across the northern and southern borders, with some exemptions on products under the United States-Mexico-Canada Agreement.
“The tariffs will be not a full reciprocal. I could have done that, I guess. But it would have been tough for a lot of countries,” Trump said.
The AP reports that the United States and global markets are in a tumble and not expected to recover by close today. S&P 500 Futures dipped 3.4%, and the Dow Jones Industrial Average fell 2.8%; Nasdaq fell 3.8%.
President Trump’s larger aim is to return manufacturing to America and end the nation’s reliance on global goods. The trade-off is that average American consumers and businesses will feel the pinch of costs being passed to them to make up for losses in what is already an economic storm underfoot.
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Photo: Source: The Washington Post / Getty
Bruce Springsteen is really throwing open the vaults for his upcoming Tracks II: The Lost Albums box set. But, unlike the his 1998 four-disc odds and sods Tracks collection, The Boss’ sprawling sequel will contain seven previously unheard full length records. According to a release on Thursday (April 3), the 83-track collection due out on June 27 through Sony Music will “fill in rich chapters of Springsteen’s expansive career timeline — while offering invaluable insight into his life and work as an artist.”
In a statement, Springsteen said, “The Lost Albums were full records, some of them even to the point of being mixed and not released. I’ve played this music to myself and often close friends for years now. I’m glad you’ll get a chance to finally hear them. I hope you enjoy them.”-
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The box will include the lo-fi LA Garage Sessions ’83, described as a “crucial link” between the bare-bones Nebraska and the full-throated Born in the U.S.A., as well as the drum loop and synthesizer experimentation for the Streets of Philadelphia Sessions. The project covering the years 1983-2018 is a peek into 35 years of home recording and songwriting that the Rock and Roll Hall of Famer said provides insight into work that no one has heard before.
“The ability to record at home whenever I wanted allowed me to go into a wide variety of different musical directions,” Springsteen said. Some of that includes the “sonic experimentation” on “Faithless,” a film soundtrack he wrote for a movie that was never made, as well as the country-leaning, pedal steel-fueled sound of Somewhere North of Nashville, featuring songs such as “Repo Man,” “Tiger Rose,” “Silver Mountain,” “Janey Don’t Lose Your Heart” and the title track.
There’s also the “richly-woven border tales” on Inyo songs including “Indian Town,” “The Aztec Dance,” “Our Lady of Monroe” and “Ciudad Juarez” and the “orchestra-driven, mid-century noir on such Twilight Hours tracks as “Sunday Love,” “Lonely Town,” “September Kisses” and “High Sierra.” Another album, Perfect World, featuring the songs “I’m Not Sleeping,” “Idiot’s Delight,” “The Great Depression,” “If I Could Only Be Your Lover” and “You Lifted Me Up.”
Springsteen previewed the album on Thursday with the muscular, devastating Perfect World song “Rain in the River,” on which he sings, “Down at the water, I head my Marie/ She said, ‘Now Johnny, your love mean no more to me’/ Than rain in the river/ Than rain in the river.” He also posted a 90-second trailer for the album on Thursday morning, in which he says, “I often read about myself in the ’90s as having some lost period or something. And I really, really I was working the whole time.”
The rock icon explains that during the COVID-19 pandemic he “finished” everything he had in his vault, totaling 83 songs — 82 of which have never been heard before — including 74 that have never been heard before in any version.
The Lost Albums will come in limited-edition 9-LP, 7-CD and digital formats, with distinctive packaging for each previously unreleased record, as well as a 100-page cloth-bound hardcover book with rare archival photos, liner notes on each album from essayist Erik Flannigan and a personal introduction from Springsteen. A 20-track compilation entitled Lost and Found: Selections From The Lost Albums will be released on June 27 on two LPs and one CD.
Check out “Rain in the River” and the full track list for Tracks II: The Lost Albums below:
LA Garage Sessions ’83
1. Follow That Dream
2. Don’t Back Down On Our Love
3. Little Girl Like You
4. Johnny Bye Bye
5. Sugarland
6. Seven Tears
7. Fugitive’s Dream
8. Black Mountain Ballad
9. Jim Deer
10. County Fair
11. My Hometown
12. One Love
13. Don’t Back Down
14. Richfield Whistle
15. The Klansman
16. Unsatisfied Heart
17. Shut Out The Light
18. Fugitive’s Dream (Ballad)
Streets of Philadelphia Sessions
1. Blind Spot
2. Maybe I Don’t Know You
3. Something In The Well
4. Waiting On The End Of The World
5. The Little Things
6. We Fell Down
7. One Beautiful Morning
8. Between Heaven and Earth
9. Secret Garden
10. The Farewell Party
Faithless
1. The Desert (Instrumental)
2. Where You Goin’, Where You From
3. Faithless
4. All God’s Children
5. A Prayer By The River (Instrumental)
6. God Sent You
7. Goin’ To California
8. The Western Sea (Instrumental)
9. My Master’s Hand
10. Let Me Ride
11. My Master’s Hand (Theme)
Somewhere North of Nashville
1. Repo Man
2. Tiger Rose
3. Poor Side of Town
4. Delivery Man
5. Under A Big Sky
6. Detail Man
7. Silver Mountain
8. Janey Don’t You Lose Heart
9. You’re Gonna Miss Me When I’m Gone
10. Stand On It
11. Blue Highway
12. Somewhere North of Nashville
Inyo
1. Inyo
2. Indian Town
3. Adelita
4. The Aztec Dance
5. The Lost Charro
6. Our Lady of Monroe
7. El Jardinero (Upon the Death of Ramona)
8. One False Move
9. Ciudad Juarez
10. When I Build My Beautiful House
Twilight Hours
1. Sunday Love
2. Late in the Evening
3. Two of Us
4. Lonely Town
5. September Kisses
6. Twilight Hours
7. I’ll Stand By You
8. High Sierra
9. Sunliner
10. Another You
11. Dinner at Eight
12. Follow The Sun
Perfect World
1. I’m Not Sleeping
2. Idiot’s Delight
3. Another Thin Line
4. The Great Depression
5. Blind Man
6. Rain In The River
7. If I Could Only Be Your Lover
8. Cutting Knife
9. You Lifted Me Up
10. Perfect World
Cristóbal Tapia de Veer is checking out of The White Lotus. Permanently. The show’s composer told The New York Times that he is leaving after the current season following a string of creative disputes with show creator and director Mike White. “I feel like this was, you know, a rock ’n’ roll band story,” Tapia de Veer told the paper about the disagreements. “I was like, ‘OK, this is like a rock band I’ve been in before where the guitar player doesn’t understand the singer at all.’”
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And while he’s just now speaking out, Tapia de Veer said he’s been having creative conflicts with White since season one, as well as conversations with producers he described as verging on “hysterical” amid their reported requests that he make his themes more “upbeat and less experimental.”
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He described announcing to the creative team a few months ago that he was not coming back, but not telling White for “various reasons… I wanted to tell him just at the ed for the shock or whatever,” he said. Asked how White responded, Tapia de Veer said the show runner “says a lot of things” that he can’t really talk about at the moment, then described the situation as being like a scene from the 1978 French drag comedy La Cage Aux Folles.
“You know how there’s Albin, which is like the star, and there’s Renato, who is the producer who is always taking care that Albin doesn’t lose his mind about something, because Albin is the diva and Renato is the guy who is trying to make everything work,” he said. “To me, the show felt very much like that.”
He also said when he got the script for the first season he thought it was very “well-written,” but given the comedic, “reality TV kind of vibe” he thought it didn’t fit his typically “super dark and edgy” musical vibe.
“But when we had the talk with Mike, I just told him in a joke that I thought we could do some kind of ‘Hawaiian Hitchcock,’ and he really grabbed on that and he started laughing,” Tapia de Veer said, adding that White’s original temporary score had a “chill, sexy” Ibiza club vibe with “literally no edge to it” that felt like “nice background music.”
The Chilean composer who has won three Emmys for his work on the series about rich people behaving horrendously in paradise also discussed the vitriol he’s received from fans about “Enlightenment,” his radical, percussion, accordion and handclap revamp of the show’s theme song for the current Thailand-based season that has been very divisive.
For the record, Tapia de Veer said he loves his season three theme and was hoping the current run — which ends on Sunday (April 6) — would at some point include a longer version he’d written that would elide back into the more recognizable, fan-favorite melodies from the first two seasons. As for what direction he was given for this season, Tapia de Veer said there was none, so he began experimenting with a collection of Thai gongs, a Thai violin called a saw u and an Italian accordion his mom sent him that he didn’t know how to play.
The original plan, Tapia de Veer said, was to bring back the apparently beloved “ool-loo-loo-loo” vocalizations form the first two seasons in a longer version of the season three theme, “because people will explode if they realize that it was going there anyway.” He told a producer about that plan and that person thought it was a good idea. But then, he said, White cut the extended edit. “He wasn’t happy about that,” Tapia de Veer said. “I mean, at that point, we already had our last fight forever, I think. So he was just saying no to anything.”
Listen to the extended cut of The White Lotus theme that Tapia de Veer uploaded to YouTube last month below.
Save this storySaveSave this storySaveWu Lyf have cemented their return with their first single in 14 years. “A New Life Is Coming” is out now on streaming services after previewing yesterday on the British indie-rock band’s website. The song, out on L Y F Recordings, was produced by Tom McClung and the band at Low Four Studios. Check it out below.With the track comes a typically Wu Lyfian statement, which reads as follows:Something comes from nothing. Wu Lyf was always better left unspoken, experienced rather than discussed. Words killed it. You just had to feel it.Twelve years after the fire burnt out, life had pulled us apart. We all had walked our separate paths trying to escape the shadow cast by the brief spectacle of our youth. Then something broke. Or healed.We set up camp in the loft of a friend’s bookshop behind unfamiliar instruments, familiar emotions, and we began to play, tentative at first but with open hearts and minds, seeking new forms unchained from what had been before. Old friends with new scars, trying not to aggravate the wounds of yesterday.We are all surprised by the big music that still plays itself through us, an unexpected gift after the longest exile, a gleaming fragment of then, magnified by who we are now. Raw and ecstatic, the fire transfigured.What it will become we do not know.You do not dig up the seed to see if it grows. You wait. You trust. You know the tree by its fruits. Our hands know what our minds forgot. This is something that was always there, waiting for us to remember. A new life is coming.Rumblings of Wu Lyf’s reunion began last month, soon after frontperson Ellery James Roberts dissolved his Lost Under Heaven project. Not long later, the band announced its first concerts since breaking up in 2012: three shows in its native Manchester, England, and festival dates in France and Belgium. To date, the band has only toured once since releasing its only album to date, Go Tell Fire to the Mountain.
Even after all this time, Bon Iver‘s Justin Vernon can’t quite conjure the words to describe how it feels to watch videos of tens of thousands of Swifties singing along to “Exile,” the Folklore song he co-wrote and recorded with Taylor Swift. “Out of body,” is how Vernon described the feeling on The Tonight Show on Wednesday (April 2) when host Jimmy Fallon asked what it felt like to see Swift perform it on her record-breaking Eras Tour.
“Sadly, I didn’t ever get to sing it with her on her tour… she got to come sing it with us, but I saw those clips and I’m like, ‘Gosh, they sound better than one of me can sound,” Vernon said. “No really, it was pretty powerful to just see that and to hear how that sounded. It was amazing.”
Vernon also talked about the “I Think About It All the Time” revamp he did for Charli XCX’s Brat and it’s completely different but also still brat remix album last year, which featured a sample of Bonnie Raitt’s 1989 song “Nick of Time.”
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“My friend Danielle Haim told me, ‘you should sample ‘Nick Of Time’ the old Bonnie Raitt song and I was like: ‘That’s such a good idea’, because Charli’s song was about running out of time,” Vernon explained, noting that he and Raitt — who is his “number one” favorite artist — have been friendly over the years. “Our greatest living singer,” he said of Raitt.
Vernon said when he called Raitt to ask for her permission the answer was a quick, simple, “‘Yep… let’s do it,’ she just had to kind of give us her blessing on using the sample, but she was , of course, touched. And she’s a huge fan of Charli’s, as am I.”
The singer was on to promote next week’s release of his fifth studio album, Sable, Fable (April 11), which he described as being a kind of two-part journey. The first portion, Sable, he said, is “sad and hard to get through and kind of drudgy and a look at the past… a look back at this kind of cabin man, man in a cabin narrative that I’ve been absorbing over these years. [And] the rest of the record is me kind of doing whatever I needed to do right now to be happy for once.”
Watch Bon Iver on The Tonight Show below.
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Dolly Parton has a new 9 to 5. The country queen is teaming up with Khloé Kardashian’s Good American clothing line to launch Dolly’s Joleans. True to the country queen’s aesthetic, the collection features blinged out denim with shimmering rhinestones, country glam-inspired details and more.
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Good American famously celebrates real women of all sizes and allows them to embrace trends while staying true to themselves. That same spirit of authenticity and empowerment shines through in all Dolly does, so the partnership made total sense to the superstar.
“I’ve always believed what you wear should make you feel as fabulous as you truly are, and this brand-new line, Dolly’s Joleans, is all about celebrating individuality with a touch of sparkle,” says Parton. “I’m inspired by Good American’s ability to create clothes that make women feel confident and ready to shine!”
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Dolly Parton x Good American Dolly’s Joleans
That natural synergy between Good American and Dolly Parton can be felt throughout the collection. From the clothing to the campaign, there’s a consistent embrace of expressing yourself and celebrating who you are.
The collection itself is as iconic as Dolly herself, featuring tailored silhouettes, luxe embellishments and fresh interpretations of classic fabrics like poplin and denim. There’s even a gingham blouse that looks straight out of the country queen’s own closet. The combination creates the perfect synergy of Dolly’s country roots and glamourous onstage persona.
“Dolly Parton is a true icon whose influence transcends generations, and partnering with her on this collection is an incredible honor,” says Emma Grede, CEO and Co-Founder of Good American. “Together, we created a collection that embodies self-expression and embracing what makes each of us unique.”
Dolly’s Joleans will be available for a limited time starting today at Good American stores and online at GoodAmerican.com. Pieces are priced from $64 to $229 with sizes ranging from 00-30, XS-5X.
The Good American partnership is the latest lifestyle release from Parton. The country star has also released her own line of fragrances and cosmetics in recent years.