DISClaimer: Ladies Rule The Day

Lorrie Morgan

Lorrie Morgan

For the first time in ages, female voices outnumber the males in DISClaimer. And what voices they are. From the chill bump-raising soprano of Dianna Corcoran to the rock wail of Donna Herrick, these are ladies to reckon with.

Fittingly, the Disc of the Day goes to a woman. That would be Grand Ole Opry diva Lorrie Morgan, who is singing as splendidly as ever.

The DisCovery Award is also won by the fairer sex. Alyssa Micaela turns in a performance on “Getaway Car” that’s as exciting and promising as her songwriting. She’s being mentored by another fabulous female, songwriter/producer Liz Rose.

DIANNA CORCORAN/Thank You For Cheating On Me
Writers: Dianna Corcoran/Rebecca Lynn Howard/Rachel Thibodeau; Producer: Dianna Corcoran; Publishers: Tenyor/Castle Street/High Tunes, BMI/ASCAP; Krian (track)
-Corcoran’s second single from her latest project kicks tail. The track rocks, and she sings the spitfire lyric with piercing power. Hang on for the sky-high soprano finale. This gal has what it takes.

Diana Corcoran

Dianna Corcoran

CHAD COOKE BAND/Oil Man
Writers: Chad Cooke/Brandon Pierson; Producer: none listed; Publisher: none listed; BMI
– Moody and atmospheric. His plain-spoken delivery lets the working-man lyric carry the load. The deep-twang guitar adds to the spaghetti-western ambiance.

BAILEY JAMES/Texas Swing
Writers: Koehler/Norris/Deaton; Producer: David Norris; Publishers: Bailey James/Norrisong/Lalapopland, ASCAP; BJ (track)
-It is exactly what the title says it is. Plus, she yodels a bit. Very “old school.”

THE WHISKEY PROPHETS/My Love Ain’t Enough
Writer: Brad Roberson; Producer: The Whiskey Prophets; Publisher: none listed, BMI; TWP
– A honky-tonk stomper with a backbeat. There’s not much production here, but the sheer energy is infectious. Also, I dug the guitar solo.

HERRICK/Cottonfields
Writers: Donna Herrick/Kerry Herrick/Jefferson Rogers/Jeffrey Bradshaw; Producers: Donna Herrick, Kerry Herrick & David Walker; Publisher: Herrick KDK, BMI; Breakaway;
– Those aren’t actually composer credits. This is the band’s wailing, rocking arrangement of a folk standard. Donna growls, snarls and shouts her way through it while the group thrashes and bangs. Rock on, children.

Alyssa Micaela

Alyssa Micaela

ALYSSA MICAELA/Getaway Car
Writers: Alyssa Micaela/Derrick Southerland/Jesse Walker; Producers: Keith Follese & Liz Rose; Publisher: none listed; Liz Rose
– She has a very appealing, conversational vocal tone. The thumping production is tasty, too. The song tells of a lady who has no intention of settling down with anybody. In fact, she can’t wait to get away from the wedding she’s attending. This is one very cool little single.

LORRIE MORGAN/Hopelessly Yours
Writers: C. Putnam/D. Cook/K. Whitley; Producer: none listed; Publishers: Sony-ATV Cross Keys/Sony-ATV Tree, ASCAP/BMI; Goldenlane (track)
– This beautiful country waltz was co-written by the late Keith Whitley, who left Lorrie a widow back in 1989. Is she believable delivering this aching lyric? What do you think? The new album, A Picture of Me, consists of re-workings of eight of her big hits, combined with eight new songs, including this set-closing gem. Throughout the collection, she reminds us that she is as lustrous and soulful a singer as this genre has.

ALEXANDRA DEMETREE/You Still Think I’m Beautiful
Writers: Phil Barton/Suzie McNeil/Victoria Shaw; Producer: Bobby Huff; Publishers: Horipro/Green Eyed Dragon/Victoria Shaw, BMI/SOCAN/SESAC; SSM (CDX)
– Electronic burbles and blips in the production frame an accomplished, range-y vocal performance. The song is superbly written. If she doesn’t have a hit with it, somebody sure should.

Aaron Watson

Aaron Watson

AARON WATSON/Bluebonnets
Writer: Aaron Watson; Producers: Aaron Watson/Keith Stegall; Publishers: Tunes From HTK, BMI; Big Label/Thirty Tigers
– This Texas road warrior continues to impress. This time around, he’s offering a tender ballad about how fleeting life is. “Like bluebonnets in the spring/We’re only here for a little while/It’s beautiful and bittersweet/So make the most of every mile.” A true anthem. Play it.

KEITH WALKER/Friends With Boats
Writers: Keith Walker/Rich Karg/Dustin James; Producer: Chris Wright; Publishers: none listed, ASCAP/SESAC; KW (CDX)
– Relaxing and mellow. He might be broke, but life is good. Because he has friends with water craft. Would it surprise you to learn that he name-checks Chesney in the lyric?

The Producer’s Chair: Jay DeMarcus

Jay DeMarcus

Jay DeMarcus

Don’t miss Jay DeMarcus on The Producer’s Chair, on Thursday, April 28, at Douglas Corner at 6 p.m.

By: James Rea

It looks like Jay DeMarcus’s musical journey has finally come full-circle. The truth is, DeMarcus didn’t come to Nashville to do 200 dates a year with Rascal Flatts. He came here to produce and write songs. The remarkable part is, he’s managed to do it all. And the proof is in the puddin’.

DeMarcus is producing Reba’s next album and worked on Rascal Flatts’ latest album, Rewind. He has produced Chicago, Alabama, Michael English, Jo Dee Messina, Kix Brooks, Jason Crabb, Austins Bridge, Ronnie Dunn, Lucy Hale, and the Nashville cast’s Christmas Record. And that’s just a partial list.

DeMarcus is also a killer self-taught multi-instrumentalist who seldom turns down session work when opportunities to play with artists like Brian McKnight, LeAnn Rimes, Lady Antebellum and Lionel Richie come his way. His body of work has garnered Grammy and Dove awards and nominations, an impressive list of songwriter credits, and what appears to be a promising acting career (with a recurring role as himself on Nashville).

DeMarcus was born in Columbus, Ohio, in ’71, to musical parents.

“Yeah, they met playing music. Both my mom and my dad grew up playing music with their families,” he says. “All I knew growing up was, my dad was gone nights playing music and he was really good at it and my mom was Country Music Queen of Ohio in 1969.”

DeMarcus started playing drums when he could walk, wrote his first song at age 11, learned how to play bass, keyboards, guitar and mandolin, and sang his ass off in bands while attending Lee College in Cleveland, Tennessee. He arrived in Nashville in ‘92, only to land a record deal on Benson with Christian group East To West.

“I wanted to write and produce,” he says. “It’s so funny, I’ve had two artist record deals without really trying. I never really wanted to be an artist. I was so much more fascinated with the behind-the-scenes stuff.”

The Producer’s Chair: How did you get your first producing gig with Michael English?

DeMarcus: After East to West broke up, I was on the road with Michael. We were playing a lot of pop music, and then he would still do a lot of his old favorite gospel tunes because the fans still wanted to hear him do that. So we went in and cut his Gospel record on a shoestring budget and it ended up being Michael’s biggest-selling record on Curb. We got nominated for a Grammy and we got nominated for Album of the Year at the Dove Awards, so I went out on the road with him to support that record.

As he started to work more, there weren’t enough dates to make it to where I could do it full-time. So I started to reach out to friends of mine in Nashville here. Started going to some of the bars and some of the clubs and making friends with a lot of people that were playing country music. I’ve always loved country music and I had a heart for it. It’s what I grew up listening to and just didn’t really know how to get started ‘cause I’d spent most of my early years in Christian music.

How did Rascal Flatts emerge?

Gary [LeVox] and Joe Don [Rooney] and I were playing in Printers Alley at the Fiddle & Steel Guitar Bar and Mila Mason used to come in and see us pretty regularly. She was an artist at that time and she fell in love with us and she said, “I want to do whatever I can to help you guys. I think there’s some magic here.” [Her friends] Mark Bright and Marty Williams came in a few times to see us sing together and Mark said, “Why don’t you come in to the office? Let’s sit down, let’s talk about your future and see what we can do.”

So we went in and we sang with him. He wanted to hear us outside of that element of doing just covers and he wanted to hear us with a couple of acoustics. He said, ‘I want to get involved, I wanna do this. I want to make a record on you guys.’ So we signed a production deal with Sony and with Mark and Marty. Before we were finished with that three-song demo, he took it to Dann Huff. And Dann said, “Lyric Street I know is looking for a band right now.”

Why would Mark take it to Dann Huff? 

Dann was turning into what he is. He was turning into the golden boy of Nashville. I think Mark wanted to bounce the music off of Dann and Dann said, “This is great. Let me take it to Doug Howard [at Lyric Street] if you don’t mind. I’ll let him hear it.” So he took the roughs over to Doug and… the rest is history. It was really surreal.

Rascal Flatts has taken some heat over the years about being considered ‘country.’ How did you feel about that?

This is so weird, really, because of where I started from. My dad would play rock, R&B, and country in the clubs because back in the day you had to have a pretty good repertoire. And then we would go to church on Sundays and I would hear hymns and Christian music, and then I would pop on the radio and I fell in love with the likes of Journey and Toto. So I was a very confused young man.

I loved it all and it all kind of fused together because I had a great appreciation for everything. If it was good I wanted to hear it and I wanted to know it and I wanted to be around it. And so it was. I think that’s why it was so frustrating early on in our careers because we were derided as such a fluffy, pop boy band and not really a country band. I didn’t really expect that because I just figured if you tried to do your best and make good music, it was gonna rise to the top.

What’s your fondest memory of playing on Lionel Richie’s Tuskegee sessions?

I can remember two distinct things. One is sitting in a chair across from Shannon Forrest remaking “Brick House” and playing the bass line to it. I’m watching Lionel standing there singing it and I’m watching Shannon Forrest over there playing that signature drum intro and I’m playing the bass line and I’m going, “This is freaking Lionel Richie and I’m playing ‘Brick House?’This is unbelievable!” That’s when the world went in slow motion for me because I was going, “How did I end up here? This is amazing.”

Two, I also remember Lady Antebellum came in to cut “Running With the Night.” They’re in the vocal booth singing behind me and trying to work out this middle section. They’re going back and forth and I just have this idea in my mind that was like, “What if we just stop the music and let you guys harmonize in this big hole and then the band will come back in?” And Lionel Richie said, ‘My man, now that’s why you are here! That’s why you are sitting in that chair!” And so we ran it a couple times and they loved it. Then of course I made some joke like, “Now how many points do I get for that?”

How did Gary and Joe Don react when you wanted to start producing Rascal Flatts?

I’ve been producing a bunch of stuff for the Flatts on our previous records, bonus cuts or whatever, so I’ve been itching to get my hands on the Flatts for years. I had a very honest conversation with my guys and I said, “For years, I’ve been producing other people and pouring all of my energy into other things. Just give me a shot.” And I finally got my shot.

We did a handful of songs with Howard Benson and we came back to town and cut them here. And we released “Rewind” and it went to No. 1. And I’m very, very proud because we’re getting ready to have another hit again with another song that I did called, “I Like the Sound of That.”

Do you feel like there’s a different kind of responsibility when you’re producing Rascal Flatts, as opposed to producing another artist? Is there a different feeling?

Yeah, there is a different feeling for me. I think I feel a greater weight and a greater sense of responsibility to always listen to what those guys have to say and make sure that I’m not dismissing their very valid input. I can get single-minded when I’m producing by myself on another artist and I know the way this should go. I’ve got clear vision for it and I know how to chisel away the stone until we get to where we’re going.

With Rascal Flatts, it’s a little more tedious because I’ve got two guys who need to be heard. They need to have their ideas explored, even if in the back of my mind, I’m going, “That’s the worst thing I’ve ever heard.” I’ve gotta chase it and I gotta see what we end up with, because they have as much ownership in it as I do.

If you could give young artists advice, what would it be?

Don’t chase a trend. Don’t chase something. I think you have to be authentic because if you aren’t, people are gonna see through it. There’s so many people that started chasing trends in our business, whether or not you want to call it bro-country or whatever. I think that some of those people have every right to be there because that’s authentically who they are. Some of the people that have chased might wake up one day and find that it wasn’t authentic and they’re gonna be sorry for the choices that they’ve made. You gotta be true to yourself and who you are. You gotta sing and be what you are naturally.

The Producer’s Chair: Where do you see Rascal Flatts five years from now?

DeMarcus: We’ve had this conversation before—we’ll never break up. I think that eventually as the Flatts start to slow down, we’ll probably do some things that each of us want to do individually. For me, the next chapter in my life is about developing the next generation of artists. I want to find the new talent. I want to do what Shane McAnally has the luxury to do, which is to spend time writing with them and developing them and helping them find themselves.

That’s one thing that I’m so jealous of. The guys that get to stay in town and do this every day. I mean I love being in the Flatts and what we do is very, very important and it is my priority right now, but the other side of it is very appealing to me right now. That’s the next phase for me. I want to tap into writing and developing and finding young new talent.

I’ve been considering that for the past two years. I’ve been figuring out how that picture looks the best. It’s a very hard thing to figure out when you spend so much time out on the road like I do. You have to have somebody that you trust implicitly running it, and somebody that you can put your confidence in, and know they are going to do it the way that you would do it if you were there. So I’ve been trying to figure that out, but yes, I very much would say that’s the way my business is going to look in the future. If you have the capabilities of doing it and the right artists, that’s the key. With the right talent, why not? I think the sky’s the limit.

In Pictures: LANco, Frankie Ballard, Dan+Shay, Granger Smith

Arista Nashville’s LANco visited with Tige and Daniel at Nashville’s WSIX on Monday (April 11). The band’s new single is “Long Live Tonight.”

Pictured (L-R, front row): LANco's Trip Howell; Tige; LANco's Brandon Lancaster; Daniel; and Tige & Daniel producer Mari Mueller. (Back row): LANco's Eric Steedly, Chandler Baldwin and Jared Hampton. 

Pictured (L-R, front row): LANco’s Trip Howell; Tige; LANco’s Brandon Lancaster; Daniel; and Tige & Daniel producer Mari Mueller. (Back row): LANco’s Eric Steedly, Chandler Baldwin and Jared Hampton

 

CMT host Cody Alan and Warner Bros. Records/Warner Music Nashville’s Frankie Ballard hitched a ride from Pepsi Spring Jam in Panama City, Florida, over the weekend. Catch more of their fun in the sun when a new episode of CMT Hot 20 Countdown premieres Saturday (April 16) at 9 a.m. ET/PT.

Frankie Ballard and Cody Alan. Photo: CMT

Frankie Ballard and Cody Alan. Photo: CMT

 

Warner Bros. Records/Warner Music Nashville’s Dan+Shay visited the NASH campus on Tuesday (April 13) and ran into Nashville actor/singer Charles Esten.

Pictured (L-R): Dan Smyers, Elaina Smith, Charles Esten, Shawn Parr, Shay Mooney

Pictured (L-R): Dan Smyers, Elaina Smith, Charles Esten, Shawn Parr, Shay Mooney

 

Flint, Michigan’s NASH FM 95.1 (WFBE) hosted a benefit on Thursday (April 7) for Hurley Children’s Hospital and Hurley Children’s Clinic to help kids who have been exposed to lead from the city’s water. Wheelhouse Records artist Granger Smith volunteered his time to perform at the event that brought 850 listeners to the Dort Federal Event Center for a community “eat & greet” and acoustic performances from local artist Tegan Marie and Granger Smith. Through tickets, donations and a silent auction, NASH FM 95.1 raised over $14,000.

Granger Smith performs in Flint, Michigan.

Granger Smith performs in Flint, Michigan.

Mike Dungan Will Be “Roasted And Toasted” At Zanies

Dungan_Slider

Mike Dungan

UMG Nashville Chairman and CEO Mike Dungan will be “roasted and toasted” in style when the Wild West Comedy Festival and the T.J. Martell Foundation join forces to present him with the 3rd Annual Ambassador of the Year Roast.

The event will be held Monday, May 16, at Zanies on 8th Ave in Nashville. Doors open at 5 p.m. and the fun begins at 6 p.m. A few who are rumored to “roast” are Doc and Scott McGhee, and Royce Risser.

The Wild West Comedy Festival presented by Bud Light, in association with Netflix, returns to Nashville May 16–22 for its third year. The line-up features some of the biggest names and rising stars in comedy who will be performing at venues and clubs around Nashville.

Tables and tickets can be reserved at tjmartell.org.

Industry Ink: Allison DeMarcus, Chris Stacy, Stacey Blades, WiMN

Allison DeMarcus Named As Monroe Carell Jr. Children Hospital’s Board Chair

Allison DeMarcus

Allison DeMarcus

Monroe Carell Jr. Children’s Hospital at Vanderbilt has named Allison DeMarcus as its incoming Children’s Hospital board chair. She will serve a two-year term, beginning July 1. DeMarcus will succeed Steve Hostetter, CEO of Tri Star Energy, who is completing his term as board chair.

DeMarcus has been a member of the Children’s Hospital board since 2012. She is an active supporter of Children’s Miracle Network Hospitals and Friends of Children’s Hospital through her role as co-executive director of the Miss Tennessee Scholarship Pageant. In addition to her work with Children’s Hospital, DeMarcus is on the board of directors for Cheekwood and the Miss Tennessee Scholarship Pageant. She volunteers for the Nashville Symphony League, Nashville’s Sexual Assault Center, The Women’s Fund, Nashville Humane Association, Make-A-Wish of Middle Tennessee, Second Harvest Food Bank, Nashville Alliance, Chi Omega Fraternity and the Oasis Center of Nashville.

She is the host of two shows on CMT—CMT Southbound and Reel Eats—and works as a correspondent for CMT’s Hot 20.

“We are incredibly fortunate to have Allison assume this important role for the Monroe Carell Jr. Children’s Hospital at Vanderbilt. Her energy, talent, commitment and presence in the community are enormous assets as we continue to grow the hospital’s mission to serve all children with the highly specialized care that only Vanderbilt can provide,” said Jeff Balser, M.D., Ph.D., vice chancellor for Health Affairs and dean of Vanderbilt University School of Medicine.

 

Chris Stacy, Stacey Blades Form Songwriting Duo

BladesStacy

Pictured (L-R): Stacey Blades, Chris Stacy

Stacey Blades and Chris Stacy have announced a new songwriting partnership focused on the country and Americana music market. BLADES/STACY, based in Las Vegas, are currently shopping their catalogue of songs in Nashville and Los Angeles.

Blades’ 10 years with L.A. Guns earned him top-shelf guitar player status, while the band’s final album Hollywood Forever, earned him critical acclaim for his fretwork. Stacy is a former Curb recording artist and Sony Tree songwriter who has opened for Dierks Bentley, Dr. Hook, and Rascal Flatts.

“I am really excited to show a different side of my artistic writing with these new songs,” says Blades.

Adds Stacy, “These are songs that will make guys in cowboy hats and girls in cowboy boots want to pull their lighters out and flame them up just like in the arena rock days.”

 

WiMN To Return With She Rocks NAMM Showcase

Singer-songwriter Bryce Hitchcock performs during the 2015 Summer NAMM Showcase at The Listening Room Cafe in Nashville, Tenn.

Bryce Hitchcock performs during WiMN’s 2015 Summer NAMM Showcase at The Listening Room Cafe in Nashville.

The Women’s International Music Network (WiMN) will host its third annual She Rocks Summer NAMM Showcase onThursday, June 23 at 8:30 p.m. at the Listening Room Cafe. Submissions are now open for women in music of all genres, until May 3. Performers will be announced May 13.

“We’re excited to come back to Nashville for the third year in a row. One of my favorite aspects of our Showcases is to go through the submissions we receive. There are so many talented women out there, and I’m proud to provide them with an opportunity to perform in front of industry pros and fans,” said WiMN Founder, Laura B. Whitmore.

The She Rocks Summer NAMM Showcase is sponsored by 108 Rock Star Guitars. An optional $5 pre-sale or $7 door donation is requested. This showcase is open to all ages.

Songwriter Will Gray Remembered By Nashville Film Festival, The Listening Room Event

Will Gray

Will Gray

A 2011 documentary conceived by late Nashville songwriter Will Gray titled Broke* (Reprised) will be screened at the Nashville Film Festival on Monday (April 18) at 5:30 p.m., followed by a panel discussion.

Both events will be held at Regal Green Hills Cinema. A fundraising concert at The Listening Room in downtown Nashville will take place later that night.

The industry panel will discuss whether things have improved for indie artists in the last five years. Panelists are moderator Dan Beck (the film’s executive producer), Rachey Whitney (head of country programming, Pandora), Ali Harnell (Sr. VP, AEG Live and co-manager of The Shadowboxers), Jonathan Levine (Sr. Executive Agent, Paradigm Talent Agency), Jed Hilly (Executive Director, Americana Music Association), Matt Lipkins (member of The Shadowboxers), and John Strohm (attorney, Loeb & Loeb).

The Listening Room event will take place from 8:30-10:30 p.m. with performances by Jill & Kate, The Rough & Tumble, Mel Washington, Jann Klose, and Reva and Andrew Russell English.

Gray created and directed the film, which chronicles the stories of artists and executives searching for ways to thrive in the face of music industry challenges. In 2011, it won the Nashville Film Festival’s Special Jury Prize. It was also selected for the Philadelphia Film + Music Festival and the CMJ Film Festival. This year’s screening is sold out.

The film follows Gray’s experiences over an 18-month period in the music industry. John Legend, Kelly Clarkson, Isaac Slade from The Fray, producers Don Was and Buddy Miller, and independent musicians Damien Horne, Emily Hope Price, Trent Dabbs, Hymns, Ben Kesler, and Reva Wiliams of Gretel all appear in the film.

“We’re honored to present a fifth anniversary screening of Will Gray’s Broke*,” said Brian Owens, the festival’s artistic director. “I was fortunate to get to know Will and his energy and enthusiasm were contagious. I hope those who knew him will recapture that energy and enthusiasm and those who didn’t will get a glimpse of what a great artist and person he was.”

Gray died from a rare form of cancer in 2013. At the time of his death, he had a publishing deal with Warner/Chappell and had written the song “Do You Remember” on Blake Shelton’s 2013 album, Based on a True Story.

He had also recorded eight songs with producer T Bone Burnett. Those songs will be part of a new, 14-song LP, honeysuckle wine, which will be released on Monday, both digitally and on vinyl. In addition, the event will coincide with the launch of TheWillGrayBlueprint.com, a website that will financially support indie artists.

Tickets are $10 in advance or $15 at the door.

iHeartMedia Names Zack Massey Country Content Bureau Chief

Zack Massey

Zack Massey

iHeartMedia has named Zack Massey as Country Content Bureau Chief for its Nashville-based iHeartCountry team, effective immediately. He will report to Dan Shelley, Senior Vice President of Digital Content Strategy for iHeartMedia.

In his newly-created position, Massey will oversee the new Digital Content Bureau for iHeartMedia’s country stations, which will produce content for iHeartCountry.com and iHeartMedia’s more than 140 country radio station websites.

iHeartCountry heavily and uniquely supports country music through major events like the record-setting annual iHeartCountry Festival and original programs like Artists On The Verge, artist integration programs, iHeartCountry album release parties, its Country Music Summit and more.

“Zack has a tremendous passion for country music,” said Rod Phillips, Senior Vice President of Programming and Brand Manager of iHeartCountry. “The iHeartCountry team couldn’t be more excited to have him join us in Nashville to lead our digital and social platforms.”

“Having the opportunity to return to Nashville and help generate country content for our entire iHeartRadio network is my dream job,” said Massey. “iHeartMedia has the best assets of any media and entertainment company in the game, and I look forward to working with the entire iHeartCountry team.”

Massey has 10 years of experience with iHeartMedia, most recently serving as a digital content director in the Phoenix market. He joined the company in 2006 as an online director and sales manager in their Asheville, North Carolina, office. Massey has also served as a general sales manager and digital sales manager for iHeartMedia’s Nashville market.

Sixth Annual All For The Hall Becomes Merle Haggard Salute

Vince Gill and Keith Urban. Photo: Moments By Moser Photography

Vince Gill and Keith Urban. Photo: Moments By Moser Photography

If Merlefest weren’t already the name of a festival honoring guitarist Merle Watson, it could have been a fitting nickname for the musical extravaganza that was last night’s (April 12) All For The Hall concert, hosted by Keith Urban and Vince Gill. The event, now in its sixth year, instantly became a tribute to the late legendary Merle Haggard, who passed away on April 6, his 79th birthday.

Urban launched the event with two of his own hits, “Somewhere In My Car” and “John Cougar, John Deere, John 3:16,” before crediting Gill with being the genesis of All For The Hall.

“I would never do this event with out him,” said Urban. “I think this night is an excuse to shred and play guitar.”

All for The Hall 4.2.2016 (C) Moments By Moser Photography

All for The Hall. Photo: Moments By Moser Photography

Gill, who was celebrating his 59th birthday, took the stage and acknowledged the death of Haggard before performing “Tonight The Bottle Let Me Down” and “The Fightin’ Side Of Me.”

“Last Wednesday morning, I was out on the road and I woke up the news that my greatest hero had passed away,” said Gill. “What an amazing thing that he passed on his birthday. I want more than anything to honor the greatest inspiration I’ve ever had in my life.”

This year’s event supports the Country Music Hall of Fame and Museum’s education programs. Nearly halfway into the show, students from Nashville’s McGavock High School took the stage with songwriter/artists Georgia Middleman and Gary Burr to perform a song they all co-wrote, as part of the museum’s education program Words & Music. The songwriting program has helped 100,000 students learn to write song lyrics by teaming with some of Nashville’s top songwriters.

 

Maren Morris performs. Photo: Moments By Moser Photography

Vince Gill and Maren Morris. Photo: Moments By Moser Photography

Though country music is still the backbone of the event, this year’s lineup also included Americana singer-songwriter (and Grammy winner) Jason Isbell and wife Amanda Shires, as well as ace guitarist and entertainer Peter Frampton, who performed the Buddy Holly classic “Peggy Sue,” followed by his own “Do You Feel Like We Do.”

All for The Hall 4.2.2016 (C) Moments By Moser Photography

Peter Frampton. Photo: Moments By Moser Photography

Newcomers also made an indelible impression on the crowd, and notably, primarily relied on cover tunes of actual country songs in their sets, rather than following the trend of pop and rock songs set in recent years.

Chris Janson, a longtime fixture on Nashville’s music scene, worked the stage like a veteran. His frenetic onstage energy and top-shelf harmonica skills, along with his catchy hit “Buy Me A Boat,” enlivened the crowd. He followed with a rendition of Waylon Jennings’ “Ain’t Livin’ Long Like This” (the song was penned and recorded by Rodney Crowell, and later by Emmylou Harris).

“Entertainer of the Year!” Gill shouted after Janson’s set.

Chris Janson performs. Photo: Moments By Moser Photography

Chris Janson performs, accompanied by Keith Urban. Photo: Moments By Moser Photography

Keith Urban’s future tourmate Maren Morris offered a slowed down, swampy version of Dolly Parton’s “9 to 5,” followed by her own hit song, “My Church.”

Maddie & Tae proved they can handle traditional country just fine, with their spot on rendition of Lee Ann Womack’s “Never Again, Again,” followed by the tongue-in-cheek bro-country kiss-off, “Girl In A Country Song.”

Also on the bill were Emmylou Harris, Tracy Lawrence, Luke Bryan, Florida Georgia Line, and Sam Hunt, who turned the entire Bridgestone Arena into his own “House Party,” before paying his own tribute to The Hag with “The Way I Am.”

Sam Hunt performs. Photo: Moments By Moser Photography

Vince Gill, Sam Hunt and Keith Urban performs. Photo: Moments By Moser Photography

“The other night I was missing being able to go home and go fishing, or go turkey hunting, or go see my folks back in Georgia, and I started playing some old country songs. I started playing this old Merle Haggard song,” recalled Hunt. “The next day I had a co-write in town so I called up my manager and said, ‘Call up Jerry and see if maybe we can do ‘The Way I Am’ next week at the All For The Hall Show, and I walked into my co-write and I’m in there about an hour and a half, and my buddy Luke’s at his computer screen and out of the blue, he says, ‘Oh My Gosh…Merle Haggard just passed away.’ It sent chills up my spine and it gave me this real eerie feeling. I hadn’t even thought about Merle or that song until the night before. It was a sad day for country music, but it made me realize how grateful I am to be able to do what I’m doing, and how grateful I am for Merle Haggard and for these boys on stage behind me and all the people who have come before me in country music who have paved this road that I’m on.”

Luke Bryan. Photo: Moments By Moser Photography

Luke Bryan, backed by Vine Gill and Keith Urban. Photo: Moments By Moser Photography

Bryan offered his slow burn, romantic “Strip It Down,” before turning his back to crowd, in order to watch Keith Urban and Vince Gill performing background guitar and vocals. “If Keith Urban and Vince Gill are playing with me, I’m going to watch this happen!” said Bryan, which sparked a few jokes from Urban, saying that the crowd likely wouldn’t mind the view.

Bryan offered his own tribute to Haggard with “Big City,” before a rendition of his own (appropriate) “I Don’t Want This Night To End.”

Florida Georgia Line. Photo: Moments By Moser Photography

Pictured (L-R): Keith Urban, Chris Janson, Florida Georgia Line. Photo: Moments By Moser Photography

Florida Georgia Line turned in a respectable version of Alabama’s “I’m In A Hurry,” before offering “the song that changed our lives,” their breakout hit “Cruise.”

As the evening drew to a close, Urban announced that this year’s All For The Hall was its biggest year yet, bringing in nearly $750,000, and bringing the event’s six-year total to more than $3.5 million.

As photos of Haggard scrolled on the giant video screens, Urban and Gill performed “Sing Me Back Home,” followed by an all-star tribute to the Hag as many of the evening’s performers returned to the stage for “Mama Tried.”

Brad Paisley Brings Out John Fogerty For Grand Ole Opry Debut

Pictured (L-R): John Fogerty and Brad Paisley. Photo: Chris Hollo

Pictured (L-R): John Fogerty and Brad Paisley. Photo: Chris Hollo

Brad Paisley surprised the audience at Tuesday night’s (April 12) Grand Ole Opry, welcoming friend John Fogerty for the music legend’s Opry debut.

After performing three of his own hits, Paisley introduced the crowd to the Rock & Roll Hall of Famer, saying to the audience, “We’re going to play some music and you’re going to know these songs, so sing along.” The crowd did just that, joining Paisley and Fogerty first on the Creedence Clearwater Revival anthem “Lookin’ Out My Back Door,” then on Fogerty’s 1985 hit, “Centerfield.”

“I do want to tell you what an honor it is to be standing here,” Fogerty said between songs, to which Paisley assured him, “The honor is ours.”

Called back for an encore, Paisley (a Grand Ole Opry member since 2001) laughed when asking Fogerty, “Do you know any more songs?” The pair then ended the night by receiving a standing ovation for their performance of “Proud Mary.”

Alabama Announces Tour Dates, New Single With Alison Krauss

Alabama

Alabama

Alabama has announced summer and fall dates for the Southern Drawl Tour, following performances with the Nashville Symphony Orchestra on May 12-14.

The County Music Hall of Fame inductees have also released a new single, “Come Find Me,” featuring Alison Krauss.

Alabama’s latest album, Southern Drawl, was released by BMG in October. The new single was written by Tony Lane and David Lee.

Alabama’s Southern Drawl Tour Dates

May 12-14: Nashville
May 21: Houston, Texas
May 22: Biloxi, Mississippi
June 3: Augusta, Georgia
June 44: Dothan, Alabama
June 17: Pueblo, Colorado
June 18: Enid, Oklahoma
June 26: Ft. Payne, Alabama
July 8: Deadwood, South Dakota
July 9: Hinckley, Minnesota
July 15: Enoch, Alberta, Canada
July 16: Craven, Saskatchewan, Canada
July 23. Valparaiso, Indiana
July 25: Harrington, Delaware
July 30.16: Medicine Hat, Alberta, Canada
August 4: Lincoln, Nebraska
August 5: Washington, Missouri
August 6: Davenport, Iowa
August 13: Fairlea, West Virginia
September 16: Glen Allen, Virginia
September 17: York, Pennsylvania
October 7: Cary, North Carolina
October 8: Fairfax, Virginia