He is a member of the Country Music Hall of Fame, earned 21 Grammy Awards and crafted classic songs such as “I Still Believe In You” and “Go Rest High On That Mountain,” but Vince Gill says he is still striving for success—because for the gifted vocalist, writer and musician, success is measured in terms of challenging himself creatively, and continuing to improve on his already formidable talents.

With his new album, Okie, which releases today (Aug. 23), the Oklahoma native, 62, issues one of his most personal collections. He honors several people who have played important roles in his life, including his mother (“A Letter To My Mama”), and his wife Amy Grant (“When My Amy Prays”). The deaths of two of Gill’s musical comrades and heroes inspired a pair of tracks from the album—“Nothin’ Like A Guy Clark Song” and “A World Without Haggard.”

He also doesn’t shy away from complex, timeless struggles revolving around regret, loneliness and faith, or darker subjects of judgement, racism and sexual assault.

“I’m singing some songs that might be about some tough subjects in spots, but I want to tell them in a light that doesn’t come with announcing judgment. I think if you’re just willing and open to conversation, and accepting of what others think and feel, that’s the whole way for anybody to ever really heal, is to have it kind of centered around some kindness and some truth.”

MusicRow spoke with Gill about his new project, the inspiration of artists including Clark and Haggard, and his work as a member of both The Time Jumpers and The Eagles.

MusicRow: You are featured prominently in the upcoming Country Music documentary by Ken Burns. I understand that documentary helped inspire your album title, Okie.

Yeah. Well, it was inspired by it in several ways. I was searching for a title to call this record, and I had two or three titles in mind. I had one title that I felt like defined the record too narrowly, and then I had just watched the documentary. I got an early copy of the finished product and was very emotional in watching it to really finally see our story get told with some respect. I’ve always felt like we kind of got looked down our noses at as country musicians, and hillbillies. It told such a powerful truth of our history.

I liked that it talked about the Dust Bowl era and how people from where I’m from all migrated out west to find work. A lot of people never knew that the term “Okie” was derogatory. It was like the “N-word” to call somebody from Oklahoma an Okie. And so with as much pride as I feel about where I’m from, and what our people overcame and did to get by, I said, “Now this feels like a more appropriate title for this record.” I think it sums up the entirety of this record in a much better way than I could have with a song title.

You wrote “Nothing Like a Guy Clark Song” after his passing. What do you remember about working with him and why did you feel a musical kinship with him?

More than anything, I remember just how crusty he was in a cool way. He was a no BS kind of guy, and everything was pretty straight up, very truthful. I loved getting to be around him.

The experiences of recording with him when Rodney was producing some of those records in the early ’80s, I think we might have made one of those records here in Nashville. We were all still living in L.A. I love his songs because the bands I was in in high school did a few Guy Clark songs, so I was familiar with his songs my whole life. We wound up getting to write a few songs together over the years, played on a bunch of his records, and just him, and Rodney, and I have a pretty big kinship, probably not as deep as Rodney and Guy’s, but pretty deeply. We connected by a song that Guy first recorded back in 1980. I played guitar on it. We had never heard the song before and we were writing it down, recording it, I just was weeping all over my guitar because that song just killed me because my father was a lawyer. It really hit hard for me and I was recording that song saying, “This is the song I’ll play at my dad’s funeral someday.” And then my father died many years later, when I was 40, just like Guy’s dad did. So there’s always been this really deep connection between myself and Guy.

A lot of artists would pay tribute to an artist as iconic as Merle Haggard by just covering one of his songs. You did quite a few of Merle’s songs on the Bakersfield project with Paul Franklin. Was that part of the reason you chose to instead write an original piece?

I think so. That’s more in keeping with me. I like writing songs, I like that the song about Merle doesn’t have any real references to his song titles in it. Some of that can be a little too clever for me. So it was more from an emotional place of how inspired I was by his singing and writing. I got pretty close to Merle in the last few years of his life, which was really important to me and I sang on some of his last recordings, a real dream come true. He was always my favorite artist when I was young and he was kind of busting on the scene in the early to mid-’60s.

You debuted “Forever Changed” during Country Radio Seminar in 2018. What inspired that song?

In my life I’ve watched people sticking up for innocent people that perhaps didn’t have a voice. In that instance, it’s hard for a young person to have a voice, when something like that is transpiring. I had an incident as a kid. I don’t know that it’s necessarily relevant to the fact that I wrote that song or had anything to do with being able to write that song, but I had a gym teacher and basketball coach guy in seventh grade that tried to act on me. I was fortunate that I got up, and I ran the second it was inappropriate. In seventh grade nobody knows much about anything, so I just said. “This just seems wrong on so many levels.” So I jumped up and I ran. But so many kids didn’t experience that. There was something that happened that maybe affected them in their lives. And so, once again, I have a heart for compassion. I have a heart for innocent people. Sometimes I like sticking up for people that I think are being treated unfairly.

You also speak out against judgment and hatred on “The Price of Regret” with lyrics like You’re black and I’m white, we’re blinded by sight/ Close your eyes and tell me the color of my skin.

We’re so fast to judge when we see something, and if you couldn’t see it you would probably experience it in a totally different way. I got that lesson years ago from Eddy Arnold. We were doing a tribute to him and I was singing this song and he said, “Vince, what do you think about that song?” I said, “It’s a nice song.” He said, “Well, okay, the next time you sing it understand that it was written by a blind man.” And so then all of a sudden it flipped, and you saw the song in a completely different light. It was just such a great lesson to learn. And so I felt like if you didn’t see me you wouldn’t know if I was white, if I was black, if I was Hispanic, if I was fat, if I was skinny, and you would maybe accept me a little more openly without preconceived judgment. I think we do such a disservice to each other by judgment. I just think we could do a lot better job of being, well, kinder to one another instead of so greedy and mean.

One of the songs on this album, “Black and White,” you wrote with Charlie Worsham.

With Charlie, I saw a lot of myself in Charlie, in the years that I struggled. I came here in the early ’80s, and as Willie Nelson said, you couldn’t get arrested. But that’s not entirely true. I could get arrested. I struggled for a lot of years, and the thing that I learned was because I really could sing, and I really could play, the songs weren’t bad, people would still take a chance on me. With somebody like Charlie who can play so well, who can sing so well, there’s so much room for him. Nobody ever gets tired of a great singer singing a great song. It’s just undeniable, he’s so talented and a great-hearted kid.

In addition to this album, you are now a member of The Eagles, you are still playing with The Time Jumpers, and you have your annual Christmas shows with Amy coming up later this year. What continues to drive that level of creativity?

I’m still in pretty good shape and can get around good. I love doing it. I feel like I’m at my best right now. I know that sounds kind of strange, but a lot of people would look at my past and say, “You were probably at your best when you were selling all these records and having all those hits.” Truth be told, I’m a way better singer now, a way better musician now, a much better songwriter now than I was in those days. So as long as I continue to progress in my mind and in my ears, I want to play. It doesn’t matter what it is or what role I play, it’s just being creative.

Which do you feel is more challenging—playing in a sideman role or in a lead singer/musician role?

I think it’s a much harder job being a sideman and being a supportive player. If you’re the one that wrote the song, and sang it, and played it, you can do it however you want. If you’re the supporting guy you kind of have to play to complement it and make what it is better, so it’s a little bit different listening curve.

I think my favorite comment I’ve gotten since I’ve been in [The Eagles] was from a reviewer who said, “I really enjoyed seeing Vince in the band not so much for what he did, but what he didn’t do.” That meant a lot to me because I’m not trying to garner any attention. That meant a lot to me that somebody saw me trying to fulfill that role in an appropriate way.

Your work is so diverse, from bluegrass to rock to jazz to country. What do you want to do next?

Yeah, it is. I’d love to do more. I want to do some recording bluegrass before too long because it’s so important to me, and I don’t feel like I got to do a lot of recording in the world of bluegrass. I did a lot of performing, but not near enough recording, so I hope to see a bluegrass record somewhere down the line. I’ll probably point towards a real traditional pitch next, if I know me. At some point, we’re all at the mercy of whatever songs we show up with. I don’t know what my next satchel of songs is going to look like.

The Gospel Music Association (GMA) announced the first round of all-star performers for the historic 50th Annual GMA Dove Awards, set for Oct. 15 at Lipscomb University’s Allen Arena in Nashville. The landmark event will feature performances by CCM standouts TobyMac, Hillsong Worship and gospel artist, Kirk Franklin. The event is sponsored by Nature’s Nate and Christian Healthcare Ministries.

The 50th celebration will be an evening of high-energy and unforgettable vocal events paying tribute to 50 years of special appearances and sensational stage highlights. Performances representing modern Rock, Rap/Hip Hop, Pop/Contemporary, Inspirational, Southern Gospel, Bluegrass, Country, Worship and more will make up an evening praising the rich musical diversity from the past, present and future of Gospel and Christian music.

Lauren Daigle leads artist nominations with six, followed by for KING & COUNTRY and Kirk Franklin with five nods each. Top nominated writer/producer Wayne Haun scored 10 nominations. View the full list of nominees here. Nominees are determined by GMA’s professional members, and winners will be voted on by the entire GMA membership. For more information or to purchase tickets to the show, visit doveawards.com.

Miranda Lambert and Keith Urban onstage at the ACM Honors. Photo Credit: Getty Images/Courtesy of the Academy of Country Music

All-time ACM awards champion Miranda Lambert was in the spotlight again at the Ryman Auditorium on Wednesday evening (8/21).

Lambert won the organization’s Gene Weed Milestone Award to cap a night that also honored songwriters, venues, musicians and other behind-the-scenes figures, as well as her fellow stars. Lambert’s five CDs to date have all won Album of the Year statuettes from the California-based Academy of Country Music (ACM).

“I don’t even know what to say – I’m so humbled,” said Lambert. “I mostly just want to thank Nashville. To be part of this community and family, I’ll never get over it.”

Her award was presented by Keith Urban, who joined her on a duet of “The House That Built Me.”

“In her, I saw a kindred spirit right away,” he said. “You followed your muse unapologetically.”

The ACM also presented Cliffie Stone Icon awards to Martina McBride and to Brooks & Dunn. McBride’s award was presented by Lauren Alaina.

“You are my hero,” said Alaina to McBride. “You taught me how to sing.”

“All I have ever wanted to do is sing and carry the flag for country music,” said McBride in accepting. “All I ever wanted to do was leave a body of work that mattered to people, and do it with integrity and authenticity. I’m so honored and so blessed.”

Alaina sang “Independence Day,” and Caylee Hammack sang “Broken Wing” in the awardee’s honor.

Lauren Alaina, Martina McBride and Caylee Hammack. Photo Credit: Getty Images/Courtesy of the Academy of Country Music

The Brooks & Dunn statuette was presented by Ashley McBryde, who sang “You’re Gonna Miss Me When I’m Gone” in a soulful duet with Chris Harris that brought the house down. Kix Brooks & Ronnie Dunn accepted via video.

One of the other emotional highlights of the event was the presentation of Songwriter of the Year to Shane McAnally.

“I’m still really in awe of the fact that I get to write songs,” he said. “Beyond that, I really didn’t know that you could be in country music and be gay. This town has never for a minute made me feel anything but loved and accepted. I love country music, and I love this town.”

McAnally also thanked his husband and business partner, Michael McAnally Baum, who, “tells me every day that I can be anything.” Following his speech, the honoree received a standing ovation from the fans and industry attendees of the show.

McAnally also accepted the Jim Reeves International Award on behalf of his frequent collaborator, Kacey Musgraves.

His own award was presented by Midland, who sang “Burn Out” and “Mr. Lonely,” both of which McAnally co-wrote and produced.

Midland with Lori Badgett and Shane McAnally. Photo Credit: Getty Images/Courtesy of the Academy of Country Music

ACM Poet Awards were given to Kye Fleming, Rodney Crowell and Billy Joe Shaver, all members of the Nashville Songwriters Hall of Fame.

Country Music Hall of Fame member Barbara Mandrell presented Fleming’s honor. “I’ve been retired for 22 years, but there was no way you could have kept me away from tonight to honor….Kye Fleming,” Mandrell said. “She is somebody who means the world to me.”

Kye Fleming and Barbara Mandrell. Photo Credit: Getty Images/Courtesy of the Academy of Country Music

Tenille Townes sang a bluesy arrangement of “Sleeping Single in a Double Bed,” then joined Maddie & Tae in the finale of the duo’s “I Was Country (When Country Wasn’t Cool).”

“I’m blessed, and that’s the biggest thing to say about it,” said Fleming of her honor. “It’s the best gift in the world.”

Chris Janson sang “Honky Tonk Heroes” and “I’m Just an Old Chunk of Coal” in Shaver’s honor and accepted on the songwriter’s behalf. Chris Young delivered “Leaving Louisiana in the Broad Daylight” as the event’s kick-off performance in honor of Crowell. Daughter Hannah Crowell accepted her father’s accolade.

Chris and Kelly Janson. Photo Credit: Getty Images/Courtesy of the Academy of Country Music

An apparently impromptu performance earned another of the night’s standing ovations. With just piano accompaniment, Trisha Yearwood delivered “One More For the Road” from her Sinatra tribute album. WME’s Gayle Holcomb encouraged her to make that record. Yearwood presented the Gary Haber Lifting Lives Award to her buddy Holcomb.

Gayle Holcomb and Trisha Yearwood. Photo Credit: Getty Images/Courtesy of the Academy of Country Music

The hit movie A Star Is Born was recognized with the Tex Ritter Award. Many of the Bradley Cooper and Lady Gaga songs on its soundtrack were co-written with Nashville talents. The film’s music supervisors, Julia Michaels and Julianne Jordan, accepted.

Nashville concert locales swept the ACM honors this year, claiming Small (Ryman Auditorium), Medium (Ascend Amphitheater) and Large (Bridgestone Arena) Venue of the Year prizes.

The other winning venues were Coctaw Casino (Durant, OK); Mohegan Sun Arena (Uncasville, CT, with its award accepted by pop star Tony Orlando) and Joe’s on Weed Street (Chicago, IL). The last-named was represented by Ed Warm, who is also the current ACM board president.

Ed Warm, Bobby Bones and Lori Badgett. Photo Credit: Getty Images/Courtesy of the Academy of Country Music 

Warm was a double winner, since he also claimed the Promoter of the Year accolade. The Festival of the Year was Faster Horses (Brooklyn, MI). Nicole More of Wilson Events won Talent Buyer.

The night began with opening remarks by RAC Clark. Then radio personality and Dancing With the Stars champion Bobby Bones was glib and amusing as he presented the Musician honors. They went to Derek Wells (guitar, also the evening’s bandleader), Dave Cohen (keyboards), Mike Johnson (steel), F. Reid Shippen (engineer), Glenn Worf (bass, not present), Matt Chamberlain (drums, not present), Jay Joyce (producer, not present) and Ilya Toshinski (specialty instruments).

This was the 13th annual ACM Honors presentation.

Maddie & Tae. Photo Credit: Getty Images/Courtesy of the Academy of Country Music