Carrie Underwood. Photo: Jeff Johnson
“It’s good to be home,” Carrie Underwood told the crowd at Nashville’s Bridgestone Arena Friday evening (Sept. 27). “It felt so weird waking up in my own bed and now I’m playing at the Bridgestone. This is kind of my second home.”
Indeed, Underwood and her openers Maddie & Tae (“Die From A Broken Heart”) and Runaway June (with the Top 5 hit, “Buy My Own Drinks”) have been busy criss-crossing the country on Underwood’s current The Cry Pretty Tour 360 for the better part of the year, before bringing it back to Nashville. The 360-degree, in-the-round show was completely sold out Friday evening. The second leg of the tour concludes Oct. 31 in Detroit.
The Bridgestone was buzzing with anticipation by the time headliner Underwood took the stage, and she came ready to party, launching into the summery “Southbound” from her latest album Cry Pretty, her first at her new label home UMG Nashville. The in-the-round stage was shaped like an eye, both as a nod her album, and to allow for as many people as possible in the stands and in the pit in the center of the stage. Throughout the evening, images were projected onto 17 filmy screens that hung above the stage.
The high-energy show, propelled by Underwood’s breathtaking, powerhouse voice, continued with “Cowboy Casanova” and “Good Girl.” The stage was trimmed in technicolor teals, oranges, and purples, as Underwood shifted back to her current album material for “Backsliding,” her crystalline voice accented by seat-shaking bass.
“I first came to Nashville at [age] 10, and I thought, ‘Nashville is the coolest thing in the world and I want to live there.’ There was an open door and I walked through it,” Underwood said, referencing her win on American Idol nearly 15 years ago.
“If there is something you are holding onto that seems like it’s too big a dream, I’m living proof that things can happen and you can end up doing what you’ve always dreamed of.”
Though the power and range of Underwood’s sterling voice is well-known after seven Grammy wins and numerous No. 1 hits, her Cry Pretty album, and the corresponding tour, find her relishing the different shades and timbres she can summon.
Carrie Underwood. Photo: Jeff Johnson
Seated on a dark red velvet couch, donning a black hat and clutching a classic Sinatra-esque mic, Underwood was at her most sultry on the jazz-infused, smoky tune “Drinking Alone,” which offers an alluring alternative to trying to solve the world’s problems.
“It’s cool and groovy and sassy, and I like sassy,” she said of the song.
As images of cemetery flowers and military funerals were displayed on screens round the arena, Underwood churned a soulful, almost hymn-like take on the socially-charged “The Bullet.”
But she’s at her most comfortable showcasing the influence of ‘80s rock bands like Guns N’ Roses and Aerosmith.
She mashed her own hit “Just A Dream” with Aerosmith’s “Dream On,” imitating frontman Steven Tyler’s signature warble and piercing falsetto. The influence can be heard in “Flat On The Floor,” as she effortlessly bends the lyrics, pleading baby, baby, baby tell me why.
From there, she combed through her back catalog of chart-toppers, culling some a trio of her popular story songs. Columns of light sparkled as she appeared centerstage with a guitar for “Church Bells,” at one point playing off of her fellow guitar player from the opposite side of the stage.
She was flanked by her bandmates, each performing on risers of alternating heights that were accented with flames as she offered “Two Black Cadillacs.” She poured her own fury into the theatrical song, drawing out the final bye, bye for dramatic effect.
Carrie Underwood. Photo: Jeff Johnson
She followed with her 2012 hit about domestic abuse and revenge, “Blown Away,” as she stalked every inch of the stage, pausing to accentuate certain aspects of the story as each lyric unfurled.
Though formidable, her voice is not her only musical talent, as made known throughout the evening as she played bongos on “End Up With You” and, tickled the ivories at an upright piano, leading an audience awash in a sea of cell phone lights through “See You Again.”
This being a Nashville concert, she took time to thank the musicians, songwriters, and members of her label and management teams for their work on Cry Pretty. Underwood took on a co-producer role for the first time on this project, alongside David Garcia.
“I feel like I took more ownership of this album and took more time and I’m so proud of this album.” she noted.
As with other shows on her The Cry Pretty Tour 360, Underwood welcomed Maddie & Tae and Runaway June back to the stage for a tribute to many of country music’s chart-topping female artists. Underwood began with Tammy Wynette’s “Stand By Your Man,” a cappella. She was soon joined by Runaway June and Maddie & Tae for Patsy Cline’s “Walkin’ After Midnight,” Loretta Lynn’s “Coal Miner’s Daughter,” Dolly Parton’s “9 To 5,” The Judds’ “Rhythm of the Rain,” Trisha Yearwood’s “She’s In Love With The Boy,” Martina McBride’s “Independence Day,” Faith Hill’s “Wild One,” Reba’s “Why Haven’t I Heard From You” and Shania Twain’s “Man! I Feel Like A Woman!”
“Growing up we were all very fortunate because we had some of the best of the best in music to idolize and they just so happened to be on country radio. They taught us all how to sing. We are lucky that because of them, we get to do what we love, we get to be up on this stage together going all over the place, doing what we love. So we are going to pay tribute to just a fraction of our ‘sheroes.’”
Carrie Underwood. Photo: Jeff Johnson
Though the concert leaned heavily on material from the new album, she left plenty of room for selections from her catalog of chart-toppers. There were plenty of her fiery breakup songs, such as “Before He Cheats” and “Undo It,” though the show centered around the kinds of songs Underwood does best—inspirational compositions that channel inner strength and encourage faith.
Smoke billowed over the edges of another riser as she performed one of her most well-crafted tracks, the Grammy-winning “Something In The Water.”
Revisiting her breakthrough country hit, “Jesus, Take The Wheel,” she again utilized a series of seven risers to help her ascend as the song reached its compelling crescendo, before later leading the crowd in an a cappella chorus of the song. She also offered her 2009 hit, “Temporary Home.”
“I sing a lot of songs that are faith based and I believe the words I’m singing,” she told the crowd, before her performance of “See You Again.” “I believe that when we leave this earth there is a place that is beautiful and perfect…and this isn’t the end.”
She welcomed Nashville resident Kevin to join on “The Champion,” which Underwood originally recorded with Ludacris. The song served as an opening theme for Super Bowl LII.
“People applied that hype song, that fight song, to their lives,” Underwood told the crowd. Kevin performed the rap portion of the song, spurred on by Underwood. His performance was in honor of his late grandmother, who died a year ago from liver cancer, after a six-year battle with the disease.
Afterward, the lights dimmed and the band vamped as a live shot showed Underwood applying purple and pink glitter tears similar to those featured on the cover of Cry Pretty, just before she returned to center stage. Long strands of beads glistened above the stage as she offered the vulnerable, powerful title track.
The concert concluded, appropriately, with another track from Cry Pretty, titled “Love Wins.”
As pink confetti fell around the arena, and Underwood and her band took the final bows, the song was a final victory lap in an already incredibly inspirational concert, one where the messages were often every bit as powerful as the messenger. Underwood’s approximately two-hour, in-the-round show was a supreme showcase of an artist who has more than proven her entertainer mettle, with a combination of quality songs and stunning vocal ability that has long dominated charts and hearts.
Angie K, Everette, Kylie Morgan Named Recipients Of CMA’s KixStart Scholarship Program
/by Jessica NicholsonPictured (L-R): Everette, Kylie Morgan and Angie K have been announced as the second annual CMA KixStart Artist Scholarship recipients. Photo: Electric Machine/CMA
The Country Music Association has selected newcomer artists Angie K, Everette and Kylie Morgan as recipients of the second annual CMA KixStart Artist Scholarship.
The year-long program will launch Oct. 1. Each of the artists will be mentored, connected with top industry professionals, and receive opportunities to participate in CMA-related events including the CMA Awards, CMA Fest, international events and CMA Foundation events. Additionally, each KixStart artist will receive a stipend to assist with various facets of their burgeoning careers. Last year, the inaugural recipients of the CMA KixStart Artist Scholarship included Kassi Ashton, Travis Denning and Jameson Rodgers.
“We are thrilled to welcome the new class of KixStart artists and take them under our wing,” says Sarah Trahern, CMA Chief Executive Officer. “Through this program, these artists will receive mentoring from some of country music’s most respected industry professionals and be provided opportunities that propel them forward in their career.”
Angie K
Averaging a grinding 10–15 shows a month year-round, Angie K has played over 1,000 live high-energy shows all over the United States and Central America. The Latin American Country singer has already independently released two original albums, both of which landed top five on iTunes. In 2017, Angie K collaborated with pop artist Jordan Fisher to release “Happily Ever After” for Walt Disney World. The song has already surpassed 4 million streams on Spotify alone and is currently the soundtrack for Magic Kingdom’s nightly fireworks show. Her most recent single, “Leave California” premiered on CMT in 2019 and immediately landed a spot on Apple Music’s Hot Tracks playlist. Named an “Artist You Need to Know” by Rolling Stone Country, Angie K has already hit the road with country heavyweights Trace Adkins, Melissa Etheridge, Chris Janson, Sammy Kershaw, Jake Owen, Tanya Tucker and more. Read more at AngieKeilhauer.com.
Everette
Like the great American bands that came before them, new Broken Bow Records duo Everette doesn’t follow trends. Instead, the guys of Everette write what they live, weaving gritty tales of struggle and heartbreak alongside fun-loving stories of escapism and mischief. Hailing from humble beginnings, Brent Rupard and Anthony Olympia unknowingly went to high school a mere eight miles apart in rural Bullitt County, KY. Named for George Clooney’s character in “O Brother, Where Art Thou?” the duo is a bonafide triple threat. Rupard and Olympia co-write almost all of their songs as well as play nearly every instrument on Everette’s studio recordings. The two young artists produced their debut project “Slow Roll.” Everette recently announced their residency at the timeless Nashville dive, Springwater, adding to the duo’s anomalous distinction. Read more at Everette-Music.com.
Kylie Morgan
EMI Records Nashville’s Kylie Morgan began writing songs in her hometown of Newcastle, OK when she was only 12 years old. A masterful storyteller, the singer-songwriter released her music independently in her early teens, garnering national attention from music producers and television executives. This early success led Morgan to begin making regular trips to Nashville, crafting her voice and polishing her songwriting. When she turned 19, she made the decision to call Music City home. Recognizing Morgan’s unique talent, the SMACKSongs team signed her to their roster under the guidance of GRAMMY award-winning songwriters, Shane McAnally and Josh Osborne. An avid yoga enthusiast, she has earned her official Yoga Alliance Certification. She participates in yoga daily and it has become part of her lifestyle. Morgan has previously toured with artists including Billy Currington, Dan + Shay, Gavin DeGraw, Brett Eldredge, Little Big Town and Maren Morris. She was named as part of CMT’s Listen Up Class of 2019 and has spent the recent months performing shows across the country, opening for Devin Dawson, Lady Antebellum, Kip Moore, Jon Pardi, Carly Pearce and more. Her new song, “Boys Girl” was released in July and is currently being featured on SiriusXM. When she is not performing, you can find her in the studio working on her debut album with producers Shane McAnally and Ben Johnson. Read more at KylieMorgan.com.
Florida Georgia Line Honored With Three ACM Decade Awards
/by Lorie Hollabaugh(L-R:) RAC Clark, ACM Interim Executive Director; Scott Borchetta, Founder, President and CEO of Big Machine Label Group; Tyler Hubbard; Jimmy Harnen, CEO of BMLG Records; Brian Kelley; Seth England, Partner, Big Loud; Kevin “Chief” Zaruk, Partner, Big Loud; Scooter Braun, Chairman of Ithaca Holdings Photo Credit: The Holy Mountain
Florida Georgia Line are the first-ever recipients of the ACM Breakout Artist of the Decade Award, ACM Single of the Decade Award and ACM Music Event of the Decade Award, it was announced on Sunday (Sept. 29). The duo was awarded all three ACM Decade Awards in a surprise backstage presentation on Sept. 28 during their final stop on their Can’t Say I Ain’t Country Tour at FivePoint Amphitheatre in Irvine, California.
With these wins, Florida Georgia Line earns three of the seven all-new ACM Decade Award categories. The ACM Breakout Artist of the Decade Award acknowledges an artist that first impacted country music in the decade and has contributed to the country format in an impactful way. Factors considered include success at radio, commercial media, sales and streaming, creative integrity, touring statistics, artistic merit and ACM Award recognition.
The multi-platinum BMLG Records duo received the ACM Single of the Decade Award for their record-breaking No.1 hit “Cruise,” which recognizes a single that has impacted country over the decade. The factors considered include success at radio, commercial media, sales and streaming, artistic merit and ACM Award recognition.
Additionally, Florida Georgia Line received the ACM Music Event of the Decade Award for “Meant to Be” with Bebe Rexha. The award recognizes a recording performed by artists who do not regularly perform together that has impacted country music over the decade. The factors considered include success at radio, commercial media, sales and streaming, artistic merit and ACM Award recognition.
“Since FGL’s debut with ‘Cruise,’ their success has been amazing. They’ve blown us all away with recording-breaking tracks and performances. Once they collaborated with Bebe Rexha, they reached even more fans outside country music. We are excited to award BK and Tyler with these well-deserved awards to celebrate these unprecedented multiple career milestones from this past decade,” said RAC Clark, ACM Interim Executive Director.
The ACM Decade Awards were ratified by the ACM Board of Directors, following a stringent examination by more than 20 Board members and the ACM Special Awards Committee co-chaired by Chuck Aly and Kelly Rich – from the full spectrum of creative and commercial aspects of the genre – of the most influential projects over the past decade of country music. Like the ACM Dick Clark Artist of the Decade honor recognizing Jason Aldean in April, these awards will be presented only every ten years. The recipient of the remaining category ACM Album of the Decade Award will be announced in the coming weeks.
Other ACM Decade Award winners include ACM Artist-Songwriter of the Decade Award recipient Chris Stapleton, ACM Songwriter of the Decade Award recipient Rhett Akins and ACM Song of the Decade Award recipients Miranda Lambert, and songwriters Tom Douglas and Allen Shamblin, for “The House That Built Me.”
Visionary Songwriter And Producer busbee Dies At 43
/by Haley Crowbusbee
Visionary songwriter busbee has passed away according to news shared by country artist Maren Morris via Twitter.
The writer and producer known for his genre-bending talents has collaborated with a broad range of artists, including Morris, Shakira, Usher, Lady Antebellum, Jon Bellion, Blake Shelton, Timbaland, 5 Seconds of Summer, Keith Urban, and Jason Aldean, among others. He was previously signed to BMG.
Earlier this year, busbee, whose given name is Michael James Ryan, celebrated the launch of his new company, Altadena, which is a growing force in the launching and development of careers of artists, producers, and songwriters in a variety of genres, with offices in Los Angeles and Nashville.
In 2018, busbee signed a worldwide publishing agreement with Warner/Chappell Music.
A year earlier, busbee received a BMI Song of the Year award for co-writing Florida Georgia Line’s No. 1 hit, “H.O.L.Y.” He also co-produced Grammy-winning artist Maren Morris’ breakthrough album, Hero, and co-wrote her first two hit singles, “My Church” and “80s Mercedes.” busbee also co-wrote Keith Urban’s “The Fighter” ft. Carrie Underwood which won an ACM Award for Vocal Event of the Year, and produced Lady Antebellum’s 2017 Grammy-nominated album, Heart Break, co-writing six songs, including the hit single, “You Look Good.”
Additionally, busbee produced and contributed to songs on the breakout albums from emerging country stars Lauren Alaina (Road Less Traveled) and Carly Pearce (Every Little Thing), having written Pearce’s breakout single of the same name, which made her the only female to debut at No. 1 on Billboard’s Country Airplay chart in 2017.
He co-wrote and co-produced Rachel Platten’s “Collide”; co-wrote and produced P!nk’s “Wild Hearts Can’t Be Broken” and co-produced Gwen Stefani’s holiday album, You Make It Feel Like Christmas, co-writing all six of the original songs.
Other notable busbee hits include “Try” by P!nk, “Dark Side” by Kelly Clarkson, and numerous other top ten singles. His recent collaborations include Jon Bellion, Justin Tranter, James Arthur, Lady Antebellum, Missio, and Maren Morris’ current album, Girl, released in January of this year.
Carrie Underwood Brings Hits, Inspiration, And An Entertainer’s Soul To Nashville Show
/by Jessica NicholsonCarrie Underwood. Photo: Jeff Johnson
“It’s good to be home,” Carrie Underwood told the crowd at Nashville’s Bridgestone Arena Friday evening (Sept. 27). “It felt so weird waking up in my own bed and now I’m playing at the Bridgestone. This is kind of my second home.”
Indeed, Underwood and her openers Maddie & Tae (“Die From A Broken Heart”) and Runaway June (with the Top 5 hit, “Buy My Own Drinks”) have been busy criss-crossing the country on Underwood’s current The Cry Pretty Tour 360 for the better part of the year, before bringing it back to Nashville. The 360-degree, in-the-round show was completely sold out Friday evening. The second leg of the tour concludes Oct. 31 in Detroit.
The Bridgestone was buzzing with anticipation by the time headliner Underwood took the stage, and she came ready to party, launching into the summery “Southbound” from her latest album Cry Pretty, her first at her new label home UMG Nashville. The in-the-round stage was shaped like an eye, both as a nod her album, and to allow for as many people as possible in the stands and in the pit in the center of the stage. Throughout the evening, images were projected onto 17 filmy screens that hung above the stage.
The high-energy show, propelled by Underwood’s breathtaking, powerhouse voice, continued with “Cowboy Casanova” and “Good Girl.” The stage was trimmed in technicolor teals, oranges, and purples, as Underwood shifted back to her current album material for “Backsliding,” her crystalline voice accented by seat-shaking bass.
“I first came to Nashville at [age] 10, and I thought, ‘Nashville is the coolest thing in the world and I want to live there.’ There was an open door and I walked through it,” Underwood said, referencing her win on American Idol nearly 15 years ago.
“If there is something you are holding onto that seems like it’s too big a dream, I’m living proof that things can happen and you can end up doing what you’ve always dreamed of.”
Though the power and range of Underwood’s sterling voice is well-known after seven Grammy wins and numerous No. 1 hits, her Cry Pretty album, and the corresponding tour, find her relishing the different shades and timbres she can summon.
Carrie Underwood. Photo: Jeff Johnson
Seated on a dark red velvet couch, donning a black hat and clutching a classic Sinatra-esque mic, Underwood was at her most sultry on the jazz-infused, smoky tune “Drinking Alone,” which offers an alluring alternative to trying to solve the world’s problems.
“It’s cool and groovy and sassy, and I like sassy,” she said of the song.
As images of cemetery flowers and military funerals were displayed on screens round the arena, Underwood churned a soulful, almost hymn-like take on the socially-charged “The Bullet.”
But she’s at her most comfortable showcasing the influence of ‘80s rock bands like Guns N’ Roses and Aerosmith.
She mashed her own hit “Just A Dream” with Aerosmith’s “Dream On,” imitating frontman Steven Tyler’s signature warble and piercing falsetto. The influence can be heard in “Flat On The Floor,” as she effortlessly bends the lyrics, pleading baby, baby, baby tell me why.
From there, she combed through her back catalog of chart-toppers, culling some a trio of her popular story songs. Columns of light sparkled as she appeared centerstage with a guitar for “Church Bells,” at one point playing off of her fellow guitar player from the opposite side of the stage.
She was flanked by her bandmates, each performing on risers of alternating heights that were accented with flames as she offered “Two Black Cadillacs.” She poured her own fury into the theatrical song, drawing out the final bye, bye for dramatic effect.
Carrie Underwood. Photo: Jeff Johnson
She followed with her 2012 hit about domestic abuse and revenge, “Blown Away,” as she stalked every inch of the stage, pausing to accentuate certain aspects of the story as each lyric unfurled.
Though formidable, her voice is not her only musical talent, as made known throughout the evening as she played bongos on “End Up With You” and, tickled the ivories at an upright piano, leading an audience awash in a sea of cell phone lights through “See You Again.”
This being a Nashville concert, she took time to thank the musicians, songwriters, and members of her label and management teams for their work on Cry Pretty. Underwood took on a co-producer role for the first time on this project, alongside David Garcia.
“I feel like I took more ownership of this album and took more time and I’m so proud of this album.” she noted.
As with other shows on her The Cry Pretty Tour 360, Underwood welcomed Maddie & Tae and Runaway June back to the stage for a tribute to many of country music’s chart-topping female artists. Underwood began with Tammy Wynette’s “Stand By Your Man,” a cappella. She was soon joined by Runaway June and Maddie & Tae for Patsy Cline’s “Walkin’ After Midnight,” Loretta Lynn’s “Coal Miner’s Daughter,” Dolly Parton’s “9 To 5,” The Judds’ “Rhythm of the Rain,” Trisha Yearwood’s “She’s In Love With The Boy,” Martina McBride’s “Independence Day,” Faith Hill’s “Wild One,” Reba’s “Why Haven’t I Heard From You” and Shania Twain’s “Man! I Feel Like A Woman!”
“Growing up we were all very fortunate because we had some of the best of the best in music to idolize and they just so happened to be on country radio. They taught us all how to sing. We are lucky that because of them, we get to do what we love, we get to be up on this stage together going all over the place, doing what we love. So we are going to pay tribute to just a fraction of our ‘sheroes.’”
Carrie Underwood. Photo: Jeff Johnson
Though the concert leaned heavily on material from the new album, she left plenty of room for selections from her catalog of chart-toppers. There were plenty of her fiery breakup songs, such as “Before He Cheats” and “Undo It,” though the show centered around the kinds of songs Underwood does best—inspirational compositions that channel inner strength and encourage faith.
Smoke billowed over the edges of another riser as she performed one of her most well-crafted tracks, the Grammy-winning “Something In The Water.”
Revisiting her breakthrough country hit, “Jesus, Take The Wheel,” she again utilized a series of seven risers to help her ascend as the song reached its compelling crescendo, before later leading the crowd in an a cappella chorus of the song. She also offered her 2009 hit, “Temporary Home.”
“I sing a lot of songs that are faith based and I believe the words I’m singing,” she told the crowd, before her performance of “See You Again.” “I believe that when we leave this earth there is a place that is beautiful and perfect…and this isn’t the end.”
She welcomed Nashville resident Kevin to join on “The Champion,” which Underwood originally recorded with Ludacris. The song served as an opening theme for Super Bowl LII.
“People applied that hype song, that fight song, to their lives,” Underwood told the crowd. Kevin performed the rap portion of the song, spurred on by Underwood. His performance was in honor of his late grandmother, who died a year ago from liver cancer, after a six-year battle with the disease.
Afterward, the lights dimmed and the band vamped as a live shot showed Underwood applying purple and pink glitter tears similar to those featured on the cover of Cry Pretty, just before she returned to center stage. Long strands of beads glistened above the stage as she offered the vulnerable, powerful title track.
The concert concluded, appropriately, with another track from Cry Pretty, titled “Love Wins.”
As pink confetti fell around the arena, and Underwood and her band took the final bows, the song was a final victory lap in an already incredibly inspirational concert, one where the messages were often every bit as powerful as the messenger. Underwood’s approximately two-hour, in-the-round show was a supreme showcase of an artist who has more than proven her entertainer mettle, with a combination of quality songs and stunning vocal ability that has long dominated charts and hearts.
Brian Mansfield To Exit Shore Fire Media
/by Jessica NicholsonBrian Mansfield. Photo: Robert Deutsch
Brian Mansfield, Director of Content for Shore Fire Media, will exit on Monday, Sept. 30 to explore other opportunities.
He joined Shore Fire in 2015, following more than 18 years as Sr. Music Writer for USA Today. During his career, he has also worked at The Tennessean, Nashville Scene, CDNow, and more. He has worked as writer and producer for the syndicated weekly radio program America’s Opry Weekend, and has also produced a weekly live concert series for the Grand Ole Opry titled Opry Country Classics.
He can be reached at mansfield@comcast.net or 615-480-2170.
CMT To Honor Reba With Artist Of A Lifetime Award
/by Lorie HollabaughReba McEntire is being honored with the Artist of a Lifetime award presented by Ram Trucks at this year’s upcoming CMT Artists of the Year event. The 10th annual celebration will air live from Nashville’s Schermerhorn Symphony Center on Wednesday, Oct. 16 at 8 p.m. ET/PT.
This year marks a significant milestone for the CMT Artists of the Year special as it celebrates the decade-long anniversary of the live music franchise. The highly anticipated 90-minute event will pay tribute to the five “Artists of the Year” who collectively ruled the last 12 months in country music. This year’s honorees include Carrie Underwood, Dan + Shay, Kane Brown, Luke Combs and Thomas Rhett, and will feature surprise musical pairings and guests.
“I have loved entertaining people since I was a little girl and after being in the music business more than 40 years, I’m still having so much fun! For CMT to recognize me as the ‘Artist of A Lifetime’ is pretty special,” said Reba.
Other artists who have received the Artist of a Lifetime award include Loretta Lynn (2018), Shania Twain (2016), Kenny Rogers (2015), and Merle Haggard (2014).
Taylor Swift’s ‘Lover’ Certified Platinum
/by Jessica NicholsonTaylor Swift‘s latest album, Lover, her first for Universal Music Group’s Republic Records, has been certified Platinum by the RIAA. The album was released just over one month ago, on Aug. 23.
Tracks from the album have earned more than 3 billion streams globally. Lover‘s first single, “ME!” has also been certified Platinum.
Every album Swift has released has attained at least Platinum status. 2017’s reputation has been certified 3x Platinum, while her foray into pop music, 1989 (released in 2014) is inching closer to Diamond status, having sold more than 9 million copies. Swift’s 2008 album Fearless has already achieved Diamond status.
Speak Now has been certified 6x Platinum, while both her 2006 self-titled debut album and her 2012 album Red have been certified 7x Platinum. 2008’s The Taylor Swift Holiday Collection has been certified Platinum.
Big & Rich, Travis Tritt, Gretchen Wilson To Be Featured On ‘The Song’
/by Alex ParryNew TV series The Song has announced the talent lineup featuring Big & Rich, Travis Tritt, Gretchen Wilson, All-4-One, CeeLo Green, Dirty Heads, Don McLean, Sublime w/Rome, Rick Springfield, and Lonestar performing their most impactful songs.
Executive producers Marc Oswald and Cary Glotzer will be joined by award-winning director Trey Fanjoy to create nine 30-minute episodes and a one-hour “Best of The Song” finale for season one. Each episode will center around a specific hit song and will be filmed at TGL Farms, in Hendersonville, Tennessee. Gray Television will premiere the series, which will be presented by Ally and Nashville Music City, the week of Jan. 4, 2020 on its major network affiliated stations across America.
In-depth conversations with the artists and songwriters will reveal the inspiration, journey and evolution of each song. Viewers will also be treated to newly written and recorded material and an intimate performance.
Pat LaPlatney, Co-CEO & President of Gray Television says, “Our extensive TV station group is extremely privileged to be the launch platform for Season One of The Song series starting in national syndication this January. Highlighting some of most famous hit songs and artists of all-time will create compelling content for viewers of all ages.”
The Song pays it forward through cause-related partnerships with The Songwriters Hall of Fame and Belmont University’s Mike Curb College of Entertainment & Music Business to provide both scholarship and internship opportunities for their outstanding programs and to help develop new talent in the music, media and television arts disciplines.
Lauren Daigle, Zach Williams, John Crist Among Presenters on 50th Annual GMA Dove Awards
/by Lorie HollabaughThe show will also feature performances throughout the evening from all
New Artist of the Year nominees, including Riley Clemmons, Aaron Cole, Austin French, Josh Baldwin and Kelontae Gavin. The awards show will be held on October 15 in Nashville and will air exclusively on TBN October 20 at 8 p.m. ET.GMA also announced the first round of their star-studded presenter lineup, including Lauren Daigle, John Crist, Tasha Cobbs Leonard, Zach Williams, Blanca, Brown Bannister, Don Moen, Evan Craft, Gloria Gaither, Nicole C. Mullen, Point of Grace, Shirley Caesar and William McDowell.
Previously announced performers include MercyMe, Lecrae, Phil Wickham, Brian Johnson and the Bethel Music Band, Steven Curtis Chapman, Amy Grant, Michael W. Smith, Cece Winans, TobyMac, Hillsong Worship and Kirk Franklin. Additional performers and presenters will be announced soon.
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.
Bobby Karl Works The Room: Country Music Hall Of Fame And Museum Honors Boudleaux And Felice Bryant
/by Bobby KarlPictured: Dane Bryant, Ronnie Dunn of Brooks and Dunn, actor Dennis Quaid, Del Bryant, Billy Ray Cyrus and Charles Esten attend the grand opening of We Could: The Songwriting Artistry of Boudleaux and Felice Bryant at Country Music Hall of Fame and Museum on September 26, 2019 in Nashville, Tennessee. (Photo by Jason Kempin/Getty Images for Country Music Hall of Fame and Museum)
BOBBY KARL WORKS THE ROOM
Chapter 633
I have been to many exhibit-opening galas at the Country Music Hall of Fame, but I have never been to one that was mobbed until Thursday evening (9/26).
More than a thousand peers, well-wishers, fans and industry mavens crammed into the museum’s upstairs event hall to celebrate “We Could: The Songwriting Artistry of Boudleaux & Felice Bryant.” We got more than we bargained for, because the exhibit preview party also announced a major acquisition for the Hall.
“We are proud and happy to announce that the Boudleuax & Felice Bryant Collection is now a part of the Country Music Hall of Fame collection,” said Hall v.p. Brenda Calladay. This includes the 16 famous, 300-500 page ledgers containing drafts of their songs, doodles, musical notations, sketches and ideas. The acquired collection also includes photos, song demos, documents, sheet music, correspondence, artifacts and even the dress that Felice Bryant wore the night the team was inducted to the Country Music Hall of Fame in 1991.
These priceless items very nearly vanished three years ago.
Son Del Bryant recalled that on Nov. 28, 2016 he received a panicked phone call that the Gatlinburg wildfire was approaching the Bryants’ home and office there. Firemen evacuated the premises, leaving the songwriters’ precious memorabilia behind.
Jason Isbell performs onstage during the grand opening of We Could: The Songwriting Artistry of Boudleaux and Felice Bryant at Country Music Hall of Fame and Museum on September 26, 2019 in Nashville, Tennessee. (Photo by Jason Kempin/Getty Images for Country Music Hall of Fame and Museum)
“Fortunately, the house was spared,” Del related. “Everything was irreplaceable and everything was spared. That fire was a catalyst and a wake-up call.”
He and his brother Dane Bryant knew that their parents’ legacy needed to be preserved safely somewhere. The Smithsonian Institution approached them. The University of Tennessee pursued them. Ultimately, they chose the Country Music Hall of Fame as the appropriate repository.
Boudleaux Bryant (1920-1987) and Felice Bryant (1925-2003) “were part of the fabric of Music City U.S.A.,” Del explained. “The collection needs to be here.”
Letting go of the collection, “is almost like losing our parents again, but we are at peace. Now it will have a home in perpetuity. We couldn’t be happier than to be a permanent member of this family.”
The Bryants were the first full-time professional songwriters in Nashville. Their 6,000-song catalog is studded with timeless classics. They made history in taking complete control of their publishing royalties by regaining all of their copyrights and forming their own House of Bryant, where both Dane and Del began their music-business careers in 1967.
Fittingly, a major contingent of Music Row songwriters attended the gala – Wayne Kirkpatrick, Paul Kennerley, Don Henry, Jeff Hanna & Matraca Berg, Jon Vezner, Margie Singleton, Chuck Cannon, Billy Burnette, Steve Wariner, Rick & Janis Carnes, Janis Oliver, Pat Alger and Tom Douglas, to name a few.
Museum v.p. Lisa Purcell welcomed the throng, noting that the Bryants’ songs have resulted in 59 BMI Awards and perhaps more than a half a billion bucks in record sales.
Pictured: Johnny Mike Walker, Dane Bryant, Mandy Macke and Del Bryant attend the grand opening of We Could: The Songwriting Artistry of Boudleaux and Felice Bryant at Country Music Hall of Fame and Museum on September 26, 2019 in Nashville, Tennessee. (Photo by Jason Kempin/Getty Images for Country Music Hall of Fame and Museum)
The awesome catalog includes such standards as “All I Have to Do Is Dream,” “Bye Bye Love,” “Raining In My Heart,” “We Could,” “It’s a Lovely Lovely World,” “Hole in My Pocket,” “Hey Joe,” “Out Behind the Barn,” “Let’s Think About Living,” “Midnight,” “How’s the World Treating You,” “Blue Boy,” “Wake Up Little Susie,” “I’m Little But I’m Loud,” “Sleepless Nights,” “Take Message to Mary,” “Come Live With Me,” “Devoted to You,” “Bird Dog,” “Country Gentleman,” “Have a Good Time,” “Fall Away,” “Like Strangers,” “I Can Hear Kentucky Calling Me,” “Penny Arcade,” “Mexico” and “Take Me As I Am (Or Let Me Go).”
Old Crow Medicine Show kicked off the celebration with a merry rendition of “Country Boy.” That 1949 Jimmy Dickens hit was the first song the Bryants’ had recorded as well as their first hit.
Brenda recapped the couple’s story, noting that they met on Valentine’s Day, 1945. Felice said she had dreamed of Boudleaux coming to Milwaukee to make her his wife. He remarked that Matlida Scaduto should be named Felice and “married” her within days (their official wedding had to wait for her divorce and took place that fall).
She was the driving force behind them becoming a songwriting team. Publisher Fred Rose discovered them and brought them to Music City in 1950.
“It’s fair to say that in the Nashville music industry, the Bryants created the profession of full-time country songwriters,” noted Brenda.
Jason Isbell and Alison Krauss took the stage to harmonize on “Love Hurts,” immortalized by Roy Orbison, The Everly Brothers, Gram Parsons & Emmylou Harris and Nazareth, among others. Bobby Osborne, still vibrant at 87, electrified the crowd with an appropriate finale of “Rocky Top.” It is probably the Bryants’ most-performed composition and a Tennessee State Song.
The songwriting team’s m.o. was to invite artists to their home, ply them with Felice’s Sicilian spaghetti, enjoy wine and then pitch tunes from their ledgers. Fittingly, Thursday’s party fare included pasta dressed with Felice’s marinara recipe.
Bobby Osborne performs onstage during the grand opening of We Could: The Songwriting Artistry of Boudleaux and Felice Bryant at Country Music Hall of Fame and Museum on September 26, 2019 in Nashville, Tennessee. (Photo by Jason Kempin/Getty Images for Country Music Hall of Fame and Museum)
Del choked up when recalling his mother. Dane’s wife, Lee Wilson, wrote the 2017 Bryant biography All I Have to Do Is Dream. Del’s wife, Carolyn Bryant, writes many of the family’s press releases. Both were in attendance, as were many other Bryant family members.
It is a measure of the community’s love and reverence for Boudleaux and Felice that this event was mega. It was so crowded that several folks couldn’t even get into the event hall. Charlie Monk noted that it took a 40-minute wait in the valet-parking line to get to the front door downstairs.
Working the room was a challenge, but Tom Collins, Tom Roland, Dave Nichols, David Briggs, David & Carolyn Corlew, Jody Williams, Marion Williams, Harold Shedd, Clay Bradley, Joe Scaife, Dan Rogers, Don Cusic, Doyle Brown, Alan Valentine, Kos Weaver, Holly Gleason, Rick Sanjek, Rod Essig, Martha Moore, Barry Mazor, Ken Paulson, Bonnie Garner, Bob Delevante, Karen Clark, Tim Wipperman, Caroline Davis, Woody Bomar, Lori Badgett, Adam Dread, Deborah Evans Price, Gary Overton, Rose Drake, Brent Maher and Mark Ford gave it their all.
Historians Bobbie & Bill C. Malone were there. They are working on a new book about the Bryants. Dennis Morgan was there, too. He is the only songwriter that Felice ever worked with following Boudleaux’s death. They will take part in a panel discussion about the couple at 2 p.m. Saturday at the museum.
The legendary ledgers are in the exhibit. So is Felice’s handwritten recipe. Boudleaux’s fiddle and guitar are on display, as is the reel tape recorder on which they recorded their demos. Felice’s childhood prayer book is included, too. The exhibit opens today.
Dana Bryant and Dane Bryant attend the grand opening of We Could: The Songwriting Artistry of Boudleaux and Felice Bryant at Country Music Hall of Fame and Museum on September 26, 2019 in Nashville, Tennessee. (Photo by Jason Kempin/Getty Images for Country Music Hall of Fame and Museum)