Chris Janson
Warner Music Nashville artist Chris Janson recently released his fourth studio album, All In, a project he co-produced.
All In features the poignant “Bye Mom,” collaborations with Eric Church and Travis Tritt, and Janson’s newly announced radio single, “Keys to the Country.” In typical Janson style, the album’s 16 tunes are unpretentious, wholesome, sometimes rowdy, and very country.
Prior to All In’s release, Janson spoke with MusicRow about the new music, working with Church and Tritt, and investing early in young talent.
MusicRow: How long have you been working on this project?
About a year and a half, through the pandemic. It felt like forever but hindsight is 2020—it was one of the greatest times of my life in terms of being creative and writing a new album. I had a thoroughly great time doing it. Without the time I had to make this album, the cool things that I’ve gotten to do and put together with it maybe wouldn’t have happened. I’ve got a duet with Eric Church on this album, which is something I’m super excited about. I also have an incredible collaboration and duet with Travis Tritt, who is a good friend. The rest of the album is awesome too, those are just some standouts that have been really fun.
Your duet with Eric Church, “You, Me & The River,” is the first outside song you’ve ever cut. How did it find you?
I got a text message when I landed from [a trip in] White Fish, Montana. I was playing in Montana and also did some fishing there, ironically. I landed in the wee hours of the morning back in Nashville and I got a ping on my phone. It was the work tape of “You, Me & The River.” Not even a demo, just a guitar vocal of Church singing it. It was really eerie sounding and dark and ominous. He texted me and said, “This is a little dark, but see what you think about it.” It was like 3:30 in the morning and I listened to it and I’m like, “Dang, this is kind of scary, in a good way.”
I texted him back—I didn’t think he would be up that time—and said, “I love this.” I just threw [the idea of doing a duet] out there. If you don’t dream big, how are you going to win big? What’s the worst that could happen? So I hit him back and I was like, “I love this. Why don’t we do a duet?” He hit me right back and said, ‘”I’m in.”
It was a really incredible moment. I’ll never forget it. Eric came into the studio. We co-produced it together and we recorded it live together with the band. It was really an organic process and really cool. He could not be a greater friend and even mentor in a lot of ways.
You also have Travis Tritt on this project. What was working with him like?
Travis is a legendary, iconic figure in the fabric of country music. He always will be, always has been. He has totally kick-ass music that I have always loved. The greatest thing I took away from [working with him] is we have a mutual respect for one another. That is just something that is so validating to me.
Someone asked me a few days ago when I felt like I made it. I said when I got inducted into the Grand Ole Opry. I’ve kind of rekindled that feeling again working with Eric and Travis. We’re not doing this for business, we’re doing this because there’s a mutual love and respect for each other and for the music. It is just the right thing and fun thing to do.
I love the references that are pointed out in the bio for this project. You’ve got Ronnie Milsap, Alabama, George Strait, and Vern Gosdin. You seem to have a lot of respect for the greats of the format. Do you feel pressure to keep your music more traditional out of respect for the greats?
I’m a traditionalist at heart, but I also love to rock and roll. I don’t mind pop music either. I’m all about the song, the best song wins no matter what it sounds like. “Bye Mom” is a very traditional country song. It’s a steel guitar driven, very country song. Other songs of mine are not, but they all have a traditional flavor. That’s just part of who I am and I’m proud of that. It keeps me in a good space.
Speaking of Ronnie Milsap and Alabama, “Love Don’t Sleep” is such a ’80s country vibe.
That’s exactly what we were going for. I love that song, it just sounds like Urban Cowboy to me. I wanted it to be Urban Cowboy meets late seventies-early eighties, disco country. And boy, that’s exactly what we did. It’s something that you could just close your eyes and picture a disco ball spinning, high waisted Levis, buttoned down Pearl snaps and cowboy hats.
Burgeoning songwriter Shane Profitt is a co-writer on one of these songs. You recently partnered with Anthem Entertainment to sign him and The Davisson Brothers. Why is it important for you to start these artist development deals this early in your career?
I never really had aspirations of doing [a venture with Anthem], but these moments came along and it was the right thing to do. I opened the publishing company with Anthem. I signed Shane. Shane wrote “The Reel Bass Pro” with me and “American World” with me and Kelly [Janson] for this album. He is just an amazing songwriter, an amazing artist, an amazing friend and a really good human. He deserves it. He works harder than anybody that I know. I wanted to be a part of that. I was able to structure that deal with Anthem, I was grateful that they signed him with me, and we have some really big things in the works for Shane Profitt.
Most people [get into the business side of things] in their retiree years where they want to dabble here and there. I’m so active and current in today’s country music, which I’m grateful for, so I want do these things now. I want to do them while I’m active and right in the midst of the business myself, because this is the best way that I can help Shane.
Were there any artists who mentored you early on that you’re channeling when you help guide Shane?
I’ve had a lot of people that have lent helping hands in my career from so many different areas of the business. But the only thing I’ve ever told Shane was the same thing my wife told me, “Just be you. Just be Shane. Don’t change a thing about you.”
Janson’s new album, All In, is available everywhere now.
Chris Janson Talks New Album, Working With Eric Church, & Investing In Talent [Interview]
/by LB CantrellChris Janson
Warner Music Nashville artist Chris Janson recently released his fourth studio album, All In, a project he co-produced.
All In features the poignant “Bye Mom,” collaborations with Eric Church and Travis Tritt, and Janson’s newly announced radio single, “Keys to the Country.” In typical Janson style, the album’s 16 tunes are unpretentious, wholesome, sometimes rowdy, and very country.
Prior to All In’s release, Janson spoke with MusicRow about the new music, working with Church and Tritt, and investing early in young talent.
MusicRow: How long have you been working on this project?
About a year and a half, through the pandemic. It felt like forever but hindsight is 2020—it was one of the greatest times of my life in terms of being creative and writing a new album. I had a thoroughly great time doing it. Without the time I had to make this album, the cool things that I’ve gotten to do and put together with it maybe wouldn’t have happened. I’ve got a duet with Eric Church on this album, which is something I’m super excited about. I also have an incredible collaboration and duet with Travis Tritt, who is a good friend. The rest of the album is awesome too, those are just some standouts that have been really fun.
Your duet with Eric Church, “You, Me & The River,” is the first outside song you’ve ever cut. How did it find you?
I got a text message when I landed from [a trip in] White Fish, Montana. I was playing in Montana and also did some fishing there, ironically. I landed in the wee hours of the morning back in Nashville and I got a ping on my phone. It was the work tape of “You, Me & The River.” Not even a demo, just a guitar vocal of Church singing it. It was really eerie sounding and dark and ominous. He texted me and said, “This is a little dark, but see what you think about it.” It was like 3:30 in the morning and I listened to it and I’m like, “Dang, this is kind of scary, in a good way.”
I texted him back—I didn’t think he would be up that time—and said, “I love this.” I just threw [the idea of doing a duet] out there. If you don’t dream big, how are you going to win big? What’s the worst that could happen? So I hit him back and I was like, “I love this. Why don’t we do a duet?” He hit me right back and said, ‘”I’m in.”
It was a really incredible moment. I’ll never forget it. Eric came into the studio. We co-produced it together and we recorded it live together with the band. It was really an organic process and really cool. He could not be a greater friend and even mentor in a lot of ways.
You also have Travis Tritt on this project. What was working with him like?
Travis is a legendary, iconic figure in the fabric of country music. He always will be, always has been. He has totally kick-ass music that I have always loved. The greatest thing I took away from [working with him] is we have a mutual respect for one another. That is just something that is so validating to me.
Someone asked me a few days ago when I felt like I made it. I said when I got inducted into the Grand Ole Opry. I’ve kind of rekindled that feeling again working with Eric and Travis. We’re not doing this for business, we’re doing this because there’s a mutual love and respect for each other and for the music. It is just the right thing and fun thing to do.
I love the references that are pointed out in the bio for this project. You’ve got Ronnie Milsap, Alabama, George Strait, and Vern Gosdin. You seem to have a lot of respect for the greats of the format. Do you feel pressure to keep your music more traditional out of respect for the greats?
I’m a traditionalist at heart, but I also love to rock and roll. I don’t mind pop music either. I’m all about the song, the best song wins no matter what it sounds like. “Bye Mom” is a very traditional country song. It’s a steel guitar driven, very country song. Other songs of mine are not, but they all have a traditional flavor. That’s just part of who I am and I’m proud of that. It keeps me in a good space.
Speaking of Ronnie Milsap and Alabama, “Love Don’t Sleep” is such a ’80s country vibe.
That’s exactly what we were going for. I love that song, it just sounds like Urban Cowboy to me. I wanted it to be Urban Cowboy meets late seventies-early eighties, disco country. And boy, that’s exactly what we did. It’s something that you could just close your eyes and picture a disco ball spinning, high waisted Levis, buttoned down Pearl snaps and cowboy hats.
Burgeoning songwriter Shane Profitt is a co-writer on one of these songs. You recently partnered with Anthem Entertainment to sign him and The Davisson Brothers. Why is it important for you to start these artist development deals this early in your career?
I never really had aspirations of doing [a venture with Anthem], but these moments came along and it was the right thing to do. I opened the publishing company with Anthem. I signed Shane. Shane wrote “The Reel Bass Pro” with me and “American World” with me and Kelly [Janson] for this album. He is just an amazing songwriter, an amazing artist, an amazing friend and a really good human. He deserves it. He works harder than anybody that I know. I wanted to be a part of that. I was able to structure that deal with Anthem, I was grateful that they signed him with me, and we have some really big things in the works for Shane Profitt.
Most people [get into the business side of things] in their retiree years where they want to dabble here and there. I’m so active and current in today’s country music, which I’m grateful for, so I want do these things now. I want to do them while I’m active and right in the midst of the business myself, because this is the best way that I can help Shane.
Were there any artists who mentored you early on that you’re channeling when you help guide Shane?
I’ve had a lot of people that have lent helping hands in my career from so many different areas of the business. But the only thing I’ve ever told Shane was the same thing my wife told me, “Just be you. Just be Shane. Don’t change a thing about you.”
Janson’s new album, All In, is available everywhere now.
Steve Earle Slates Jerry Jeff Walker Tribute Album For May
/by Lydia FarthingSteve Earle. Photo: Danny Clinch
Steve Earle will release a new album titled Jerry Jeff on May 27 via New West Records.
The project pays tribute to the late Texas music legend Jerry Jeff Walker, who passed away on Oct. 23, 2020. Ahead of the 10-song project’s release, Earle’s rendition of Walker’s classic “Mr. Bojangles” is available everywhere now.
Earle was 14 when he first heard Walker. His high school drama teacher gave him a copy of “Mr. Bojangles,” a ballad about an unforgettable character Walker met in a New Orleans jail. After Earle moved to Nashville in the 1970s, he had the opportunity to get to know Walker, who enlisted him as his designated driver.
“There’s a tendency to think of Jerry Jeff around a relationship to one song,” Earle says. “He was also such a great interpreter of other people’s songs. But my main purpose in recording this album was to remind people that he wrote a lot of great songs.”
Jerry Jeff marks Earle’s 22nd album after releasing nearly an album a year since the mid 1990s, ranging from bluegrass to blues, folk and country. He’s currently writing two books, his second play, and hosts his long-running Sirius XM show, The Steve Earle Show: Hardcore Troubadour Radio.
Earle and The Dukes will hit the road this summer, kicking off June 1 at the Princess Theatre in Decatur, Alabama. For a full list of tour dates, click here.
Aaron Raitiere Delivers Debut Album ‘Single Wide Dreamer’
/by Lydia FarthingAaron Raitiere. Photo: Alysse Gafkjen.
Grammy award-winning singer, songwriter and musician Aaron Raitiere has released his debut album, Single Wide Dreamer, via Dinner Time Records/Thirty Tigers.
Produced by Miranda Lambert and Anderson East, the record initially started four years ago when Raitiere gave Lambert and East a collection of songs and complete creative control. The resulting 12-song project, which features friends and collaborators Bob Weir, Dave Cobb, Natalie Hemby, Ashley Monroe, Robert Randolph, Foy Vance and Waylon Payne, exemplifies Raitiere’s observational writing that is always inspired by his own experiences.
“I think the record kind of made itself, and that was the vibe I was going with. It was just a bunch of friends getting together trying to help me create something, because they thought I needed a record,” Raitiere shares. “I don’t think there was an intended theme, but it came out to be representative of this time in my life where I was falling in and out of love and learning how to deal with it.”
“I had so much fun working on this project with Aaron. He is truly one of the most amazing artists and humans I’ve ever known. He is legendary and I’m honored to be a part of this record and to call him a friend,” Lambert notes. “I can’t wait to see what happens with this music.”
“It’s a rare thing that a human be able to find and express themselves through songwriting. I’ve been fortunate enough to see it a few times but in the case of Aaron Raitiere, he’s solely himself. Funny, thoughtful, realistic and honest (even when he’s a full of shit),” East adds. “I’m proud to have had the ability to watch his gifts develop into what they’ve become and even more excited to see where they go and who it touches along the way.”
In celebration of the release, Raitiere will make his Grand Ole Opry debut tonight (May 6).
1. Single Wide Dreamer
2. Everybody Else
3. For The Birds
4. Cold Soup
5. At Least We Don’t Have Any Kids
6. Dear Darlin’
7. Your Daddy Hates Me
8. Worst I Ever Had
9. Can’t Rain All The Time
10. Tell Me Something True
11. You’re Crazy
12. Time Will Fly
Jake Owen Adds Fall Leg To ‘Up There Down Here Tour’
/by Lorie HollabaughJake Owen. Photo: Matt Paskert
Jake Owen has extended his recently announced headlining “Up There Down Here Tour,” adding 12 fall dates to the run. Travis Denning and newcomer Mackenzie Carpenter will join the dates as support.
The trek adds stops in Missouri, Minnesota, Nebraska, Colorado, and a closer-to-home date at The Caverns in Pelham, Tennessee. Tickets for the fall leg of the “Up There Down Here Tour” are on sale next Friday, May 13 here.
Last night (May 6), the tour launched to a packed crowd at Troy, Ohio’s Hobart Arena. Tonight (May 7) he’ll take the stage at Louisville’s Old Forester’s Paristown Hall to help ring in the Kentucky Derby.
Owen’s windows-down anthem “Best Thing Since Backroads” is currently climbing inside the top 15 at country radio. Last week, the Florida native added to his arsenal of new music with “1×1.”
Bowen Young To Headline Gilda’s Club Annual Songwriter’s Night
/by Lorie HollabaughBowen Young
Bowen Young, the duo comprised of Clare Bowen and Brandon Robert Young, is set to headline the 4th Annual Songwriter’s Night at Gilda’s Club Middle Tennessee on June 12 at Fat Bottom Brewing in West Nashville.
The duo will be joined by Jonathan Jackson, Sean McConnell and Blessing Offor.. Tickets to the 4th Annual Songwriter’s Night are available at gildasclubmiddletn.org/events/songwriters-night/.
Before landing the iconic role of Scarlett O’Connor on the TV series Nashville and launching her career as a singer-songwriter, Bowen grew up in rural Australia. In 2018, Bowen, along with Young, nabbed a spot on Sugarland’s “Still The Same Tour,” later setting out on a headlining tour in support of the international release of her eponymous album across the UK, Germany and Australia.
Young was born and raised in Enfield, Connecticut, moving to Nashville in 2000 with a two-hundred dollar guitar he didn’t know how to play. Since then, Young has spent over a decade collaborating with and alongside artists such as John Hiatt, Emmylou Harris, John Carter Cash, Buddy Miller and Bowen. His music has also been featured in shows such as Nashville, Showtime’s Shameless, ABC’s A Million Little Things, and more.
Bowen Young’s debut album as a duo is slated for release later this year along with an extensive touring schedule.
Gilda’s Club Middle Tennessee is dedicated to providing support, education and hope to those impacted by cancer, including family members and friends of those diagnosed. Free of charge to everyone, Gilda’s Club provides a gathering place where people with cancer, as well as their families and friends, can find social and emotional support as a supplement to regular medical care.
Live Nation Q1 Results: Continued Momentum From Return Of Live Events, Tour Sponsorship
/by Lydia FarthingLive Nation Entertainment, Inc. has released financial results for the quarter ended March 31, 2022.
Live Nation continues to see the momentum of the return of live events from the previous quarter, delivering operating income of $27 million and AOI of $209 million. Ticketmaster’s strong first quarter performance drove the company’s overall profitability, showing that concert and sponsorship businesses are positioned to deliver record results this year. The company also has over 70 million tickets sold for shows in 2022, up 36% compared to this point in 2019, with committed show count up 44% through late April relative to 2019.
Sponsorship activity also fully returned in Q1, delivering financial results that well exceeded Q1 2019 and growth in expansion of existing relationships, new categories expanding their breadth of partners and new ad units being created both on-site and online.
“Looking ahead to the summer and the rest of the year, we remain optimistic that we are just getting going as all leading indicators reinforce record activity levels and financial results,” notes Michael Rapino, President and Chief Executive Officer. “Ticketing sales were at a record level in Q1, with momentum building over February and March. We have sold almost 20 million more tickets to our concerts this year than at this point in 2019, with a large number of tours still to go on-sale. Concert fans are showing no signs of slowing down–they are paying more for the best tickets, attending the shows, and spending more onsite as they create lifetime memories.”
He continues, “I continue to expect this to be the start of our run. The global addressable market for concerts, ticketing and sponsorship all provide a long runway for continued growth. We have over 60 tours already under discussion for 2023–our earliest indicator of next year, and great positioning for ongoing growth.”
Highlights:
Operating Income of $27 Million and AOI of $209 Million
Ticketmaster Delivers Another Record Quarter – Operating Income Up 3x, AOI Up 2x, Transacted GTV Up 39% (vs Q1 2019)
Ticketmaster Growing Client Base – 7 Million Net New Tickets Added
Sponsorship Operating Income Up 83% and AOI Up 75% (vs Q1 2019)
OCESA Financial Performance At 2019 Levels
2022 Outlook:
70 Million Tickets Sold for 2022 Concerts, On Track for Double-Digit Fan Growth This Year (vs 2019)
Concert Bookings Up 44% Through Late April (vs 2019)
$3.5 Billion in Event Related Deferred Revenue, Up Nearly 2x (vs Q1 2019)
Fan Demand for Best Seats Drives Concert Ticket Pricing Up Double-Digits (vs 2019), While Entry Level Tickets Average Under $35
Fan Base at Operated Venues Growing – 20 New Venues in 2022 Pipeline, 38 New Festivals
Over 90% of Planned Sponsorship Net Revenue for 2022 Committed
Read the full financial report here.
DISClaimer Single Reviews: ‘Nashville Treasure’ Sheryl Crow Releases Dreamy Ballad
/by Robert K OermannSome of the brightest names in Americana music have new sounds to delight your ears.
Steve Earle, Old Crow Medicine Show, Peter Rowan and Gillian Welch & David Rawlings are all here. So is Sheryl Crow, who claims the Disc of the Day award.
Gabe Lee is an a stunningly gifted Nashville creator, as well as the rare roots-music purveyor of Asian descent. One listen to his commanding vocal and instrumental abilities is all you’ll require, to understand why he is the DisCovery Award winner in this edition of DisClaimer.
ELI PAPERBOY REED / “Mama Tried”
Writer: Merle Haggard; Producer: none listed; Label: Yep Roc
— Reed is a white bluesman, but his earliest musical hero was Merle Haggard. His new album is a tribute titled Down Every Road, wherein he applies his style to the Hag’s country classics. His horn-drenched, soul-shriek vocal take on “Mama Tried” is the collection’s first emphasis track, and it is ear opening, to say the least.
STEVE EARLE / “Gettin’ By”
Writer: Jerry Jeff Walker; Producer: Steve Earle; Label: New West
— Steve’s latest is a salute to Jerry Jeff Walker, one of his main musical mentors. Titled Jerry Jeff, it kicks off with this folkie, drawling, Texas-swing outing. The rollicking group sing-along, vocal growls and loosey-goosey ensemble playing are all appropriately rumpled.
GABE LEE / “Honky Tonk Hell”
Writers: Gabe Lee/Marcus King; Producers: David Dorn/Alex Torrez; Label: Torrez Music Group
— This new Americana favorite lays down a solid country-rock groove on the title tune of his current album. His wailing tenor voice and the snarling electric guitars make the track sound wildly entertaining and fierce. And ya gotta love that jab about people in Nashville “writing phony-ass country songs.” By turns a country troubadour and a fire-breathing Southern rocker, this native Nashvillian is frighteningly gifted.
GILLIAN WELCH & DAVID RAWLINGS / “I Just Came Home to Count the Memories”
Writer: Glenn McGuirt; Producers: Dan Auerbach/David Ferguson; Label: Easy Eye
— Something Borrowed, Something Blue will be a tribute album to John Anderson produced by Dan Auerbach & David Ferguson. They’ve lined up a bevy of greats to participate—Jamey Johnson, Sturgill Simpson, Brothers Osborne, Eric Church, Luke Combs, Del McCoury, Ashley McBryde, Tyler Childers and more. The album isn’t due until August, but Gillian & David have an advance taste of what a treat we can expect. It is a haunting, acoustic-guitar-and-strings arrangement of this wonderfully wistful, sad ballad that John introduced back in 1981.
TRAMP / “Back to Tennessee”
Writer: none listed; Producer: none listed; Label: Tramp
— This former Cactus Brothers fiddler is still making music. His charming, slightly strangulated tenor holds up well, as does his sense of hooky melody. He’s like a Dixie-fied Neil Young with acoustic-country trimmings.
SHERYL CROW / “Forever”
Writers: Jeff Trott/Sheryl Crow; Producer: Jeff Trott; Label: Big Machine
— This Nashville treasure is issuing a career-retrospective documentary. Its hit-packed, double-CD soundtrack includes three new songs, including this dreamy ballad. The tune is minor-key and downbeat, but the message is totally uplifting and inspiring. The echoey instrumental swirl of the production is like a comforting cool pool, and it goes without saying that her vocal delivery is stellar. Essential listening.
MARCUS KING / “Hard Working Man”
Writers: Marcus King/Dan Auerbach/Angelo Petraglia; Producer: Dan Auerbach; Label: American/Republic
— Are you hip to this guy? King is a Southern-rocking soulman whose searing electric guitar shredding is matched by a ferocious vocal attack. This blistering live-in-the-studio performance is an advance track from his sophomore solo album, due in August. Turn it up and rock out.
OLD CROW MEDICINE SHOW / “Gloryland”
Writers: Critter Fuqua/Ketch Secor; Producers: Matt Ross-Spang/Old Crow Medicine Show; Label: ATO
— On its new Paint This Town album, the group moves beyond old-time-music territory and into a sonic space previously occupied by folks like The Band. This emphasis track has a rousing yet heavy-hearted gospel vibe, punctuated by lamenting harmonica and fiddle, plus backing vocals by The Kyshona Trio. Very cool.
MICHAEL McADAM / “My Little Queenie”
Writer: Michael McAdam; Producers: Michael McAdam/Jack Irwin; Label: Permanent
— He’s a veteran Nashville guitarist who has backed Steve Earle, Radney Foster, Jim Lauderdale, Jack Ingram and Mary Chapin Carpenter, among others. McAdam is stepping into his own singer-songwriter spotlight with an album titled Tremelo. This rolling, jingle-jangle track is practically a definition of Americana music. Lend this man your ears.
BETH NIELSEN CHAPMAN / “Hey Girl”
Writers: Annie Roboff/Beth Nielsen Chapman/Jessica Sweetman; Producer: Ray Kennedy; Label: Cooking Vinyl
— Nashville Songwriters Hall of Famer Chapman has been a brilliant record maker for decades. Her 15th album, Crazy Town, features this bluesy feminist stomper. The girl-power message is bolstered by downhome harmonica wailing, saucy backing vocals, shimmering organ and thumping percussion. Feisty stuff.
PETER ROWAN & SHAWN CAMP / “The Song That Made Hank Williams Dance”
Writer: Peter Rowan; Producer: none listed; Label: Rebel
— Rowan is a roots-music legend who is adding to his 60+ years of record making with a June album titled Calling You From My Mountain. This advance single fuses bluegrass with honky-tonk. He’s in fine bluesy vocal form, and the always welcome and totally talented Camp trades lines with him expertly while the steady grooving track chugs along. I remain a huge fan.
THE TRAVELIN’ McCOURYS / “I Like Beer”
Writer: Tom T. Hall; Producer: none listed; Label: McCoury
— These multiple bluegrass award winners take Tom T. Hall’s 1975 classic out for a uptempo waltz. Banjo player Rob McCoury’s drawling debut as a lead vocalist is loaded with personality. Hang on for the lickety-split instrumental interlude that sets up the finale drinking sounds. A boatload of merry music making.
Beth Nielsen Chapman Shares First Single From Upcoming Album ‘CrazyTown’
/by Lorie HollabaughBeth Nielsen Chapman
Beth Nielsen Chapman is back with new music after a four-year hiatus with CrazyTown, out this fall on UK imprint Cooking Vinyl. A blues
“We were talking about the capacity for survival and overcoming the challenges that are part of being in the world as a female, balancing strength and vulnerability,” Chapman explains. “As the writing of the song progressed, we touched on feeling lost, being taken advantage of, and navigating one’s safety and the experience of not being taken seriously.
“CrazyTown is a collection of songs that reflect all the twists and turns of life, especially reflective of this wild ride we have all been living through,” she continues. “I’m looking forward to hitting the road with this new music finally seeing the light of day.”
Inducted into the Songwriters Hall of Fame in 2016, Chapman has released 14 solo albums, written seven No 1s, and has had songs recorded by Bonnie Raitt, Willie Nelson, Bette Midler, Elton John, Neil Diamond, and more.
She will be returning to the UK for a new 20-date tour, kicking off on Oct. 18 in Stamford.
Jameson Rodgers Captures Live Show Rush On New Album
/by Lorie HollabaughJameson Rodgers. Photo: Matt Bender
Jameson Rodgers is giving fans a taste of his live show on his new album, Live from Oxford, MS, available everywhere now.
The Batesville, Mississippi native heads back home literally and figuratively on the eight-song project, which was recorded during a sold-out show at the Lyric Theater in Oxford, Mississippi. The record reveals the live-show foundation of Rodgers’ sound and features songs from his debut album Bet You’re From a Small Town, plus his first viral hit “Midnight Daydream.”
Rodgers is set for Luke Bryan’s 2022 “Farm Tour” later this year, plus select dates with Darius Rucker. He’ll also appear at fairs and festivals, including CMA Fest, Carolina Country Music Fest, Pepsi Gulf Coast Jam, Faster Horses, Watershed, and Batesville Springfest on May 21.
1. Bars Back Home
2. Girls That Smoke
3. Cold Beer Calling My Name
4. Missing One
5. Girl with the Broken Heart
6. Good Dogs
7. Midnight Daydream
8. Some Girls
Tim McGraw Trades Truck For MusicRow No. 1
/by Alex ParryTim McGraw works his way to No. 1 on the MusicRow CountryBreakout Radio Chart this week with “7500 OBO.” Written by Matt McGinn, Jennifer Schott, and Nathan Spicer, the single appears on his 16th career release Here On Earth and on the Here On Earth Ultimate Edition album.
McGraw is slated to headline several upcoming festivals including Faster Horses Festival and GoldenSky Country Music Festival. He is currently on his “McGraw Tour 2022” which launched in April. He is joined by Russell Dickerson as direct support, as well as rising artists Alexandra Kay and Brandon Davis.
Click here to view the latest edition of The MusicRow Weekly containing the MusicRow CountryBreakout Radio Chart.