Maren Morris. Photo: Alex Ferrari
An outdoor show would have been ideal for a welcomed 70-degree evening in Nashville on March 13 when Maren Morris took to the Ryman Auditorium stage for her Girl: The World Tour. Perhaps more to do with the fact that not every fan was able to get a ticket for the sold-out gig, and less to do with the climate, Morris announced she will return to Nashville, playing the two-time larger Ascend Amphitheater on Oct. 18.
Morris’ signature vocal intuition delivered live is likely the biggest pull for the attendance surge. She consistently delivers a more soulful variant of her album cuts on stage. As the second show in her Girl: The World Tour, there are now 14 new tracks to showcase.
“I don’t even think I know the words to these songs that well and I wrote them, so I’ll just look to you for guidance,” beamed Morris. “My new record came out Friday, so it’s only been a couple days.”
Morris walks a line in her musical journey. She blends the elaborately produced elegance that has carried her through pop breakout hits like “The Middle,” with honest and heart-felt stories behind the hits, most she co-wrote.
“I used to drive up and down these two blocks in Nashville,” recalled Morris of Nashville’s Music Row area. “That’s where I met most of my friends who are in this crowd, and wrote the songs we’re playing tonight with me.”
Morris brought her full production, complete with video walls, to the Ryman’s wood stage. Raising through the risers in a dramatic entrance, Morris cast aside a shimmering glitter coat after the first number to don a fringed bedazzled denim jumper for the remainder of the show.
She took the most vocal liberties on the songs she’s been performing for the past few years, off her debut, Hero. “80s Mercedes” welcomed the audience back to Morris’ world and the pop-flavored song that set her whole career into motion. “Rich” showed off her stage presence and delivered her comfort in energy and motion as she eased into her soulful ingenuity. And then there’s “Once,” where Morris just totally wails and reminds you her career still has an incredibly strong trajectory with the pairing of songs that showcase her vocal ease and extreme power and shoots for the heart.
Pictured (L-R): Brandi Carlile, Cassadee Pope, Maren Morris, Natalie Hemby, Miranda Lambert. Photo: Instagram/Brandi Carlile
A slew of guests surprised the audience, and even Morris herself.
With arguably the most memorable 2019 Grammy performance, roots/Americana winner Brandi Carlile joined Morris for a new duet off Girl, “Common.”
Show opener Cassadee Pope joined Morris for a radio-friendly duet off the new record, “All My Favorite People,” which is performed with Brothers Osborne on GIRL.
Most surprisingly, country star Miranda Lambert and hit songwriter Natalie Hemby joined Morris on the stage for a song Morris chose off Lambert’s 2009 album, “Virginia Bluebell.” While Morris did not share writing credits for the deep cut, she praised her fellow Texan as early inspiration to try her shot six years ago in Music City.
“I mean this is the girl tour,” said Morris. “I love Maren Morris, she’s a bad ass,” praised Lambert. Lambert and Hemby stayed to impeccably harmonize on Morris’ “I Wish I Was.”
“This is so fun, I wish I had a Springsteen-type catalog to play for four hours,” exclaimed Morris, who turned back to new music. She introduced “To Hell & Back,” the first song written for the album, saying, “I was going through this weird in-between breakup and single [stage]—where you’re not quite out of the tunnel yet.”
Probably the most appropriate and self-defining song on Girl, “Flavor,” offers Morris a chance to stand her ground. Original could take a while/I’m cooking up my own flavor. Morris is a trailblazer. Her appropriate Dixie Chicks reference was well accepted by the unabashed millennial crowd, singing every word.
Even sitting, or laying down on the stairs like in “Make Out With Me,” Morris’ voice packed a punch, and the glow of the staircase offered a distinguished flair, appropriate for the delivery.
Morris is on the right track—namely her own. She rides that wave of musical lineage many have caught before her on their path to becoming a legend. A catalog takes time, and with songs like “The Bones,” Morris is able to color outside the lines of a genre that, for perhaps the first time, is able to unconditionally accept an empowered female who lets her vocals loose.
As the show progressed there was less behind-the-scene anecdotes between songs, which became ballad heavy. Her first No. 1, “I Could Use A Love Song,” was one such title—but a stand-out regardless—for which Morris addressed critique. “A guy at a radio station that said people don’t want to hear women being sad on the radio,” recalled Morris. “I’m pretty sure sad songs are what built country music. I want to know I’m not alone in my broken heart, and I put this song out anyway, and it took 42 weeks to finally hit No. 1. And that guy doesn’t have his job anymore. The universe is funny that way.”
Of course the antithesis track, the pop commercial cut “The Middle,” concluded the whole evening in the encore, after her seated, casual delivery of another new title, “Shade.”
Morris was surprised by Pope, Lambert, Carlile and Hemby, who helped join on a larger-than-life, gospel-punched production of “My Church,” to conclude her set.
“2019 is going to be a turning point for a lot of key people, women, a lot of underdogs,” she concluded. “I’ve been fortunate to have my songs played on the radio the last couple years, but I know so many of my friends who are badasses and deserve to be on there, and are not. I’m going to continue to be the squeaky wheel until something gets some oil.”
Citi presale for the Ascend Amphitheater show begins Tuesday, March 21, with tickets on sale to the public Friday, March 22. Special guests to be announced.
Acmeville Records Teams With Blank Range
/by Jessica NicholsonBlank Range
Acmeville Records has partnered with Nashville rock band Blank Range for the band’s latest record. The album, titled In Unison, will be released on vinyl in April. Acmeville Records will release a limited edition, 300-copy run of the album, available at theacmevillenashville.com, and at select Nashville-based stores including The Groove in East Nashville.
Acmeville Records was founded as the in-house record label for Acme Feed & Seed in order to empower Acme’s mission of the discovery and preservation of Nashville’s music and history. When the Acme team discovered that Blank Range was going on infinite hiatus to pursue solo projects, they sprang into action to ensure that the band’s final album would be memorialized on vinyl in order to preserve this essential chapter in Music City history.
In Unison which was recorded in a home north of Nashville, showcases three Blank Range members taking turns delivering lead vocals throughout the 10 tracks of the album.
Since Blank Range formed in 2013, the avant-garde indie group has been a force to be reckoned with on the Nashville music scene. The band won The Road to Bonnaroo competition in 2014, they went on to open for the likes of rockers Alice in Chains, Spoon, and Drive-By Truckers. In 2018 they toured with Margo Price and Tyler Childers.
Blank Range has also been an integral part of the Acme Radio Live family, appearing on Acme Radio Live since 2017.
Before the Blank Range members transition into individual projects, they’ll be performing the last three shows on the books this year as a group in conjunction with Acme Radio Live and Acme Feed & Seed. On April 13, Blank Range will perform at Acme Radio Live’s Record Store Day at The Groove, followed by three encore performances throughout the summer which will take place on the Acme Feed & Seed stage (dates to come).
“While we’re coming to the end of one chapter in the Music City, we’re also welcoming the next chapter of the individual artists in Blank Range and continuing to preserve their legacy,” said Carl Gatti, Director of Entertainment and Radio at Acme Feed & Seed.
“Acme has provided a platform for musicians, and especially Blank Range, to get their craft out into the world for years,” said the band’s manager, Hampton Howerton. “The first vinyl pressing on Acmeville Records is a natural extension of their mission and it’s a testament to the songs the band wrote and recorded that the folks at Acme felt the desire to preserve In Unison on wax.”
In Pictures: BMI At SXSW
/by Jessica NicholsonBMI (Broadcast Music, Inc.) brought several top singer-songwriters for day two of SXSW with the Yeti x BMI Day Party. Soul, country, indie, pop and alt-rock converged when Logan Ledger, Willie Jones, Billy Strings, Illiterate Light, Katie Schecter, Wafia, JP Saxe, Jackie Venson, Republican Hair and Tomar & the FCs took stages both inside and outside of the Yeti Flagship store in Austin, Texas.
Katie Schecter and her band pose for a shot at Yeti’s Flagship Store in Austin before their set at BMI / Yeti Day Party during SXSW on March 13, 2019, in Austin, TX. Photo: Erika Goldring
BMI / Yeti Day Party takes place on two stages at the Yeti Flagship Store during SXSW on March 13, 2019, in Austin, TX. Photo: Erika Goldring
Pictured: BMI’s Josh Tomlinson (second on Left) poses with Austin-based Tomar & The FCs at the BMI / Yeti Day Party during SXSW on March 13, 2019, in Austin, TX. Photo: Erika Goldring
Willie Jones perform at the BMI / Yeti Day Party during SXSW on March 13, 2019, in Austin, TX. Photo: Erika Goldring
Weekly Chart Report (3/15/19)
/by Alex ParryClick here or above to access MusicRow’s weekly CountryBreakout Report.
Garth Brooks, Taylor Swift, Maren Morris, Luke Combs Earn Top iHeartRadio Music Awards
/by Lorie HollabaughTaylor Swift on stage at the 2019 iHeartRadio Music Awards at the Microsoft Theater in Los Angeles. Photo by Jeff Kravitz/FilmMagic for iHeartMedia
The 2019 iHeartRadio Music Awards offered up plenty of great music and moments at the Microsoft Theater in Los Angeles Thursday night (March 14) with artists like Garth Brooks, Taylor Swift, Alicia Keys and Halsey receiving special honors during the festivities. Among the big winners were “The Middle” for Song Of The Year by Maren Morris, Zedd, and Grey, “Meant To Be” by Bebe Rexha featuring Florida Georgia Line for Country Song Of The Year, Luke Combs as Country Artist Of The Year, Jason Aldean‘s Rearview Town for Country Album Of The Year, and Jordan Davis for Best New Country Artist.
Garth Brooks performed a medley of his hits and received the first-ever Artist of the Decade Award from actor Chris Pratt, Alicia Keys was honored during the show with the iHeartRadio Innovator Award, Halsey accepted the iHeartRadio Fangirls Award presented by L’Oréal Paris, and Taylor Swift was given the Tour of the Year Award during the star-studded night of music.
Broadcast live on FOX, on iHeartMedia radio stations nationwide, and on iHeartRadio and hosted by T-Pain, the fan-fueled awards featured performances and incredible collaborations including Alicia Keys, Ariana Grande, Backstreet Boys, Ella Mai, Garth Brooks, Halsey with special guests Yungblud and Travis Barker, John Legend, Kacey Musgraves backed on piano by special guest Chris Martin, lovelytheband and Marshmello with special guest Lauv.
For the first-time ever, the iHeartRadio Music Awards presented an AI (Artificial Intelligence) voice assistant with an award. The iHeartRadio Game Changer Tech Award, which honors the most innovative use of technology that brings fans closer to the music they love, was awarded to Amazon’s Alexa. Garth Brooks and Bobby Bones spoke to Alexa, who gave a tongue-in-cheek acceptance speech.
In addition, iHeartMedia partnered with leading short-form mobile video app TikTok to present seven awards in the seven days leading up to the telecast. Beginning Thursday, March 7, winning artists were presented their awards and gave acceptance speeches that aired exclusively on the TikTok app each morning at 8:00 AM ET. Winners included Panic! At The Disco for Alternative Rock Album of the Year, Jason Aldean for Country Album of the Year, twenty one pilots for Rock Album of the Year, Marshmello for Dance Artist of the Year, Imagine Dragons for Most Thumbed Up Artist of the Year, the Chainsmokers for Dance Album of the Year and Lauren Jauregui’s dog, Gracie, for Cutest Musician’s Pet.
Song of the Year: “The Middle” – Zedd, Maren Morris, Grey
Artist of the Year: Ariana Grande
Female Artist of the Year: Ariana Grande
Male Artist of the Year: Drake
Best Duo/Group of the Year: 5 Seconds Of Summer
Best Collaboration: “Finesse (Remix)” – Bruno Mars featuring Cardi B
Pop Album of the Year: Sweetener – Ariana Grande
Best New Pop Artist: Marshmello
Alternative Rock Song of the Year: “High Hopes” – Panic! At the Disco
Alternative Rock Artist of the Year: Imagine Dragons
Alternative Rock Album of the Year: Pray for the Wicked – Panic! At The Disco
Best New Rock/Alternative Rock Artist: lovelytheband
Rock Song of the Year: “Safari Song” – Greta Van Fleet
Rock Artist of the Year: Three Days Grace
Rock Album of the Year: Trench – twenty one pilots
Country Song of the Year: “Meant To Be” – Bebe Rexha featuring Florida Georgia Line
Country Artist of the Year: Luke Combs
Country Album of the Year: Rearview Town – Jason Aldean
Best New Country Artist: Jordan Davis
Dance Song of the Year: “The Middle” – Zedd, Maren Morris, Grey
Dance Artist of the Year: Marshmello
Dance Album of the Year: Sick Boy – The Chainsmokers
Garth Brooks performs on stage at the 2019 iHeartRadio Music Awards at the Microsoft Theater in Los Angeles, Photo by Rich Fury/Getty Images for iHeartMedia
Kacey Musgraves performs at the 2019 iHeartRadio Music Awards in Los Angeles Photo by Rich Fury/Getty Images for iHeartMedia
Maren Morris speaks on stage at the 2019 iHeartRadio Music Awards in Los Angeles Photo by Kevin Mazur/Getty Images for iHeartMedia
Garth Brooks at the 2019 iHeartRadio Music Awards Photo by Kevin Mazur/Getty Images for iHeartMedia
Eric Church Extends Double Down Tour
/by Jessica NicholsonEric Church performs on the Double Down Tour. Photo: Anthony D’Angio
Eric Church has added 13 shows in eight cities to the 2019 trek of his Double Down Tour, including stops in Philadelphia, Pennsylvania; Green Bay, Wisconsin; and Sacramento, California. The new shows will run from Sept. 13 through Nov. 23, following the 19 cities he announced earlier this spring.
“I don’t want to be two months from the end of this thing—so we’re going to play a little more… I can’t thank you enough for what this is and what I’m seeing every night,” he told fans via a video announcement. “I appreciate everybody giving me everything they’ve got and I look forward to seeing you on the road!”
A pit ticket pre-sale for all added shows except the Oct. 25 Little Rock, Arkansas show (additional details below) begins on Tuesday, March 19 at 9:30 a.m. through the Eric Church Official App with an additional pre-sale for paid fan club members running from Tuesday, March 19 at 10 a.m. through Thursday, March 21 at 10:00 p.m. and tickets on sale to the general public on Friday, March 22 at 10 a.m. All times are local.
Additionally, fans can prepare for upcoming tour dates with Apple Music’s new “Get Ready to Double Down” exclusive playlist and keep the celebration going all year long with “The Party Never Ends,” both available as part of a free three-month trial for new Apple Music subscribers (terms apply).
Upcoming Double Down Tour Dates
March 15-16 – Greensboro Coliseum, Greensboro, N.C.*
March 22-23 – Allstate Arena, Chicago, Ill.*
March 29-30 – Fiserv Forum, Milwaukee, Wis.*
April 12-13 – American Airlines Center, Dallas, Texas*
April 19 & 20 – Quicken Loans Arena, Cleveland, Ohio*
April 26 & 27 – Bon Secours Wellness Arena, Greenville, S.C.*
May 3 & 4 – PPG Paints Arena, Pittsburgh, Pa.*
May 10 & 11 – Pepsi Center, Denver, Colo.*
May 17 & 18 – STAPLES Center, Los Angeles, Calif.*
May 25 – Nissan Stadium, Nashville, Tenn.*
June 28 & 29 – The Gorge Amphitheatre, George, Wash.*
Sept. 13 & 14 – Resch Center, Green Bay, Wis.
Sept. 20 & 21 – Scotiabank Saddledome, Calgary, Alberta
Oct. 11 & 12 – Wells Fargo Center, Philadelphia, Pa.
Oct. 25 – Verizon Arena, Little Rock, Ark.**
Nov. 1 – SNHU Arena, Manchester, N.H.
Nov. 2 – XL Center, Hartford, Conn.
Nov. 15 & 16 – The Anthem, Washington, D.C.
Nov. 22 & 23 – Golden 1 Center, Sacramento, Calif.
*previously announced dates
Sony/ATV CEO Martin Bandier Issues Letter To Songwriters Regarding CRB Rates Appeal
/by Jessica NicholsonMartin Bandier
Sony/ATV Music Publishing CEO Martin Bandier has added his voice to those from the songwriting and publishing communities criticizing Spotify, Amazon, Google, and Pandora for their appeal of the recent rate ruling from the Copyright Royalty Board. Notably, Apple Music is not participating in the appeal. Bandier issued the following letter to Sony/ATV writers, expressing his disappointment “that Spotify and the other companies have chosen to attack songwriters by appealing the long-overdue rate increases.”
If the ruling goes forward, pay from such music services to songwriters would increase by 44 percent.
Bandier’s letter reads:
Bandier’s comments follow those of NMPA chief David Israelite, who earlier this week issued a point-by-point “fact check” rebuttal specifically against Spotify’s blog post explaining their reasoning behind the appeal.
Four Music Organizations Call For Better Digital Attribution, Credits System
/by Jessica NicholsonFour music organizations have revealed a new collaboration to support building a “more robust and effective system of digital attribution and credits.”
The RIAA, SAG-AFTRA, A2IM, and Artist Rights Alliance released a joint statement regarding working together to build a more efficient credits system for artists, songwriters and publishers. The statement reads, in part:
“As music has shifted online, systems of attribution have become less robust and consistent. Where once cover art and liner notes often reflected who contributed to each specific musical recording, including producers, songwriters, and side players, attribution today is often less extensive, sometimes identifying only the featured artist or band, and the track and album name.
“Credits are a creator’s resume. Knowing what music an artist or songwriter has made or contributed to can help them find more fans and build and sustain their careers over time. Credits are also a learning tool and ‘map’ to the music ecosystem for fans, creating a more educated music audience to the benefit of the music business as a whole…we welcome collaborating with everyone in the music ecosystem to develop and implement a more robust and effective system of digital attribution and credits to the benefit of creators and consumers alike.”
Some digital services have made efforts to increase the attention to writer and publisher credits listed alongside music featured on those services.
In 2018, YouTube began featuring credits for artists, songwriters, as well as labels or publishers involved in the songs heard in a range of its video clips, from official artist videos to fan-developed videos. Last year, Spotify also announced that users can view songwriter and producer credits on the service’s desktop platform. Tidal also offers writer and publisher information.
DISClaimer: The Black Keys, Republican Hair, Blank Range Offer Top Blues, Punk Bangers
/by Robert K OermannThe city’s pop-rock community continues to flex its muscles as we wind up the first quarter of 2019.
The return of The Black Keys is certainly the most newsworthy event in this column. It is also the most musically delightful, and wins the Disc of the Day prize.
We have a plethora of other worthy spins here. Not the least of them belong to our bands Blank Range and Republican Hair, who share this week’s DisCovery Award.
SARAH POTENZA/Diamond
Writers: Sarah Potenza/Justin Wiseman; Producers: Jordan Brooke Hamlin; Publisher:Edamame Productions/Ball Park Drive Publishing; ASCAP/BMI; SP (track)
– This outspoken Nashville blues rocker first achieved national attention on The Voice. Her new album, Road to Rome, dropped last Friday. Its lead single is a feminist battle cry that vows to take no s–t from anyone. It roars in all the right places.
THE BLACK KEYS/ Lo/Hi
Writers: Dan Auerbach/Patrick Carney; Producers: Dan Auerbach/Patrick Carney; Publishers: none listed; Nonesuch
– Hooray! They’re back, and steaming hotter than ever. This is a neo-ZZ Top blues banger with a relentless beat that gets my body twitchin.’ These two have been producing super music independently with others, but their original sound is still the greatest. Can’t wait for the rest of the reunion album.
JASON RINGENBERG/God Bless The Ramones
Writers: Jason Ringenberg; Producers: Mike Lescelius/ Jason Ringenberg; Publisher: Jason Ringenberg Music (BMI); JR (track)
– This track from his comeback solo CD Stand Tall is an autobiographical rampage about opening for punk rock titans The Ramones back in the day. The tempo is furiously frothing and the lyrics are terrific, right down to the description of the audience throwing vile stuff at the then-innocent Scorchers as a rite of passage and quoting, “Gabba, gabba Hey!”
LILY & MADELEINE/Self Care
Writers: Lily Jurkiewicz/Madeleine Jurkiewicz; Producers: Daniel Tashian/Ian Fitchuk; Mad Lily Music; BMI; New West
– Wondering what the Tashian/Fitchuk production team has come up with since Kacey Musgraves’s pop masterpiece? Wonder no more. The opening track of this sister duo’s Canterbury Girls collection is awash in echo, electronic blips, acoustic piano and dreamy feminine vocals. I understand that the indiana-bred sisters have now departed Music City for Manhattan. Bon Voyage.
CAGE THE ELEPHANT/Ready To Let Go
Writers: none listed; Producer: John Hill; Publisher: none listed; RCA
– The breakup lyric is raw and forceful. As always, the band punches with both fists. Already Grammy winners, this outfit has moved to the forefront of the Nashville rock scene with a steady stream of addictive tracks. This one advances a collection to be titled Social Cues. I predict a monster.
BLANK RANGE/Radio
Writers: none listed; Producer: none listed; Publisher: none listed; BR
– This is the lead-off track from this Nashville band’s sophomore album, and you won’t find a purer rock performance. The boys kick serious tail with twangin’ guitar work, unstoppable drumming and a dry, deadpan-snark lead vocal. I love, love, love this.
SHANNON SANDERS & THE NASHVILLE URBAN CHOIR/Fight On
Writers: Shannon Sanders; Producer: Shannon Sanders; Publisher: Songs of Shannon/ Lilyjam; Blue Rose Music
– Empowering and inspirational. Released to coincide with Black History Month, this awesome anthem transcends any specific demographic and ascends to a spirit strengthening shout for all. Sanders is a Grammy winner who has worked with India.Arie, John Legend and Johnny Lang, among others. Check out this song’s video for its cool views of Music City settings.
LENNON STELLA/Bitch (It Takes One To Know One)
Writers: Lennon Stella/Erin McCarley; Producer: none listed; Publisher: none listed; Columbia
– This Nashville popster continues her march to stardom with this layered, ear-tickling delight. In the midst of a burbling, complex, polyrhythmic, swirly production, she delivers, “It takes a bitch to know a bitch” with disarming winsomeness. With every note she releases, I become a bigger and bigger fan. Listen and believe.
LUCIE SILVAS/I Want You All To Myself
Writers: Lucie Silvas/Erin McCarley/Aaron Wright; Producer: Jon Green; Publisher: none listed; Furthest Point
– You heard this languid, soulful track on Gray’s Anatomy. It comes from Lucie’s current E.G.O. collection. She’s headed for SXSW right now, but frequently showcases in Nashville. When she does, by all means go. Incidentally, one track on the CD is produced by her hubby, John Osborne, and he plays guitar on the rocking single, “Kite.”
REPUBLICAN HAIR/Fuck a Bomb
Writers: none listed; Producers: none listed; Publisher: none listed; Duckhaus
-This punk-new-wave outfit is representing Music City tonight (March 14) at SXSW. Expect some serious head bobbing and smiling faces as they proclaim the joys of making music instead of war. Taken from the act’s current Chaotic Good album. Buy it now.
Ticket Sales For MusicRow’s 2019 Rising Women On The Row End March 15
/by Jessica NicholsonTicket sales for MusicRow‘s 8th Annual Rising Women on the Row will close Friday, March 15 at 5:30 p.m. CT. Tickets can be purchased here.
The event, to be held Tuesday, March 26 at the Omni Hotel Nashville, will honor six female music industry executives who are having a crucial impact on the Nashville music business.
This year’s Rising Women on the Row honorees are Sandi Spika Borchetta (Big Machine Label Group, Sr. VP Creative), Janine Ebach (Curb|Word Music Publishing, VP), Kelly Janson (Manager, Kelly Janson Management), Meredith Jones (Creative Artists Agency, Agent), Lenore Kinder (Paradigm Talent Agency, Agent) and Jennifer Turnbow (NSAI, Sr. Director of Operations). Read more about each of this year’s honorees here.
Amy Grant is the featured speaker at the Row breakfast, while CMT Next Women of Country will present Clare Dunn as featured performer.
The event’s presenting sponsors are City National Bank, Loeb & Loeb, and Tri Star Sports & Entertainment Group.
Maren Morris Announces October Ascend Amphitheater Date During Sold-Out Ryman Show
/by Eric T. ParkerMaren Morris. Photo: Alex Ferrari
An outdoor show would have been ideal for a welcomed 70-degree evening in Nashville on March 13 when Maren Morris took to the Ryman Auditorium stage for her Girl: The World Tour. Perhaps more to do with the fact that not every fan was able to get a ticket for the sold-out gig, and less to do with the climate, Morris announced she will return to Nashville, playing the two-time larger Ascend Amphitheater on Oct. 18.
Morris’ signature vocal intuition delivered live is likely the biggest pull for the attendance surge. She consistently delivers a more soulful variant of her album cuts on stage. As the second show in her Girl: The World Tour, there are now 14 new tracks to showcase.
“I don’t even think I know the words to these songs that well and I wrote them, so I’ll just look to you for guidance,” beamed Morris. “My new record came out Friday, so it’s only been a couple days.”
Morris walks a line in her musical journey. She blends the elaborately produced elegance that has carried her through pop breakout hits like “The Middle,” with honest and heart-felt stories behind the hits, most she co-wrote.
“I used to drive up and down these two blocks in Nashville,” recalled Morris of Nashville’s Music Row area. “That’s where I met most of my friends who are in this crowd, and wrote the songs we’re playing tonight with me.”
Morris brought her full production, complete with video walls, to the Ryman’s wood stage. Raising through the risers in a dramatic entrance, Morris cast aside a shimmering glitter coat after the first number to don a fringed bedazzled denim jumper for the remainder of the show.
She took the most vocal liberties on the songs she’s been performing for the past few years, off her debut, Hero. “80s Mercedes” welcomed the audience back to Morris’ world and the pop-flavored song that set her whole career into motion. “Rich” showed off her stage presence and delivered her comfort in energy and motion as she eased into her soulful ingenuity. And then there’s “Once,” where Morris just totally wails and reminds you her career still has an incredibly strong trajectory with the pairing of songs that showcase her vocal ease and extreme power and shoots for the heart.
Pictured (L-R): Brandi Carlile, Cassadee Pope, Maren Morris, Natalie Hemby, Miranda Lambert. Photo: Instagram/Brandi Carlile
A slew of guests surprised the audience, and even Morris herself.
With arguably the most memorable 2019 Grammy performance, roots/Americana winner Brandi Carlile joined Morris for a new duet off Girl, “Common.”
Show opener Cassadee Pope joined Morris for a radio-friendly duet off the new record, “All My Favorite People,” which is performed with Brothers Osborne on GIRL.
Most surprisingly, country star Miranda Lambert and hit songwriter Natalie Hemby joined Morris on the stage for a song Morris chose off Lambert’s 2009 album, “Virginia Bluebell.” While Morris did not share writing credits for the deep cut, she praised her fellow Texan as early inspiration to try her shot six years ago in Music City.
“I mean this is the girl tour,” said Morris. “I love Maren Morris, she’s a bad ass,” praised Lambert. Lambert and Hemby stayed to impeccably harmonize on Morris’ “I Wish I Was.”
“This is so fun, I wish I had a Springsteen-type catalog to play for four hours,” exclaimed Morris, who turned back to new music. She introduced “To Hell & Back,” the first song written for the album, saying, “I was going through this weird in-between breakup and single [stage]—where you’re not quite out of the tunnel yet.”
Probably the most appropriate and self-defining song on Girl, “Flavor,” offers Morris a chance to stand her ground. Original could take a while/I’m cooking up my own flavor. Morris is a trailblazer. Her appropriate Dixie Chicks reference was well accepted by the unabashed millennial crowd, singing every word.
Even sitting, or laying down on the stairs like in “Make Out With Me,” Morris’ voice packed a punch, and the glow of the staircase offered a distinguished flair, appropriate for the delivery.
Morris is on the right track—namely her own. She rides that wave of musical lineage many have caught before her on their path to becoming a legend. A catalog takes time, and with songs like “The Bones,” Morris is able to color outside the lines of a genre that, for perhaps the first time, is able to unconditionally accept an empowered female who lets her vocals loose.
As the show progressed there was less behind-the-scene anecdotes between songs, which became ballad heavy. Her first No. 1, “I Could Use A Love Song,” was one such title—but a stand-out regardless—for which Morris addressed critique. “A guy at a radio station that said people don’t want to hear women being sad on the radio,” recalled Morris. “I’m pretty sure sad songs are what built country music. I want to know I’m not alone in my broken heart, and I put this song out anyway, and it took 42 weeks to finally hit No. 1. And that guy doesn’t have his job anymore. The universe is funny that way.”
Of course the antithesis track, the pop commercial cut “The Middle,” concluded the whole evening in the encore, after her seated, casual delivery of another new title, “Shade.”
Morris was surprised by Pope, Lambert, Carlile and Hemby, who helped join on a larger-than-life, gospel-punched production of “My Church,” to conclude her set.
“2019 is going to be a turning point for a lot of key people, women, a lot of underdogs,” she concluded. “I’ve been fortunate to have my songs played on the radio the last couple years, but I know so many of my friends who are badasses and deserve to be on there, and are not. I’m going to continue to be the squeaky wheel until something gets some oil.”
Citi presale for the Ascend Amphitheater show begins Tuesday, March 21, with tickets on sale to the public Friday, March 22. Special guests to be announced.