Dierks Bentley
This is part one of a two-part series with MusicRow Magazine’s Sherod Robertson and multi-platinum selling singer/songwriter Dierks Bentley. Read part two here.
Over the last 15 years, Dierks Bentley has built a reputation as an authentic artist who often takes fearless stylistic detours with his music. He continues that journey with his highly anticipated ninth studio album, The Mountain, set for release by Capitol Records Nashville tomorrow, Friday, June 8.
Bentley co-wrote 10 of the 13 new tracks that are unified by themes of presence and positivity, and range in style from textured rock to acoustic folk. With his production team of Ross Copperman, Jon Randall Stewart and Arturo Buenahora, Jr., Bentley ventured to the Rocky Mountains to record the project at Studio in the Clouds last November.
MusicRow Publisher/Owner Sherod Robertson met up with Bentley at his writing room at Nashville’s Hutton Hotel recently to talk about The Mountain and how this project grew from a seed of inspiration to a meaningful musical mountainside.
Why did you write and record The Mountain in Telluride, Colorado, instead of Nashville?
About this time last year I really had no idea what I wanted to do for the next album, or what I wanted to sing about. But I knew I wanted it to be something that I was inspired by. I played the Telluride Bluegrass Festival June 15th, 2017 and that was the spark. I knew I wanted to do something about the West—I’m from Arizona—I just didn’t know if that meant sonically or lyrically or conceptually.
I wanted to capture that vibe of the mountains and musicianship somehow in the songs. I knew I couldn’t translate that verbally so I brought six songwriters back out to Telluride in August and wrote a majority of the record there. We all lived in one house together right off Main St. It was like the Colorado fraternity house or something… Well Natalie Hemby was there, so it was a coed fraternity house, but it was so fun. And then I went back out with the musicians in November and recorded it.
How was that process different than working in Nashville?
Being outside of Nashville is really helpful towards being focused. At home, when 2:30 p.m. rolls around, I’m thinking about school pickup, or playing hockey with my son Knox in the driveway. So a lot of times, my co-writers have to conform to my schedule. During the winter I was trying to get in touch with the seasons where everything’s dying around me, so I try to kill parts of me I don’t like. So I work out super early from 5 until 6, and by 8 o’clock in the morning I’m ready to write, because my energy’s done by 1 p.m. Being out of town there isn’t that schedule and it is more relaxing.
And on Music Row, there’s more going on than just people creating songs. There’s a business happening. I feel like taking songwriters outside their normal routines and getting them somewhere else is good for them too. It’s good for your soul.
How would you describe the overall theme of this project?
I’d probably use the words “inspired, gratitude, and thankful.” The overall theme to me, is it just feels good. On the road the last two years, I spent a lot of time with my fans at meet and greets. I open my heart up so I can hear their stories, for example, about what “I Hold On” means to someone whose brother is dying of cancer. I hear a lot of heavy stories, but I also see a lot of perseverance. So I’m really inspired by my fans. And then after the Las Vegas shooting… it’s just a lot of heaviness. So I need to let go. I need to recharge.
Looking back on the mountains that are around me and thinking about the mountains that people are having to climb in their own personal lives, it felt like a pretty cool metaphor. It wasn’t something I realized I was writing about until later on.
The album itself led to a festival called Seven Peaks Music Festival in Colorado, and so many things have been manifested from that initial idea.
This album does not have a song in the same lane as “Somewhere on a Beach” and “Drunk on a Plane.” Was that intentional?
Some of those type songs just didn’t fit this vibe. And maybe some fans won’t understand that. But at the end of the day, it has to feel like an album to me.
This whole project is about digging deeper and finding stories that give meaning to your own struggles and help inspire you. And to me that takes you higher than a song like “5-1-5-0.” In my live show, “I Hold On,” brings the connection with fans so much deeper. There are different ways to reach your fans. There’s a direct route, which is an obvious hit, happy, fun song. Or there’s a back door way, which sometimes can have a little bit more of a lasting meaning.
The first track on The Mountain is “Burning Man” featuring Brothers Osborne. How did that collaboration come about?
Luke Dick and Bobby Pinson wrote the song, but it feels autobiographical. The first time I heard it was when my buddy Arturo Buenahora played it for me when we were making the Black album. And I was like, “God that’s a great song.” I tried recording it here in Nashville with a couple of folks and it just didn’t feel like I hooked it. But out in Colorado, I felt like we nailed the track.
I’m gearing up for a tour; it’s like going to summer camp with LANCO and Brothers Osborne. So the fact that we get to sing it every night is amazing.
Dierks Bentley on the opening night of his Mountain High Tour.
“My Religion” is such a different song for you. Your vocals are out front and the piano is in the back. It is so powerful. What made you decide to record it?
There’s one song on every record that Mary Hilliard Harrington, my manager, encourages me to record. She loved “Somewhere on a Beach” and I wasn’t too sure about it. And she loves “My Religion.” Lyrically it’s a little different than some of the stuff on Music Row.
It’s my first song with just me and a piano on a track. It freaked me out. I know I love the song, but I don’t know how I feel about me singing the song. I relate to the lyrics and love the idea: that hook of loving you’s not my decision, it’s my religion. I mean, that is my religion—my wife, my family, my connection with the fans.
But I like having a song on the record that I’m not totally comfortable with yet. That means that it has the chance to grow on me.
How did you decide the track sequence?
What really surprised me overall about the record is how it just sequenced itself. I took a piece of paper and cut all the names and put them on the door with sticky tape so I could move them around, and the order manifested itself.
I knew “Burning Man” would be a great way to start off, and then “The Mountain” really sets the tone of the record. “Living” is the way I feel about life—taking chances, going for moments and really making the most of them. The gratitude of “Woman, Amen” and “You Can’t Bring Me Down,” those songs make you feel good, and are the meat of what the album it about. And that continued with the rest of the songs. All the songs came together to tell a story—about the journey of myself and this record.
Darius And Friends Benefit Concert Raises Over $400,000
/by Jessica NicholsonDarius Rucker performs for the Ryman Auditorium crowd | Photo: Steve Lowry
Almost a decade after first pledging his support to St. Jude Children’s Research Hospital and the thousands of children the healthcare institution treats, Darius Rucker hosted his sold-out ninth annual “Darius and Friends” benefit concert on Monday night followed by his traditional golf tournament on Tuesday morning. This year’s concert, auction and golf tournament alone raised $404,000 for St. Jude, breaking the previous year’s record and bringing the cumulative total raised for all years to $1.6 million.
“As a parent I can’t imagine the emotional toll hearing your child has cancer takes, not to mention the financial stress,” said Rucker. “The support families with a child facing life-threatening illness receive from St. Jude is just incredible. I’m proud to support St. Jude and I’m so grateful to all our friends who came out and donated their time to be on the show.”
For its second year at the Ryman Auditorium, Rucker welcomed surprise guests Patrick Davis, Edwin McCain, A.J. McClean of the Backstreet Boys and Brad Paisley, along with stars Trace Adkins, Lauren Alaina, Bobby Bones, Ashley McBryde and Rachel Wammack and more than 2,400 fans to the sold-out event.
DISClaimer: Craig Campbell’s Sexy, Country “See You Try”
/by Robert K OermannLook who has new music for the thousands of fans who are attending the CMA Music Festival this week.
Step right up, Little Big Town, Thomas Rhett, Luke Combs, Brett Eldredge and Kacey Musgraves. The DisClaimer spotlight is on you.
Despite the presence of these big-time artists, it’s underdog Craig Campbell who has the Disc of the Day. Running close behind him are Combs and Eldredge, both of whom also have dandy offerings.
We have no newcomers this week, so the DisCovery Award goes unclaimed.
GRANGER SMITH/You’re In It
Writers: none listed; Producer: none listed; Publishers: none listed; Wheelhouse (ERG)
– Small-town good times blah blah blah.
BRETT ELDREDGE/Love Someone
Writers: Brett Eldredge/Ross Copperman/Heather Morgan; Producers: Ross Copperman & Brett Eldredge; Atlantic (track)
– Joyous. I love the way this guy delivers a lyric. And you can’t beat a track this bouncy and delightful.
JASON BOLAND & THE STRAGGLERS/Hard Times Are Relative
Writers: none listed; Producers: The Stragglers, David Percefull, Adam Odor; Publishers: none listed; Thirty Tigers
– The title tune to the band’s new CD is a story song about tough times on the frontier. It has a vintage, folkie quality that is quite evocative and appealing. Be patient with it, because the rhythm track doesn’t kick in until it’s almost halfway through.
LITTLE BIG TOWN/Summer Fever
Writers: Jesse Frasure/Cary Barlowe/Sam Romans/Karen Fairchild; Producers: Jesse Frasure/Shane McAnally; Publishers: none listed; Capitol
– If you had any doubt that the sunshine season has arrived, this will erase it. This sways and simmers with an irresistible groove. Breezy and then some.
THE BURRITO BROTHERS/Between Your Hands and Mind
Writers: Gram Parsons/Chris P. James; Producer: John Sturdivant, Jr.; Publishers: GPJ/Blue Meteor, ASCAP/BMI; Junction (track)
– Still Going Strong, this ensemble’s latest CD, kicks off with a wafting, airy song originated by its founder, Parsons. Alas, it lacks a strong lead vocal, as does the rest of the album. The venerable group is now populated entirely by Nashvillians. Chris P. James is the Burrito veteran, having first worked with the group in 1986. Steel guitarist Tony Paoletta is a disciple of the late Burrito Sneaky Pete Kleinow. Bob Hatter is a Music City session man, and Larry Marrs is well known as a country bass player. Producer, guitarist and drummer John Sturdivant Jr. is the grandson of Kitty Wells & Johnny Wright and the son of the late Record World/Music City News media maven whose name he bears.
THOMAS RHETT/Leave Right Now
Writers: Thomas Rhett/Julian Bunetta/Edward Drewett/John Henry Ryan; Producers: Julian Bunetta/Thomas Rhett; Valory (track)
– I don’t care for all the tempo-shifting electronic phasing and wooshing in the production. Nor the compressed vocal.
LUKE COMBS/Beautiful Crazy
Writers: Luke Combs/Wyatt B. Durrette III/Robert Williford; Producer: Scott Moffatt; Publishers: Big Music Machine/50 Egg/Straight Dimes/Island South/Rosest/Works of RHA, BMI/SESAC; Columbia/River House
– A very nice change of pace. Combs unveils a gentler side here, softly crooning about an offbeat, unpredictable lover he’s just head-over-heels about. Ernest and endearing.
JANA KRAMER/Dammit
Writers: Nicolle Galyon/Elizabeth Huett; Producer: none listed; Publisher: none listed; Sophie Dog
– No longer with Warner, Jana has her own imprint now. This stunning ballad is righteous evidence that she’s still got the goods. The torrid tale finds her ruminating about a ruined relationship in the house they used to share. Painful and real and powerful.
CRAIG CAMPBELL/See You Try
Writers: none listed; Producer: none listed; Publishers: none listed; Red Bow
– Very catchy, very sexy and very country. This thumper boasts a terrific lead vocal and a dandy, rumbling, barroom production. Addictive.
KACEY MUSGRAVES/Butterflies
Writers: Luke Laird/Natalie Hemby/Kacey Musgraves; Producers: Ian Fitchuk, Daniel Tashian & Kacey Musgraves; Publisher: none listed; MCA (track)
– Very pretty pop music. Her voice has never sounded better. But you will seek in vain for the grit and wit of the country artist who previously created “Merry Go ’Round,” “Follow Your Arrow,” “Dime Store Cowgirl” and “Blowin’ Smoke.”
SESAC Launches Program To Support Women, Minorities In Film Composer Community
/by Jessica NicholsonPictured (L-R): John Josephson, Christophe Beck and Erin Collins
Nashville-based music rights organization SESAC has launched SESAC Scores: The Beck Diversity Project, a five-year mentorship and grant program designed to make an impact on the historically low number of women and people of color hired in the film composer community.
As part of a $1 million commitment, divided over the next five years, the investment will be used for educational programming and composer workshops. The Beck Diversity Project will host its first weekend workshop at SESAC’s Santa Monica office in July.
In addition, there will also be a national application process to select individuals for grants to support films already in production, which are short on funds, to enhance and deliver a better score. Projects considered for the grant program will be open to any narrative film and the fund will support composers from a wide range of musical backgrounds.
The inaugural project is a collaborative effort between long-time SESAC composer Christophe Beck and the SESAC Film & Television team, led by SESAC Chairman and CEO John Josephson and Erin Collins, Vice President of Film, Television and Developing Media.
“We’re thrilled to embrace a program that helps foster diversity in the audiovisual creative community and which empowers creators to pursue their passion,” said Josephson. “Working with Chris to help execute his vision to provide the needed resources to underrepresented composers is exciting for all of us at SESAC and an important way that we can demonstrate our commitment to the music community.”
“Creating opportunities for new composers to contribute in a meaningful way to our industry is a passion of mine, and I’m looking forward to working alongside SESAC to make this happen,” says Beck.
Applications for the initial July workshop will be accepted at sesacscores.com. Additional workshops will be announced throughout the year.
Song Suffragettes To Host Fourth Anniversary Party
/by Lorie HollabaughNashville’s weekly singer-songwriter round, Song Suffragettes, will host its 4th Anniversary Party on Monday, June 11 at 6:30 P.M. at Analog at Hutton Hotel in Nashville. The party will feature two rounds by some of Nashville’s best female singer-songwriters, and a special panel on the “State of Women in Country Music,” which will feature CMT’s Leslie Fram, Red Light’s Tracy Gershon and MTSU’s Beverly Keel. Tickets for the event can be purchased here.
”We started Song Suffragettes in 2014 simply to give underserved female singer-songwriters a place to play their music and hone their craft,” says program founder Todd Cassetty. “To watch Song Suffragettes evolve from simply a talent showcase to a proud community of talented women has been highly rewarding. And on June 11, we’re excited to once again celebrate the diversity of female voices that we will continue to support until there’s more gender parity within the Nashville music community.”
Since Song Suffragettes first debuted four years ago, they have grown to become the Listening Room Cafe’s largest weekly sold-out show. Each show airs live on Periscope with as many as 28,000 viewers per week. Song Suffragettes performances have featured guest appearances from Lauren Alaina, RaeLynn, Lindsay Ell, Kelsea Ballerini, Deana Carter, Jesse James Decker, Jamie O’Neal and more. Nine suffragettes, including Carly Pearce and Jillian Jacqueline, have received record deals and 37 women have received publishing deals.
Song Suffragettes Anniversary Lineup
Round 1: Kelleigh Bannen, Candi Carpenter, Alys Ffion, Tegan Marie and Kalie Shorr
Round 2: Nora Collins, Erin Enderlin, Madison Kozak, Hayley Orrantia and Tara Thompson
Q&A: Dierks Bentley Raises A ‘Mountain’ With Inspiration And Gratitude
/by Sherod RobertsonDierks Bentley
This is part one of a two-part series with MusicRow Magazine’s Sherod Robertson and multi-platinum selling singer/songwriter Dierks Bentley. Read part two here.
Over the last 15 years, Dierks Bentley has built a reputation as an authentic artist who often takes fearless stylistic detours with his music. He continues that journey with his highly anticipated ninth studio album, The Mountain, set for release by Capitol Records Nashville tomorrow, Friday, June 8.
Bentley co-wrote 10 of the 13 new tracks that are unified by themes of presence and positivity, and range in style from textured rock to acoustic folk. With his production team of Ross Copperman, Jon Randall Stewart and Arturo Buenahora, Jr., Bentley ventured to the Rocky Mountains to record the project at Studio in the Clouds last November.
MusicRow Publisher/Owner Sherod Robertson met up with Bentley at his writing room at Nashville’s Hutton Hotel recently to talk about The Mountain and how this project grew from a seed of inspiration to a meaningful musical mountainside.
About this time last year I really had no idea what I wanted to do for the next album, or what I wanted to sing about. But I knew I wanted it to be something that I was inspired by. I played the Telluride Bluegrass Festival June 15th, 2017 and that was the spark. I knew I wanted to do something about the West—I’m from Arizona—I just didn’t know if that meant sonically or lyrically or conceptually.
I wanted to capture that vibe of the mountains and musicianship somehow in the songs. I knew I couldn’t translate that verbally so I brought six songwriters back out to Telluride in August and wrote a majority of the record there. We all lived in one house together right off Main St. It was like the Colorado fraternity house or something… Well Natalie Hemby was there, so it was a coed fraternity house, but it was so fun. And then I went back out with the musicians in November and recorded it.
How was that process different than working in Nashville?
Being outside of Nashville is really helpful towards being focused. At home, when 2:30 p.m. rolls around, I’m thinking about school pickup, or playing hockey with my son Knox in the driveway. So a lot of times, my co-writers have to conform to my schedule. During the winter I was trying to get in touch with the seasons where everything’s dying around me, so I try to kill parts of me I don’t like. So I work out super early from 5 until 6, and by 8 o’clock in the morning I’m ready to write, because my energy’s done by 1 p.m. Being out of town there isn’t that schedule and it is more relaxing.
And on Music Row, there’s more going on than just people creating songs. There’s a business happening. I feel like taking songwriters outside their normal routines and getting them somewhere else is good for them too. It’s good for your soul.
How would you describe the overall theme of this project?
I’d probably use the words “inspired, gratitude, and thankful.” The overall theme to me, is it just feels good. On the road the last two years, I spent a lot of time with my fans at meet and greets. I open my heart up so I can hear their stories, for example, about what “I Hold On” means to someone whose brother is dying of cancer. I hear a lot of heavy stories, but I also see a lot of perseverance. So I’m really inspired by my fans. And then after the Las Vegas shooting… it’s just a lot of heaviness. So I need to let go. I need to recharge.
Looking back on the mountains that are around me and thinking about the mountains that people are having to climb in their own personal lives, it felt like a pretty cool metaphor. It wasn’t something I realized I was writing about until later on.
The album itself led to a festival called Seven Peaks Music Festival in Colorado, and so many things have been manifested from that initial idea.
This album does not have a song in the same lane as “Somewhere on a Beach” and “Drunk on a Plane.” Was that intentional?
Some of those type songs just didn’t fit this vibe. And maybe some fans won’t understand that. But at the end of the day, it has to feel like an album to me.
This whole project is about digging deeper and finding stories that give meaning to your own struggles and help inspire you. And to me that takes you higher than a song like “5-1-5-0.” In my live show, “I Hold On,” brings the connection with fans so much deeper. There are different ways to reach your fans. There’s a direct route, which is an obvious hit, happy, fun song. Or there’s a back door way, which sometimes can have a little bit more of a lasting meaning.
The first track on The Mountain is “Burning Man” featuring Brothers Osborne. How did that collaboration come about?
Luke Dick and Bobby Pinson wrote the song, but it feels autobiographical. The first time I heard it was when my buddy Arturo Buenahora played it for me when we were making the Black album. And I was like, “God that’s a great song.” I tried recording it here in Nashville with a couple of folks and it just didn’t feel like I hooked it. But out in Colorado, I felt like we nailed the track.
I’m gearing up for a tour; it’s like going to summer camp with LANCO and Brothers Osborne. So the fact that we get to sing it every night is amazing.
Dierks Bentley on the opening night of his Mountain High Tour.
“My Religion” is such a different song for you. Your vocals are out front and the piano is in the back. It is so powerful. What made you decide to record it?
There’s one song on every record that Mary Hilliard Harrington, my manager, encourages me to record. She loved “Somewhere on a Beach” and I wasn’t too sure about it. And she loves “My Religion.” Lyrically it’s a little different than some of the stuff on Music Row.
It’s my first song with just me and a piano on a track. It freaked me out. I know I love the song, but I don’t know how I feel about me singing the song. I relate to the lyrics and love the idea: that hook of loving you’s not my decision, it’s my religion. I mean, that is my religion—my wife, my family, my connection with the fans.
But I like having a song on the record that I’m not totally comfortable with yet. That means that it has the chance to grow on me.
How did you decide the track sequence?
What really surprised me overall about the record is how it just sequenced itself. I took a piece of paper and cut all the names and put them on the door with sticky tape so I could move them around, and the order manifested itself.
I knew “Burning Man” would be a great way to start off, and then “The Mountain” really sets the tone of the record. “Living” is the way I feel about life—taking chances, going for moments and really making the most of them. The gratitude of “Woman, Amen” and “You Can’t Bring Me Down,” those songs make you feel good, and are the meat of what the album it about. And that continued with the rest of the songs. All the songs came together to tell a story—about the journey of myself and this record.
Michael Ribas Joins First Tennessee Bank
/by Lorie Hollabaugh“Michael has a proven track record and ensures borrowers have the best financing experience possible. Michael is also a familiar face on Music Row, with over eight years of experience helping Tennesseans achieve their dream of homeownership. He specializes in providing Residential loans to buyers in the greater Nashville market, including musicians, professionals, and first time buyers,” said Ken Kavanagh.
“Michael is a strong partner, delivering on our Group’s overall promise to deliver the best client experience to the Music Industry,” said Andrew Kintz, leader of the Music Industry Group.
Ribas graduated from Vanderbilt University with a B.A. in Economics and is involved with the Vanderbilt Alumni Committee. His hobbies include playing tennis and spending time with his wife and two children.
k.d. lang To Receive Americana Trailblazer Award
/by Lorie Hollabaughlang will also play a headlining show at the Ryman on Sunday, Sept. 16 as part of her “Ingénue Redux” Tour in celebration of that landmark album’s 25th anniversary. The ”Ingénue Redux” show is a separate ticketed event and will go on sale to the general public June 14 with tickets available for purchase here. AMERICANAFEST Conference Registrants and members of the Americana Music Association will receive a special pre-sale opportunity via email that will begin on Wednesday, June 13.
“We are beyond excited to honor k.d. lang at our hallmark event of the year,” said Jed Hilly, Executive Director of the Americana Music Association. “Her unwavering artistry has set a new standard for any musician of this current generation, and we are humbled to honor that legacy.”
Canada native lang has had a distinguished career that has included collaborations with everyone from Tony Bennett and Roy Orbison to Bonnie Raitt, Elton John, and Loretta Lynn. She sang at the closing ceremonies of the 1988 Winter Olympics in Calgary and at the opening ceremonies of the 2010 Olympics in Vancouver. lang has contributed music to the soundtracks of several films, including Even Cowgirls Get the Blues, Midnight in the Garden of Good and Evil, and Happy Feet. lang has also appeared in a number of films, including Salmonberries, The Black Dahlia, and Eye of the Beholder. In 1996, lang received Canada’s highest civilian honor, the Order of Canada, and her pioneering career serves as a touchstone for any artist who aspires to pave his or her own lane while challenging the one-size-fits-all norm in the music industry. Most recently she collaborated with indie artist Neko Case and singer/songwriter Laura Veirs to write and record the album case/lang/veirs, which was released in June 2016.
Walker Hayes And Family Grieve Loss Of Newborn Child
/by Jessica NicholsonWalker Hayes and his wife Laney shared on Wednesday evening (June 6) that they are mourning the unexpected loss of their newborn daughter.
“It is with great sadness that Laney and I share with you the news that our sweet Oakleigh Klover Hayes was born this morning at the hospital and now is safely in heaven,” Hayes shared in a statement on social media. “Thank you for honoring our privacy as we grieve.”
Oakleigh Klover Hayes would have been the couple’s seventh child. She was born and died on June 6.
Walker has canceled his immediate upcoming concert appearances. In December, he released the album Boom on Monument Records. The album includes the singles “You Broke Up With Me” and his current single, “Craig.”
CMT Music Awards Winners
/by Jessica NicholsonBlake Shelton led the evening with two CMT Music Awards wins on Wednesday (June 6), including Video of the Year and Male Video of the Year, both for “I’ll Name The Dogs.”
Shelton was the only double winner of the evening, while winners in other categories included Carrie Underwood (ft. Ludacris), Florida Georgia Line, Backstreet Boys, Dan+Shay, Little Big Town (who also hosted the awards show), Carly Pearce, Kane Brown and Lauren Alaina.
See below for a full list of winners.
2018 CMT Music Awards (winners in red):
Video of the Year
Best video of the year; awarded to the artist (male, female, group/duo or collaboration) and the video director.
Blake Shelton, “I’ll Name The Dogs”
Brett Young, “Mercy”
Luke Combs, “When It Rains It Pours”
Kane Brown feat. Lauren Alaina, “What Ifs”
Thomas Rhett, “Marry Me”
Male Video of the Year
Best video by a male artist; awarded to the artist
Blake Shelton, “I’ll Name The Dogs”
Dustin Lynch, “Small Town Boy”
Jason Aldean, “You Make It Easy”
Jon Pardi, “Heartache On The Dance Floor”
Luke Bryan, “Light It Up”
Thomas Rhett, “Marry Me”
Female Video of the Year
Best video by a female artist; awarded to the artist
Carly Pearce, “Every Little Thing”
Carrie Underwood feat. Ludacris, “The Champion”
Kelsea Ballerini, “Legends”
Lauren Alaina, “Doin’ Fine”
Maren Morris, “I Could Use A Love Song”
Miranda Lambert, “Tin Man” From 2017 ACM Awards
Duo Video of the Year
Best video by a duo; awarded to the artists
Big & Rich, “California”
Brothers Osborne, “It Ain’t My Fault”
Dan + Shay, “Tequila”
Florida Georgia Line, “Smooth”
High Valley, “She’s With Me”
Tim McGraw & Faith Hill, “Speak To A Girl”
Group Video of the Year
Best video by a group; awarded to the artists
Lady Antebellum, “You Look Good”
LANco, “Greatest Love Story”
Little Big Town, “When Someone Stops Loving You”
Midland, “Make A Little”
Old Dominion, “No Such Thing As A Broken Heart”
Rascal Flatts, “Yours If You Want It”
Zac Brown Band, “My Old Man”
Breakthrough Video of the Year
Best video from an artist’s major breakthrough album; awarded to the artist (male, female or group/duo)
Carly Pearce, “Every Little Thing”
Danielle Bradbery, “Sway”
Devin Dawson, “All On Me”
LANco, “Greatest Love Story”
Russell Dickerson, “Yours”
Walker Hayes, “You Broke Up With Me”
Collaborative Video of the Year
Best video from a collaboration; awarded to the artists
Bebe Rexha feat. Florida Georgia Line, “Meant To Be”
Carrie Underwood feat. Ludacris, “The Champion”
Cole Swindell feat. Dierks Bentley, “Flatliner”
Justin Timberlake feat. Chris Stapleton, “Say Something”
Kane Brown feat. Lauren Alaina, “What Ifs”
Thomas Rhett feat. Maren Morris, “Craving You”
CMT Performance of the Year
Musical performance on a television show, series or variety special on CMT; awarded to the artist (individual, group or duo)
Andra Day, Common, Little Big Town, Lee Ann Womack and Danielle Bradbery, “Stand Up For Something” (From 2017 CMT Artists of the Year)
Backstreet Boys and Florida Georgia Line, “Everybody” (From CMT Crossroads)
Charles Kelley, Jason Aldean, Darius Rucker and Derek Trucks, “Midnight Rider” (From 2017 CMT Music Awards)
Earth, Wind & Fire and Lady Antebellum, “September” (From CMT Crossroads)
Jason Aldean, Keith Urban, Chris Stapleton and Little Big Town, “I Won’t Back Down” (From 2017 CMT Artists of the Year)
Keith Urban feat. Carrie Underwood, “The Fighter” (From 2017 CMT Music Awards)
Country Artists Tackle Classic ’80s Tunes To Support Alzheimer’s Association
/by Jessica NicholsonSinger-songwriters Darius Rucker (L) and Brad Paisley perform onstage during Nashville ’80s Dance Party benefiting The Alzheimer’s Association at Wild Horse Saloon on June 3, 2018 in Nashville, Tennessee. (Photo by Frederick Breedon IV/Getty Images for Alzheimer’s Association )
Several country artists showed up in their ’80s best, for the second annual Dance Party to End Alz on Sunday, June 3 at Nashville’s Wildhorse Saloon. Hosted by Kimberly Williams-Paisley and Blair Garner, the sold-out event raised more than $340,000 for Alzheimer’s Association care, support and research programs.
Brad Paisley offered renditions of ‘80s classics “Boys of Summer” and “Hot for Teacher,” while Chris Young tackled “You Dropped a Bomb on Me.”
Darius Rucker made a surprise appearance, joining Paisley on “Purple Rain,” while Nashville star Charles Esten offered “With or Without You.”
High Valley, Chris Young, and Blair Garner backstage at the ’80s themed Dance Party to End ALZ
Chase Bryant brought a soulful groove on “Superstition” and “Dirty Diana,” followed by Ashley Campbell‘s light-hearted romp on “Girls Just Wanna Have Fun.” Jamie O’Neal‘s commanding voice was more than capable on “Flashdance”; Lindsay Ell channeled her inner rocker on “Another One Bites the Dust,” while Emily West paid tribute to Whitney Houston on “I Wanna Dance with Somebody.”
Duo High Valley offered the Wang Chung ‘80’s anthem, “Everybody Have Fun Tonight,” while Radio Romance offered Alabama’s ‘80s country hit, “Mountain Music.” Country newcomer Jay Allen shared his very personal story about his mother’s Alzheimer’s diagnosis before performing “Blank Stares,” a song inspired by her.
Accompanied throughout the evening by the Matte Gray Band, all artists took the stage for the group finale, a rousing take on “Thriller.”
NASHVILLE, TN – JUNE 03: Brad Rempel (L) and Curtis Rempel (R) of musical duo High Valley perform onstage during Nashville ’80s Dance Party benefiting The Alzheimer’s Association at Wild Horse Saloon on June 3, 2018 in Nashville, Tennessee. (Photo by Frederick Breedon IV/Getty Images for Alzheimer’s Association)
During the program, host Kimberly Williams-Paisley was joined on stage by her friend, Academy Award-winning actress Marcia Gay Harden. Both women have chronicled the stories of their mothers’ lives after being diagnosed with Alzheimer’s in best-selling books and they shared touching thoughts with the audience about the urgent need to support the Alzheimer’s Association to change the course of this disease for the millions affected.
“I’m here tonight because of my mom who had Alzheimer’s and my entire family who went through the experience with her. We lost my mom 2016 and since then I’ve connected with so many people affected by this disease,” Kimberly Williams-Paisley shared. “Unfortunately, people with Alzheimer’s and those around them feel the stigma associated with this disease, and that keeps people from having important conversations and sharing their story to bring Alzheimer’s and other dementias out of the shadows. Together, all of us here in this room – each and every one of us – we are changing the world by imagining a world without Alzheimer’s disease and by supporting the Alzheimer’s Association.”
All proceeds raised through the Nashville Dance Party to End Alz support Alzheimer’s Association research programs.
Musician Charles Esten performs onstage during Nashville ’80s Dance Party benefiting The Alzheimer’s Association at Wildhorse Saloon on June 3, 2018 in Nashville, Tennessee. (Photo by Anna Webber/Getty Images for Alzheimer’s Association)