Pictured (L-R): Beverly Keel, Ann Powers, Tracy Gershon, Leslie Fram
First Tennessee Bank sponsored Change the Conversation’s August program at Nashville’s BMI on Aug. 29, featuring reporter and author Ann Powers.
Powers’ latest book Good Booty: Love and Sex, Black and White, Body and Soul in American Music was the feature of the program, which was led by the organization’s co-founder Beverly Keel.
“I’ve always been compelled towards music because it gave me pleasure; it made me feel free,” Powers told Keel. “I wanted to think hard about what that meant—how music helps us feel more connected to each other and how that experience of music has helped shape conversations about our bodies and things related to our bodies, like sexuality, eroticism, romance and love.
“I wanted to get beyond easy assumptions, that Rock & Roll is about sex. I wanted to know: What does that mean? How did that work in gospel music in the 1930s? How did it work in the 1980s when America was dealing with HIV/AIDS?
“I also wanted to highlight the stories of LGBTQ people, of women and people of color because that is the heart and soul of our American music heritage. Often times those stories are shunned to the side or hidden in plain sight.”
Powers has long spoken to those unsung legacies that have had a tendency to become lost or forgotten.
“When Evelyn McDonnell and I edited Rock She Wrote, we made it a point to include material from teen magazines and fashion magazines,” continued Powers. “That is music writing too and may have been forgotten. Just ask Merry Clayton in 20 feet from Stardom. When you listen to music from that era, it’s Merry Clayton you remember as much as Mic Jagger. So why isn’t she considered a co-author? Why is it that interpreting a song is not a form of authorship? It’s usually women who are interpretive singers. There’s lots of ways the woman’s position is undervalued and it’s important to celebrate the position where it’s thrived.”
Change the Conversation was formed by Tracy Gershon, Keel and Leslie Fram in 2014 to help create an even playing field for women in country music. The organization funds research and presents a platform where music business leaders address the opportunities and challenges in their segments of the industry. Other music leaders who have spoken to Change the Conversation include Reba McEntire, Wanda Jackson and Sara Evans.
Keel continued the conversation with Powers, some of which is highlighted below.
Keel: How did the title come about?
Powers: For a long time the book had a different title: Rock Me With A Steady Roll, from a 1920s blues song, “My Daddy Rocks Me With A Steady Roll.” My editor thought that title may be too long, or people may not know the reference and asked me to think of a different title. I was sitting at my home office and I looked around my office and my eyes went right to Little Richard’s biography, and I thought, “Little Richard, Good Booty,” because those were the original lyrics to “Tooti Frutti.” The title just came to me straight from Little Richard.
What was the research process like?
I started in 2011, wanting to write about music and sexuality for years. I gave a talk that year at the Rock & Roll Hall of Fame called Rock & Roll Started With The Shimmy. One important thing I wanted to do with this book is to show how dancing is as important to music in this country as anything else. A woman dancing is as important as a man playing a guitar solo.
I really did this based on archival research at libraries, including MTSUs Center for Popular Music, Fisk, Rock & Roll Hall of Fame, the Lincoln Center Library in New York, the Schaumburg Library and the Tulane Jazz Archives.
Talk about sex in country music.
Historically, country has told incredible stories about love and sex and domestic life: marriage. Every country song about the fire going out is about sex, not about your stove. Country music is attached to a bigger world where certain values have historically included feminine modesty and decorum. But then on the other hand we have Dolly [Parton]. She’s our ray of light who has always presented herself as a sexual woman who is a badass in every single way.
How are the changing demographics influencing the music that is being made and becoming successful?
I lived in Alabama for six years. When I first heard Sam Hunt I thought, that’s like every undergraduate at the University of Alabama. Truly, that is what people want to hear in Southern college towns: country and hip hop. From early 90th century New Orleans, it’s always about music coming together.
There’s always the dilemma of celebrating the female artist or executive, but there’s almost always an asterisk with them perhaps perceived as different, or less than. I know sometimes as a female journalist, you’re tasked with writing about the female artist. Talk about celebrating female artists.
We face a paradox as women. We want to own ourselves as women, and we also feel forced into that slot of women in music. But in general, I believe in the accomplishments of women and strive to put them at the forefront.
As long as the structural inequities exist in the music industry—in our culture—under patriarchy, we have to address it and work to change them. So we do have to acknowledge the categories of gender. It’s a corrective act of intervention. How many times is it assumed that when you say musician, you mean man. I want that world to change. I dream of a world where gender binaries are erased.
All through history I see in your book women have been marginalized. Do you see that improving? Where are we now?
In certain scenes it’s really improved, indie rock for example. All the same conversations we’re having now, we had in the ’90s. I always call the ’90s the decade of the year of women in rock. It’s impossible to not notice how many publications would do one article a year on the year of women in rock. But who gets that writing assignment? It’s always this woman or that, but never both or not one could write on Metallica or something. The women were going to write about other women. I love to write about other women and collaborate, but there have been times where I said “I’m only going to write about men” but it didn’t last long. But I also want to say say writers of color have it much harder as men or women. That is, on the web, is changing so much.
I think one of the most important things that have changed is technology for artists. You can make your own music in your own houses and put it on Soundcloud. That in itself breaks down hierarchies and with social media you can reach fans directly.
The conversation that [Change The Conversation] is aiming to change with this organization is why are women not played on country radio? Or urban radio? Or often not invited on a tour? This is reality.
Why is it important to have journalists who are women or people of color?
I guess so we can tell our own stories. But I can identify with a dude as well as I can identify with a woman. I try not to be an essentialist. I don’t think any of us are born with an innate set of traits that are male or female. But I do think we are raised as our gender and therefore we have different experiences. So to understand those experiences, I think it helps to have those experiences.
Thomas Rhett Announces Los Angeles Pop Up Shop
/by Alex ParryThomas Rhett announced Wednesday (Aug. 30) that he will be offering fans yet another reason to be in Los Angeles in September. In addition to his first-ever and sold-out show at The Greek Theatre on Sept. 22, the ACM Male Vocalist of the Year will bring a unique fashion experience to the city with his LA Pop Up Store.
“I know this won’t come as any surprise to my fans, but I love anything fashion related,” Thomas Rhett said. “To actually get to have a hand in creating this stuff with such incredible designers was a blast, and I hope it’s just the start of some cool things down the road.”
The pop up will feature limited and custom merchandise co-designed by the Grammy-nominee and his fellow designing friends. The lines feature styles for men and women from the new collection Daniel Patrick X Thomas Rhett, four varieties of New Era baseball caps featuring Thomas Rhett’s Home Team custom logo, limited t-shirts custom designed and hand made by MadeWorn as well as a limited supply of custom crafted denim jackets by stylist Kemal Harris. In addition, Thomas Rhett will also be selling merchandise from his HomeTeam merch line.
The Pop Up Store will be located at 501 North Fairfax Los Angeles, CA 90048 where fans will not only have the ability to shop the collections from 11AM-9:00PM daily but they will also have the chance to meet Thomas Rhett Friday, Sept. 22 from 11-1 p.m. For more information, visit www.ThomasRhett.com.
Writer Ann Powers Discusses New Book ‘Good Booty’ At Change The Conversation Event
/by Eric T. ParkerPictured (L-R): Beverly Keel, Ann Powers, Tracy Gershon, Leslie Fram
First Tennessee Bank sponsored Change the Conversation’s August program at Nashville’s BMI on Aug. 29, featuring reporter and author Ann Powers.
Powers’ latest book Good Booty: Love and Sex, Black and White, Body and Soul in American Music was the feature of the program, which was led by the organization’s co-founder Beverly Keel.
“I’ve always been compelled towards music because it gave me pleasure; it made me feel free,” Powers told Keel. “I wanted to think hard about what that meant—how music helps us feel more connected to each other and how that experience of music has helped shape conversations about our bodies and things related to our bodies, like sexuality, eroticism, romance and love.
“I wanted to get beyond easy assumptions, that Rock & Roll is about sex. I wanted to know: What does that mean? How did that work in gospel music in the 1930s? How did it work in the 1980s when America was dealing with HIV/AIDS?
“I also wanted to highlight the stories of LGBTQ people, of women and people of color because that is the heart and soul of our American music heritage. Often times those stories are shunned to the side or hidden in plain sight.”
Powers has long spoken to those unsung legacies that have had a tendency to become lost or forgotten.
“When Evelyn McDonnell and I edited Rock She Wrote, we made it a point to include material from teen magazines and fashion magazines,” continued Powers. “That is music writing too and may have been forgotten. Just ask Merry Clayton in 20 feet from Stardom. When you listen to music from that era, it’s Merry Clayton you remember as much as Mic Jagger. So why isn’t she considered a co-author? Why is it that interpreting a song is not a form of authorship? It’s usually women who are interpretive singers. There’s lots of ways the woman’s position is undervalued and it’s important to celebrate the position where it’s thrived.”
Change the Conversation was formed by Tracy Gershon, Keel and Leslie Fram in 2014 to help create an even playing field for women in country music. The organization funds research and presents a platform where music business leaders address the opportunities and challenges in their segments of the industry. Other music leaders who have spoken to Change the Conversation include Reba McEntire, Wanda Jackson and Sara Evans.
Keel continued the conversation with Powers, some of which is highlighted below.
Powers: For a long time the book had a different title: Rock Me With A Steady Roll, from a 1920s blues song, “My Daddy Rocks Me With A Steady Roll.” My editor thought that title may be too long, or people may not know the reference and asked me to think of a different title. I was sitting at my home office and I looked around my office and my eyes went right to Little Richard’s biography, and I thought, “Little Richard, Good Booty,” because those were the original lyrics to “Tooti Frutti.” The title just came to me straight from Little Richard.
What was the research process like?
I started in 2011, wanting to write about music and sexuality for years. I gave a talk that year at the Rock & Roll Hall of Fame called Rock & Roll Started With The Shimmy. One important thing I wanted to do with this book is to show how dancing is as important to music in this country as anything else. A woman dancing is as important as a man playing a guitar solo.
I really did this based on archival research at libraries, including MTSUs Center for Popular Music, Fisk, Rock & Roll Hall of Fame, the Lincoln Center Library in New York, the Schaumburg Library and the Tulane Jazz Archives.
Talk about sex in country music.
Historically, country has told incredible stories about love and sex and domestic life: marriage. Every country song about the fire going out is about sex, not about your stove. Country music is attached to a bigger world where certain values have historically included feminine modesty and decorum. But then on the other hand we have Dolly [Parton]. She’s our ray of light who has always presented herself as a sexual woman who is a badass in every single way.
How are the changing demographics influencing the music that is being made and becoming successful?
I lived in Alabama for six years. When I first heard Sam Hunt I thought, that’s like every undergraduate at the University of Alabama. Truly, that is what people want to hear in Southern college towns: country and hip hop. From early 90th century New Orleans, it’s always about music coming together.
There’s always the dilemma of celebrating the female artist or executive, but there’s almost always an asterisk with them perhaps perceived as different, or less than. I know sometimes as a female journalist, you’re tasked with writing about the female artist. Talk about celebrating female artists.
We face a paradox as women. We want to own ourselves as women, and we also feel forced into that slot of women in music. But in general, I believe in the accomplishments of women and strive to put them at the forefront.
As long as the structural inequities exist in the music industry—in our culture—under patriarchy, we have to address it and work to change them. So we do have to acknowledge the categories of gender. It’s a corrective act of intervention. How many times is it assumed that when you say musician, you mean man. I want that world to change. I dream of a world where gender binaries are erased.
All through history I see in your book women have been marginalized. Do you see that improving? Where are we now?
In certain scenes it’s really improved, indie rock for example. All the same conversations we’re having now, we had in the ’90s. I always call the ’90s the decade of the year of women in rock. It’s impossible to not notice how many publications would do one article a year on the year of women in rock. But who gets that writing assignment? It’s always this woman or that, but never both or not one could write on Metallica or something. The women were going to write about other women. I love to write about other women and collaborate, but there have been times where I said “I’m only going to write about men” but it didn’t last long. But I also want to say say writers of color have it much harder as men or women. That is, on the web, is changing so much.
I think one of the most important things that have changed is technology for artists. You can make your own music in your own houses and put it on Soundcloud. That in itself breaks down hierarchies and with social media you can reach fans directly.
The conversation that [Change The Conversation] is aiming to change with this organization is why are women not played on country radio? Or urban radio? Or often not invited on a tour? This is reality.
Why is it important to have journalists who are women or people of color?
I guess so we can tell our own stories. But I can identify with a dude as well as I can identify with a woman. I try not to be an essentialist. I don’t think any of us are born with an innate set of traits that are male or female. But I do think we are raised as our gender and therefore we have different experiences. So to understand those experiences, I think it helps to have those experiences.
Little Big Town, Lula C. Naff, Tom Ryman To Music City Walk Of Fame
/by Jessica NicholsonPictured (Top): Little Big Town. (Bottom, L-R): Lula C. Naff, Tom Ryman
Little Big Town, the late Lula C. Naff and Tom Ryman will be honored with stars on the Music City Walk of Fame, during an induction ceremony to be held Thursday, Sept. 14 at Nashville’s Music City Walk of Fame Park.
Little Big Town, Naff, and Ryman will receive the 77th, 78th and 79th stars on the Music City Walk of Fame, which recognizes inductees for their significant contributions to preserving the musical heritage of Nashville and for contributing to the world through song or other industry collaboration.
The Music City Walk of Fame will honor the Ryman Auditorium in celebration of the historic venue’s 125th anniversary with the induction and presentation of stars to Little Big Town, which currently has a sold-out residency at the Ryman Auditorium, as well as to two of the Ryman’s most influential figures: Tom Ryman, the riverboat captain who was inspired by a revival preacher to build the Union Gospel Tabernacle, and Lula C. Naff, the theater manager who helmed the Auditorium for more than 40 years and booked the Grand Ole Opry there.
The induction ceremony will take place on Thursday, Sept. 14, 2017 at 1 p.m. in Music City Walk of Fame Park. The event is free and open to the public.
“Tom Ryman had a vision. Lula Naff had a plan. And their tenacity and skill created one of Nashville’s most beautiful and iconic buildings – and one of the greatest music venues the world has ever seen,” Mayor Megan Barry said. “Now Little Big Town is adding a new chapter to the story of the Mother Church of Country Music with its unprecedented Ryman residency. The induction of each of these legends into the Music City Walk of Fame couldn’t be more appropriate as the Ryman celebrates 125 years of gorgeous music and amazing history.”
Colin Reed, Chairman and CEO of Ryman Hospitality Properties, said, “As the stewards of Ryman Auditorium, it is a great honor for our company to accept this recognition on behalf of Tom Ryman and Lula Naff, two people who helped lay the foundation for Nashville’s cultural identity as Music City. In this milestone anniversary year for the Ryman, we are particularly pleased to see these figures from its past recognized alongside members of our Opry family who are carrying forward the rich traditions that made the Mother Church the world-renown venue it is today.”
The Music City Walk of Fame was created in 2006 on Nashville’s Music Mile, a roughly one-mile stretch that connects downtown to Music Row. Permanent sidewalk medallions with the names of the inductees are displayed in a star-and-guitar design.
Bryan White Aligns With Brickshore Media For PR Representation
/by Jessica NicholsonBryan White
Brickshore Media, Inc. has added Bryan White to its roster for PR representation. He joins fellow Brickshore Media clients including Brady Seals (Little Texas), Crystal Day, Renegade Radio Nashville, Hope Nation Radio, Julia Capogrossi, Nick Hickman, Travis Rice and Williams Honor, among others.
“I am honored to welcome Bryan White to the Brickshore Media family. Not only is Bryan an extremely talented singer and songwriter, but he is an amazing producer and musician. It means a lot when an artist puts their trust in you and follows you throughout your career. We’re excited to be working with him,” says Nicole Zeller, Publicist/Owner of Brickshore Media.
“I couldn’t be more thrilled to be working with Nicole again,” states White. “She is brilliant, personable and professional. What is impressive to me is that she covers all the bases, and seems to not only get everything done but also goes that extra mile. That is something I truly value in a publicist.”
White recently released the single “I Surrender,” and is working on a new music business venture to be announced soon.
Wanda Jackson Recounts Her Rockabilly Days In Upcoming New Autobiography
/by Lorie HollabaughBMG is releasing an autobiography on legendary rockabilly and country music pioneer Wanda Jackson, Every Night Is Saturday Night: A Country Girl’s Journey to the Rock & Roll Hall of Fame on Nov. 14. The book is a collaboration with author Scott B. Bomar.
The iconic performer known as the “Queen of Rockabilly” and the “First Lady of Rock & Roll” landed more than 30 singles on the country and pop charts between 1954 and 1974, and she recounts tales from her colorful career in the new autobiography, which features over 80 photographs from her personal collection and a foreword by Elvis Costello.
In the new book she shares the story of being discovered by Country Music Hall of Famer Hank Thompson, why she refused to return to the Grand Ole Opry for more than fifty years, the challenges she and her integrated band, The Party Timers, faced when touring in a less racially tolerant era, and her personal memories of her relationship with Elvis. She also recounts the challenges she faced as a woman who introduced sex appeal to country and growling femininity to rock & roll, talks about her recent work with rock acts like Jack White and Joan Jett, and much more.
Jackson will launch the book later this year with several events and signings around its release, including Nov. 14 at the Grammy Museum in Los Angeles and Dec. 2 at the Country Music Hall of Fame and Museum in Nashville.
Lazer Lloyd Inks With PLA Media
/by Lorie HollabaughSinger/songwriter and virtuoso guitarist Lazer Lloyd has signed with PLA Media. Lloyd is gearing up for the release of his upcoming project which is being produced by Eric Paul (Townes Van Zandt, Billy Joe Shaver, Waylon Jennings, and Willie Nelson). The artist has gained a loyal fanbase touring America, Canada and his home land of Israel over the past 20 years.
“Lazer is a unique client for PLA, splitting his time between the states and Israel,” explains Pam Lewis, President of PLA Media. “Everything I heard about Lazer’s talent is true. His insightful lyrics are reminiscent of Jim Croce, Townes Van Zandt and Guy Clark mixed with magical guitar playing.”
Liz Rose Offers Peek Into A Day In The Life Of A Songwriter In New NSAI Workshop
/by Lorie HollabaughLiz Rose and the Nashville Songwriters Association International are presenting a unique workshop event, “Inside the Industry with Liz Rose.” The one-of-a-kind event Nov. 30–Dec. 3 will give participants an exclusive “peek behind the curtain” of the day-to-day life of a songwriter and offer them the opportunity to learn the ins and out of how a publishing deal works and how to get one.
Participants will also have the opportunity to gain record label insight from Warner Music Nashville’s Cris Lacy (VP, A&R), participate in a Q&A session with Jody Williams (VP, Writer/Publisher Relations, BMI), and get a first-hand look at the demo development process, from song to studio. Attendees will also receive industry song feedback, participate in peer co-writing sessions, join a performance night at The Country, followed by a performance feedback session with Liz Rose Music, and more. They will also have the opportunity to attend a Bluebird Café Performance featuring Liz Rose and Friends during the four-day experience.
Rose has penned hits for artists including Taylor Swift, Little Big Town, Eli Young Band, Raelynn and more. Her songwriting awards include 2007 SESAC Songwriter of the Year, 2010 Grammy for ‘Best Country Song’ (“White Horse,” Taylor Swift), 2011 ACM ‘Song of the Year’ (“Crazy Girl,” Eli Young Band), 2015 CMA ‘Song of the Year’ award (“Girl Crush,” Little Big Town), and 2016 ACM ‘Song of the Year’ award (“Girl Crush,” Little Big Town).
Interested applicants can apply now through October 1, 2017 for the first application period. Only twenty participants will be accepted, and more details can be found at nashvillesongwriters.com.
Jason Isbell And The 400 Unit Reveal Opening Acts For Ryman Residency
/by Haley CrowOpening acts for the Nashville shows include:
Secret Sisters – Oct. 9
Julien Baker – Oct. 10
Bettye Lavette – Oct. 11
Amanda Shires – Oct. 13
Lydia Loveless – Oct. 14
McCrary Sisters – Oct. 15
The Nashville Sound was recorded at Nashville’s RCA Studio A and produced by Grammy Award-winner Dave Cobb, who produced Something More Than Free and Isbell’s celebrated 2013 breakthrough album Southeastern. The Nashville Sound is the first official Jason Isbell and the 400 Unit album since 2011’s Here We Rest.
Music Row Community Gives Back: Texas Relief
/by Jessica NicholsonG7 Entertainment Marketing and Sunrise Creative are spearheading a campaign to help those in Texas affected by Hurricane Harvey.
Those in the larger Music Row community who wish to donate items can drop off donations at G7 Entertainment Marketing, located at 801 18th Ave. S. in Nashville. Donations must be dropped off no later than 3 p.m. on Friday, Sept. 1.
Among the suggested donations items are: tooth brushes, toothpaste, batteries, flashlights, towels, blankets, bottled water, first aid kits, toiletries, diapers, baby wipes, formula, pet food, and non-perishable food items. Also suggested are clean up supplies including air circulators, extension cords, dehumidifiers, portable blowers, etc.
Triple Play: Chris Young Celebrates No. 1 Song, Platinum Album, And Grand Ole Opry Membership
/by Jessica NicholsonVince Gill invites Chris Young to become the newest member of the Grand Ole Opry, August 29, 2017. Photo: Chris Hollo/Grand Ole Opry
Chris Young checked more milestones off his bucket list Tuesday night (Aug. 29) at the Grand Ole Opry, with a triple celebration.
The highlight of the evening came when Young was surprised onstage by his “Sober Saturday Night” collaborator Vince Gill, who asked Young to become the next member of the Grand Ole Opry. Young made his Opry debut in 2006. His formal induction will take place Oct. 17, just days before the release of his seventh album, Losing Sleep.
“I love playing on that record and it was fun, but I heard about all that money you raised for Texas,” Gill said, referring to the GoFundMe account that Young recently set up to help those affected by Hurricane Harvey. “Good hearted boy, but I never got paid for that session,” Gill said jokingly, “and I’m still five years away from social security. I tell you what. I’ll make you a deal. I’ll forgive the session fees if you’ll become a member of the Grand Ole Opry.”
Young gave Gill a bear hug as the audience offered a standing ovation.
“You are getting triple scale at this point,” Young replied. “I was standing backstage wondering why you were making me [perform] last?”
“Now you know,” Gill quipped. “So will you?”
“Yes, 100 percent,” said Young.
Before his Grand Ole Opry set, Young checked off another bucket list item, earning his first platinum album with the news that his 2011 album Neon has been certified platinum by the RIAA. He also received plaques honoring the success of his radio singles “Think Of You” (RIAA certified Platinum) and “Sober Saturday Night” (RIAA certified Gold), which brings Young to a total of 16 gold and platinum certifications.
The Warren Brothers, Chris Young and Vince Gill celebrate the chart-topper “Sober Saturday Night” during a No. 1 party at the Grand Ole Opry
Earlier in the evening, Young celebrated his most recent chart-topper, “Sober Saturday Night,” with a No. 1 party backstage at the Opry with his co-writers Brad and Brett Warren, as well as with Gill, who provided harmonies and guitar work on the track.
BMI’s Bradley Collins, Sony/ATV’s Troy Tomlinson, Young’s “Sober Saturday Night” producer Corey Crowder, Young’s manager Larry Fitzgerald, RCA Nashville’s Sr. VP/Promotion Dennis Reese, and more gathered to celebrate the chart-topping single.
“I set out all these years ago to be a supporter,” said Gill, “I wanted to be one of those guys you read about on the back of a record jacket, or played a guitar part or harmony part. Over the past 42 years now, I’m at about 1,000 artists’ records that I’ve had the privilege of getting to contribute. These are some great guys and I’m glad to be included. I got to strap on a loud guitar and play a solo and sing the high parts that were too high for Chris.”
“That’s true,” Young quipped.
“Getting to work with Corey has been such a cool thing for both of us, but especially for me because we see eye to eye in the studio. We both have the same vision and someone who is as talented as he is is very special to get to work with.
Pictured (L-R): BMI’s Bradley Collins, Corey Crowder, Chris Young, Brad and Brett Warren and Vince Gill. Photo: Chris Hollo/Grand Ole Opry
“Brad and Brett, thank you for even getting in a room with me. It was an honor to write that song together. I remember when I got Vince on the song, I called both of you guys and you were like, ‘We’re on the Row,’ and you came over and we sat in the truck and I played you the first early cut of it.”
Young also gave props to Sony/ATV’s Troy Tomlinson, whose response to first hearing “Sober Saturday Night” proved prophetic.
“Troy Tomlinson, when I sat in the room with you and played you some music off the new record. When I played this song, he said, ‘Hang on a second.’ He took stationary out of his desk, wrote a note, put it in and envelope, seals it and says, ‘Don’t open this until it’s a single.’ I put it in my truck. My truck had to go int he shop and I left it there because I had been gone touring. The song went No. 1 so I got my truck an I opened it and it’s him going, ‘This is undoubtedly a No. 1 song. There is no doubt in my mind, so I hope when you open this we get to celebrate together.'”
And celebrate they did last night, with Young as the newest member of the Grand Ole Opry.
Pictured (L-R): Bradley Collins – BMI, Larry Fitzgerald – Fitzgerald Hartley, Dennis Reese – Sony Music Nashville, Corey Crowder – Producer, Chris Young, Brad Warren, Vince Gill, Brett Warren, Troy Tomlinson – Sony/ATV Music Publishing. Photo: Chris Hollo/Grand Ole Opry