Thomas Rhett. Photo: Josh Aikin
For more than 10 years, Thomas Rhett has shared his stories through song as heads bob, hips sway and lips belt the lyrics alongside him—leading to 22 No. 1s, 16 billion streams, eight ACM Awards, two CMA Awards, five Grammy nominations and more.
Devoted to his craft, the songsmith has curated his past six projects with such intention, swirling together a diverse range of musical elements to create his own kind of country and connect with crowds across the globe. The same rings true for his seventh studio album, About A Woman, set for release this Friday (Aug. 23). Creating the 14-track collection stimulated The Valory Music Co. artist in new ways sonically while he worked to balance the sound he has become known for.
Photo: Courtesy of The Valory Music Co.
“I’ve always taken pride in pulling so many things I love about other genres and mixing them into what I feel like is my brand of country music. This record in particular is sort of a blend of every record that I’ve made,” the hitmaker tells MusicRow. “There’s a lot of Tangled Up in there, a lot of Life Changes in there and a little bit of Country Again (Side A) in there. I think making records that are somewhat all over the place is cohesive to me.”
The cohesion of About A Woman comes from the infectious rhythms that flow from one track to the next. While they all center around the theme of a lady’s love, each tune was given unique traits in the studio that make them individually identifiable. Rhett’s favorite part of the album-making process is developing the track list because it is then that he maps out the “roller coaster” that listeners will ride. His goal is for the final concoction of twists and turns to be as digestible as a favorite playlist.
“All of these people come to country concerts and the playlists they’re listening to in the parking lots have everything from hip-hop and heavy metal to bluegrass, folk and Americana. So I’ve tried to make my records almost as if they’re someone’s playlist,” says Rhett. “Listeners know it’s all me, but they’re getting different flavors. It’s like walking into an ice cream shop—you have chocolate and vanilla but there’s sprinkles, oreos and other things you can top it with to change the taste.”
He notes that this seventh collection, primarily produced by Julian Bunetta and Dann Huff, was the result of a “complete sense of freedom,” as he had more time than he’s ever had in his career to make an album—which was both a blessing and a curse.
“The blessing is that you get to live with it, and the curse is that you never think that you’re finished,” Rhett explains. “But it was really awesome to work with a team this go-around that was extremely brutal in terms of lyric and melody choice. I think my core fans that have been following me since 2013 and 2014 will find this to be their favorite record in quite awhile. I’m really proud of it.”
Rhett co-penned 12 of the album’s songs, including “Gone Country” and “Overdrive” as well as top 20-and-climbing lead single “Beautiful As You” and the recently-released “After All the Bars Are Closed,” many of them with Los Angeles-based collaborators driven by melody. For much of the About A Woman writing sessions, Rhett and his co-writers got started by a humming a tune they all loved and put words to it after—an approach he hadn’t taken up until then.
“I always start with a title, or I have a chorus written or I know how I’m going to hook a chorus, then the music comes.” He details the neat challenge this new way of writing was for his brain and states, “At the end of the day, the words can be amazing, but you also want the track to be a singable earworm.”
Rhett recalls hearing John Byron first hum the memorable melody of opening number “Fool,” which the two wrote alongside Bunetta, Rocky Block, Alexander Izquierdo, Zaire Kelsey, John Ryan and Ryan Vojtesak. “Beautiful As You” marks another About A Woman earworm. The entertainer admits that although the verses are wordy, the space within the single’s chorus initially made him uncomfortable while inking it with Bunetta, Izquierdo, Kelsey, Ryan, Joshua Emanuel Coleman and Jacob Kasher Hindlin.
“Julian said to me, ‘Listen to this song and imagine that you don’t speak English. Does this melody do something to you?’ After I replied ‘Yes,’ he told me to just ‘let the space be uncomfortable for a second, because people do actually enjoy space.’
“We really tried to dive into that on this record, which was a big challenge for me because I love to pack it in. So even though there are a bunch of progressive sounds on this project, songs like ‘Gone Country,’ ‘After All the Bars Are Closed’ and ‘Beautiful As You’ are actually sparse musically and lead with the melody.”
Rhett and his producers also wanted to incorporate tunes that he could narrate, leading to the recording of outside cuts “Country For California,” which had the Eagles-esque feel he had been looking for, and “Don’t Wanna Dance,” which drew him in with its Whitney Houston-like chorus.
“I’ve tried to write heartbreak songs but they just end up being mediocre,” he says. “I think it’s because I have to go so far back in time. I’ve been married for 12 years, and my heart has definitely broken from a loved one passing away and things like that, but when I think about writing songs like [these two], I don’t know how to go there. I’m one of those artists that doesn’t know how to say it if they haven’t lived it.”
Rhett describes his tendency to overthink album titles and tour names due to his desire for an artistic, personal feel. After going through every song, he and his manager began to discuss the project’s overarching theme and landed on About A Woman.
“I think [that title] legitimately describes all 14 tracks,” he expresses. “This is really the first time I’ve stuck to a concept all the way through a record. It doesn’t have many curveballs contextually, it’s strictly bops about my wife [Lauren] and I feel like there’s a lot of people out there who can relate to these songs.”
In addition to his writing, About A Woman has altered Rhett’s live-show approach. He loves when the vast majority of the audience knows the words and notes that playing new songs live has always been nerve-racking, until now.
“This is the first time that we’ve immediately added new songs to the set just after they’ve been released. That says something to me because I’ve always waited until something was top 15 on the chart or streamed 40 million times before putting it into my shows,” Rhett shares. “My excitement level for this is different compared to anything I’ve put out in the last five years.”
When asked what he wants fans to take away from About A Woman, the first word out of his mouth is “joy.” “When we circle up before shows, my drummer always says, ‘don’t forget the mission is to bring joy and smiles to peoples’ faces.’ That’s been our mission on stage, and that was the mission for this album.”
The superstar aims to keep spreading joy while performing his hits and new music during his four-night run at the BleauLive Theater inside Fontainebleau Las Vegas, taking place in December.
About A Woman Track Listing:
1. “Fool” (Thomas Rhett, Rocky Block, Julian Bunetta, John Byron, Alexander Izquierdo, Zaire Kelsey, John Ryan, Ryan Vojtesak)
2. “Overdrive” (Thomas Rhett, Julian Bunetta, Jacob Kasher, John Ryan)
3. “Gone Country” (Thomas Rhett, Rocky Block, Julian Bunetta, John Byron, Jacob Kasher Hindlin, Joe Reeves, Ryan Vojtesak)
4. “Beautiful As You” (Thomas Rhett, Julian Bunetta, Joshua Emanuel Coleman, Jacob Kasher Hindlin, Alexander Izquierdo, Zaire Kelsey, John Henry Ryan)
5. “Can’t Love You Anymore” (Thomas Rhett, Julian Bunetta, Jacob Kasher, John Ryan)
6. “After All The Bars Are Closed” (Thomas Rhett, Julian Bunetta, John Byron, Jaxson Free, Jacob Kasher)
7. “Church” (Thomas Rhett, Andy Albert, Julian Minton, Mark Trussell)
8. “Back To Blue” (Thomas Rhett, Julian Bunetta, Andrew Haas, John Ryan)
9. “Country For California” (Will Bundy, Rodney Clawson, John Morgan, Justin Wilson)
10. “Somethin’ ‘Bout A Woman” (Thomas Rhett, Julian Bunetta, Andrew Haas, John Ryan)
11. “What Could Go Right” (Thomas Rhett, Rocky Block, John Byron, Josh Kerr)
12. “Boots” (Thomas Rhett, Julian Bunetta, Andrew Haas, John Ryan)
13. “Don’t Wanna Dance” (Matt Dragstrem, Ryan Hurd, George Merrill, Shannon Rubicam)
14. “I Could Spend Forever Loving You” (Thomas Rhett, Mark Holman, Ernest K. Smith)
Early Bird Registration For CRS 2025 Now Open
/by Liza AndersonEarly Bird Registration for Country Radio Seminar (CRS) 2025, taking place Feb. 19–21, has officially opened. The One-Day Only Early Bird Rate of $599 is available now. After today (Aug. 21), the registration rate will be $699.
Early Bird Registration includes access to the fifth annual Digital Music Summit, the three-day agenda, networking breakfasts, daily label luncheons, pop-up showcase performances, Bob Kingsley’s Acoustic Alley, CRS Honors and BBR Music Group’s Decades Party.
Standalone tickets for lunches, evening events and the New Faces of Country Music Show are $110 each. Each paid registrant can purchase additional guest tickets for lunches and evening events. However, only one guest ticket can be purchased per attendee for the New Faces of Country Music Show, as these tickets are limited.
For more information, click here.
Marty Stuart’s Collection Finds A Home At Country Music Hall Of Fame And Museum
/by Lorie HollabaughMuseum CEO Kyle Young and Marty Stuart backstage at the Country Music Hall of Fame and Museum. Photo: John Shearer/Getty Images for for the Country Music Hall of Fame and Museum
Marty Stuart‘s extensive collection of more than 22,000 country artifacts has become part of the Country Music Hall of Fame and Museum’s permanent collection.
The Marty Stuart Collection spans over a century of country music history and includes more than 1,000 stage wear and clothing items, 100 instruments, song manuscripts and more. Items in the collection include significant artifacts from Country Music Hall of Fame members Johnny Cash, Patsy Cline, Merle Haggard, George Jones, Loretta Lynn, Dolly Parton, Elvis Presley, Charley Pride, Jimmie Rodgers, Hank Williams and many others. The collection also includes items from Stuart’s own career, including his expansive collection of photos he has taken, which have been exhibited at museums and published in books.
Pictured (L-R): Chris Stapleton, Devynn Hart of Chapel Hart, Charlie Worsham, Danica Hart and Trea Swindle of Chapel Hart, Country Music Hall of Fame and Museum CEO Kyle Young, Marty Stuart, Vice President of Development at Country Music Hall of Fame, Ben Hall, Vince Gill, Museum’s Vice President of Services Michael Gray, Mike Bub, Shawn Camp, Johnny Warren, Jeff White, Charlie Cushman and Jimmy Stewart attend in celebration of Marty Stuart’s collection donation to the Country Music Hall of Fame and Museum. Photo: Jason Kempin/Getty Images for the Country Music Hall of Fame and Museum
The momentous occasion was celebrated during a special ceremony in the museum’s Ford Theater, illuminating Stuart’s passion for country music and its preservation. The event featured several performances with historic instruments from Stuart’s collection.
Country trio Chapel Hart performed “Will the Circle Be Unbroken,” with Charlie Worsham playing a 1970 Fender Telecaster once owned by Pops Staples, the patriarch and a member of gospel and R&B group the Staple Singers, who recorded the song. Vince Gill played “Marty & Me,” a newly written song by Gill and Stuart, and played George Jones’ 1958 Martin D-28 guitar.
Chris Stapleton performed “Why Me Lord,” which was recorded by Johnny Cash and written and previously recorded by Kris Kristofferson, on Cash’s Martin D-45 acoustic guitar, which also belonged to Hank Williams. Stuart closed the ceremony with a performance of Flatt & Scruggs’ “Don’t Let Your Deal Go Down,” with Shawn Camp playing Lester Flatt’s Martin D-28 guitar from the museum’s permanent collection.
“We’re incredibly grateful for Marty’s philanthropy—and a lead gift from the Willard & Pat Walker Charitable Foundation with major support from Loretta and Jeff Clark—for enabling the museum to safeguard and share this historic collection in perpetuity,” says Kyle Young, CEO of the Country Music Hall of Fame and Museum. “We’re here to celebrate this remarkable addition to our collection, revel in Marty’s extraordinary foresight and collecting skill, and rejoice in a new chapter for this museum.”
Connie Smith and Marty Stuart attend celebration of his collection donation to the Country Music Hall of Fame and Museum. Photo: Jason Kempin/Getty Images for the Country Music Hall of Fame and Museum
As part of the acquisition terms, the museum has entered a longstanding collaboration with Marty Stuart’s Congress of Country Music in his hometown of Philadelphia, Mississippi, where it will exhibit items from the Marty Stuart Collection at its forthcoming museum. The Country Music Hall of Fame and Museum will loan additional artifacts from its own permanent collection for display, as well as provide preservation, education and administrative consultation and support to the Congress.
“This is a top of the world moment for me,” says Stuart. “To have my collection live alongside the Country Music Hall of Fame and Museum’s is monumental, to be a part of a ceremony and witness the Congress of Country Music and its people formally welcomed into the family of country music is a spiritual high. And, to share such a gathering with family and friends from both Nashville, as well as Mississippi, is just the best. Such a day only comes along once in a lifetime.”
Jessie Murph To Drop Debut Album ‘That Ain’t No Man That’s The Devil’ Next Month
/by Lorie HollabaughJessie Murph will release her debut album, That Ain’t No Man That’s The Devil, on Sept. 6 via Columbia Records. The 19-year-old plans to give fans a taste of the project with ballad “I Hope It Hurts,” out this Friday (Aug. 23).
The 12-track project, entirely co-written by Murph, features previously-released Platinum single “Wild Ones (feat. Jelly Roll)” as well as “Dirty (feat. Teddy Swims)” and her duet with Koe Wetzel, “High Road,” which has already amassed 50 million Spotify streams and counting, marking their highest debut yet on the Billboard Hot 100 at No. 29.
In support of the album, Murph will embark on the second leg of her “In The Sticks” headlining tour presented by Poshmark x Future is Female. After a sold-out run of shows earlier this year, she is set to kick off this next leg on Oct. 17 in Arizona, with stops in Nevada, New Jersey, Georgia, and more, before wrapping with a special show in her hometown of Huntsville, Alabama on Nov. 23. Tickets are available through an artist presale now. For more information, click here.
Additionally, she is sharing her closet with fans through a presenting partnership with fashion resale marketplace Poshmark, which will feature exclusive merch, giveaways and special fan experiences. Up to $20,000 of the proceeds from the Poshmark closet will be donated to WGIRLS, a charity organization that aims to empower women and children in underserved communities.
That Ain’t No Man That’s The Devil Track Listing:
1. “Gotta Hold
2. “Dirty (feat. Teddy Swims)”
3. “Son of a Bitch”
4. “It Ain’t Right”
5. “I Hope It Hurts”
6. “Love Lies”
7. “Wild Ones (feat. Jelly Roll)”
8. “Cold”
9. “High Road (feat. Jessie Murph)” by Koe Wetzel
10. “Someone in this Room”
11. “Bang Bang (The Ballad of Amy Fisher)”
12. “I Could Go Bad”
Tanya Tucker & Orville Peck To Host Nashville Rodeo After-Party
/by Madison HahnenCountry legend Tanya Tucker and trailblazer Orville Peck will host the official after-party of Peck’s sixth annual Nashville Rodeo.
Peck’s sixth annual Nashville Rodeo will take place at Ascend Amphitheater on Aug. 24, with a kick-off event at The Basement East on Aug. 23. Performers for the rodeo include Peck, Tucker, Medium Build, Mickey Guyton, Reyna Roberts, The Nude Party and more.
The after-party will take place at Tucker’s Tequila Cantina, located on the second floor of the infamous Nudie’s Honky Tonk. Guests will enjoy a night of live music, cocktails and food. Kicking off at 11 p.m., the event is open to the public on a first come first serve basis.
Tucker’s Tequila Cantina opened this past May, and has been consistently drawing people in with its vibrant spirit. Her tequila brand, Cosa Salvaje is used in signature cocktails such as Delta Dawn, Come On Honey and Tanya’s Margarita, and are often paired with flavorful Mexican-inspired dishes.
Big Yellow Dog’s Carla Wallace Celebrates 10 Years Of ‘All About That Bass’ [Interview]
/by LB CantrellMeghan Trainor & Big Yellow Dog Co-Owner Carla Wallace. Photo: Courtesy of Big Yellow Dog
It has been 10 years since the doo-wop-flavored, body positivity anthem “All About That Bass” was the undisputed song of the summer. After its release in June of 2014 via Epic Records, the now Diamond-certified track hit the top of the Billboard Hot 100 chart in Sept. 20, and launched Meghan Trainor‘s career into the stratosphere.
With her grand slam of a debut single, the songstress went on to release her major-label debut studio album, Title, which produced more hits such as “Lips Are Movin,” “Dear Future Husband” and “Like I’m Gonna Lose You.” She was named Best New Artist at the 2016 Grammy Awards, and has since released five more studio albums and received various accolades.
What some might not know, though, is that Trainor’s big break was launched in a bungalow on Nashville’s 16th Avenue in the offices of independent publishing and artist development company Big Yellow Dog Music.
The company’s Co-Owner Carla Wallace first heard Trainor at a song camp in Colorado in 2009. She was impressed by the singer-songwriter’s musical tastes that gravitated toward soda-shop R&B, and her expression of her writing skills on the ukulele. To Wallace, who had made a career primarily in country music, it was a fresh and exciting take.
“I saw her get up on stage with her ukulele and play these songs, which was awesome,” Wallace recalls. “But I walked away with a CD that was full of songs she’d written and produced by herself and they were doo-wop, fifties, a lot of pop and some jazz all blended together. It was a crazy mix of stuff and it showed me that she was cool… and she was only 17!”
After Trainor graduated high school in her hometown of Nantucket, Wallace signed her to a publishing deal and started getting her in writer rooms in Nashville. She admits that it was tough finding co-writes for the pop-leaning creator at first.
“I couldn’t find anybody that was pop to write with her. It took me a long time to find the right people,” Wallace says. “Jesse Frasure and Brett James were the first ones [to give her a chance].”
One fateful day, Trainor showed up to write with a Nashville-based hitmaker Kevin Kadish, who had some hits with Christian pop singer Stacie Orrico, including “(There’s Gotta Be) More to Life” and “Stuck,” as well as success in country and other genres. It was the first time the two had met, and by the end of it, they had crafted what would become one of the biggest hits of the 2010s.
Pictured (L–R): Kelsey Wise (Rights Administrator at Exceleration Music), Alex Stefano (VP, Sync at BYD Music), Carla Wallace, Meghan Trainor, Lauren Funk Martin (VP, Publishing at Endurance Music) and Alessandra Alegre (Director of North America Tracking Analytics at Universal Music Publishing Group) at the “All About That Bass” No. 1 party in Nashville. Photo: Courtesy of Big Yellow Dog
“She came to the office and played it,” Wallace recalls. “You just immediately knew there was nothing like that. Just like anyone else would, [you ask yourself] what do we do with this? Like any great song, you kind of have to live with it. I sent it to everybody. I sent it to tons of labels. I sent it to lots of different people and nobody got it at first.”
A songwriter first and foremost, Trainor’s initial reaction was to find the right artist to pitch “All About That Bass” to. “We pitched it around to a lot of different places and nobody was interested,” Wallace says. “Obviously it just needed the right person, and she was it.”
While the demo for “All About That Bass” was making its rounds and being passed on for its stark contrast to the hits on the radio, Epic Records executive Paul Pontius happened to make a trip to Nashville, where he heard the track and was immediately intrigued.
“He stopped in here and I played the song for him. He was like, ‘Who is that? What is that? He went back to Los Angeles and played it for L.A. Reid,” she recalls. “They called and said, ‘We gotta meet this girl. That’s a smash.’ Thank God for somebody with really great ears.”
Soon, Trainor was in a meeting with some of the most powerful executives in pop music. They signed her and began introducing her, and “All About That Bass,” to the world. The tune stayed at the top of the U.S. Billboard Hot 100 for eight consecutive weeks, and also topped charts in 58 countries, including the U.K., Canada, Australia and New Zealand.
“Meghan was shopping for candles at Bed Bath & Beyond when she got the call to be on the Today show,” Wallace remembers. “From there, it just took off.”
Back in Nashville, folks on Music Row were high-fiving Wallace and scratching their heads while they watched the song nobody know what to do with fly up the all-genre charts.
“When ‘Bass’ came out, I was so concerned at the time for her to tell anybody that she was in Nashville. I thought people would immediately stamp her as a country artist,” Wallace says. “Later, I changed my tune and [encouraged her to share] that she did come from Nashville, the songwriting capital of the world.
“After that, I noticed more people outside of Nashville being sent here to scope out Music Row.”
While there were plenty of pop hits to come out of Nashville before “All About That Bass,” the massive success of the smash single definitely reminded the world of the songwriting prowess of Music City. With “country culture” in full effect, the admiration of those that create the hits on Music Row has never been stronger.
10 years later, Wallace remembers the epic song every day when the Nashville trolley tour buses pass her office blaring the hit. It serves as the ultimate reminder to follow her gut and pursue what you believe in, even if no one else does.
Jordan Davis Joins 2025 Gulf Coast Jam Lineup
/by John Nix ArledgeJordan Davis will join Lainey Wilson and Sam Hunt in headlining the four-day Gulf Coast Jam Presented by Jim Beam. The festival, taking place in Panama City Beach from May 30–June 1, still has more headliners to announce with the full lineup to be released in the coming weeks.
“Jordan played Gulf Coast Jam in 2022, just as his ‘Buy Dirt’ duet with Luke Bryan was exploding,” says Gulf Coast Jam Executive Producer Rendy Lovelady. “He won the CMA Song of the Year with that amazing song, and his career has just exploded.”
“This is already shaping up to be an amazing lineup, and we can’t wait to let our Jammers in on the other two headliners and the entire lineup soon,” says Gulf Coast Jam COO Mark Sheldon. “We’ve sold out the last two years, so we’re encouraging people to get their passes and make lodging reservations now.”
For more information, click here.
Industry Ink: Lainey Wilson, Koe Wetzel, Pilgrimage Festival, More
/by Lorie HollabaughLainey Wilson Performs & Visits With St. Jude Patients, Families
Lainey Wilson visits St Jude Children’s Research Hospital
Lainey Wilson stopped by St. Jude Children’s Research Hospital in Memphis on Aug. 9 for a special visit. With a nearby “Country’s Cool Again Tour” stop in Southaven, Mississippi on Friday night, Wilson spent the day at St. Jude, performing a set of her hits and meeting more than 150 patients and their families.
As she took song requests from the crowd, patients gathered at the front, turning the concert into a dance party. Following the performance, Wilson took the time to meet and greet with attendees, gifting each patient with a custom cowboy hat.
Koe Wetzel Makes Late Night TV Debut On The Late Show with Stephen Colbert
Koe Wetzel & Jessie Murph perform “High Road”on The Late Show with Stephen Colbert. Photo: Scott Kowalchyk Photography
Koe Wetzel made his late night television debut last week with Jessie Murph, performing “High Road” in the iconic Ed Sullivan Theater on The Late Show with Stephen Colbert on CBS/Paramount+. “High Road,” his first-ever single at country radio, has already reached the top 40 on the Billboard charts in just six weeks.
Pilgrimage Festival’s Americana Music Triangle Returns
Hippies and Cowboys Performing at Americana Music Triangle Tent at Pilgrimage Music & Cultural Festival 2023
The Pilgrimage Festival’s Americana Music Triangle Tent is set to return for this year’s festival, taking place Sept. 28-29. The lineup will include The Band of Heathens, HeavyDrunk, Willi Carlisle, People on the Porch, Theo Lawrence and Wyatt Ellis on Saturday. On Sunday, the day will kick off with a special church service followed by a lineup that includes Charlie Worsham, Hippies and Cowboys, Lamont Landers, Cassandra Lewis, Earnest “Guitar” Roy and Owensboro Bluegrass.
“Some of the most iconic music performances in our history have come on the ATM stage,” says Pilgrimage Co-Producer Brandt Wood. “Who can forget Butch Walker blowing the roof off the tent or last year’s jam with Charlie Worsham? These, combined with other great blues and blue grass music and unique elements like the Down Home Church, make the AMT tent the eclectic place to be during Pilgrimage.”
WME Hosts PBR Panel During Nashville Stampede
WME staffers with members of PBR & Nashville Stampede
WME welcomed members of Nashville Stampede with a PBR Panel on Aug. 15, prior to the PBR Stampede Days event taking place Aug. 16-18. Thursday’s event at The Steps featured panelists including PBR Television Analysts Kate Harrison and Matt West, along with Silvano Alves, Justin McBride and Tina Battock of Nashville Stampede.
WME artist Mae Estes performed on the plaza on Aug. 16, while WME artists Carson Wallace and Harper Grace served as the Nashville Stampede’s Honorary Members over the weekend.
CBS Records & Sony Music Nashville Staffers Reunite
CBS Records/Sony Nashville reunion
On Aug. 19, over 75 current and former CBS Records and Sony Music Nashville employees and artists gathered for a reunion in the label’s former Nashville home at 34 Music Square East. Stories, tears and memories were shared in the building where staffers helped launch some of the biggest careers in country music. Organizers hope to make it an annual event.
Weekly Register: Zach Bryan & Kacey Musgraves Rejoin Top Five On Country Songs Chart
/by Liza AndersonZach Bryan. Photo: Trevor Pavlik. Kacey Musgraves. Photo: Kelly Christine Sutton
Zach Bryan and Kacey Musgraves‘ “I Remember Everything” rejoins the top five on the country streaming songs chart this week, notching the fifth slot with 14 million new streams, adding to 931 million ATD, according to Luminate data.
Shaboozey‘s “A Bar Song (Tipsy)” resides at No. 1 with 26 million streams, adding to 601 million ATD, and Post Malone and Morgan Wallen‘s “I Had Some Help” remains at No. 2 with 23 million new streams, adding to 532 million ATD. Bryan’s “Pink Skies” stays at No. 3 with 16 million streams, adding to 257 million ATD, followed by Wallen’s “Lies, Lies, Lies” at No. 4 with 15 million new streams, adding to 117 million ATD.
The top five is stagnant on the country albums chart, as Wallen’s One Thing At A Time lands at the top once again with 63K in total consumption (2K album only/79 million song streams). Bryan’s The Great American Bar Scene continues at No. 2 with 48K (601 album only/61 million song streams), while Wallen’s Dangerous: The Double Album holds No. 3 with 38K (455 album only/49 million song streams). Twisters: The Album settles into the fourth slot with 34K (5.4K album only/36 million song streams), and Bryan’s self-titled album sits in the fifth with 33.5K (3K album only/40 million song streams).
Thomas Rhett Assembles ‘Singable Earworms’ For Seventh Studio Album [Interview]
/by Liza AndersonThomas Rhett. Photo: Josh Aikin
For more than 10 years, Thomas Rhett has shared his stories through song as heads bob, hips sway and lips belt the lyrics alongside him—leading to 22 No. 1s, 16 billion streams, eight ACM Awards, two CMA Awards, five Grammy nominations and more.
Devoted to his craft, the songsmith has curated his past six projects with such intention, swirling together a diverse range of musical elements to create his own kind of country and connect with crowds across the globe. The same rings true for his seventh studio album, About A Woman, set for release this Friday (Aug. 23). Creating the 14-track collection stimulated The Valory Music Co. artist in new ways sonically while he worked to balance the sound he has become known for.
Photo: Courtesy of The Valory Music Co.
“I’ve always taken pride in pulling so many things I love about other genres and mixing them into what I feel like is my brand of country music. This record in particular is sort of a blend of every record that I’ve made,” the hitmaker tells MusicRow. “There’s a lot of Tangled Up in there, a lot of Life Changes in there and a little bit of Country Again (Side A) in there. I think making records that are somewhat all over the place is cohesive to me.”
The cohesion of About A Woman comes from the infectious rhythms that flow from one track to the next. While they all center around the theme of a lady’s love, each tune was given unique traits in the studio that make them individually identifiable. Rhett’s favorite part of the album-making process is developing the track list because it is then that he maps out the “roller coaster” that listeners will ride. His goal is for the final concoction of twists and turns to be as digestible as a favorite playlist.
“All of these people come to country concerts and the playlists they’re listening to in the parking lots have everything from hip-hop and heavy metal to bluegrass, folk and Americana. So I’ve tried to make my records almost as if they’re someone’s playlist,” says Rhett. “Listeners know it’s all me, but they’re getting different flavors. It’s like walking into an ice cream shop—you have chocolate and vanilla but there’s sprinkles, oreos and other things you can top it with to change the taste.”
He notes that this seventh collection, primarily produced by Julian Bunetta and Dann Huff, was the result of a “complete sense of freedom,” as he had more time than he’s ever had in his career to make an album—which was both a blessing and a curse.
“The blessing is that you get to live with it, and the curse is that you never think that you’re finished,” Rhett explains. “But it was really awesome to work with a team this go-around that was extremely brutal in terms of lyric and melody choice. I think my core fans that have been following me since 2013 and 2014 will find this to be their favorite record in quite awhile. I’m really proud of it.”
Rhett co-penned 12 of the album’s songs, including “Gone Country” and “Overdrive” as well as top 20-and-climbing lead single “Beautiful As You” and the recently-released “After All the Bars Are Closed,” many of them with Los Angeles-based collaborators driven by melody. For much of the About A Woman writing sessions, Rhett and his co-writers got started by a humming a tune they all loved and put words to it after—an approach he hadn’t taken up until then.
“I always start with a title, or I have a chorus written or I know how I’m going to hook a chorus, then the music comes.” He details the neat challenge this new way of writing was for his brain and states, “At the end of the day, the words can be amazing, but you also want the track to be a singable earworm.”
Rhett recalls hearing John Byron first hum the memorable melody of opening number “Fool,” which the two wrote alongside Bunetta, Rocky Block, Alexander Izquierdo, Zaire Kelsey, John Ryan and Ryan Vojtesak. “Beautiful As You” marks another About A Woman earworm. The entertainer admits that although the verses are wordy, the space within the single’s chorus initially made him uncomfortable while inking it with Bunetta, Izquierdo, Kelsey, Ryan, Joshua Emanuel Coleman and Jacob Kasher Hindlin.
“Julian said to me, ‘Listen to this song and imagine that you don’t speak English. Does this melody do something to you?’ After I replied ‘Yes,’ he told me to just ‘let the space be uncomfortable for a second, because people do actually enjoy space.’
“We really tried to dive into that on this record, which was a big challenge for me because I love to pack it in. So even though there are a bunch of progressive sounds on this project, songs like ‘Gone Country,’ ‘After All the Bars Are Closed’ and ‘Beautiful As You’ are actually sparse musically and lead with the melody.”
Rhett and his producers also wanted to incorporate tunes that he could narrate, leading to the recording of outside cuts “Country For California,” which had the Eagles-esque feel he had been looking for, and “Don’t Wanna Dance,” which drew him in with its Whitney Houston-like chorus.
“I’ve tried to write heartbreak songs but they just end up being mediocre,” he says. “I think it’s because I have to go so far back in time. I’ve been married for 12 years, and my heart has definitely broken from a loved one passing away and things like that, but when I think about writing songs like [these two], I don’t know how to go there. I’m one of those artists that doesn’t know how to say it if they haven’t lived it.”
Rhett describes his tendency to overthink album titles and tour names due to his desire for an artistic, personal feel. After going through every song, he and his manager began to discuss the project’s overarching theme and landed on About A Woman.
“I think [that title] legitimately describes all 14 tracks,” he expresses. “This is really the first time I’ve stuck to a concept all the way through a record. It doesn’t have many curveballs contextually, it’s strictly bops about my wife [Lauren] and I feel like there’s a lot of people out there who can relate to these songs.”
In addition to his writing, About A Woman has altered Rhett’s live-show approach. He loves when the vast majority of the audience knows the words and notes that playing new songs live has always been nerve-racking, until now.
“This is the first time that we’ve immediately added new songs to the set just after they’ve been released. That says something to me because I’ve always waited until something was top 15 on the chart or streamed 40 million times before putting it into my shows,” Rhett shares. “My excitement level for this is different compared to anything I’ve put out in the last five years.”
When asked what he wants fans to take away from About A Woman, the first word out of his mouth is “joy.” “When we circle up before shows, my drummer always says, ‘don’t forget the mission is to bring joy and smiles to peoples’ faces.’ That’s been our mission on stage, and that was the mission for this album.”
The superstar aims to keep spreading joy while performing his hits and new music during his four-night run at the BleauLive Theater inside Fontainebleau Las Vegas, taking place in December.
About A Woman Track Listing:
1. “Fool” (Thomas Rhett, Rocky Block, Julian Bunetta, John Byron, Alexander Izquierdo, Zaire Kelsey, John Ryan, Ryan Vojtesak)
2. “Overdrive” (Thomas Rhett, Julian Bunetta, Jacob Kasher, John Ryan)
3. “Gone Country” (Thomas Rhett, Rocky Block, Julian Bunetta, John Byron, Jacob Kasher Hindlin, Joe Reeves, Ryan Vojtesak)
4. “Beautiful As You” (Thomas Rhett, Julian Bunetta, Joshua Emanuel Coleman, Jacob Kasher Hindlin, Alexander Izquierdo, Zaire Kelsey, John Henry Ryan)
5. “Can’t Love You Anymore” (Thomas Rhett, Julian Bunetta, Jacob Kasher, John Ryan)
6. “After All The Bars Are Closed” (Thomas Rhett, Julian Bunetta, John Byron, Jaxson Free, Jacob Kasher)
7. “Church” (Thomas Rhett, Andy Albert, Julian Minton, Mark Trussell)
8. “Back To Blue” (Thomas Rhett, Julian Bunetta, Andrew Haas, John Ryan)
9. “Country For California” (Will Bundy, Rodney Clawson, John Morgan, Justin Wilson)
10. “Somethin’ ‘Bout A Woman” (Thomas Rhett, Julian Bunetta, Andrew Haas, John Ryan)
11. “What Could Go Right” (Thomas Rhett, Rocky Block, John Byron, Josh Kerr)
12. “Boots” (Thomas Rhett, Julian Bunetta, Andrew Haas, John Ryan)
13. “Don’t Wanna Dance” (Matt Dragstrem, Ryan Hurd, George Merrill, Shannon Rubicam)
14. “I Could Spend Forever Loving You” (Thomas Rhett, Mark Holman, Ernest K. Smith)
Clayton Johnson Joins Roster At Audio Chateau Records
/by Lorie HollabaughClayton Johnson. Photo: Greg Petersen
Clayton Johnson has signed with Audio Chateau Records, the label arm of Jared Gutstadt‘s audio entertainment company Audio Up Media.
The news comes on the heels of Johnson’s recent entry on Billboard‘s Hot 100 chart with Lana Del Rey and Quavo’s smash single “Tough,”which he co-wrote. Johnson’s success with “Tough” marks the first time a podcast company has ever had a song chart in the top 40 on the Billboard 100. Johnson is also currently signed as a songwriter under a joint venture with Audio Up and Universal Music Publishing Group.
“We are thrilled to welcome Clayton Johnson as our latest signing to Audio Chateau,” says Gutstadt. “He is tapping into the infinite potential of Audio Chateau, not only as a label, but as an exclusive destination for some of the best and brightest songwriters and artists globally. This is the new Tin Pan Alley for next gen creators of the future, and Clayton knows how to take all the metaphorical wires within the Chateau and plug them in to create incredible results.”
He adds, “From penning ‘Tough’ with Lana in our space to using our studios and published writers and producers he is showing us what can be done at Audio Up and within the walls of the Audio Chateau. His journey is just beginning, and we couldn’t be prouder to have him on board.”
“Anytime you have somebody firmly believe in you, your music, and what you’re doing, it’s the best feeling in the world,” notes Johnson. “Jared and the whole team at Audio Chateau have been the biggest supporters, and I can’t wait to show the world who Clayton Johnson is.”
Since its January launch, Audio Chateau Records has been building its brand by utilizing its access to Audio Up Media’s array of dimensionalized media lanes. All of Audio Chateau’s artists have the opportunity for their music to be integrated into Audio Up’s original podcasts, books and graphic novels, among other mediums, with the goal of creating a 360-degree solution for content creation, marketing and distribution.