Thomas Rhett performs during “Home Team Tour 23” show at Bridgestone Arena. Photo: Grayson Gregory
Thomas Rhett took over Bridgestone Arena on Friday night (Sept. 29) for the first of his two “Home Team Tour 23” shows at the Nashville venue. The multi-Platinum artist serenaded the sold-out crowd with a set of hits, some featured on his 20 Number Ones collection, which dropped earlier that day, as well as a few fun covers, and charmed fans with his wholesome, authentic energy.
Rising artist Nate Smith got the evening started. His name flashed in block letters above as he sang the emotion-filled track “Wreckage” before throwing a t-shirt into the audience and jumping into his smash single “Whiskey On You.” Fans belted the chorus back to Smith and bopped side-to-side as orange and white lights circled the stage. He then pumped everyone up for the next opener, country star Cole Swindell, and threw his hat in the air for a lucky concertgoer to catch.
Thomas Rhett performs during “Home Team Tour 23” show at Bridgestone Arena. Photo: Grayson Gregory
Swindell made his entrance with chart-climbing tune “Drinkaby” along with “Love You Too Late.” Hypnotic purple patterns appeared on the screens behind him and green beams brightened each seat as he moved into “Single Saturday Night.” A retro black and white design followed the beat of the chorus as Swindell walked to each side of the stage, engaging the entire arena. The spotlights brimmed with blue and lifted to land on each corner as he shifted to the title track of his 2022 album, Stereotype. Images of smoke floated above while Swindell sang “Hope You Get Lonely Tonight” and checked in with everybody before giving the stands the mic for part of the last verse. The smoke morphed into a mountain-esque landscape for “How Is She,” which the singer deemed one of his favorites from Stereotype.
The stage only changed from warm tones to cool as Swindell soulfully sang “Break Up in the End” and a starry sky peaked behind the trees projected. Once the song concluded, he gave a shoutout to its writers Chase McGill, Jessie Jo Dillon and Jon Nite.
“10 years ago, this whole ride started because of a bunch of friends at country radio, my label and my team. I’ve made some of my favorite memories on stages like this, in front of crowds like y’all,” shared Swindell.
“I got engaged in May and took home a couple of trophies a few days later. I guess what I’m saying is we get to make memories all over this country, but we’re never home. So, can we make a special one right here in Nashville tonight?” he asked the Bridgestone crowd before diving into “Middle of a Memory.”
Swindell then told us he hoped we’d make a hundred more memories tonight as Lainey Wilson appeared on both the left and right stage screens for their duet, “Never Say Never.” He threw it back to his first album next with “Let Me See Ya Girl,” and got the crowds’ hands waving, pausing for a moment to take it all in. Fans held up their phones from below the stage and Swindell never missed an opportunity to help capture the moment by taking selfies while singing.
He moved into his No. 1 hit “Chillin’ It” as the screens mirrored a Miami-like display of vibrant colors and palm trees. The colors faded to black and the lights shined blue as the tone transitioned for the heart-wrenching track, sentimental track “You Should Be Here,” which Swindell dedicated to anyone who has dealt with loss.
“That’s one I wish I never had to write, but songs like that are why I fell in love with country music in the first place, because you know [someone] out there can relate. I want y’all to know I’m just like you, I’ve been through it too.”
He then brought the vibes back up with “Ain’t Worth the Whiskey.” Before finishing the number, the artist took a moment to thank everyone for coming and recognize the troops that have served our country as well as the first responders and other brave souls who sacrifice their time and risk their lives for us. A visual of a heart beat pulsated on the screens and red lights swirled as Swindell moved into “Flatliner,” which he recorded with Dierks Bentley. The red faded to bright blue as he wrapped with the award-winning “She Had Me At Heads Carolina,” the stands singing just as loud the singer himself.
DJ Daniel Ian Jones kept the energy high in between the openers and headliner, playing a mix genres and encouraging the audience to sing along and dance.
When it came time for Rhett, the arena went black and royal blue smoke rose from the platform as lights flashed to spotlight each band member. Suddenly, a drum set emerged from underneath the stage accompanied by a figure sporting a bomber jacket and baseball cap. After playing for a few seconds, the drummer got up and turned to face Bridgestone, revealing himself as the man of hour. Microphone in hand, Rhett kicked off with “Vacation,” which only made Bridgestone go crazier after his exciting entrance.
Thomas Rhett performs during “Home Team Tour 23” show at Bridgestone Arena. Photo: Grayson Gregory
Hips kept swaying and toes kept tapping as the superstar shed his jacket and performed the track that marked his 13th No. 1, “Look What God Gave Her.” Next, Rhett had anyone with a cold drink in their hand raise it up for “Half Of Me,” which he recorded alongside Riley Green. Fiery lights covered the venue during “Crash and Burn.” Sweet videos of Rhett’s family were shared with both sides of the stage as he moved into “Life Changes,” his 11th career No. 1. Fall leaves fell into a pile on the screen above while he asked Nashville to put their hands up for “Slow Down Summer.”
Rhett then requested that we all sing “Sixteen” together as rays of pink and blue seemed to flash every time he strummed his guitar. Magenta hues coated the stage and he put his guitar away for the beautifully heart-breaking hit “Marry Me,” during which Rhett passed the pick to crowd members for the final verse.
The entertainer checked in on everybody and asked how the fans in the very top rows were doing before expressing his gratitude to the sold-out stands, and praising Smith and Swindell for their performances. He then took a picture with the whole arena and his band. Rhett announced that the next three songs were for all of the O.G fans in the house, and acoustically played a portion of “Notice” before shifting to “Get Me Some Of That” and “It Goes Like This.”
The steps on the stage glowed, and blue and purple lights shone through the masses as Rhett’s band showed off their incredible talent alongside him for “Make Me Wanna.” Rhett made his way up through the stands as he sang, taking pictures with multiple fans. After the song, he took a moment to spotlight his steel player, Whit Wright, whose wife had just given birth 12 hours prior. He stated that he begged Wright not to come tonight but Wright still showed up, and had us make some noise for the band member. Rhett then wanted to see how loud Nashville could sing he and Jon Pardi‘s “Beer Can’t Fix,” and brought Smith out for the latter half of the tune.
He asked us to keep giving it up for his band and noted that they were now going to play “one for the ladies.” Pink colors coated the room and many loved ones turned to their special girls to serenade them with “Star Of The Show” alongside Rhett. The hitmaker made sure to autograph a few mementoes for fans below and take selfies with audience members throughout his set.
Next, Rhett proceeded to time travel through “seven decades of music in seven minutes,” putting his range of vocal skills on full display.
“I just want to make everyone feel special, no matter the age group,” he said, before kicking the special segment off with Elvis Presley‘s “Hound Dog” from the ’50s.
Bridgestone couldn’t help but boogie during James Brown & The Famous Flames‘ ’60s hit “I Feel Good (I Got You).” He opted for The Rolling Stones‘ “Beast Of Burden” as the ’70s choice, due to that fact that his father, renowned songwriter Rhett Akins, is a huge fan of the band. The artist requested that we go electric for Rick Springfield‘s ’80s classic “Jessie’s Girl.” The ’90s baby then rocked out Matchbox Twenty‘s “3AM,” and entered the 2000s with Jimmy Eat World‘s “The Middle,” sharing a story about purchasing their CD at a store with his grandmother. Rhett wrapped the throwback session with the 2010s smash “Shut Up and Dance” by Walk The Moon.
He brought out his turquoise acoustic guitar for chart-topper “Die A Happy Man,” a song Rhett says “changed his life.” One of his band members gave quite a guitar solo before the audience belted the last verse. Everyone kept singing as the music of “Unforgettable” filled the space. Red tones lit the stage stairs and explosions burst on the screens as Rhett went into “Craving You,” a track he recorded with Maren Morris.
He kept the entire arena jamming up until the very end with “What’s Your Country Song” and “T-Shirt,” confetti flying as the show came to a close.
Additionally, Rhett recently earned his 21st No. 1 with Angels (Don’t Always Have Wings), and was announced as a headliner for CBS’ New Year’s Eve Live: Nashville’s Big Bash on Dec. 31.
Colin Stough To Release Debut EP, ‘Promiseland’
/by Lorie HollabaughPhoto: Mike Rodway. Art Design: Nick Sarpa.
Colin Stough is gearing up for the release of his debut EP, Promiseland, following his run on season 21 of American Idol earlier this year. The six-song project will be released to all streaming outlets on Oct. 20.
The announcement accompanies the launch of the second single from the project, “Lonely Hour,” and an accompanying video.
“There are these moments after a breakup where everything kind of settles and the loneliness kicks in,” says Stough. “It’s those moments after the day winds down before the night sets in and you can fall asleep. The moments where you can’t stop thinking about everything and you finally start feeling all of the pain and loss that comes after a relationship has run its course. It’s the lonely hour.”
“Lonely Hour” and “Promiseland” follow the release of the new artist’s debut song “Bad Day,” a testament to the working man’s struggle to get through a particularly mundane day, as well as “I Still Talk To Jesus,” a personal depiction of Stough’s struggle to find meaning in a lifetime of disappointments and letdowns, which ended up reaching No. 5 on Billboard’s Country Digital Song Sales charts.
Thomas Rhett Brings Bridgestone Arena Together For A Fun Night Of Music
/by Liza AndersonThomas Rhett performs during “Home Team Tour 23” show at Bridgestone Arena. Photo: Grayson Gregory
Thomas Rhett took over Bridgestone Arena on Friday night (Sept. 29) for the first of his two “Home Team Tour 23” shows at the Nashville venue. The multi-Platinum artist serenaded the sold-out crowd with a set of hits, some featured on his 20 Number Ones collection, which dropped earlier that day, as well as a few fun covers, and charmed fans with his wholesome, authentic energy.
Rising artist Nate Smith got the evening started. His name flashed in block letters above as he sang the emotion-filled track “Wreckage” before throwing a t-shirt into the audience and jumping into his smash single “Whiskey On You.” Fans belted the chorus back to Smith and bopped side-to-side as orange and white lights circled the stage. He then pumped everyone up for the next opener, country star Cole Swindell, and threw his hat in the air for a lucky concertgoer to catch.
Thomas Rhett performs during “Home Team Tour 23” show at Bridgestone Arena. Photo: Grayson Gregory
Swindell made his entrance with chart-climbing tune “Drinkaby” along with “Love You Too Late.” Hypnotic purple patterns appeared on the screens behind him and green beams brightened each seat as he moved into “Single Saturday Night.” A retro black and white design followed the beat of the chorus as Swindell walked to each side of the stage, engaging the entire arena. The spotlights brimmed with blue and lifted to land on each corner as he shifted to the title track of his 2022 album, Stereotype. Images of smoke floated above while Swindell sang “Hope You Get Lonely Tonight” and checked in with everybody before giving the stands the mic for part of the last verse. The smoke morphed into a mountain-esque landscape for “How Is She,” which the singer deemed one of his favorites from Stereotype.
The stage only changed from warm tones to cool as Swindell soulfully sang “Break Up in the End” and a starry sky peaked behind the trees projected. Once the song concluded, he gave a shoutout to its writers Chase McGill, Jessie Jo Dillon and Jon Nite.
“10 years ago, this whole ride started because of a bunch of friends at country radio, my label and my team. I’ve made some of my favorite memories on stages like this, in front of crowds like y’all,” shared Swindell.
“I got engaged in May and took home a couple of trophies a few days later. I guess what I’m saying is we get to make memories all over this country, but we’re never home. So, can we make a special one right here in Nashville tonight?” he asked the Bridgestone crowd before diving into “Middle of a Memory.”
Swindell then told us he hoped we’d make a hundred more memories tonight as Lainey Wilson appeared on both the left and right stage screens for their duet, “Never Say Never.” He threw it back to his first album next with “Let Me See Ya Girl,” and got the crowds’ hands waving, pausing for a moment to take it all in. Fans held up their phones from below the stage and Swindell never missed an opportunity to help capture the moment by taking selfies while singing.
He moved into his No. 1 hit “Chillin’ It” as the screens mirrored a Miami-like display of vibrant colors and palm trees. The colors faded to black and the lights shined blue as the tone transitioned for the heart-wrenching track, sentimental track “You Should Be Here,” which Swindell dedicated to anyone who has dealt with loss.
“That’s one I wish I never had to write, but songs like that are why I fell in love with country music in the first place, because you know [someone] out there can relate. I want y’all to know I’m just like you, I’ve been through it too.”
He then brought the vibes back up with “Ain’t Worth the Whiskey.” Before finishing the number, the artist took a moment to thank everyone for coming and recognize the troops that have served our country as well as the first responders and other brave souls who sacrifice their time and risk their lives for us. A visual of a heart beat pulsated on the screens and red lights swirled as Swindell moved into “Flatliner,” which he recorded with Dierks Bentley. The red faded to bright blue as he wrapped with the award-winning “She Had Me At Heads Carolina,” the stands singing just as loud the singer himself.
DJ Daniel Ian Jones kept the energy high in between the openers and headliner, playing a mix genres and encouraging the audience to sing along and dance.
When it came time for Rhett, the arena went black and royal blue smoke rose from the platform as lights flashed to spotlight each band member. Suddenly, a drum set emerged from underneath the stage accompanied by a figure sporting a bomber jacket and baseball cap. After playing for a few seconds, the drummer got up and turned to face Bridgestone, revealing himself as the man of hour. Microphone in hand, Rhett kicked off with “Vacation,” which only made Bridgestone go crazier after his exciting entrance.
Thomas Rhett performs during “Home Team Tour 23” show at Bridgestone Arena. Photo: Grayson Gregory
Hips kept swaying and toes kept tapping as the superstar shed his jacket and performed the track that marked his 13th No. 1, “Look What God Gave Her.” Next, Rhett had anyone with a cold drink in their hand raise it up for “Half Of Me,” which he recorded alongside Riley Green. Fiery lights covered the venue during “Crash and Burn.” Sweet videos of Rhett’s family were shared with both sides of the stage as he moved into “Life Changes,” his 11th career No. 1. Fall leaves fell into a pile on the screen above while he asked Nashville to put their hands up for “Slow Down Summer.”
Rhett then requested that we all sing “Sixteen” together as rays of pink and blue seemed to flash every time he strummed his guitar. Magenta hues coated the stage and he put his guitar away for the beautifully heart-breaking hit “Marry Me,” during which Rhett passed the pick to crowd members for the final verse.
The entertainer checked in on everybody and asked how the fans in the very top rows were doing before expressing his gratitude to the sold-out stands, and praising Smith and Swindell for their performances. He then took a picture with the whole arena and his band. Rhett announced that the next three songs were for all of the O.G fans in the house, and acoustically played a portion of “Notice” before shifting to “Get Me Some Of That” and “It Goes Like This.”
The steps on the stage glowed, and blue and purple lights shone through the masses as Rhett’s band showed off their incredible talent alongside him for “Make Me Wanna.” Rhett made his way up through the stands as he sang, taking pictures with multiple fans. After the song, he took a moment to spotlight his steel player, Whit Wright, whose wife had just given birth 12 hours prior. He stated that he begged Wright not to come tonight but Wright still showed up, and had us make some noise for the band member. Rhett then wanted to see how loud Nashville could sing he and Jon Pardi‘s “Beer Can’t Fix,” and brought Smith out for the latter half of the tune.
He asked us to keep giving it up for his band and noted that they were now going to play “one for the ladies.” Pink colors coated the room and many loved ones turned to their special girls to serenade them with “Star Of The Show” alongside Rhett. The hitmaker made sure to autograph a few mementoes for fans below and take selfies with audience members throughout his set.
Next, Rhett proceeded to time travel through “seven decades of music in seven minutes,” putting his range of vocal skills on full display.
“I just want to make everyone feel special, no matter the age group,” he said, before kicking the special segment off with Elvis Presley‘s “Hound Dog” from the ’50s.
Bridgestone couldn’t help but boogie during James Brown & The Famous Flames‘ ’60s hit “I Feel Good (I Got You).” He opted for The Rolling Stones‘ “Beast Of Burden” as the ’70s choice, due to that fact that his father, renowned songwriter Rhett Akins, is a huge fan of the band. The artist requested that we go electric for Rick Springfield‘s ’80s classic “Jessie’s Girl.” The ’90s baby then rocked out Matchbox Twenty‘s “3AM,” and entered the 2000s with Jimmy Eat World‘s “The Middle,” sharing a story about purchasing their CD at a store with his grandmother. Rhett wrapped the throwback session with the 2010s smash “Shut Up and Dance” by Walk The Moon.
He brought out his turquoise acoustic guitar for chart-topper “Die A Happy Man,” a song Rhett says “changed his life.” One of his band members gave quite a guitar solo before the audience belted the last verse. Everyone kept singing as the music of “Unforgettable” filled the space. Red tones lit the stage stairs and explosions burst on the screens as Rhett went into “Craving You,” a track he recorded with Maren Morris.
He kept the entire arena jamming up until the very end with “What’s Your Country Song” and “T-Shirt,” confetti flying as the show came to a close.
Additionally, Rhett recently earned his 21st No. 1 with Angels (Don’t Always Have Wings), and was announced as a headliner for CBS’ New Year’s Eve Live: Nashville’s Big Bash on Dec. 31.
Dallas Smith Shares Two Tracks From Forthcoming Self-Titled Project
/by Lorie HollabaughPhoto: Courtesy of Big Loud Records
Dallas Smith has released two new tracks, “Fixer Upper” and “CRZY,” from his forthcoming self-titled album, out Oct. 27.
“Fixer Upper” was penned by Morgan Wallen, Matt Dragstrem and Brett Tyler, while “CRZY,” was written by Jaren Johnston, Travis Meadows and Stephen Wilson Jr. Other writers contributing to the new project include Ashley Gorley, Michael Hardy, Jake Owen, Cole Swindell, Rocky Block and more.
A video for “Fixer Upper,” directed by Justin Clough, was also just released and gives fans a peek inside Smith’s life off stage through heartfelt home videos of the singer with his family.
Fresh off his recent CCMA Awards win for Musical Collaboration of the Year, Smith is gearing up to participate in a “TalkShopLive” for his fans. The livestream will take place Oct. 11 at 5 p.m. CT, where signed CDs of the new album will be available exclusively.
Dallas Smith Track Listing:
1. “Use Me” (John Byron, Jared Hampton, Tate Howell)
2. “How Do You Miss Me” (Ashley Gorley, Michael Hardy, Mark Holman)
3. “Fixer Upper” (Matt Dragstrem, Brett Tyler, Morgan Wallen)
4. “Singing In A Beer” (Rocky Block, Casey Brown, Parker Welling)
5. “One Too (feat. MacKenzie Porter)” (Rocky Block, Tom Jordan, Mitch Thompson, Alysa Vanderheym)
6. “I Would” (Michael Hardy, Mark Holman, Hillary Lindsey)
7. “Bring It On” (Rodney Clawson, Mark Holman, Ernest Keith Smith)
8. “Good Time Getting There” (Jake Owen, Jimmy Robbins, Laura Veltz)
9. “CRZY” (Jaren Johnston, Travis Meadows, Stephen Wilson Jr.)
10. “Day After Day (feat. Shawn Austin)” (Preston Brust, John Byron, Chris Lucas, Blake Pendergrass)
11. “Hide From A Broken Heart” (Mark Holman, Lauren LaRue, Ernest Keith Smith, Geoff Warburton)
12. “Home Is Where The Bar Is” (Mark Holman, Jared Mullins, Ernest Keith Smith, Cole Swindell)
ACM LEVel Up Program Opens Applications & Nominations For 2024
/by Lorie HollabaughThe Academy of Country Music’s LEVel Up: Lift Every Voice professional development program is currently accepting applications and nominations for its 2024 cohort through Oct. 30.
LEVel Up: Lift Every Voice is designed to elevate and drive the next generation of rising leaders in the country industry, and candidates are encouraged to apply (or be nominated by their peers) if they have worked in the industry for more than five years and have demonstrated a commitment and passion for making country music accessible and welcoming to all.
Individuals selected for the two-year intensive program will work toward the mission of “expanding the horizons of country music to transcend demographics and geography.” Candidates should be driven and high-achieving employees who are passionate about making country accessible and welcoming to all and committed to growing within the industry, as well as innovative, creative and bold thinkers who are motivated by taking action.
“I’m proud to announce the opening of recruitment for the 2024 LEVel Up cohort,” says Shannon Sanders, member of the Academy of Country Music Board of Directors and Chair of the ACM DEI Task Force. “Since its inception two years ago, the ACM LEVel Up program has stood as a pillar of progress and unity in our industry. It’s been a game-changer for the dedicated participants who’ve given their all to their collaborative efforts, especially in the landmark partnership with the Black Music Action Coalition, resulting in the groundbreaking OnRamp program. The ACM’s DEI Task Force salutes the Academy for their unwavering commitment to pushing for more inclusivity and equity in Music City. If you’re passionate about pushing the boundaries of country music, consider joining our next cohort.”
In the first year of the LEVel Up program, participants learn more about the music business from some of the industry’s key executives, as well as participate in volunteer opportunities. The class also collaborates as a cohort to devise a proposal to expand country reach into new and underrepresented audience segments. In the second year, the cohort works together to bring the plan formulated in year one to fruition.
Nominations can be submitted here, or those interested in joining the program can submit their own application here. The program is funded wholly by the Academy of Country Music at no cost to participants.
Mark Your Calendar—October 2023
/by Liza AndersonSingle/Track Release Dates:
October 1
Lindsey Hinkle/Sense of Reality
October 2
Lefroy/Ready To Go/Stallion Records
Glen Shelton/Before You/Jordash Records
October 4
Fancy Hagood/Southern Sound
October 6
Zandi Holup/Gas Station Flowers/Big Loud Records
Jenna DeVries/Back to Me/Heart Songs Music Group
Lori Rayne/Woo Girls
Jade Holland/Home, Town
October 9
Hailey Whitters/I’m In Love/Pigasus/Songs & Daughters/Big Loud Records
October 16
Shenandoah & Luke Combs/Two Dozen Roses/8 Track Entertainment/ADA
Flat River Band/God Bless the Radio/Early Bird Records
Bowman/Small Town Famous/Reviver Records
Caleb Orr/Can’t Break You
October 20
Lillian Hepler/Call Me Yours/The Hard Working Record Company
Matt Jordan/Don’t Mean/ONErpm
Adam Warner/First Face/ONErpm
October 23
Ian Munsick/Long Live Cowgirls/Warner Music Nashville
HunterGirl/Ain’t About You/Wheelhouse Records
Ken Domash/Drink About That/Thunder Mountain Records
Lewis Brice/Product Of
Savannah Dexter & Brabo Gator/Sinner Like Me
October 27
Sam Grow/Loretta/Average Joes Entertainment
October 30
Clayton Smalley/Always Barely Getting By/YN Records
Dianña/You Don’t Know Me/Billieegee Productions
Album/EP Release Dates:
Photo: Courtesy of UMG Nashville
October 6
Reba McEntire/Not That Fancy/MCA Nashville
Darius Rucker/Carolyn’s Boy/Capitol Records Nashville
Old Dominion/Memory Lane/Columbia Nashville
Amy Grant/Lead Me On Live 1989
Drake White/The Bridge
John Morgan/Remember Us?/BBR/Night Train Records
Natalie Grant/Seasons/Curb Records
Colbie Caillat/Along The Way/Blue Jean Baby Records
Lanco/Run, Run, Baby/Riser House Records
The Steel Woods/On Your Time/Woods Music/Thirty Tigers
Colt Ford & Krizz Kaliko/Hoodbillies/Average Joes Entertainment
Alex Miller/Country/Billy Jam Records
EmiSunshine and The Rain/Sideshow/Little Blackbird Records
Harper O’Neill/Dark Bar Daisy
October 13
Charlie Worsham/Compadres/Warner Music Nashville
Riley Green/Ain’t My Last Rodeo/BMLG Records
Kylie Morgan/Making It Up As I Go/EMI Records Nashville
Margo Price/Strays II/Loma Vista Recordings
October 20
Craig Morgan/Enlisted/Broken Bow Records
Restless Road/Last Rodeo/Sony Music Nashville
Luke Grimes/Pain Pills Or Pews/Mercury Nashville/Range Music
Sophia Scott/Barstool Confessions/Empire Nashville
Mason Ramsey/Falls Into Place/Atlantic Records
James Barker Band/Ahead Of Our Time/Records Nashville
Liddy Clark/Made Me (Unplugged)/Crimson Rose Records
Colin Stough/Promiseland/19 Recordings/BBR Music Group
October 26
Alexandra Kay/All I’ve Ever Known
October 27
Various Artists/A Tribute To The Judds/BMG
Jon Pardi/Merry Christmas From Jon Pardi/Capitol Records Nashville
Dallas Smith/Dallas Smith/Big Loud Records
Jessi Colter/Edge of Forever/Appalachia Record Co.
The Cadillac Three/The Years Go Fast/Big Machine Records
Caleb Lee Hutchinson/Southern Galactic
Bryan Ruby/Diamonds Are Forever
Industry Events:
October 8 – 10
IEBA (International Entertainment Buyers Association)
October 11
Nashville Songwriters Hall of Fame Gala
BFD / Audium Nashville Acquires Rights To Release Louisiana Hayride Series
/by Steven BoeroBob Frank Distribution (BFD) / Audium Nashville has acquired the rights to release a series of historic live recordings by some of the most legendary artists in country music from the iconic Louisiana Hayride.
Five titles—featuring Elvis Presley, Hank Williams, Johnny Cash, George Jones and Jim Reeves—all part of the Louisiana Hayride Icon Series, are set to release on Black Friday, Nov. 24. Physical releases will come at a to-be-determined date in 2024.
“We are thrilled to partner with this iconic brand and catalog,” says BFE Founder/CEO Bob Frank. “We look forward to bringing out many releases physically and digitally from the legends of country music.”
75 years ago, as television was in its infancy, a weekly country music radio program out of Shreveport, Louisiana set out to replicate the success of other “barn dance” radio shows of the era, such as the Grand Ole Opry, the Old Dominion Barn Dance, the Wheeling Jamboree, the Midwestern Hayride and the Ozark Mountain Jubilee.
The Louisiana Hayride premiered on April 3, 1948, and got off to a rocky start as the program director and musical talent worked to figure out the mechanics of the ambitious radio and stage show.
All that changed the first week of August that year when a lanky troubadour hit town from Alabama and the world was introduced to Hank Williams, Sr. From the exposure parent station KWKH could offer with its coverage area of 38 states and a showcase on Armed Forces Radio heard from Japan to Ireland, Williams became the first of dozens to perform on the Hayride stage on the way to superstardom.
The historic recordings of Louisiana Hayride are owned by Global Media Archives.
Headliners Set For ‘New Year’s Eve Live: Nashville’s Big Bash’
/by Caela GriffinThomas Rhett, Lynyrd Skynyrd and Lainey Wilson are set to ring in the new year at CBS’ New Year’s Eve Live: Nashville’s Big Bash on Dec. 31, live from Nashville.
The rest of the lineup of star-studded performers and hosts for the five-hour celebration will be announced at a later date.
The annual event features nearly 50 performances from locations across the city, including the main stage in Nashville’s Bicentennial Capitol Mall State Park. The broadcast will cross multiple time zones, with the traditional countdown at midnight ET, culminating with the renowned Nashville music note drop and fireworks at midnight CT. Past performers include Kelsea Ballerini, Dierks Bentley, Brooks & Dunn, Luke Bryan, Sheryl Crow and Miranda Lambert, among others.
“Building on what we have established over the last two years by focusing on our artists, the fans and the vibrancy of downtown Nashville, this year’s lineup is shaping up to be our most exciting yet. We will celebrate 50 years of the iconic southern rock band Lynyrd Skynyrd, the skyrocketing Lainey Wilson and country music superstar Thomas Rhett, with over a dozen artists and special guests still to be announced,” says executive producer Robert Deaton. “Nashville is quickly becoming the destination for New Year’s Eve, and we are honored that CBS wants to help us continue to show off our music and incredible city with a new multi-year deal!”
The live, high-energy performances return to CBS in a multi-year deal for 2023 and 2024. New Year’s Eve Live: Nashville’s Big Bash, on the CBS Television Network and available to stream on Paramount+, is executive produced by Deaton and Mary Hilliard Harrington in partnership with the Nashville Convention and Visitors Corp. The special will be directed by Sandra Restrepo.
Jon Pardi Announces Christmas Album, Special New York Holiday Show
/by Lorie HollabaughJon Pardi is making spirits bright with the announcement of his first-ever Christmas album, Merry Christmas From Jon Pardi, releasing Oct. 27. The new 12-track holiday album, produced by Pardi, Bart Butler and Ryan Gore, releases the same week that Pardi is set to become the first California native inducted into the Grand Ole Opry.
To make things more joyful, Pardi has also announced holiday show at New York City’s Beacon Theatre on Dec. 16. Tickets will be available for purchase starting tomorrow (Oct. 3) via Citi Presale and through the Pardi Animals Fan Club, with general on-sale beginning Oct. 6.
In addition to his holiday show in New York, Pardi will kick off the season performing live at Nashville’s favorite holiday tradition, the Opry Country Christmas shows, on Nov. 26. Returning to the Grand Ole Opry House for the third year, Opry Country Christmas will be Pardi’s first major activity as an Opry member. Tickets for Opry Country Christmas shows are on sale now at opry.com.
The announcement comes on the heels of opening weekend of Pardi’s “Mr. Saturday Night Tour,” which kicked off its North American leg last week and heads to Hollywood, Florida on Oct. 5.
Merry Christmas From Jon Pardi Track Listing:
1. Beer For Santa
2. 400 Horsepower Sleigh
3. All I Want For Christmas Is You
4. Let It Snow, Let It Snow, Let It Snow
5. Merry Christmas From The Keys
6. Please Come Home For Christmas
7. Santa Looked A Lot Like Daddy
8. I’ve Been Bad, Santa (And Pillbox Patti)
9. Reindeer
10. Swing On Down To Texas
11. Winter Wonderland
12. A Long December
Brad Paisley Releases ‘Son Of The Mountains: The First Four Tracks’
/by Lorie HollabaughBrad Paisley has released a sample of songs from his upcoming album, Son Of The Mountains, with Son Of The Mountains: The First Four Tracks.
He released the songs in this specific sequencing to help highlight the journey involved in writing the music for the album. Son Of The Mountains: The First Four Tracks includes the previously released tracks “Same Here” featuring Ukrainian President Volodymyr Zelensky and “So Many Summers,” plus the newly-released title track and “The Medicine Will.” The full album is slated for release in early 2024.
“Son Of The Mountains” and “The Medicine Will,” are inspired by the Appalachian region including Paisley’s home state of West Virginia, and reflect both the beautiful and the painful. Paisley has created and edited videos, directed by Jim Shea, to encapsulate the sentiment of each song. The “Son Of The Mountains” single and video both feature Dan Tyminski and Jerry Douglas and include colorful scenery of the state, while “The Medicine Will” focuses on the opioid epidemic and was shot in the depths of a coal mine featuring real life-stories of addicts, survivors and first responders.
“This album doesn’t shy away from reflecting real life and real situations going on in America and in our world today,” says Paisley about the new project. “This is what I think country music is about, which is truth.”
New IRS Rule Affects Concert Ticket Resellers
/by Liza AndersonZach Bryan. Photo: Courtesy of Shore Fire Media
A new ruling issued by the Internal Revenue Services (IRS) will now require ticketing companies to report if customers sold more than $600 in resale tickets in 2023. Previously, ticketing sites had to send a 1099-K form to sellers who made over $20,000 through 200 or more transactions.
The threshold was lowered to $600 by the American Rescue Plan Act of 2021 and made the change effective with the 2023 tax year. The Act did not make any changes to what is considered income nor how the tax is calculated.
This ruling includes proceeds from payment apps, online marketplaces, and third party settlement companies.
This law that comes on the heels of the American Rescue Plan Act, states that sellers pay taxes on the profits they made over the year, and follows popular tours such as Taylor Swift’s “The Eras Tour,” Beyonce’s “Renaissance Tour” and Zach Bryan‘s “The Burn, Burn, Burn Tour,” all of which had resale tickets listed for thousands of dollars on third-party resale sites.