Hardy. Photo: Tanner Gallagher
Music City—the beloved nickname of Nashville, Tennessee—has never felt like a more appropriate moniker for the bustling musical metropolis than it has become in recent years.
Though primarily famous for its outpouring of country and folk music, fit with the acoustic guitars, fiddles, mandolins and more to match, the rapidly expanding city has also served as home to a variety of other genres and sounds over the last century, including jazz, blues, reggae, R&B, rap and even some more recent experiments with K-pop.
Over the last couple of years, though, Music Row has doubled down on fostering Nashville’s growing rock community as labels like Big Machine and Big Loud have opened up rock-specific imprints. As Music City continues to evolve and expand, artists from all over have begun blending the lines between the plethora of sounds found around town, creating and embracing a genre of music all their own.
Hardy. Photo: Ryan Smith
Enter: Michael Hardy.
Better known by simply his last name, Hardy has been paving his own lane since first entering the scene in 2018 when he signed with Big Loud Records. In addition to establishing himself as one of country’s most in-demand songwriters, the Mississippi native has also made waves with his own music.
Since releasing his 2020 debut album, A Rock, Hardy has undoubtedly displayed a unique sound that pushes the boundaries of country music and borders on the fringes of alternative rock. Over the last two years, the reigning ACM Songwriter of the Year has also dropped a couple of rock-leaning songs, including 2022’s “Sold Out,” as well as a stirring cover of rock band Puddle Of Mudd‘s “Blurry.”
As Hardy was busy indulging the rock influences of his adolescence, he was unintentionally prepping for what would become his newest project, The Mockingbird & The Crow.
Marking his sophomore effort, this dichotomous, 17-track record is split neatly down the middle, encompassing eight songs of organic, modern country—The Mockingbird—and another eight of staunchly electric rock tracks—The Crow. The two styles stunningly collide at the record’s midpoint with the biographical title track.
But Hardy didn’t originally set out to make his second album with this unique concept in mind. On the other hand, it was quite serendipitous.
“It was a very gradual process, and it was unintentional,” Hardy shares with MusicRow. “Once my management and label told me to start thinking about record two, I definitely didn’t sit down and say, ‘I want to do a half country, half rock record.’
“I wrote ‘Jack’ and turned it in thinking it would be cool for the next project. Then I wrote ‘I In Country’ and turned that in, then I wrote ‘Kill Sh!t Till I Die,’ then ‘Screen.’ It just kept going back and forth until I had 10 songs on hold, and half of them were rock and half were country.” He recalls, “We all looked at each other and said, ‘Maybe we should do this half and half thing.’ It was really organic and I think that took the pressure off of writing songs… It made it a lot more fun.”
A decorated songwriter who has celebrated an impressive 12 No. 1 singles since 2018, Hardy is unsurprisingly credited on each of the album’s 17 tracks, as well as 23 co-writers, who he explains make up his “core group of collaborators.”
Within The Mockingbird & The Crow, the 2022 BMI Country Songwriter of the Year is joined by some of Music City’s writing royalty, such as Ashley Gorley, Rhett Akins, David Garcia, Hillary Lindsey and more, as well as some of Nashville’s newer hitmakers, including Hunter Phelps, Jessie Jo Dillon, Jordan Schmidt, Ben Johnson, Renee Blair, Matt Dragstrem, Brett Tyler, Will Weatherly and others.
Hardy. Photo: Ryan Smith
“Everybody that I love collaborating with the most has a song on the record,” the 2x AIMP Songwriter of the Year notes. “There’s a few of those people that I truly love writing with and I have hits outside of myself with those people, too. They’re people that I write well with.” He continues, “They bring out the best in me and they throw out stuff that my brain would have never thought of. They make me a better writer in general and they inspire me every day.”
Though there are nearly two dozen writers throughout the record, there is one song that sees Hardy put pen to paper on his own.
Found on the project’s country side, “Happy” personifies the idea of happiness in a rather rudimentary way. Giving happiness character and boiling it down, the track slightly touches on mental illness while also pumping some hard-learned optimism into the lyrics. The track marks Hardy’s first solo country write in a decade.
“‘Happy’ is really special to me,” he admits. “I hadn’t written a country song by myself since 2013 when I wrote a song called ‘Dog Years.’ That was a song that essentially got me my first publishing deal, so [‘Happy’] is really special in a lot of ways.” He adds, “I’m also just really proud of the song and the message that it has. I’m stoked to have a song I wrote by myself on this record, and hopefully it will inspire me to do more of that. It’s good to challenge yourself and see if you can try to get something great with just your own brain.”
Hardy performs onstage during Morgan Wallen’s “The Dangerous Tour” at Madison Square Garden. Photo: John Shearer
Elsewhere on the album’s first half, the CMA award-nominated entertainer offers up some classic country concepts. Whether it’s the love letter of sorts written from the perspective of beer on the opening track, the thought-provoking “Here Lies Country Music” taking on the form of a eulogy, his take on a traditional story-song alongside Lainey Wilson on “Wait In The Truck,” or his deliverance of some of country music’s signature patriotism on the hit-bound “Red” with labelmate Morgan Wallen, Hardy brings out all the bells and whistles that Nashville and country music are synonymous with.
One of the core standouts on The Mockingbird is undeniably “Screen.” Cleverly written alongside Dillon, Dragstrem and Phelps, Hardy makes a familiar statement with a simple but powerful acoustic backdrop. Opening with depictions of some of the sobering images that have become commonplace in our culture these days, “Screen” brings a much needed breath of fresh air as it reminds us of the beauty at work all around us if we just look up.
“A lot of these songs have a deep message and speak on humanity and where we are in the world, and there’s a lot to unpack with ‘Screen,’” he explains. “I don’t want it to ever come off judgy because I’m just as guilty as anybody else, but I would love for people to take a second and say, ‘Damn, I look at my phone a lot when there’s a lot of beautiful world going on out there.’ Hopefully, that song really conveys that message to everybody.”
Hardy. Photo: Tanner Gallagher
Conversely, on the record’s second half, Hardy breaks out some of the heavy-hitting production and edgy vocals often associated with the alternative rock space. On The Crow, you’ll find the intentionally chaotic “Jack,” which touches on the weight and isolation associated with addiction and alcoholism; “.30-06,” which could be sonically reminiscent of iconic band Blink-182; the quintessential modern rock song in “I Ain’t In The Country No More;” and the arena-ready anthem of “The Redneck Song,” which is just begging to be played as an encore.
The Crow also sees Jeremy McKinnon, lead singer of veteran band A Day To Remember, lend his vocals on a track called “Radio Song” that once again sees the convergence of the album’s two genres. Serving as one of the most gleefully confusing songs in recent memory, McKinnon delivers some spoken word verses behind rock production while Hardy provides a definitively country chorus.
With the project now circling out into the stratosphere and beyond, Hardy hopes that the heart behind the groundbreaking record doesn’t get lost. Though it isn’t an inherently country album through and through, The Mockingbird & The Crow truly captures the multi-faceted and nuanced nature of the rising singer-songwriter.
“I’m obviously trying to push my own boundaries and I guess ‘crossover’ a little bit into rock ‘n’ roll, if you will, but I also want people to know that I’m not leaving country music by any means,” Hardy sums. “The record is not an announcement that I’m exiting country music, but I think it really describes who I am as a person. Every song goes through what’s going on inside my brain—the thoughts that I have, the way that I grew up, the music I listen to, and my values. It’s just an all-encompassing encapsulation of who I am as a person.”
Among his biggest hopes for this album, Hardy shares, is to spawn a No. 1 on both country radio and rock radio. With “Jack” currently sitting in the top 15 at rock radio and its country counterpart “Wait In The Truck” residing in the top 10, the Mississippi boy’s dream may just become a reality.
Hardy performs onstage during Morgan Wallen’s “The Dangerous Tour” at Madison Square Garden. Photo: John Shearer
“A big goal of mine is to have a hit in both genres.” He adds, “That would be really cool, especially on rock radio. That, to me, is a full seal of approval from the rock ‘n’ roll community. The fact that I have been so accepted in that means a lot, and to have a hit at rock radio would be a huge milestone for me as an artist.”
As he begins this new chapter of his artistry, Hardy will ring in his album release with a special, double-header concert event on Jan. 23 in LA as he plays each of the record’s halves at two iconic venues—The Mockingbird at the Troubadour and The Crow at The Roxy.
He will later embark on his sold-out “The Mockingbird & The Crow Tour” on Feb. 16 in Indianapolis. Spanning across 16 dates, the trek’s support will also reflect the nature of the album as country singer-songwriter Jameson Rodgers and rock risers Blame My Youth come along for the ride.
Hardy’s one part country and one part rock concoction is available everywhere now.
Grayscale Marketing Ups Jason Zinser To VP, Communication
/by Lydia FarthingJason Zinser
Nashville-based event marketing and communication services company, Grayscale Marketing, has elevated Jason Zinser to Vice President of Communication. He rises from his former position of Director of Communications & Marketing.
Zinser joined the Grayscale team in June of 2021 and has worked directly with 28 clients, helping drive over 300,000 event ticket sales representing Cheyenne Frontier Days, Nebraska State Fair, Twin Cities Music Fest and more.
“Jason, in the role as Director of Communications, consistently demonstrated exceptional leadership, strategic thinking, kindness and creativity. He’s an undeniable expert in his field,” shares CEO of Grayscale Marketing, Tim Gray. “Since hired he has successfully executed numerous high-impact internal and external campaigns that have resulted in significant growth for the firm. Jason is a team player and always goes above and beyond to ensure the success of the company. I am confident that he will excel in his new role of VP.”
“I am truly proud to be continuing my work with and in service of the fantastic team at Grayscale Marketing,” Zinser adds. “[This] is a special place made that way by very special people. I am greatly looking forward to serving under and alongside GEM’s leadership and partnering with wonderful clients nation-wide, to help ensure Grayscale and her partners shine with heightened distinction as leaders in the marketing space.”
Brooks & Dunn Extend Their ‘Reboot Tour’ Into 2023 With New Arena Dates
/by Lorie HollabaughBrooks & Dunn are extending their “Reboot Tour” into 2023 with 17 new shows at arenas around the country. Scotty McCreery will open the dates.
Kicking off in Kansas City on May 4, the nationwide tour will make stops in Ft. Worth, Birmingham, Little Rock, Orlando, and more before wrapping in Greensboro, North Carolina on June 17.
“Last year, you all reminded us just how much fun it is to walk out on that stage and share the night with ya,” the duo’s Kix Brooks shares. “We love what we do, but we’re just surfing your wave… can’t wait!!”
“The Brooks and Dunn posse rides again,” adds Ronnie Dunn. “More excited to hit the big stage as we ever have been! Unbelievable band of friends.… annnnnd YOU! Together, let’s rock the house!!”
Tickets go on sale Jan. 27 at brooks-dunn.com and livenation.com. VIP Packages are also available, which include premium tickets, an invitation to the Neon Lounge, an exclusive signed poster, a VIP merchandise gift, and more.
The duo’s recently released collaboration project, Reboot, debuted at No. 1 on Billboard’s Top Country Albums, marking the first time they have topped the charts since 2009. They also simultaneously earned their 10th Billboard 200 Top 10 album–the most of any country duo or group in the chart’s history. In 2019, Brooks & Dunn were inducted into the Country Music Hall of Fame in the Modern Era Artist category.
“Reboot 2023 Tour” Dates:
Thu May 04 – Kansas City, MO – T – Mobile Center
Fri May 05 – Oklahoma City, OK – Paycom Center
Sat May 06 – Ft. Worth, TX – Dickies Arena
Thu May 11 – Lexington, KY – Rupp Arena
Fri May 12 – Pittsburgh, PA – PPG Paints Arena
Sat May 13 – Buffalo, NY – KeyBank Center
Thu May 18 – Birmingham, AL – Legacy Arena at The BJCC
Fri May 19 – Biloxi, MS – Mississippi Coast Coliseum
Sat May 20 – Little Rock, AR – Simmons Bank Arena
Thu Jun 01 – Omaha, NE – CHI Health Center
Fri Jun 02 – Sioux Falls, SD – Denny Sanford PREMIER Center
Sat Jun 03 – St. Paul, MN – Xcel Energy Center
Thu Jun 08 – Duluth, GA – Gas South Arena+
Sat Jun 10 – Orlando, FL – Amway Center
Thu June 15 – Mt. Pleasant, MI – Soaring Eagle Casino & Resort*
Fri Jun 16 – Columbus, OH – Nationwide Arena
Sat Jun 17 – Greensboro, NC – Greensboro Coliseum
*Not a Live Nation Date
+On Sale Friday, February 3
Jimmie Allen, Brandi Carlile, More Set To Perform At 2023 MusiCares Persons Of The Year Tribute
/by Lorie HollabaughBrandi Carlile, Sheryl Crow, John Legend, and more are set to perform at the upcoming 32nd annual MusiCares Persons of the Year benefit gala honoring Berry Gordy and Smokey Robinson on Feb. 3.
Taking place days before the Grammy Awards telecast, the gala will also feature performances from current Grammy award nominees Jimmie Allen, Samara Joy, Molly Tuttle, Sebastián Yatra and Chloe x Halle; Grammy award-winning artist and 2019 Recording Academy Lifetime Achievement Award recipient Dionne Warwick; previous nominee and 2019 Trustees Award recipient Valerie Simpson; previous nominees and 2009 Recording Academy Lifetime Achievement Award recipients the Four Tops; as well as additional appearances from Lalah Hathaway, the Isley Brothers, Michael McDonald, PJ Morton, Mumford & Sons, Lionel Richie, the Temptations, Trombone Shorty and Rita Wilson.
This year’s tribute will be held at the Los Angeles Convention Center and includes a reception and silent auction, followed by a dinner and the concert. Performers will pay tribute to the individual musical legacies created by Gordy and Robinson, as well as the music they created together during their decades-long friendship.
“We’re bringing together such a unique lineup of artists not only to pay tribute to Mr. Gordy, Mr. Robinson and Motown, but also to raise awareness of the critical health and social service needs within the music community,” shares Laura Segura, Executive Director of MusiCares. “The funds raised from Persons of the Year will allow MusiCares to continue to provide vital services throughout the year to the music community and continue to serve those who make the songs and events we all love possible.”
“I am so excited to share the always wonderful MusiCares event with my best friend Smokey Robinson and I can’t wait to hear these wonderful artists celebrate the Motown music,” notes Berry Gordy, founder of Motown.
“I’m so excited for this year’s MusiCares lineup,” adds Robinson. “These artists are my friends and I not only love them, but I’m honored that they will be performing my music, along with hits from the Motown catalogue.”
Proceeds from the event will provide support for MusiCares, the music charity providing music professionals health and human services across a spectrum of needs.
MacKenzie Porter Inks With CAA [Exclusive]
/by Lydia FarthingPictured (L-R): Bennett Beckner (CAA), Jeff Krones (CAA), MacKenzie Porter, Greg Thompson (Partner/President, Big Loud Management), Drew Magid (Manager, Big Loud Management). Photo: Brayln Kelly
Big Loud singer-songwriter MacKenzie Porter has inked with CAA for booking representation.
The Canadian-born and Nashville-based artist made quite the introduction in 2021 with her six-week No. 1 with Dustin Lynch, “Thinking ‘Bout You,” and followed it up with an impressive 2022 that saw her garner award nominations, a CMA Fest main stage debut, a rigorous touring schedule and more.
Porter has continued to release standout hits, such as “Pickup,” “About You” and “These Days,” with her full-length, debut album slated for release early this year. She made her Grand Ole Opry debut in late 2021 and was the only female nominated for Favorite Country Song at the 2022 American Music Awards.
Named the 2022 MusicRow Discovery Artist of the Year this past summer, Porter has also earned seven CCMA nominations in just the last two years alone, including a nod for Entertainer of the Year.
A member of CMT’s Next Women of Country Class of 2021, Porter previously starred as an actress in cult-followed sci-fi television series Travelers, and has toured the globe opening for Blake Shelton, Kenny Chesney, Walker Hayes, Jordan Davis, Brad Paisley, Chris Lane, Dallas Smith and Rascal Flatts.
“I am so excited to call CAA my new home,” shares Porter. “We have been building the perfect team, and it feels complete with Jeff [Krones] and Bennett [Beckner] joining the family. We will have new music coming this year, and I can’t wait to work alongside CAA to bring it to the stage!”
Drew Parker Drops Title Track Of Forthcoming EP, Kicks Off 2023 Tour
/by Liza AndersonDrew Parker. Photo: Emma Golden
Grammy-nominated artist Drew Parker has released “At The End Of The Dirt Road,” the title track of his forthcoming EP, expected to release this year, as well as the namesake to his upcoming tour.
The new music comes on the heels of recent releases “Raised Up Right” and “Little Miss Saturday Night.” The songs followed Parker’s seven-track EP While You’re Gone. The title track went on to be his first major-label single and was featured in his Grand Ole Opry debut set, where he received a standing ovation.
Drew Parker at the Georgia Theater.
Parker kicked off his “At The End Of The Dirt Road Tour” with a sold-out show at the Georgia Theater in Athens, Georgia last night (Jan. 19), marking his headlining debut at the venue located just 45 miles from his hometown. Noah Hicks, Sarah Allison Turner and Meghan Patrick will join Parker on select dates during the trek, which spans into March.
The Georgia native received his first Grammy nomination this year for Best Country Song for co-writing Luke Combs’ No. 1 hit “Doin’ This.” Parker has also served as a co-writer on Combs’ “1,2 Many” and “Forever After All,” which won Song of the Year at the 2022 BMI Country Awards.
Tickets for the “At The End Of The Dirt Road Tour” are on sale now. For more information, click here.
“At The End of the Dirt Road Tour” Dates:
1/19/2023 – Georgia Theatre (Athens, GA) w/ Noah Hicks
1/20/2023 – Coyote Joe’s (Charlotte, NC) w/ Noah Hicks
1/21/2023 – The Blind Horse Saloon (Greenville, SC) w/ Noah Hicks
1/26/2023 – Zydeco (Birmingham, AL) w/ Noah Hicks
1/27/2023 – The Bluff (Memphis, TN) w/ Noah Hicks
1/28/2023 – Rick’s Cafe (Starkville, MS) w/ Noah Hicks
2/2/2023 – Hank’s Texas Grill (McKinney, TX) w/ Sarah Allison Turner
2/3/2023 – John T. Floore Country Store (Helotes, TX) w/ Sarah Allison Turner
2/4/2023 – House of Blues (Houston, TX) w/ Sarah Allison Turner
2/16/2023 – Jergel’s Rhythm Grille (Warrendale, PA) w/ Noah Hicks
2/17/2023 – Coyote Joe’s (Shelby Township, MI) w/ Noah Hicks
2/18/2023 – Thirsty Cowboys (Medina, OH) w/ Noah Hicks
2/23/2023 – PBR Bar (Louisville, KY) w/ Meghan Patrick
2/24/2023 – Carol’s Pub (Chicago, IL) w/ Meghan Patrick
2/25/2023 – The Cabooze (Minneapolis, MN) w/ Meghan Patrick
3/2/2023 – Brighton Music Hall (Boston, MA) w/ Sarah Allison Turner
3/3/2023 -The Hamilton (Washington, DC) w/ Sarah Allison Turner
3/4/2023 – Mohegan Sun – Wolf Den (Uncasville, CT)
Caitlyn Smith’s Third Full-Length Album, ‘High & Low,’ To Arrive In April
/by Lydia FarthingCaitlyn Smith. Photo: Rob Morgan
Monument Records’ Caitlyn Smith has unveiled the second half of her self-produced High & Low project will arrive on April 14. Following the release of High in March 2022, Smith will add six new songs–the Low portion–to create her third full-length record.
The five additional new tracks help to further capture the full picture of who Smith is as an artist and creator. The first taste of what’s to come from the full album, “Lately,” is available everywhere now. Written alongside Gordie Sampson and Troy Verges, Smith details the attempt to overcome loss using a series of distractions.
Looking back at the making of High & Low, the award-winning songwriter realized she had celebrated the “highs” of life publicly while navigating the “lows” in private. Over the course of writing and producing the project, she learned to embrace all aspects of her life, including the “lows.”
“Nobody can have the highs without the lows,” Smith reflects. “When I decided to produce this album, I knew it was going to be a challenge–and musically it was a beautifully stretching and exciting experience. But it brought me into this unexpected season of life where I started facing all these roadblocks that were holding me back. Fear. Doubt. Denial. And I was really forced to finally bring these issues into the light. I went from hiding behind my songs to being able to say it out loud in the room–and that’s something I’m really proud of.
In 2022, the Minnesota native earned her first ACM Awards nomination for New Female Artist of the Year. With two upcoming performances set for “Opry at the Ryman” on Jan. 21, she plans to announce her 2023 shows in the coming months.
*Denotes new song
1 High – Intro
2 High
3 Dreamin’s Free
4 Lately*
5 Mississippi*
6 Good As Us
7 Alaska*
8 Maybe In Another Life
9 I Think Of You*
10 Nothing Against You
11 Downtown Baby
12 Writing Songs and Raising Babies*
13 I Don’t Like The World Without You
14 The Great Pretender*
UMG Nashville’s Dottie Chamberlain To Exit Label
/by LB CantrellDottie Chamberlain
Dottie Chamberlain will exit her position as Executive Assistant to outgoing UMG Nashville Chairman & CEO Mike Dungan after supporting the executive for over 25 years.
The news comes on the heels of Dungan’s retirement announcement last week. The two will exit in March, with Cindy Mabe taking over Dungan’s role.
Chamberlain began assisting Dungan at Arista Nashville in 1995, moving with him to Capitol Records/UMG in 2000. Throughout her career Chamberlain has worked alongside some of country music’s most iconic entertainers and biggest breakthrough artists, including Luke Bryan, Keith Urban, Chris Stapleton, Carrie Underwood, Little Big Town, George Strait, Eric Church, Darius Rucker, Dierks Bentley, Vince Gill, Kacey Musgraves, Brothers Osborne and Reba.
Prior to working as Dungan’s Executive Assistant, Chamberlain served as Publicity Coordinator for Arista Nashville, where she was instrumental in the careers of Brooks & Dunn, Alan Jackson, Pam Tillis, Diamond Rio and Brad Paisley.
With decades of experience and a multitude of skills and contacts in the industry, Chamberlain is excited to begin the next exciting chapter of her career and is exploring all opportunities at this time.
Reach her at dchambe@aol.com.
Bobby Karl Works The Room: Belmont Celebrates Minnie Pearl Film
/by Bobby KarlPictured (L-R): Mary Ellen Pethel, filmmaker Barbara J. Hall, Don Cusic, Joann Berry and Kathy Mattea speak onstage at the Facing the Laughter: Minnie Pearl NPT documentary preview event at Belmont University. Photo: Sam Simpkins
Chapter 665
Belmont University exhibited its party-throwing abilities on Thursday evening (Jan. 19) with a three-hour gala to salute NPT’s new documentary about the legendary Minnie Pearl.
The event featured the screening of excerpts from Facing the Laughter: Minnie Pearl, the first film to explore the life and legacy of the Country Music Hall of Fame comedian. Staged at the school’s awesome new Fisher Center performance hall, the bash also included Minnie-inspired art, cuisine, music and reminiscences.
Photo: Sam Simpkins
The Fisher Center’s marble lobby held displays of 35 colorfully elaborate, sculptural and floral hats designed by the university’s fashion students. These were inspired by the star’s trademark straw hat topped with fake flowers and a $1.98 price tag.
Guests sampled from a buffet that featured several dishes that can be found in Minnie Pearl’s popular cookbooks — chicken-salad tea sandwiches, deviled eggs, coleslaw, beef skewers, pork sliders, melon & berries, truffled mac & cheese bites, loaded fingerling potatoes, apple-crumb tortlettes, pecan tassies and chocolate torts.
Working the room were Dan Rogers, Demetria Kalodimos, Dave Pomeroy, Sarah Cates, Amy Smartt, Doug Howard, Brenda Colladay, Erin Morris, Kent Oliver, Ellen Pryor, Mike Martinovich, David Ewing, Greg Hall, Jules Wortman, Glenda Harper, Lisa Harless and Metro’s First Lady Laura Cooper. Belmont president Greg Jones greeted the throng, saying, “Tonight’s event celebrates the legacy of Sarah Colley Cannon, an alumnus of Ward-Belmont. She had a spirit [as Minnie Pearl] we want our students to emulate.”
He encouraged us to enter the fabulous concert hall, where we were serenaded by the school’s fine bluegrass ensemble — Billy Ayers, Justin Blanner, Ky Brandes, Marissa Colter and Jonathan Horne, plus its female-trio vocalists Elizabeth Dewey, Sydney Lee and Michelle Raybourne. They performed next to a mini “Grinder’s Switch” set designed by their fellow student, Susie Konstans.
Sylvia Harney, a Minnie Pearl character actor, performs. Photo: Sam Simpkins
Sylvia Harney, also a Belmont alumnus, came onstage in full Minnie Pearl regalia to do a short stand-up set of the legend’s jokes. Nashville’s Deputy mayor of Community Engagement Brenda Haywood brought greetings from Mayor John Cooper and offered a brief bio of the country superstar.
“She was a trail-blazing woman who changed comedy,” said Haywood. “She became a uniter here in the Athens of the South.”
NPT president Becky Magura presided. “What a tremendous night,” she exclaimed. “Thank you Belmont; you sure know how to throw a party.” She brought on the film’s producer/director, Barb Hall.
“I just hope I have done justice,” said Hall. “I hope you enjoy it.” She screened a brief segment of the 90-minute documentary.
Rodney Crowell, Kathy Mattea and John Jorgenson performed Crowell’s song “It’s Time to Go Inward,” which was inspired by Minnie’s wisdom. Mattea remained on stage to take part in panel discussion with filmmaker Hall, Joanne Berry and Don Cusic.
Pam Tillis shared a story of how Minnie had mentored her Hall of Fame dad, Mel Tillis. Minnie encouraged him to talk and be funny, assuring him that audiences would laugh with him, not at him, when he stuttered. Pam then performed her superbly written “Two Dollar Hat,” a song in the legendary lady’s honor.
Amy Grant speaks. Photo: Sam Simpkins
Amy Grant shared stories from her girlhood growing up in Music City that involved her interactions with Sarah Cannon (Minnie Pearl). “I don’t remember one thing she said, but I remember how she made me feel,” said Grant, adding that one of her daughters is named in the star’s honor.
“Hasn’t this been a wonderful night?” asked Brenda Lee. “I began touring with Minnie when I was 10 years old. I learned so much from her. Not as an entertainer, but as a good person.
“Miss Minnie, I wish you could be here tonight. Because you can still fill up a room.”
A second segment of Facing the Laughter was screened, spotlighting Minnie Pearl’s tenure on Hee Haw. Then Sarah Cannon Cancer Center leader Jonathan Tinker told of the her philanthropy, stating that 2/3 of the recently approved cancer-treating drugs were in clinical trials there. Sarah/Minnie’s largess also extended to Belmont, which was the recipient of some of her estate. Sarah Ophelia Colley Cannon received an honorary doctorate from Belmont in 1989.
Facing the Laughter: Minnie Pearl officially premieres on Feb. 6 in area theaters. This is NPT’s first theatrical film.
When Two Worlds Collide: A Look Inside Hardy’s Genre-Defying ‘The Mockingbird & The Crow’ [Interview]
/by Lydia FarthingHardy. Photo: Tanner Gallagher
Music City—the beloved nickname of Nashville, Tennessee—has never felt like a more appropriate moniker for the bustling musical metropolis than it has become in recent years.
Though primarily famous for its outpouring of country and folk music, fit with the acoustic guitars, fiddles, mandolins and more to match, the rapidly expanding city has also served as home to a variety of other genres and sounds over the last century, including jazz, blues, reggae, R&B, rap and even some more recent experiments with K-pop.
Over the last couple of years, though, Music Row has doubled down on fostering Nashville’s growing rock community as labels like Big Machine and Big Loud have opened up rock-specific imprints. As Music City continues to evolve and expand, artists from all over have begun blending the lines between the plethora of sounds found around town, creating and embracing a genre of music all their own.
Hardy. Photo: Ryan Smith
Enter: Michael Hardy.
Better known by simply his last name, Hardy has been paving his own lane since first entering the scene in 2018 when he signed with Big Loud Records. In addition to establishing himself as one of country’s most in-demand songwriters, the Mississippi native has also made waves with his own music.
Since releasing his 2020 debut album, A Rock, Hardy has undoubtedly displayed a unique sound that pushes the boundaries of country music and borders on the fringes of alternative rock. Over the last two years, the reigning ACM Songwriter of the Year has also dropped a couple of rock-leaning songs, including 2022’s “Sold Out,” as well as a stirring cover of rock band Puddle Of Mudd‘s “Blurry.”
As Hardy was busy indulging the rock influences of his adolescence, he was unintentionally prepping for what would become his newest project, The Mockingbird & The Crow.
But Hardy didn’t originally set out to make his second album with this unique concept in mind. On the other hand, it was quite serendipitous.
“It was a very gradual process, and it was unintentional,” Hardy shares with MusicRow. “Once my management and label told me to start thinking about record two, I definitely didn’t sit down and say, ‘I want to do a half country, half rock record.’
“I wrote ‘Jack’ and turned it in thinking it would be cool for the next project. Then I wrote ‘I In Country’ and turned that in, then I wrote ‘Kill Sh!t Till I Die,’ then ‘Screen.’ It just kept going back and forth until I had 10 songs on hold, and half of them were rock and half were country.” He recalls, “We all looked at each other and said, ‘Maybe we should do this half and half thing.’ It was really organic and I think that took the pressure off of writing songs… It made it a lot more fun.”
A decorated songwriter who has celebrated an impressive 12 No. 1 singles since 2018, Hardy is unsurprisingly credited on each of the album’s 17 tracks, as well as 23 co-writers, who he explains make up his “core group of collaborators.”
Within The Mockingbird & The Crow, the 2022 BMI Country Songwriter of the Year is joined by some of Music City’s writing royalty, such as Ashley Gorley, Rhett Akins, David Garcia, Hillary Lindsey and more, as well as some of Nashville’s newer hitmakers, including Hunter Phelps, Jessie Jo Dillon, Jordan Schmidt, Ben Johnson, Renee Blair, Matt Dragstrem, Brett Tyler, Will Weatherly and others.
Hardy. Photo: Ryan Smith
“Everybody that I love collaborating with the most has a song on the record,” the 2x AIMP Songwriter of the Year notes. “There’s a few of those people that I truly love writing with and I have hits outside of myself with those people, too. They’re people that I write well with.” He continues, “They bring out the best in me and they throw out stuff that my brain would have never thought of. They make me a better writer in general and they inspire me every day.”
Though there are nearly two dozen writers throughout the record, there is one song that sees Hardy put pen to paper on his own.
Found on the project’s country side, “Happy” personifies the idea of happiness in a rather rudimentary way. Giving happiness character and boiling it down, the track slightly touches on mental illness while also pumping some hard-learned optimism into the lyrics. The track marks Hardy’s first solo country write in a decade.
“‘Happy’ is really special to me,” he admits. “I hadn’t written a country song by myself since 2013 when I wrote a song called ‘Dog Years.’ That was a song that essentially got me my first publishing deal, so [‘Happy’] is really special in a lot of ways.” He adds, “I’m also just really proud of the song and the message that it has. I’m stoked to have a song I wrote by myself on this record, and hopefully it will inspire me to do more of that. It’s good to challenge yourself and see if you can try to get something great with just your own brain.”
Hardy performs onstage during Morgan Wallen’s “The Dangerous Tour” at Madison Square Garden. Photo: John Shearer
Elsewhere on the album’s first half, the CMA award-nominated entertainer offers up some classic country concepts. Whether it’s the love letter of sorts written from the perspective of beer on the opening track, the thought-provoking “Here Lies Country Music” taking on the form of a eulogy, his take on a traditional story-song alongside Lainey Wilson on “Wait In The Truck,” or his deliverance of some of country music’s signature patriotism on the hit-bound “Red” with labelmate Morgan Wallen, Hardy brings out all the bells and whistles that Nashville and country music are synonymous with.
One of the core standouts on The Mockingbird is undeniably “Screen.” Cleverly written alongside Dillon, Dragstrem and Phelps, Hardy makes a familiar statement with a simple but powerful acoustic backdrop. Opening with depictions of some of the sobering images that have become commonplace in our culture these days, “Screen” brings a much needed breath of fresh air as it reminds us of the beauty at work all around us if we just look up.
“A lot of these songs have a deep message and speak on humanity and where we are in the world, and there’s a lot to unpack with ‘Screen,’” he explains. “I don’t want it to ever come off judgy because I’m just as guilty as anybody else, but I would love for people to take a second and say, ‘Damn, I look at my phone a lot when there’s a lot of beautiful world going on out there.’ Hopefully, that song really conveys that message to everybody.”
Hardy. Photo: Tanner Gallagher
Conversely, on the record’s second half, Hardy breaks out some of the heavy-hitting production and edgy vocals often associated with the alternative rock space. On The Crow, you’ll find the intentionally chaotic “Jack,” which touches on the weight and isolation associated with addiction and alcoholism; “.30-06,” which could be sonically reminiscent of iconic band Blink-182; the quintessential modern rock song in “I Ain’t In The Country No More;” and the arena-ready anthem of “The Redneck Song,” which is just begging to be played as an encore.
The Crow also sees Jeremy McKinnon, lead singer of veteran band A Day To Remember, lend his vocals on a track called “Radio Song” that once again sees the convergence of the album’s two genres. Serving as one of the most gleefully confusing songs in recent memory, McKinnon delivers some spoken word verses behind rock production while Hardy provides a definitively country chorus.
With the project now circling out into the stratosphere and beyond, Hardy hopes that the heart behind the groundbreaking record doesn’t get lost. Though it isn’t an inherently country album through and through, The Mockingbird & The Crow truly captures the multi-faceted and nuanced nature of the rising singer-songwriter.
“I’m obviously trying to push my own boundaries and I guess ‘crossover’ a little bit into rock ‘n’ roll, if you will, but I also want people to know that I’m not leaving country music by any means,” Hardy sums. “The record is not an announcement that I’m exiting country music, but I think it really describes who I am as a person. Every song goes through what’s going on inside my brain—the thoughts that I have, the way that I grew up, the music I listen to, and my values. It’s just an all-encompassing encapsulation of who I am as a person.”
Among his biggest hopes for this album, Hardy shares, is to spawn a No. 1 on both country radio and rock radio. With “Jack” currently sitting in the top 15 at rock radio and its country counterpart “Wait In The Truck” residing in the top 10, the Mississippi boy’s dream may just become a reality.
Hardy performs onstage during Morgan Wallen’s “The Dangerous Tour” at Madison Square Garden. Photo: John Shearer
“A big goal of mine is to have a hit in both genres.” He adds, “That would be really cool, especially on rock radio. That, to me, is a full seal of approval from the rock ‘n’ roll community. The fact that I have been so accepted in that means a lot, and to have a hit at rock radio would be a huge milestone for me as an artist.”
As he begins this new chapter of his artistry, Hardy will ring in his album release with a special, double-header concert event on Jan. 23 in LA as he plays each of the record’s halves at two iconic venues—The Mockingbird at the Troubadour and The Crow at The Roxy.
He will later embark on his sold-out “The Mockingbird & The Crow Tour” on Feb. 16 in Indianapolis. Spanning across 16 dates, the trek’s support will also reflect the nature of the album as country singer-songwriter Jameson Rodgers and rock risers Blame My Youth come along for the ride.
Hardy’s one part country and one part rock concoction is available everywhere now.
Blake Shelton Helps Break Ground On New Ole Red Las Vegas Location
/by Lorie HollabaughPictured (L-R): Ryman Hospitality Properties Executive Chairman Colin Reed, Blake Shelton, Ryman Hospitality Properties President & CEO Mark Fioravanti. Photo: Denise Truscello
Blake Shelton and Ryman Hospitality Properties provided a sneak peek of the upcoming Ole Red Las Vegas location at Caesars Entertainment’s Horseshoe Las Vegas on Thursday (Jan. 19). The location is currently planned for a late 2023 grand opening
The preview event included a moderated Q&A between Shelton and Ryman Hospitality Properties Executive Chairman Colin Reed, as well as live performances by past contestants from The Voice, Wendy Moten and The Swon Brothers.
Pictured (L-R): Blake Shelton, Colton Swon and Zach Swon of The Swon Brothers, and Wendy Moten. Photo: Denise Truscello
“If you are going to do something here, you’ve got to do it big,” shares Shelton. “Every time I’m in Vegas, I want some country music and Ole Red is the remedy for that.”
Ole Red Las Vegas has broken ground in front of Caesars Entertainment’s Horseshoe Las Vegas at the Grand Bazaar Shops, on the southeast corner of Las Vegas Boulevard and Flamingo Road. At approximately 27,000 square feet with a planned 686 seats, Ole Red Las Vegas is slated to be the brand’s largest location to date and the first in the western United States.
Additional details of the four-story venue include: