Oh great, another list. And just like what always happens with lists these days, people treat them like it’s a “Where’s Waldo?” exercise, scouring through them to find what to tear apart based on their own tastes.
On Friday (4-24), Ella Langley released a new duet with Morgan Wallen called “I Can’t Love You Anymore.” The duo first debuted the song live on April 18th during a Wallen tour stop in Tuscaloosa, Alabama.
Some will read the headline and say, “Come on. This is ridiculous and alarmist.” Others will say, “Well of course it is. You’ve been reporting on this stuff for going on two decades. Aren’t you being a master of the obvious?”
Is the ruling a victory? Sure it is, and a big one. But we are far away from Live Nation and Ticketmaster being split up, scalpers and bots being brought to heel, and something nearing an equitable ticketing ecosystem.
This is the kind of weird Spacey Kacey stuff we’ve been waiting and hungering for. When she was off trying to be a pop star, signing modeling deals, and hanging out at the Met Gala, it was a total bore.
Big Hat has dovetailed their mission with helping to spread the word about independent music native to Texas, doing what they can to support songwriters and performers through their growing platform.
It was ten years ago today—April 6th, 2016—that word came down that one of the greatest singers, songwriters, and entertainers to ever grace the medium of country music, Merle Haggard, had passed away.
Ne-Yo has decided the only thing you really have to do to transition to country music is make a declarative statement proclaiming as much, and maybe bury a steel guitar way down in the mix.
Hole in the Wall in Austin, TX near the University of Texas campus comes with a songwriting history few other venues can rival. Townes Van Zandt and Blaze Foley not only held court on Hole in the Wall’s stage…
Acclaimed songwriter and performer Chip Taylor died on Monday, March 23rd. And as can be expected and probably warranted, the remembrances all started off with how he was the writer of “Wild Thing.”
What else was Vince Gill going to say to a loaded, ambush question? He wasn’t going to say, “No, Taylor Swift’s pop and her music sucks.” He’s Vince Gill, and will give a Vince Gill answer. But the problem wasn’t Vince’s answer.
But what Billboard failed to mention whatsoever is how there’s an actual modern Outlaw country scene, as well as an Outlaw country sound that isn’t really that hard to find.
There is probably one opportunity, and one opportunity only to solve the biggest problem plaguing the live music industry in the United States, and that is the current trial that Live Nation is going through.
The second album from Johnny Blue Skies and the Dark Clouds (Sturgill Simpson) called ‘Mutiny After Midnight’ is not officially out until March 13th. But it’s fair to wonder if that March 13th date is relevant now.
When Jason Isbell released the song “When We Were Close” on his 2023 album “Weathervanes,” it created some interest, and stirred some controversy since the song is about Justin Townes Earle.
Fresh off his win for Best Traditional Country Album at the 2026 Grammy Awards, Zach Top had some great insight into this moment in country music from his perspective as an artist.
The constant relaunches and various iterations spanning multiple genres, spectacularly failing and then being reconstituted into something “new” will give you whiplash just reading about it.
Nashville has a choice, and it’s one with major implications on how the city will be perceived heading into the future, its economic viability as a tourist destination, and how the musicians of Nashville are supported.
Captain Augustus “Gus” McCrae, Colonel Kilgore, Consigliere Tom Hagen, ol’ Mac Sledge, and so many more. These are the fictional characters that all feel larger than life to us thanks to Robert Duvall.
Jelly Roll is finally starting to experience the widespread scrutiny his life, career, and music has deserved for a few years now. But it’s coming in a very unusual, and frankly, misguided manner.
It struck me that the vast majority of people were discussing an album and an artist they had heard little to no music from. The first and foremost rule of music criticism is that you have to listen to the material.
The sum total of country’s participation in the 3 1/2 hour show was the 4 minute, 44 second performance. While voting and Grammy membership is not entirely in the Grammy’s control, the performances are.
This year, the Super Bowl will have two halftime performances, which in truth means that it will have no true halftime performance because neither will command the universal audience it needs to bring people together.
Only appropriate that as the recently svelte Jelly Roll sauntered up to the stage to deliver his shake shack snake oil sermon, you heard Jelly Roll singing via the walk-up music, “I ain’t nothin’ but a liar.”