Tag: Chris Stapleton

Tyler Childers: The Backstory (In Songs)

Posted on by Justin Hiltner

Tyler Childers has taken an unlikely path to the top via live performance, not radio singles. He’s become an improbable arena-level star by ignoring typical Nashville bromides – equal parts Patterson Hood’s working-class Southern blues, Chris Stapleton’s bluegrass bonafides, and Woody Guthrie’s progressive populism. After all, you’re not gonna call your touring band The Food Stamps unless you lean left, at least a little.

Like Billy Strings, Childers has become enough of a sensation for his appeal to extend beyond the Americana-adjacent world, too. Last year, he even turned up onstage for a live cameo with pop star Olivia Rodrigo in his Kentucky stomping grounds to do his song “All Your’n.” It went over like a house on fire.

Since country radio is finally, belatedly catching on with “Nose On The Grindstone,” lead single to Childers’ fine new Rick Rubin-produced LP Snipe Hunter, let’s take a look back to where he came from.

How’d this happen, anyway? Like this.

“Hard Times,” Bottles and Bibles (2011)

Going back to the beginning, “Hard Times” was the song that opened Childers’ full-length debut Bottles and Bibles. It’s an actual hillbilly elegy that definitely sets a tone, with finely detailed lyrics that unfold like a short story. Simultaneously stoic and emotional, Childers’ quavering vocal about a holdup gone wrong makes him sound like a protagonist who somehow regrets both everything and nothing at all: “And if the Lord wants to take me, I’m here for the taking/ ‘Cause Hell’s probably better than tryin’ to get by.”

“Long Violent History,” Long Violent History (2020)

Bluegrass roots and of-the-moment progressive activism makes for an unusual combination, but here we are. “Long Violent History” is the title track to a bluegrass album and it’s the only original and non-instrumental track on the record. Evoking “Faded Love” at the outset and “My Old Kentucky Home” on the outro, it’s a rural Southern score for the Black Lives Matter protests that swept America in 2020.

“It’s the worst that it’s been since the last time it happened,” Childers sighs at the outset, resigned to the inevitability of violence happening again. For good measure, Childers made a supplemental spoken-word video (below) explaining the necessity of BLM: “If we didn’t need to be reminded, there would be justice for Breonna Taylor, a Kentuckian like me, and countless others.”

“Jersey Giant” – Elle King (2022)

If Childers ever records his own version of “Jersey Giant,” he’ll have to hustle to top Elle King’s cover. As with the similarly themed “Me and Bobby McGee” (written by Kris Kristofferson, but owned for the ages by Janis Joplin), King just completely inhabits the song’s bittersweet, longing anguish. “I left town when we were over… Just didn’t feel the same” – the way she pauses a beat between lines is just chef’s-kiss perfection. There are numerous cover versions of “Jersey Giant” out there, but this is the one that’s going to linger.

“Luke 2:8-10,” Rustin’ In The Rain (2023)

Remember the big pivot-point moment of truth in the classic holiday cartoon A Charlie Brown Christmas – the “Lights, please” speech that his friend Linus makes? Childers must have grown up with that, too. Linus spoke these Bible verses, Luke 2:8-10, which Childers transposes to the key of honky-tonk in this song with his drawl in full effect. You can almost imagine the “Peanuts” dancers doing a two-step to it.

“Purgatory,” Can I Take My Hounds to Heaven? (2022)

Childers’ ambitiously wide-ranging 2022 album Can I Take My Hounds to Heaven? featured eight gospel songs, each done in three different versions dubbed Hallelujah, Jubilee, and Joyful Noise. The latter category tricked each tune up with samples and remixes, which might be the closest Childers has ever come to hip-hop electronica (at least so far!). In this guise, the title track from his 2017 project Purgatory cuts the sort of groove you’d expect to hear in New Orleans.

“The Heart You’ve Been Tending,” Harlan Road – NewTown (2016)

What does it mean that so many of the best covers of Childers’ songs are by women? Who’s to say, but here’s another great one, from the Kentucky band NewTown’s Harlan Road album. “The Heart You’ve Been Tending” is in waltz time, with fiddler/singer Kati Penn’s vocal shining bright as a lighthouse cutting through a foggy mountain breakdown.

“In Your Love,” Rustin’ in the Rain (2023)

Another multimedia project of sorts, this song from Childers’ Rustin’ in the Rain started out as a relatively conventional devotional love song. Then he enlisted collaborators including his fellow Kentuckian, author Silas House, to make a video that casts “In Your Love” as a sort of country music version of Brokeback Mountain set in coal-mining country. As beautiful as it is heartbreaking.

“Matthew,” Country Squire (2019)

Childers has always been wildly eclectic and this song from his Country Squire LP is a prime example. “Matthew” is yet another working-class waltz, with enough bluegrass savvy to drop bluegrass legend Clarence White’s name in the lyrics – plus an actual sitar as oddball sound-effect mood-setter at the beginning of the song. Somehow it makes perfect sense.

“Bottles and Bibles (Live),” Live on Red Barn Radio I & II (2018)

With or without a band, Childers has always been a riveting performer. This live version of the title track to his 2011 studio debut closed out 2018’s Live on Red Barn Radio I & II and it’s just voice and guitar. All the better to focus on the tale of a preacher as wayfaring stranger pondering the difficulties of keeping to the straight and narrow: “But they ain’t had to walk with the weight that you’ve hauled/ They don’t know you at all, but they think that they do.”

“Coal,” Bottles and Bibles (2011)

What might Bruce Springsteen have been like if he’d grown up in a Kentucky coal-mining family? You can imagine him turning out like the narrator of this song, which sounds way too timeless to have originated in this century. It’s pure working-class desperation: “We coulda made something of ourselves out there, if we’d listened to the folks/ That coal is gonna bury you.”

“Oneida,” Snipe Hunter (2025)

To be a Childers fan is to accept that he does have some idiosyncratic boundaries. There are songs from his live shows he’s never recorded, like the previously mentioned “Jersey Giant”; or popular recorded songs he has sworn off playing live, including the now-widely-seen-as-problematic “Feathered Indians.” For the better part of a decade, one of his unrecorded orphans was “Oneida,” a longtime fan favorite that’s like a Harold and Maude for the country set. Lo and behold, a recorded version finally surfaced as one of the best songs on Snipe Hunter. Dreams do come true.

Find more of our Artist of the Month coverage of Tyler Childers – including our Essentials Playlist – here.

Photo Credit: Sam Waxman

Artist of the Month:
Tyler Childers

Posted on by Justin Hiltner

Next to fellow Kentuckians Sturgill Simpson and Chris Stapleton, you’ll be hard pressed to find a singer more influential on the Commonwealth – or on all of Appalachian music – than Tyler Childers.

The Lawrence County-born artist first began cutting his teeth on dark corner stages inside diners across Eastern Kentucky and in grainy YouTube videos prior to laying the foundation for the cult-like following that’s been enamored with him since with 2011’s Bottles & Bibles and 2016’s Live On Red Barn Radio I & II. The following year he burst onto the national scene with his Simpson-produced studio debut, Purgatory.

From a voice as gritty and raw as the black gold he sings about on songs like “Nose On The Grindstone” and “Coal” to lyrics that shatter stereotypes and perceptions cast down on his home region by those outside of it, it’s easy to see why Childers’ music has become a soundtrack for not just part but all of Appalachia.

Whether it be the combination of humility and holler-bred antics within Purgatory, the intimate honky-tonk vignettes of Country Squire, the fiddle tunes of Long Violent History, the gospel-fueled experimentation of Can I Take My Hounds To Heaven? or the spiritual embodiment of Elvis on Rustin’ In The Rain, Childers has found success by shaking expectations at every turn, keeping old fans on their toes and bringing new ones in along the way.

When violence perpetrated by police was front and center during the aftermath of George Floyd’s death in 2020, Childers opted to cap off that fiddle album with its only vocal track, the protest anthem “Long Violent History.” During a heated societal moment, he approached the tune from an angle of empathy rather than pretentiousness as he tried contextualizing everything going on with past events like the Battle of Blair Mountain. Then in 2023 he had his first hit on country radio with “In Your Love,” an epic love tale that he recast as a gay one with the help of then Kentucky Poet Laureate Silas House in 2023.

While some fans have been turned off by his “political” statements, his viewpoints ultimately led to more people going down the rabbit hole of Childers’ catalog than ever before. This growth has culminated in sold-out shows at fabled venues like New York City’s Madison Square Garden, Lexington’s Kroger Field, London’s O2 Arena and the Los Angeles’ Hollywood Bowl. It also resulted in recording a track for last year’s TWISTERS soundtrack, collaborating with Olivia Rodrigo for a cover of “All Your’n” during a GUTS tour stop in Kentucky, and performing during The White House’s Fourth of July celebrations in 2024. Close to 10 years removed from his breakthrough moment, the singer is as popular and influential as ever.

That influence is sure to grow with the release of his latest studio album, Snipe Hunter. Recorded with and produced by Rick Rubin in Hawaii in early 2024, the 13-song compilation charts the red-headed stranger’s creative and spiritual coming of age with stories of the band’s success. The project is sprinkled with a bit of anti-capitalistic sentiment (“Eatin’ Big Time”), a yearning to escape on a trek to India (“Tirtha Yatra”), his fear of Koalas (“Down Under”) and hunting for whitetail deer (“Dirty Ought Trill”).

Much like its predecessors, Snipe Hunter captures Childers signature sound while also sounding like nothing he’s released before it, a fact no doubt aided by Rubin’s knack for crafting material that sticks to the cultural zeitgeist like superglue. Songs like “Nose On The Grindstone” and “Oneida” – a story about falling for an older woman – have been in Childers’ performance rotation, on YouTube playlists for years, and traded as coveted bootlegs, but the versions captured for Snipe Hunter, with their additions of organ, synths, and other studio toys, has each feeling reborn and completely new again.

Collectively, the album feels rooted in country funk bands of old like Goose Creek Symphony just as much as it incorporates more modern influences like Charlie Brown Superstar (whose remixes for Can I Take My Hounds To Heaven? are sublime) and Eric Church, serving up the perfect combination of past, present and future sounds in the process while sticking to the deeply personal Appalachian flavoring that has long highlighted his grand storytelling.

To celebrate the release of Snipe Hunter, we’ve named Childers our Good Country and BGS Artist Of The Month for August. Throughout the month, we’ll celebrate Childers by going back into our archives for all-things-Tyler, plus we put together a retrospective look at his catalog of songs and recordings here, have shared a thoughtful examination of whether or not Snipe Hunter was created as a musical “prank,” and of course, don’t miss our Essential Tyler Childers Playlist, below.

Photo Credit: Sam Waxman

The SteelDrivers Celebrate 20 Years, Usher in New Chapter With ‘Outrun’

Posted on by Justin Hiltner

With four lead vocalists, seven studio albums, one GRAMMY Award to their name, and countless fans won over, The SteelDrivers have been one of this century’s most consistent and trailblazing bluegrass bands. That longevity can be credited to three things – the strength of their catalog of all-original songs, their collective precision picking, and the family atmosphere the band has cultivated together since forming in 2005.

Despite not joining forces until then, banjoist Richard Bailey says he’s known bandmates Tammy Rogers (fiddle) and Brent Truitt (mandolin from 2012 to present) since they were teenagers. His first run in with Mike Fleming (bass) and Mike Henderson (mandolin 2007 to 2011) came not long after during a college ski trip, with the group remaining close ever since. In the early 2000s Bailey relocated to Nashville from Memphis and reconnected with Henderson, regularly joining him at the Station Inn during Sunday night bluegrass jams and setting the foundation for what would eventually become The SteelDrivers. Then one day Henderson rang him up and was glowing about a young kid he’d just started writing with named Chris Stapleton who was wanting to play a little bluegrass.

“We eventually got together at his house and nobody knew Chris except for Henderson,” Bailey tells BGS. “We rehearsed a few bluegrass standards and then Chris began singing and Tammy, Mike, and I all looked at each other and went, ‘damn!’ I remember asking if the song he sang was an old Stanley Brothers tune and he said that it was actually one that he wrote.”

By that point, Henderson and Stapleton had already been penning songs together for a few years, with one of their most notable co-writes to that point being “Higher Than The Wall” from Patty Loveless on 2003’s On Your Way Home – a full seven years before The SteelDrivers eventually cut it on 2010’s Reckless. With their songwriting prowess already well established, the band opted to lean all the way in, keeping to the pattern of only recording songs crafted by them. Early on that mostly consisted of songs from Stapleton and Henderson, but has extended to all of the band in the years that followed, with Rogers writing the entirety of 2020’s Bad For You and the band’s newest member, Matt Dame, contributing songs for the first time ever on the group’s latest effort, Outrun.

“Starting with our very first record we determined that we were only going to play original music and we’ve never wavered from that,” explains Rogers. “It’s always been when you come to see The SteelDrivers that you’re not going to hear an updated version of ‘Little Cabin Home On The Hill’ or a modern country song done bluegrass style. There’s nothing wrong with any of that, but the whole point of the band originally was two songwriters coming together – Chris Stapleton and Mike Henderson – and everything else grew around that.”

That persistence of sticking with original material doesn’t only extend to The SteelDrivers recorded catalog, though. As Rogers points out, you’ll also be hard-pressed to hear any covers during the band’s live show. Per Bailey, the only such instance came during their televised Grand Ole Opry debut in 2008 when Charlie Daniels joined them on stage for a sing along to Flatt & Scruggs’ “I’m Gonna Sleep With One Eye Open.”

However, the band has regularly employed and worked with writers outside the group to craft songs centered around what Fleming describes as “uneasy listening music where bad things happen to good people.” This includes the likes of the venerable Verlon Thompson (“Booze And Cigarettes”), George Strait, Martina McBride, and Pam Tillis collaborator Leslie Satcher (“Outrun,” “Bad For You”); and German-born Thomm Jutz (“I Choose You,” “Cut You Down”), with whom Rogers has written over 140 songs (and counting).

“We’re fortunate to have always had wonderful songwriters in the band no matter who the membership was,” clarifies Fleming. “As it’s morphed through different CDs and personnel the strength of the songwriting has never wavered. Our goal has always been to serve the song, no matter who is singing it.”

Regardless of who’s been writing – or singing the songs for that matter – the band’s impeccable storytelling and bluesy grit has never faltered, even when lineup changes shook the band to its core. The first of those came in 2010 when Stapleton left to begin pursuing his solo career – a move that has resulted in him becoming not just one of the most well known country singers, but one of the most renowned vocalists of any genre globally. Henderson followed a year later, with Gary Nichols and Truitt stepping in to fill each of their shoes, respectively.

“I would’ve loved it had Stapleton never left the band – I mean who doesn’t want to be in a band with Chris Stapleton?” Rogers continues, “But when he left we had to make the decision of do we keep going or do we stop, because it wasn’t going to continue the same way that it had before. It wasn’t even a choice to me, though – I wanted to keep playing. To me that was better than no SteelDrivers at all.”

With two of their founding members gone, the band set out to prove they could still create bluegrass bangers and it didn’t take long for their efforts to pay off. Five years into their new look lineup The SteelDrivers won their first GRAMMY Award, taking home the honor for Best Bluegrass Album with The Muscle Shoals Recordings at the Academy’s 58th annual gathering in 2015. According to Rogers, the GRAMMY completely changed the band’s trajectory and continues to have a positive impact over a decade later.

“There’s been a lot of discussion in recent years about the validity of the GRAMMYs, but for us the recognition from the Academy has been a game changer,” states Rogers. “There’s a huge difference between being GRAMMY-nominated and a GRAMMY winner. For us, we were suddenly validated and were able to play bigger shows and venues that wouldn’t have considered or booked us prior to winning.”

In addition to validating their decision to keep pushing on, the band’s success post-Stapleton has also proven that they excel at finding new vocalists with their own distinct styles and vibrant storytelling to fill the void. First it was the funky, bluesy, and soulful sensibilities of Nichols. After him came the rock ‘n’ roll energy and piercing holler of Kelvin Damrell – who Rogers described as “the highest pitched singer of anyone we’ve had in the band.” He’s the only Kentuckian other than Stapleton to ever be in the band and sang lead for over three years – including on 2020’s Bad For You – prior to stepping aside in the summer of 2021.

It was then that the band recruited Matt Dame, solidifying the lineup they still have today. While each of the four singers have their own sounds, Rogers says there’s also plenty of characteristics that tie each of their eras together. “We figured out early on that it’s not about finding someone who sounds like Chris, but finding someone with a soulful, gravely, raspy and bluesy quality and letting them put their own spin on things,” says Rogers. “Aside from looking for those attributes we’ve never asked anyone to sing a certain way. Even though they sound similar, within two seconds of listening to a song I can tell whether it’s Kelvin, Chris, Gary, or Matt singing. They’re all distinct in my mind.”

Arguably even more impressive than the band’s success and consistency in sound through its different chapters has been their knack for continuing to make cutting edge bluegrass music with singers not steeped in bluegrass history with voices that generally “don’t fit” the traditional blueprint. From Stapleton on, the band has gravitated toward gritty blues and southern rock more than anything else. They’re comfortable at the confluence of electric and acoustic sounds, with one foot firmly planted in the past and the other stirring up dust and turning heads as it propels string band music into a completely new dimension.

“Chris Stapleton was not a bluegrass singer,” insists Fleming. “He was more of a blues singer, but the arrangements were always with bluegrass instruments. As a result, our propensity was to go toward playing bluegrass, but we never shied away from a song we thought we might not be able to play. For instance, ‘Midnight Train To Memphis’ from our first album was a bluesy rock ‘n’ roll number that Richard Bailey messed around on with on banjo one day. We have these bluegrass instruments, but we’re not confined to exclusively playing that way as long as we’re serving the song.”

Much like they’ve always served the song, The SteelDrivers’ fans have served them well in return, sticking by their side and continuing to buy tickets and albums through the years as the group has weathered changes in their lineup and sound. It’s led to an unprecedented run of success that Rogers jokingly compared to another bluegrass great.

“It’s almost the Ralph Stanley model,” she jokes. “After Carter [Stanley] passed away he had Larry Sparks, Roy Lee Centers, and Keith Whitley join him. It was a great line of singers that followed, all of whom embodied that Carter Stanley sound. We’ve also had several incredible vocalists with their own styles come through the band that we’ve been able to have success with by honing in on a singular sound together.”

The latest person the band brought in to hone in on that sound, Matt Dame, is a longtime Nashville songwriter and session player who joined in 2021 after a referral by friend and esteemed writer Gary Baker (John Michael Montgomery, Alabama, Lonestar). A couple rehearsals followed and by the end of July he was out on the road playing his first shows with the group. Having worked behind the scenes in the music industry for nearly as long as The SteelDrivers had been around, the move to performing in front of large crowds night in and night out was a big adjustment for Dame, but one he quickly found himself falling in love with.

“You do anything for 15 or 20 years and it becomes your comfort zone,” admits Dame. “I really enjoyed the session world, but it’s a lot different. Now I get a realtime reaction to what I do – there’s no stopping to go live again because you were flat. What I’ve loved most from our shows is the crowd singing the songs back to us, which can really carry you along.”

“There’s never a spot where you lose the audience or feel the need to kick into ‘Wagon Wheel’ to get everyone singing again, because the body of original work is so strong. It stands tall on its own,” he continues. “That speaks more to the power of the song than of any one vocalist, which says a lot because the band has had some incredible singers through the years. I’m just hanging on and trying to put my own spin on things.

“We’re all different, but one way we’re all the same is we all can deliver the songs in our own way that’s very believable. It sounds like somebody’s really living what they’re singing, not just going through the motions.” Even having been on the outside looking in for so long, Dame says that it’s hard to ignore the formidable nature of The SteelDrivers’ songwriting catalog, one that he’s thrilled to finally be a part of on Outrun – the band’s first project on the famed Sun Records (and also the label’s first bluegrass album). The record is his second with the band following 2023’s gospel project, Tougher Than Nails, that saw him only singing and playing guitar. Now, on his second go-round, he integrates himself even further, helping to write the songs “On My Way,” “Emma Lee,” and “Rosanna.”

“It was a really cool feather in my hat to be able to write some songs for this album and getting to do it on Sun Records is like the icing on the cake,” he exclaims. “I’m a huge Elvis fan and growing up in Arkansas listened to Johnny Cash all the time, so my eyes lit up when I heard we’d be their first bluegrass album ever.”

In addition to featuring the co-writes from Dame, Outrun also sees the band paying tribute to Henderson, who died unexpectedly from a pulmonary embolism in September 2023 – mere weeks after the release of Tougher Than Nails – with cuts of his songs “Prisoner’s Tears” and “Painted And Poison.” Although he hadn’t played with The SteelDrivers since 2011, his loss shook the band, which Rogers calls him the architect of, along with the entire bluegrass and country worlds.

“We knew we wanted to honor him in some way, which is what kickstarted talks for this new record and led to our shortest cycle between records yet,” confides Rogers. “In addition to recording two of his songs on it we’re also planning to have a slideshow commemorating him and 20 years of the band on some of our tour dates later this year.”

It’s tough enough to survive as a band for two decades when everything is going right, so it speaks volumes for The SteelDrivers making it as long as they have with all the obstacles that have gotten in their way. At the same time, the group’s unrivaled level of talent – both on their respective instruments and with their insatiable songwriting – have more than cemented their place in the bluegrass and American roots music zeitgeist for generations to come. For Dame, it’s a legacy that’s equally intimidating and exciting to be a part of.

“Professionally I’ve grown, because I’m doing something that’s new to me, but also because I’m doing it surrounded by a band where everybody does their parts with excellence,” he reflects. “If you don’t carry your weight it’s really going to be noticeable, which has pushed me to be better with everything that I bring to the group.”

Photo Credit: Glenn Rose

Authenticity & Collaboration

Posted on by Justin Hiltner

The mercurial husband/wife duo The War and Treaty are now riding a wave of success with an outstanding new LP, Plus One. Their fourth album, it’s out today, Valentine’s Day, on Mercury Nashville. They are also about to embark on a 30-city tour in March.

Two words recur throughout any conversation with Michael and Tanya Trotter, as they did during our extensive phone interview: Authenticity and collaboration.

“We titled it Plus One, because it’s really all about collaboration,” Michael said, getting things started. “That’s really been the key for us, especially since we came to Nashville and began working with the country community. They have been so open and willing to work with us, to listen and to hear what we have to say when we’re writing or when we’re in the studio.”

“For us, it’s really always important that we be true to who we are and what we do,” added Tanya. “That’s really been what we strive to do and the audiences really seem to enjoy it.”

Indeed, the pair earned multiple standing ovations during the opening night of a recent three-night engagement at the Schermerhorn Symphony Center in Nashville. Backed by the Nashville Symphony Orchestra, they went through a powerhouse nearly 90-minute performance, doing both fresh material from Plus One along with tunes from their earlier LPs such as the masterful “Blank Page,” as well as the glorious “Can I Get an Amen,” and a host of other numbers. They even performed a trio of Ashford & Simpson compositions, among them “Ain’t No Mountain High Enough” and “Ain’t Nothing Like the Real Thing.”

“Working with the Symphony was really inspiring, but it was also different for us,” Michael said. “They were so great and we just had to make sure that we were on pace in terms of timing and keeping things going.”

“They were really fantastic,” added Tanya. “They really give you a lot of energy and they were so great playing behind us.”

It’s been quite a ride for the Trotters ever since their debut album, Love Affair, was released. Prior to that, from 2003 to 2007, Michael was in the United States Army. He was a Private First Class assigned to the 1st Battalion, 6th Infantry Regiment, 2nd Brigade, 1st Armored Division and served in Iraq and Germany. During his deployment, his unit was encamped in one of Saddam Hussein’s private palaces, which had a piano in its basement. Michael learned how to play the instrument when his company commander, Captain Robert Scheetz, encouraged him to toy around with the piano knowing he had a passion for singing. Scheetz was killed on a mission shortly after, and Michael wrote his first song in Scheetz’s honor and sang it at his memorial. He then began performing at the services of other fallen soldiers.

When they began working together the couple were initially known as Trotter & Blount. A year later, with their new name the War and Treaty, they released an EP, Down to the River, which was a superb combination of multiple idiomatic references. It had blues and soul feeling in the lead vocals and harmonies, the intensity of gospel in the performances, and the storytelling charm and acumen of country in its lyrical treatments.

Yet, it also identified the one characteristic about the War and Treaty’s music that has proven perplexing. Because they are so naturally eclectic in terms of musical choice and performance style, they were immediately embraced by the Americana audience. Later they were subsequently welcomed by the country market. But they’ve never been able to generate much momentum or traction within the urban contemporary (what was once termed the soul or Black) market. Despite having a sound as soulful as it gets, and being deeply entrenched in traditional Black music (both popular and secular), that market has been slow, at best, to recognize and welcome their music.

“Well, we know who our tribe is and we accept that,” Tanya said. “Certainly we want to reach as many people as we can, and we clearly want to have our songs played on those stations. But we also understand how the industry and marketplace work, and those are things we have no control over.”

“I’ll say this, when we go to our concerts, we have all types of fans,” Michael added. “They’re across the board, old, young, Black, White, Latino, just people who love good music. We really stress being authentic and staying true to what we do and love. That’s all you can do. But I will add that if these stations would play our songs – [and] play songs by people like Kane Brown, Mickey Guyton, Jimmie Allen – I think they’d find a receptive audience, because there’s an authenticity and feeling there that transcends things, yet also is very much a part of the Black experience.”

That’s been the mission since their 2018 debut release, Healing Tide. They quickly became a sensation in Nashville with their second LP, 2020’s Hearts Town, which included a dynamic collaboration with the great Emmylou Harris on the single “Five More Minutes.”

Two years later they were signed to UMG Nashville. Their first effort for the label, Lover’s Game, was in 2023. That same year, they graced a Top 20 hit, “Hey Driver,” a collaboration with Zach Bryan. It led to them being the first Black duo to be nominated for both the Country Music Association and Academy of Country Music’s Duo of the Year awards. It was also an indication that they had been accepted into country’s inner circle, something that hasn’t always been the case with Black performers.

“From the beginning we’ve never received anything other than respect, kindness, and first-class treatment from the country community,” Michael said. “I know that there are some other acts out there who can’t say that, but that’s really been true for how we’ve been treated.”

“Oh yes, everyone’s been so wonderful,” adds Tanya. “I can’t say enough about how great we’ve been treated and what a thrill it’s been working with people like Emmylou Harris, Chris Stapleton, Zach Bryan.”

That theme of joining forces and working together permeates the War and Treaty’s latest, Plus One.

It’s an 18-song masterpiece recorded at the legendary FAME studios in Muscle Shoals and co-produced by the Trotters along with A-list names like John Shanks, Jesse Frasure, and Jonathan Singleton. There’s a host of notable numbers, among them the poetic and inspirational “Love Like Whiskey,” co-written with Miranda Lambert; “Drink From Me” which also spotlights guitarist Billy Strings; as well as the aforementioned “Can I Get an Amen,” “Called You By Your Name,” and “Carried Away.”

Frasure, Strings, and Jonathan Singleton are among the other contributing writers, but much of the material was co-penned by the Trotters. “Some of these go back a ways, while others are recent,” Michael explained. “We really had about 50 songs by the time we finished and we had to cut it down.”

“I think we’ve got the best of the ones,” added Tanya.

With a biopic now in the works that chronicles their storybook rise to fame, the War and Treaty are looking ahead to the tour and future projects. There’s actually one thing they haven’t done yet that they’d like to do.

“We want to do a bluegrass album some day,” Michael says, in conclusion. “We think there’s a lot of material in those old mountain songs, both the gospel and the secular, and we’d like to try our hands at doing them our way. ”

“I think our fans would be delighted,” added Tanya. “They really enjoy some of the other older type material we do, and I think there’s a lot of good material there that really fits what the War and Treaty’s all about, doing strong and good songs our way.”

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Photo Credit: Sophia Matinazad

Sierra Ferrell, Beyoncé, Many More Roots Musicians Win at 67th GRAMMY Awards

Posted on by Justin Hiltner

Yesterday, the 67th Annual GRAMMY Awards show was held in Los Angeles, handing out dozens of awards across the primetime broadcast and premiere ceremony while highlighting the city’s ongoing response to last month’s extreme wildfires, which displaced hundreds of musicians, artists, industry professionals, and creatives. The marquee event was kicked off by Dawes – whose sibling frontmen, Taylor and Griffin Goldsmith, had homes, their studio, and countless instruments and equipment destroyed in the blazes. They performed a moving rendition of “I Love L.A.” with a host of special guests.

Throughout the show, audience members were encouraged to support MusiCares Fire Relief, a collaborative fundraiser launched by the Recording Academy and MusiCares in partnership with Direct Relief, the California Community Foundation, and the Pasadena Community Foundation to help expand wildfire relief efforts across the broader Los Angeles community. Despite the somber shadow cast by the disaster over LA and its creative community, the show was convivial, joyous, and restorative – and included more than a few show-stopping and jaw-dropping moments.

As usual, the crème de la crème of roots musicians could be found across both the pre-telecast and primetime awards, scooping up golden gramophones in seemingly endless varieties of categories. The evening’s big winners in the Country & American Roots Music categories included superstar Beyoncé, who finally picked up her first Album of the Year win, as well as becoming the first Black woman to ever win Best Country Album. She also won the trophy for Best Country Duo Performance with Miley Cyrus for “II Most Wanted,” bringing her GRAMMY Awards totals to 99 nominations and 35 wins – the most wins of any recipient in the history of the awards.

Sierra Ferrell, a West Virginia native and firebrand bluegrass and country starlet quickly on the rise these past handful of years, was indisputably the day’s other big winner, scoring in each of the four categories in which she was nominated. She quickly followed her very first GRAMMY win with three more, landing awards for Best Americana Album, Best American Roots Performance, Best Americana Performance, and Best American Roots Song – an honor she shares with her co-writer, musician, songwriter, and vocalist Melody Walker (Front Country, BERTHA: Grateful Drag).

The award for Best Bluegrass Album was yet again snatched by the world’s premier flatpicker, Billy Strings, for Live Vol. 1, logging his second win at the GRAMMYs after seven nominations over the last five years.

Pop phenom Chappell Roan won Best New Artist, Kacey Musgraves took home Best Country Song for “The Architect,” Chris Stapleton racked up his 11th GRAMMY win for Best Country Solo Performance, and Woodland, the latest album by Gillian Welch & David Rawlings, was recognized as Best Folk Album. Chick Corea won a posthumous award – Best Jazz Instrumental Album – for Remembrance, a duo project helmed by banjoist Béla Fleck that was released in honor of his hero, friend, and collaborator.

The GRAMMYs yet again demonstrate that the impact of bluegrass, folk, Americana, and country on the mainstream music industry cannot be overstated. Congratulations to all of the winners and nominees for the 67th GRAMMY Awards!

Give now to support MusiCares Fire Relief here and find out many more ways to support LA as it recovers from the devastating wildfires here. Find the full list of Country & American Roots Music winners below, including several additional related categories boasting roots music nominees and winners.

(Winners denoted in BOLD)

Best Country Solo Performance

“16 CARRIAGES” – Beyoncé
“I Am Not Okay” – Jelly Roll
“The Architect” – Kacey Musgraves
“A Bar Song (Tipsy)” – Shaboozey
“It Takes A Woman” – Chris Stapleton

Best Country Duo/Group Performance

“Cowboys Cry Too” – Kelsea Ballerini with Noah Kahan
“II MOST WANTED” – Beyoncé featuring Miley Cyrus
“Break Mine” – Brothers Osborne
“Bigger Houses” – Dan + Shay
“I Had Some Help” – Post Malone featuring Morgan Wallen

Best Country Song

“The Architect” – Shane McAnally, Kacey Musgraves & Josh Osborne, songwriters (Kacey Musgraves)
“A Bar Song (Tipsy)” – Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)
“I Am Not Okay” – Casey Brown, Jason DeFord, Ashley Gorley & Taylor Phillips, songwriters (Jelly Roll)
“I Had Some Help” – Louis Bell, Ashley Gorley, Hoskins, Austin Post, Ernest Smith, Ryan Vojtesak, Morgan Wallen & Chandler Paul Walters, songwriters (Post Malone Featuring Morgan Wallen)
“TEXAS HOLD ‘EM”– Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

Best Country Album

COWBOY CARTER – Beyoncé
F-1 Trillion – Post Malone
Deeper Well – Kacey Musgraves
Higher – Chris Stapleton
Whirlwind – Lainey Wilson

Best American Roots Performance

“Blame It On Eve” – Shemekia Copeland
“Nothing In Rambling” – The Fabulous Thunderbirds featuring Bonnie Raitt, Keb’ Mo’, Taj Mahal, & Mick Fleetwood
“Lighthouse” – Sierra Ferrell
“The Ballad Of Sally Anne” – Rhiannon Giddens

Best Americana Performance

“YA YA” – Beyoncé
“Subtitles” – Madison Cunningham
“Don’t Do Me Good” – Madi Diaz featuring Kacey Musgraves
“American Dreaming” – Sierra Ferrell
“Runaway Train” – Sarah Jarosz
“Empty Trainload Of Sky” – Gillian Welch & David Rawlings

Best American Roots Song

“Ahead Of The Game” – Mark Knopfler, songwriter (Mark Knopfler)
“All In Good Time” – Sam Beam, songwriter (Iron & Wine featuring Fiona Apple)
“All My Friends” – Aoife O’Donovan, songwriter (Aoife O’Donovan)
“American Dreaming” – Sierra Ferrell & Melody Walker, songwriters (Sierra Ferrell)
“Blame It On Eve” – John Hahn & Will Kimbrough, songwriters (Shemekia Copeland)

Best Americana Album

The Other Side – T Bone Burnett
$10 Cowboy – Charley Crockett
Trail Of Flowers – Sierra Ferrell
Polaroid Lovers – Sarah Jarosz
No One Gets Out Alive – Maggie Rose
Tigers Blood – Waxahatchee

Best Bluegrass Album

I Built A World – Bronwyn Keith-Hynes
Songs Of Love And Life – The Del McCoury Band
No Fear – Sister Sadie
Live Vol. 1 – Billy Strings
Earl Jam – Tony Trischka
Dan Tyminski: Live From The Ryman – Dan Tyminski

Best Traditional Blues Album

Hill Country Love – Cedric Burnside
Struck Down – The Fabulous Thunderbirds
One Guitar Woman – Sue Foley
Sam’s Place – Little Feat
Swingin’ Live At The Church In Tulsa – The Taj Mahal Sextet

Best Contemporary Blues Album

Blues Deluxe Vol. 2 – Joe Bonamassa
Blame It On Eve – Shemekia Copeland
Friendlytown – Steve Cropper & The Midnight Hour
Mileage – Ruthie Foster
The Fury – Antonio Vergara

Best Folk Album

American Patchwork Quartet – American Patchwork Quartet
Weird Faith – Madi Diaz
Bright Future – Adrianne Lenker
All My Friends – Aoife O’Donovan
Woodland – Gillian Welch & David Rawlings

Best Regional Roots Music Album

25 Back To My Roots – Sean Ardoin And Kreole Rock And Soul
Live At The 2024 New Orleans Jazz & Heritage Festival – Big Chief Monk Boudreaux & The Golden Eagles featuring J’Wan Boudreaux
Live At The 2024 New Orleans Jazz & Heritage Festival – New Breed Brass Band featuring Trombone Shorty
Kuini – Kalani Pe’a
Stories From The Battlefield – The Rumble Featuring Chief Joseph Boudreaux Jr.

Best Roots Gospel Album

The Gospel Sessions, Vol 2 – Authentic Unlimited
The Gospel According To Mark – Mark D. Conklin
Rhapsody – The Harlem Gospel Travelers
Church – Cory Henry
Loving You – The Nelons

Best Jazz Performance

“Walk With Me, Lord (SOUND | SPIRIT)” – The Baylor Project
“Phoenix Reimagined (Live)” – Lakecia Benjamin featuring Randy Brecker, Jeff “Tain” Watts & John Scofield
“Juno” – Chick Corea & Béla Fleck
“Twinkle Twinkle Little Me” – Samara Joy featuring Sullivan Fortner
“Little Fears” – Dan Pugach Big Band featuring Nicole Zuraitis & Troy Roberts

Best Jazz Instrumental Album

Owl Song – Ambrose Akinmusire featuring Bill Frisell & Herlin Riley
Beyond This Place – Kenny Barron featuring Kiyoshi Kitagawa, Johnathan Blake, Immanuel Wilkins & Steve Nelson
Phoenix Reimagined (Live) – Lakecia Benjamin
Remembrance – Chick Corea & Béla Fleck
Solo Game – Sullivan Fortner

Best Traditional Pop Vocal Album

À Fleur De Peau – Cyrille Aimée
Visions – Norah Jones
Good Together – Lake Street Dive
Impossible Dream – Aaron Lazar
Christmas Wish – Gregory Porter

Best Contemporary Instrumental Album

Plot Armor – Taylor Eigsti
Rhapsody In Blue – Béla Fleck
Orchestras (Live) – Bill Frisell featuring Alexander Hanson, Brussels Philharmonic, Rudy Royston & Thomas Morgan
Mark – Mark Guiliana
Speak To Me – Julian Lage

Best Instrumental Composition

“At Last” – Shelton G. Berg, composer (Shelly Berg)
“Communion” – Christopher Zuar, composer (Christopher Zuar Orchestra)
“I Swear, I Really Wanted To Make A “Rap” Album But
This Is Literally The Way The Wind Blew Me This Time” – André 3000, Surya Botofasina, Nate Mercereau & Carlos Niño, composers (André 3000)
“Remembrance” – Chick Corea, composer (Chick Corea & Béla Fleck)
“Strands” – Pascal Le Boeuf, composer (Akropolis Reed Quintet, Pascal Le Boeuf & Christian Euman)

Best Arrangement, Instrumental or A Cappella

“Baby Elephant Walk” – Encore, Michael League, arranger (Snarky Puppy)
“Bridge Over Troubled Water” – Jacob Collier, Tori Kelly & John Legend, arrangers (Jacob Collier Featuring John Legend & Tori Kelly)
“Rhapsody In Blue(Grass)” – Béla Fleck & Ferde Grofé, arrangers (Béla Fleck featuring Michael Cleveland, Sierra Hull, Justin Moses, Mark Schatz & Bryan Sutton)
“Rose Without The Thorns” – Erin Bentlage, Alexander Lloyd Blake, Scott Hoying, A.J. Sealy & Amanda Taylor, arrangers (Scott Hoying featuring säje & Tonality)
“Silent Night” – Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (säje)

Notable General Field Categories:

Record Of The Year

“Now And Then” – The Beatles
“TEXAS HOLD ‘EM” – Beyoncé
“Espresso” – Sabrina Carpenter
“360” – Charli XCX
“BIRDS OF A FEATHER” – Billie Eilish
“Not Like Us” – Kendrick Lamar
“Good Luck, Babe!” – Chappell Roan
“Fortnight” – Taylor Swift featuring Post Malone

Album Of The Year

New Blue Sun – André 3000
COWBOY CARTER – Beyoncé
Short n’ Sweet – Sabrina Carpenter
BRAT – Charli XCX
Djesse Vol. 4 – Jacob Collier
HIT ME HARD AND SOFT – Billie Eilish
Chappell Roan The Rise And Fall Of A Midwest Princess – Chappell Roan
THE TORTURED POETS DEPARTMENT – Taylor Swift

Song Of The Year

“A Bar Song (Tipsy)” – Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)
“BIRDS OF A FEATHER” – Billie Eilish O’Connell & FINNEAS, songwriters (Billie Eilish)
“Die With A Smile” – Dernst Emile II, James Fauntleroy, Lady Gaga, Bruno Mars & Andrew Watt, songwriters (Lady Gaga & Bruno Mars)
“Fortnight” – Jack Antonoff, Austin Post & Taylor Swift, songwriters (Taylor Swift Featuring Post Malone)
“Good Luck, Babe!” – Kayleigh Rose Amstutz, Daniel Nigro & Justin Tranter, songwriters (Chappell Roan)
“Not Like Us” – Kendrick Lamar, songwriter (Kendrick Lamar)
“Please Please Please” – Amy Allen, Jack Antonoff & Sabrina Carpenter, songwriters (Sabrina Carpenter)
“TEXAS HOLD ‘EM” – Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

Best New Artist

Benson Boone
Sabrina Carpenter
Doechii
Khruangbin
RAYE
Chappell Roan
Shaboozey
Teddy Swims

Lead image: Screenshot from GRAMMYs pre-telecast.

See the Nominees for the 67th GRAMMY Awards

Posted on by Justin Hiltner

This morning, Friday, November 8, the Recording Academy announced the nominees for the 67th GRAMMY Awards, to be held in Los Angeles on February 2 at the Crypto.com Arena. Roots musicians can be found at all levels and across all fields of the buzzworthy awards, which are voted on by the vast Recording Academy membership of music makers, artists, and creatives.

Notably, Beyoncé, her groundbreaking country fusion album COWBOY CARTER, and its tracks can be found throughout the general field and American Roots categories, including landing nominations for Best Country Album, Best Country Song, Best Americana Performance, Album of the Year, Record of the Year, and more. Banjoist and composer Béla Fleck collected more than a handful of nominations for his work with Chick Corea – released posthumously – and Rhapsody in Blue, as well.

The Best Bluegrass Album category this year includes releases from Bronwyn Keith-Hynes, the Del McCoury Band, Sister Sadie, Billy Strings, Tony Trischka, and Dan Tyminski, making for an incredibly stout and superlative lineup.

From Kacey Musgraves to Shemekia Copeland, Aoife O’Donovan to Lake Street Dive, below we’ve collected all of the nominees in the Country & American Roots Music fields, plus we feature select categories from across the many fields, genres, and communities that also include roots musicians and our BGS friends and neighbors. Check out the list and mark your calendars for the 67th GRAMMY Awards, Sunday, February 2, 2025.

Best Country Solo Performance

“16 CARRIAGES” – Beyoncé
“I Am Not Okay” – Jelly Roll
“The Architect” – Kacey Musgraves
“A Bar Song (Tipsy)” – Shaboozey
“It Takes A Woman” – Chris Stapleton

Best Country Duo/Group Performance

“Cowboys Cry Too” – Kelsea Ballerini with Noah Kahan
“II MOST WANTED” – Beyoncé featuring Miley Cyrus
“Break Mine” – Brothers Osborne
“Bigger Houses” – Dan + Shay
“I Had Some Help” – Post Malone featuring Morgan Wallen

Best Country Song

“The Architect” – Shane McAnally, Kacey Musgraves & Josh Osborne, songwriters (Kacey Musgraves)
“A Bar Song (Tipsy)” – Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)
“I Am Not Okay” – Casey Brown, Jason DeFord, Ashley Gorley & Taylor Phillips, songwriters (Jelly Roll)
“I Had Some Help” – Louis Bell, Ashley Gorley, Hoskins, Austin Post, Ernest Smith, Ryan Vojtesak, Morgan Wallen & Chandler Paul Walters, songwriters (Post Malone Featuring Morgan Wallen)
“TEXAS HOLD ‘EM”– Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

Best Country Album

COWBOY CARTER – Beyoncé
F-1 Trillion – Post Malone
Deeper Well – Kacey Musgraves
Higher – Chris Stapleton
Whirlwind – Lainey Wilson

Best American Roots Performance

“Blame It On Eve” – Shemekia Copeland
“Nothing In Rambling” – The Fabulous Thunderbirds featuring Bonnie Raitt, Keb’ Mo’, Taj Mahal, & Mick Fleetwood
“Lighthouse” – Sierra Ferrell
“The Ballad Of Sally Anne” – Rhiannon Giddens

Best Americana Performance

“YA YA” – Beyoncé
“Subtitles” – Madison Cunningham
“Don’t Do Me Good” – Madi Diaz featuring Kacey Musgraves
“American Dreaming” – Sierra Ferrell
“Runaway Train” – Sarah Jarosz
“Empty Trainload Of Sky” – Gillian Welch & David Rawlings

Best American Roots Song

“Ahead Of The Game” – Mark Knopfler, songwriter (Mark Knopfler)
“All In Good Time” – Sam Beam, songwriter (Iron & Wine featuring Fiona Apple)
“All My Friends” – Aoife O’Donovan, songwriter (Aoife O’Donovan)
“American Dreaming” – Sierra Ferrell & Melody Walker, songwriters (Sierra Ferrell)
“Blame It On Eve” – John Hahn & Will Kimbrough, songwriters (Shemekia Copeland)

Best Americana Album

The Other Side – T Bone Burnett
$10 Cowboy – Charley Crockett
Trail Of Flowers – Sierra Ferrell
Polaroid Lovers – Sarah Jarosz
No One Gets Out Alive – Maggie Rose
Tigers Blood – Waxahatchee

Best Bluegrass Album

I Built A World – Bronwyn Keith-Hynes
Songs Of Love And Life – The Del McCoury Band
No Fear – Sister Sadie
Live Vol. 1 – Billy Strings
Earl Jam – Tony Trischka
Dan Tyminski: Live From The Ryman – Dan Tyminski

Best Traditional Blues Album

Hill Country Love – Cedric Burnside
Struck Down – The Fabulous Thunderbirds
One Guitar Woman – Sue Foley
Sam’s Place – Little Feat
Swingin’ Live At The Church In Tulsa – The Taj Mahal Sextet

Best Contemporary Blues Album

Blues Deluxe Vol. 2 – Joe Bonamassa
Blame It On Eve – Shemekia Copeland
Friendlytown – Steve Cropper & The Midnight Hour
Mileage – Ruthie Foster
The Fury – Antonio Vergara

Best Folk Album

American Patchwork Quartet – American Patchwork Quartet
Weird Faith – Madi Diaz
Bright Future – Adrianne Lenker
All My Friends – Aoife O’Donovan
Woodland – Gillian Welch & David Rawlings

Best Regional Roots Music Album

25 Back To My Roots – Sean Ardoin And Kreole Rock And Soul
Live At The 2024 New Orleans Jazz & Heritage Festival – Big Chief Monk Boudreaux & The Golden Eagles featuring J’Wan Boudreaux
Live At The 2024 New Orleans Jazz & Heritage Festival – New Breed Brass Band featuring Trombone Shorty
Kuini – Kalani Pe’a
Stories From The Battlefield – The Rumble Featuring Chief Joseph Boudreaux Jr.

Best Roots Gospel Album

The Gospel Sessions, Vol 2 – Authentic Unlimited
The Gospel According To Mark – Mark D. Conklin
Rhapsody – The Harlem Gospel Travelers
Church – Cory Henry
Loving You – The Nelons

Best Jazz Performance

“Walk With Me, Lord (SOUND | SPIRIT)” – The Baylor Project
“Phoenix Reimagined (Live)” – Lakecia Benjamin featuring Randy Brecker, Jeff “Tain” Watts & John Scofield
“Juno” – Chick Corea & Béla Fleck
“Twinkle Twinkle Little Me” – Samara Joy featuring Sullivan Fortner
“Little Fears” – Dan Pugach Big Band featuring Nicole Zuraitis & Troy Roberts

Best Jazz Instrumental Album

Owl Song – Ambrose Akinmusire featuring Bill Frisell & Herlin Riley
Beyond This Place – Kenny Barron featuring Kiyoshi Kitagawa, Johnathan Blake, Immanuel Wilkins & Steve Nelson
Phoenix Reimagined (Live) – Lakecia Benjamin
Remembrance – Chick Corea & Béla Fleck
Solo Game – Sullivan Fortner

Best Traditional Pop Vocal Album

À Fleur De Peau – Cyrille Aimée
Visions – Norah Jones
Good Together – Lake Street Dive
Impossible Dream – Aaron Lazar
Christmas Wish – Gregory Porter

Best Contemporary Instrumental Album

Plot Armor – Taylor Eigsti
Rhapsody In Blue – Béla Fleck
Orchestras (Live) – Bill Frisell featuring Alexander Hanson, Brussels Philharmonic, Rudy Royston & Thomas Morgan
Mark – Mark Guiliana
Speak To Me – Julian Lage

Best Instrumental Composition

“At Last” – Shelton G. Berg, composer (Shelly Berg)
“Communion” – Christopher Zuar, composer (Christopher Zuar Orchestra)
“I Swear, I Really Wanted To Make A “Rap” Album But
This Is Literally The Way The Wind Blew Me This Time” – André 3000, Surya Botofasina, Nate Mercereau & Carlos Niño, composers (André 3000)
“Remembrance” – Chick Corea, composer (Chick Corea & Béla Fleck)
“Strands” – Pascal Le Boeuf, composer (Akropolis Reed Quintet, Pascal Le Boeuf & Christian Euman)

Best Arrangement, Instrumental or A Cappella

“Baby Elephant Walk” – Encore, Michael League, arranger (Snarky Puppy)
“Bridge Over Troubled Water” – Jacob Collier, Tori Kelly & John Legend, arrangers (Jacob Collier Featuring John Legend & Tori Kelly)
“Rhapsody In Blue(Grass)” – Béla Fleck & Ferde Grofé, arrangers (Béla Fleck featuring Michael Cleveland, Sierra Hull, Justin Moses, Mark Schatz & Bryan Sutton)
“Rose Without The Thorns” – Erin Bentlage, Alexander Lloyd Blake, Scott Hoying, A.J. Sealy & Amanda Taylor, arrangers (Scott Hoying featuring säje & Tonality)
“Silent Night” – Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (säje)

General Field:

Record Of The Year

“Now And Then” – The Beatles
“TEXAS HOLD ‘EM” – Beyoncé
“Espresso” – Sabrina Carpenter
“360” – Charli XCX
“BIRDS OF A FEATHER” – Billie Eilish
“Not Like Us” – Kendrick Lamar
“Good Luck, Babe!” – Chappell Roan
“Fortnight” – Taylor Swift featuring Post Malone

Album Of The Year

New Blue Sun – André 3000
COWBOY CARTER – Beyoncé
Short n’ Sweet – Sabrina Carpenter
BRAT – Charli XCX
Djesse Vol. 4 – Jacob Collier
HIT ME HARD AND SOFT – Billie Eilish
Chappell Roan The Rise And Fall Of A Midwest Princess – Chappell Roan
THE TORTURED POETS DEPARTMENT – Taylor Swift

Song Of The Year

“A Bar Song (Tipsy)” – Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)
“BIRDS OF A FEATHER” – Billie Eilish O’Connell & FINNEAS, songwriters (Billie Eilish)
“Die With A Smile” – Dernst Emile II, James Fauntleroy, Lady Gaga, Bruno Mars & Andrew Watt, songwriters (Lady Gaga & Bruno Mars)
“Fortnight” – Jack Antonoff, Austin Post & Taylor Swift, songwriters (Taylor Swift Featuring Post Malone)
“Good Luck, Babe!” – Kayleigh Rose Amstutz, Daniel Nigro & Justin Tranter, songwriters (Chappell Roan)
“Not Like Us” – Kendrick Lamar, songwriter (Kendrick Lamar)
“Please Please Please” – Amy Allen, Jack Antonoff & Sabrina Carpenter, songwriters (Sabrina Carpenter)
“TEXAS HOLD ‘EM” – Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

Best New Artist

Benson Boone
Sabrina Carpenter
Doechii
Khruangbin
RAYE
Chappell Roan
Shaboozey
Teddy Swims

Graphic courtesy of the Recording Academy.

The Remarkable Rootsiness of the 2024 CMA Awards Nominations

Posted on by Justin Hiltner

(Editor’s Note: Sign up on Substack to receive even more Good Country content direct to your email inbox!)

The headline takeaways from this year’s CMA Awards nominations may be the inclusion (and exclusion) of pop superstars, with understandable interest in what that says about today’s country format. But the 2024 field features plenty of roots and bluegrass influence, too. Regular BGS and Good Country readers might even be surprised at the confluence of the modern mainstream and its traditional tributaries.

We want to highlight that dynamic as well. Country has always been a big tent, but is it now becoming more receptive to its roots?

Let’s start with the superstars. These days, many can claim a rootsy kind of rebelliousness, and chief among those is Chris Stapleton. With his long history – in bluegrass, in Southern rock, in classic country songwriting, and with a train load of CMA trophies – Stapleton vies once again for what would be his first Entertainer of the Year award – after a record-setting eight nominations. Yet he still sings with the fiery Appalachian soul he debuted at the front of The SteelDrivers.

Others earning top billing this year include Zach Bryan and Lainey Wilson – and both have a reputation for gritty, creative realism. Some of the hottest new names country has to offer, Bryan has been selling out stadiums with his confessional alt-country and Wilson’s bluesy Louisiana swagger earned her last year’s Entertainer of the Year title. Those are not the only established artists holding true to the cause, though.

Kacey Musgraves continues to show salt-of-the-earth songcraft is not mutually exclusive to shimmering pop decadence. And while Ashley McBryde has perfected the art of making arenas feel like a massive, county-line roadhouse, Cody Johnson proves the appetite for hardcore Texas twang did not die with King George’s (semi) abdication. All have become perennial fixtures in the format’s upper echelons.

Likewise, this year’s nominees offer excitement for the future, awash with fresh talent. Shaboozey turned heads with the Number One ear worm, “A Bar Song (Tipsy),” but dig beyond the single and his catalog marks an elusive missing link between the hard-times inspirations of both hip-hop and country. Artists like Zach Top – who also came up through bluegrass – accept no substitute for twangy telecasters and shuffling, two-step beats. And while The War and Treaty continue their mission to bring soul and gospel back into the heart of country, The Red Clay Strays find a home for their blend of heady roots rock and commanding, fire-and-brimstone vocals.

Even the behind-the-scenes nominees highlight this rootsy resurgence, with the Musician of the Year category dominated by keepers of the instrumental flame. Fiddle phenom Jenee Fleenor goes head to head with steel-guitar legend Paul Franklin and the multi-talented guitarist/Americana artist Charlie Worsham – while the other two, guitarists Tom Bukovac and Rob McNelley, are certainly no slouches when it comes to six-string scholarship.

In fact, the commonalities between this year’s CMA Awards nominees and the artists covered by BGS and GC are so striking, we wonder what you think. Take a look at the full list of nominees below, and let us know.

THE 58TH ANNUAL CMA AWARDS – FINAL NOMINEES (by ballot category order):

ENTERTAINER OF THE YEAR

Luke Combs
Jelly Roll
Chris Stapleton
Morgan Wallen
Lainey Wilson

SINGLE OF THE YEAR
Award goes to Artist(s), Producer(s) and Mix Engineer(s)

“A Bar Song (Tipsy)” – Shaboozey
Producers: Sean Cook, Nevin Sastry
Mix Engineer: Raul Lopez

“Dirt Cheap” – Cody Johnson
Producer: Trent Willmon
Mix Engineer: Jack Clarke

“I Had Some Help” – Post Malone (Feat. Morgan Wallen)
Producers: Louis Bell, Charlie Handsome, Hoskins
Mix Engineer: Ryan Gore

“Watermelon Moonshine” – Lainey Wilson
Producer: Jay Joyce
Mix Engineers: Jason Hall, Jay Joyce

“White Horse” – Chris Stapleton
Producers: Dave Cobb, Chris Stapleton, Morgane Stapleton
Mix Engineer: Vance Powell

ALBUM OF THE YEAR
Award goes to Artist, Producer(s) and Mix Engineer(s)

Deeper Well – Kacey Musgraves
Producers: Ian Fitchuk, Kacey Musgraves, Daniel Tashian
Mix Engineers: Shawn Everett, Konrad Snyder

Fathers & Sons – Luke Combs
Producers: Luke Combs, Chip Matthews, Jonathan Singleton
Mix Engineer: Chip Matthews

Higher – Chris Stapleton
Producers: Dave Cobb, Chris Stapleton, Morgane Stapleton
Mix Engineer: Vance Powell

Leather – Cody Johnson
Producer: Trent Willmon
Mix Engineer: Jack Clarke

Whitsitt Chapel – Jelly Roll
Producers: Andrew Baylis, Brock Berryhill, Zach Crowell, Jesse Frasure, David Garcia, Kevin “Thrasher” Gruft, Austin Nivarel, David Ray Stevens
Mix Engineers: Jeff Braun, Jim Cooley

SONG OF THE YEAR
Award goes to Songwriter(s)

“Burn It Down”
Songwriters: Hillary Lindsey, Parker McCollum, Lori McKenna, Liz Rose

“Dirt Cheap”
Songwriter: Josh Phillips

“I Had Some Help”
Songwriters: Louis Bell, Ashley Gorley, Charlie Handsome, Hoskins, Austin Post, Ernest Keith Smith, Morgan Wallen, Chandler Paul Walters

“The Painter”
Songwriters: Benjy Davis, Kat Higgins, Ryan Larkins

“White Horse”
Songwriters: Chris Stapleton, Dan Wilson

FEMALE VOCALIST OF THE YEAR

Kelsea Ballerini
Ashley McBryde
Megan Moroney
Kacey Musgraves
Lainey Wilson

MALE VOCALIST OF THE YEAR

Luke Combs
Jelly Roll
Cody Johnson
Chris Stapleton
Morgan Wallen

VOCAL GROUP OF THE YEAR

Lady A
Little Big Town
Old Dominion
The Red Clay Strays
Zac Brown Band

VOCAL DUO OF THE YEAR

Brooks & Dunn
Brothers Osborne
Dan + Shay
Maddie & Tae
The War And Treaty

MUSICAL EVENT OF THE YEAR
Award goes to Artists and Producer(s)

“Cowboys Cry Too” – Kelsea Ballerini (with Noah Kahan)
Producers: Kelsea Ballerini, Alysa Vanderheym

“I Had Some Help” – Post Malone (Feat. Morgan Wallen)
Producers: Louis Bell, Charlie Handsome, Hoskins

“I Remember Everything” – Zach Bryan (ft. Kacey Musgraves)
Producer: Zach Bryan

“Man Made A Bar” – Morgan Wallen (feat. Eric Church)
Producer: Joey Moi

“you look like you love me” – Ella Langley (feat. Riley Green)
Producer: Will Bundy

MUSICIAN OF THE YEAR

Tom Bukovac – Guitar
Jenee Fleenor – Fiddle
Paul Franklin – Steel Guitar
Rob McNelley – Guitar
Charlie Worsham – Guitar

MUSIC VIDEO OF THE YEAR
Award goes to Artist(s) and Director(s)

“Dirt Cheap” – Cody Johnson
Director: Dustin Haney

“I Had Some Help” – Post Malone (Feat. Morgan Wallen)
Director: Chris Villa

“I’m Not Pretty” – Megan Moroney
Directors: Jeff Johnson, Megan Moroney

“The Painter” – Cody Johnson
Director: Dustin Haney

“Wildflowers and Wild Horses” – Lainey Wilson
Director: Patrick Tracy

NEW ARTIST OF THE YEAR

Megan Moroney
Shaboozey
Nate Smith
Mitchell Tenpenny
Zach Top
Bailey Zimmerman

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MIXTAPE: Wanderlust with Katherine Nagy

Posted on by Justin Hiltner

I moved around a lot as a child – from Ireland to Indianapolis to Puerto Rico to Seattle to Spain and more. It was so wonderful to experience different cultures and connect with new people. And I think these experiences caused me to have a restless soul. I am always looking for new people to meet and new experiences to have. I am always searching for meaning in life and for authenticity and joy. This Mixtape is for people struck by a seemingly endless sense of wanderlust who are enjoying the journey as we try to figure out this thing called life. – Katherine Nagy

“All Done” – Katherine Nagy with Austin Johnson

I wrote this song as I started living life the way I want to live. We only get one shot and I don’t want to have regrets. So the people-pleaser in me is “done pleasing everybody else, I can only be myself.”

“Starting Over” – Chris Stapleton

Sometimes I just want to pick up and start over again, like I did so many times as a child. A new house, new roads, new people, new experiences. I daydream about “starting over.”

“Into the Mystic” – Van Morrison

He is a fellow Irishman and I have always admired the passion of delivery and arrangements he uses in his songs. This classic has long rocked my gypsy soul.

“Angela” – The Lumineers

I have driven a Volvo since I was 16 years old, so I love the lyric about the “Volvo lights.” And so many times I’ve gone for long drives with the windows down listening to great songs that resonate with me the way this one does.

“Gypsy” – Stevie Nicks

I just adore Stevie and her essence. She is magical and whimsical and so in touch with her heart and art. I have always loved this song and related so strongly to it for years.

“Send me on My Way” – Rusted Root

This was one of the most fun concerts I have been to. It was at the House of Blues in Chicago. I was young and free as I danced all night enjoying the vibes of their music.

“Midnight Train to Georgia” – Indigo Girls

If the Indigo Girls are on the train – I am coming! Love their harmonies and beautiful melodies. This is a favorite and I perform it at my own shows.

“I Still Haven’t Found What I’m Looking For” – U2

Me neither, Bono! (another fellow Irishman) I am still searching over here. I’m always writing to process life and try out new things. Life is a journey of searching, and I’m not sure we ever find what we are looking for – wish I knew.

“Mockingbird” – Ruston Kelly

I am a sucker for beautiful guitar work and pedal steel. The intro to this song gets me every time and it just keeps getting better with the harmonica. It makes me want to go on a road trip. Plus, I love birds!

“The Time I’ve Wasted” – Lori McKenna

Let’s not waste time doing things or being with people that do not bring us joy. Life is too short, and “time goes by and when it’s gone it’s gone.” Live your life authentically – be brave.

“Shine” – Dolly Parton

I love Dolly and I love ’90s music, so this cover is just amazing and resonating with me. And I always want heaven to shine its light down!

“The Architect” – Kacey Musgraves

Kacey is an amazing writer. I love her music. This little gem of a song is so profound, as it’s trying to understand this beautiful life. Is there a higher power and what’s the masterplan?

“Keeps Getting Better” – Katherine Nagy

Stay optimistic and stay checked-in with life. Stay true to your heart and surround yourself with people that love you. If you do, it will just keep getting better.

Photo Credit: Robert Zyromski

Marty Stuart & His Fabulous Superlatives Perform for NPR’s Tiny Desk Concert

Posted on by Justin Hiltner

Last week, the folks at NPR Music graced the roots music world, releasing a Tiny Desk Concert performance by Marty Stuart & His Fabulous Superlatives. Behind the storied and iconic desk, Stuart and a three-piece band – Chris Scruggs (bass), Kenny Vaughan (guitar), and Harry Stinson (percussion) – perform a short set of classics and recent cuts, too. From 1991’s “Tempted” to 2023’s “Tomahawk,” the group demonstrates how interconnected all of these roots music genres really are – and that they are fluent in so many more. Stuart straddles limitless folk and country aesthetics, from classic, old-school sounds to bluegrass string band vibes to psychedelic surf rock.

In a stripped-down setting such as the Tiny Desk, that genre-bending is even more apparent, as the ensemble settles into a simple, honky-tonkin’, bluegrass quartet meets glitzy countrypolitan groove, with the instrumental and technical prowess of each player on full display. Having performed with the Country Music Hall of Famer for a decade or more, each, this trio of accompanists are comfortable and at ease, but never “phoning it in.” It’s clear to this outfit, whether playing for a couple dozen NPR employees in an office cubicle or on the biggest festival and venue stages in the world, there’s always plenty of fun, joy, and smiles to be had.

Marty Stuart & His Fabulous superlatives – whose most recent album, Altitude, was released to critical acclaim in 2023 – have a full slate of tour dates upcoming this year in the UK, the EU, and supporting Chris Stapleton on more than a half dozen appearances, as well. Plus, Stuart just released a limited, 50th anniversary edition of Americana and country staple Sweetheart Of The Rodeo for Record Store Day with the Byrds co-founders Roger McGuinn and Chris Hillman.

An entire lifetime into his performing and picking career, Marty Stuart – and his Fabulous Superlatives, too – show no signs of slowing down, easing up, or softening their vibrant and engaging post-genre country, bluegrass, and Americana melting pot music.

 

Watch Chris Stapleton Perform on ‘Saturday Night Live’

Posted on by Justin Hiltner

Last week’s episode of Saturday Night Live hosted by Ryan Gosling included musical guest Chris Stapleton, who returned to the show for his third appearance. He masterfully performed two tracks, including the multi-Grammy winning “White Horse” (Best Country Song, Best Country Solo Performance) featuring his band and his wife, Morgane, accompanying.

On a show known for making or breaking many a musical guest and in a setting ripe for sound issues and technical hurdles, Stapleton and his ensemble shined, choosing a music-centered, less-is-more approach to their performances and arrangements. Anchored by Stapleton’s gritty and grounded guitar playing, “White Horse” sounded just as good live as it does on Higher, which he released in November 2023.

The real showstopper, though, was Stapleton’s second number, “Mountains of My Mind,” which found the former SteelDrivers lead singer alone on the fabled Studio 8H stage – just a singer-songwriter, his guitar, and his lyrics. Live television can feel especially exposed and vulnerable for artists like Stapleton, but he and “Mountains of My Mind” felt right at home in the setting.

A five time nominee at this year’s 59th Annual ACM Awards, Stapleton also showcased his acting chops while stepping into a hilarious sketch with Gosling and SNL cast members Ego Nwodim, Chloe Fineman, and Chloe Troast. The satirical music video, “Get That Boy Back,” delightfully skewers country tropes around heartbreak, betrayal, and comeuppance. This ain’t your mama’s “Before He Cheats,” that’s for sure!

All in all, Chris Stapleton once again showcased his particular brand of Good Country to the variety show’s vast audience – and did all of us who “knew him when” proud, yet again.

Photo Credit: Mary Ellen Matthews