Photo: Kevin Winter/ACMA2019/Getty Images
Miranda Lambert Reveals Fall Tour With Maren Morris, Elle King, More
The GRAMMY winner has recruited an impressive crew of country performers to support her upcoming fall tour
GRAMMY-winning country artist Miranda Lambert has announced The Roadside Bars & Pink Guitars Tour 2019, featuring a star-studded, all-female support cast, including GRAMMY winner Maren Morris and GRAMMY nominee Elle King.
The tour will also feature GRAMMY nominee Ashley McBryde, rising country stars Caylee Hammack and Tenille Townes, along with Lambert's country supergroup, Pistol Annies, which is made up of Ashley Monroe and Angaleena Presley. The support crew will alternate across regions. The jaunt kicks off in Uncasville, Conn. on Sept. 13, with dates in other small towns—and some big ones, like New Orleans on Oct. 4—and wraps up on Nov. 23 in Greensboro, N.C.
Along with the announcement, Lambert tweeted, "The #RoadsideBarsandPinkGuitars Tour is back! I'm so excited and honored to be on a tour with some of my favorite artists who each inspire me in a different way."
Lambert's tourmates shared in her excitement, with Hammack tweeting, "I wish I could go back in time and tell the little girl singing along to 'Kerosene' on the radio that this would happen. But she probably wouldn't believe it." Morris added, "Texas just got bigger because I'm joining Miranda Lambert out on the road this Fall!"
Tickets goes on sale April 12, with pre-sales beginning April 9; more info here.
Photo: Kelly Samson, Gallery Photography
Photo: Jess Williams
Inside Charlie Worsham's 'Compadres': How His Friendships With Luke Combs, Lainey Wilson & More Birthed The Collab EP
Friends including Dierks Bentley, Elle King and Kip Moore join the journeyman singer, songwriter and guitar slinger on his latest bid for Nashville glory.
Country singer/songwriter Charlie Worsham didn't find immediate success after arriving in Nashville in the late aughts — but 15 years later, he couldn't be happier about his luck.
"One of the best gifts I could have ever had was a practice run at all this, where I shared the victories and the losses with this band of brothers," says Worsham, who is referring to his stint playing mandolin in KingBilly, which had a brief reality TV show but didn't set the charts on fire.
Since splitting in 2010, though, Worsham has become a Nashville long-hauler, a respected first-call known for his tasteful guitar and mandolin playing, smooth vocal delivery, and ace songwriting heard on an enviable collection of cuts. In case you need a reminder, visit his Spotify playlist "Sh!t I've Played On," which catalogs his appearances with marquee country stars like Eric Church, Luke Combs, Vince Gill, Kacey Musgraves, Carrie Underwood and Keith Urban.
But while his own albums, 2013's Rubberband and 2017's Beginning of Things, as well as his 2021 Sugarcane EP, have produced hits like "Could It Be" — which peaked at No. 13 on the Country Airplay chart and cracked the Billboard Hot 100 in 2013 — solo success has largely eluded Worsham.
So, he kept his head down and did what he came to Nashville to do: make great music. He kept his spirits up by rallying friends like Brothers Osborne's John Osborne and The 400 Unit's Sadler Vaden to play his "Every Damn Monday" Nashville gigs celebrating the music of Lynyrd Skynyrd, Prince and others as fundraisers for his Follow Your Heart arts foundation. In 2022, he earned the ACM Award for Acoustic Guitar Player of the Year, and he is currently nominated for Musician of the Year at the 2023 CMA Awards, which will air on Nov. 8.
For his latest release, the five-song EP Compadres, he stacked the deck with five Nashville friends and collaborators — Combs, Lainey Wilson, Dierks Bentley, Elle King and Kip Moore — and the results are bearing fruit. A re-recording of "How I Learned to Pray," originally cut for Rubberband and now featuring Combs, has already eclipsed the original's Spotify streaming figures two-fold while inspiring more than 14,000 TikTok clips.
"When touring went away in 2020 for a minute, I just picked up more and more session work," Worsham says. "It had always been sort of my moonlighting gig that I loved to do, because the goal is always to play more music and that's one of the best ways to do it with the best players around. I started playing on more and more records and driving to those sessions going, Man, it's going to be a great day. But the one thing that can make it better is that this was my record, so thus began Compadres."
With the Jaren Johnson-produced EP in the can, though, Worsham realized Compadres shouldn't be a one-off event. He now intends to revisit the concept between proper albums, and there's no shortage of potential collaborators. All of which begs the question: Who might make those hypothetical sequels?
"One of the first friends I made in town was John Osborne — how do I not cut a song with him and TJ someday?" he says. "The last couple of times I saw Ashley McBryde, we were talking about our love of bluegrass and what side projects might come of that, and how can I not do a song with her at some point? It would be really cool to create a full-circle moment with Eric Church."
Worsham sat with Grammy.com to share the backstories from the five collaborations on Compadres.
"Creekwater Clear" feat. Elle King
The story of "Creekwater Clear" is that hero's journey of where you grow up in what you know is home, [but] you cross that threshold for a bigger world. You come back changed, but you now have this superpower of perspective. And as Elle has firmly planted her roots in country music, I see it as she's just being welcomed home. She's belonged here this whole time.
She's one of two people who came over to the house actually to sing the vocals. I remember she walked through the front door, my wife's there, and I'm sure if you listen closely you can probably hear [our son] Gabe in the background of her singing. But it's a perfect example of what Compadres represents in terms of not just where I am in music right now, but where I am in life — we're doing a lot of living, and Elle's right there with us sharing the joys and the struggles of parenthood and having a young kid, and doing that while traveling the world. Hers is one of my favorite Instagram accounts to see because it's always something fun that combines rock and roll and toddlers.
"Handful of Dust" feat. Lainey Wilson
I had a [co-]write booked with Lainey and I was really excited about it. She can sing, and she's got songs. "Things a Man Oughta Know" — that's one of those moments where the heart and the chart actually intersect, which is a hard thing to do.
The day before, I went for a run and put her record on and just played it on repeat. I started kicking myself on this run, like, How have I not been jamming this record? This reminds me of Rubberband, my first record. Not tooting my own horn or anything, just I know how much time I put into writing that first record and I thought, I can hear the 10,000 hours that went into this. I can hear that this is somebody who knows exactly who they are and exactly where they're from, and they are unapologetic in presenting themselves in an authentic way.
So I show up, we walk up to each other, and it was like we were finishing each other's sentences. I'm just going, "Lainey, I spent all day listening to your record. I'm blown away. I love it. I can't believe it reminds me of when I put out my first," and she's going, "When I first moved to town in my camper and Rubberband came out, it had this effect on me, too." You just sometimes never know when you're in the middle of something, the impact it has on other people.
I remember the first No. 1 I ever played on was Eric Church's "Like Jesus Does [from 2013's Chief]. But the record that moved me to town was Eric's [2006 debut album] Sinners Like Me. He didn't know me when that record came out, but then I got to know him later and tell him that part of my story and how his story inspired mine.
"How I Learned To Pray" feat. Luke Combs
I love to call it coinci-God, but first chance I had to really get to know Luke was down in Key West to write for what was going to be a bluegrass record that I'm crossing my fingers still gets made.
I gave him a head's up when I got there. I was like, "Man, I don't want to be rude, but there is one phone call that might come that I'm going to have to take." My wife Kristen and I were expecting our son Gabe at the time, and it was that point where we had told a handful of family members but we had yet to tell the bigger world, and we were waiting for the doctor to call to say whether we'd have a boy or a girl. He totally got it — at that point, I'm sure he and [his wife] Nicole were about to head down that same road, too, and thinking about starting a family.
[But] it wasn't while I was down there, it was on the flight home. I was on a layover in Atlanta and I wrote down the gate somewhere, I think it's A29, and my wife calls me: "I got the news, you want to wait until you get home?" It's like, "Baby, you know me, I can't wait." She tells me, and I'm bawling. The first person I text is Luke, and it wasn't much later they were expecting their first. Nothing teaches you how to pray like having a kid, so that song chose itself for us. And to this day, it's actually the highest-streaming song I've ever put out, and I never saw that coming.
"Kiss Like You Dance" feat. Kip Moore
The fall of 2014 was not my happiest season. I had a lot of stuff between the ears I was trying to figure out at that time. I was on tour with Kip, and he's a really perceptive dude. I think he knew I was struggling, and he made a point to look out for me that whole tour. And he just never quit calling and texting since that tour.
He had come to a gig I was playing at Station Inn [in Nashville], trying out new songs just for the heck of it. Kip was probably leaving for bus call later that night, so he came to the gig and we were catching up. I played that song, and later that night he texted me the universal signal for, Hey, you might have a hit on your hands, which is, "Hey man, are you going to cut that 'Kiss Like You Dance' song?" And I said, "I am now."
But it was going to be a while until I could record, so when Compadres started to form as a concept, I thought, How cool would it be if we could both cut this song? We're both a little older and wiser, and we have to pick our nights to go crazy and wild. We made a great video for it, which actually has a great cameo from one of my longest-standing compadres, John Osborne, but we're drinking sweet tea that looks like whisky in the video.
On the rare chance I am going to go have an all-nighter, I want Kip to be there, because the last real great [one] I remember was on tour with him in 2014. Somehow my bus ended up [being] the party bus. We had two nights in Chicago, and I think we had 30 people on a bus designed for 12. Let's just say I had to pay the cleaning fee for that.
"Things I Can't Control" feat. Dierks Bentley
At this point I've been spending the last couple of summers with Dierks, plus one of my funniest studio stories ever was from a Dierks session for Riser [in 2014]. To this day, I can't remember for sure if I'm playing mandolin on "Drunk on a Plane" or not.
Back when he was making that record, I was doing a string of dates with Vince Gill in his band, and Vince had a gig on a Sunday night in Milwaukee, and Dierks's session was on Monday. I thought, Well, if I can get an early flight in, I'll make the session. I wake up probably 3 in the morning. I get to the airport, get on the plane to Nashville, rest my eyes, fall asleep. I wake up in a panic because the plane isn't moving and it turns out there was a snow delay, and so I missed that day of the session with Dierks. Thankfully, he kept calling me back.
I don't remember if I overdubbed the mandolin after the fact, but now I play it in the show [as part of Dierks' band] and he gives me a chance to shine every night. He's like my older brother in country [music], and I continue to learn from him and be reminded of how important it is to have fun, and how important it is to treat people well and share your spotlight.
Photo: Jeff Kravitz/FilmMagic
GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.
Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.
A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.
This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system.
"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."
He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.
"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.
To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood."
Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes.
Photo: Andrew Chin/Getty Images
New Music Friday: Listen To New Songs From SZA With Drake & Justin Bieber, Offset, Tate McRae & More
From highly anticipated collabs to long-awaited album teasers, take a listen to six new tracks that arrived on Sept. 15.
It’s yet another big day for music enthusiasts, as listeners were gifted with unexpected collaborations and fresh new melodies from artists of every genre on Sept. 15.
With an Instagram caption-worthy single from Drake and SZA , a playful, self-confident anthem from Tate McRae, and a chill, euphoric vibe from Noah Kahan & Lizzy McAlphine, there’s plenty of different sounds to dive into.
As you’re putting together your autumn 2023 playlist, add these six new tracks to the mix.
Drake feat. SZA - "Slime You Out"
Just hours after GRAMMY winners Drake and SZA announced they’d be teaming up for a new track, the pair unleashed "Slime You Out" promptly at noon ET on Sept. 15.
As the song’s title insinuates, the duo seem to express their thoughts on someone "sliming" them out — which, in this case, refers to someone playing with their feelings. "Tryna build trust, showin’ me your DMS, how they tryna bag you / Ironic how the news I got about you ended up bein’ bad news."
Drake’s clever wordplay paired with SZA’s mellow, hypnotic voice make the single a memorable one. But perhaps it’s even more memorable because it’s been a team-up long in the making: according to Drake’s eyebrow-raising line in his 21 Savage collab "Mr. Right Now," the two used to date "back in '08."
SZA feat. Justin Bieber - "Snooze (Acoustic Remix)"
As SZA fans awaited her song with Drake, she gave them another high-profile collab in the form of a "Snooze" remix with Justin Bieber. An alluring, stripped-down version of the original SOS track, the "Snooze" remix sees SZA and Bieber passionately harmonize; added guitar chords add a dreamy touch to the song.
The remix also marks a full-circle moment for the pair, as Bieber starred in the original "Snooze" music video, which was released on Aug. 25.
Offset - "Fan"
Kicking off what seems to be his Michael Jackson era, Offset has released this newest single, "Fan." This song features an infectious, hype beat with lyrics presenting a nonchalant ‘IDGAF’ attitude: "You supposed to hold me down, but it didn't happen (You supposed to hold me down)/ Now I'm over it."
"Fan" is a taste of Offset’s forthcoming second album, Set It Off, which he will release on October 13. The LP follows his debut solo album, 2019’s Father of 4, which landed him a Best Rap Performance GRAMMY nomination for the single "Clout" featuring his wife, Cardi B.
In the "Fan" music video, Michael Jackson is heavily referenced, with moments including Offset transforming into werewolf and zombie, and dance moves like the reverse moonwalk.
Tate McRae - "Greedy"
self-confidence single "greedy." This song is a testament to McRae’s inner thoughts, as the lyrics let listeners know she’s not tolerating insecurities — and definitely not enabling any "greedy" men.
"I would want myself/ Baby, please believe me/ I'll put you through hell/ Just to know me, yeah, yeah," she sings on the chorus.
Noah Kahan feat. Lizzy McAlpine - "Call Your Mom"
Folk-pop favorite Noah Kahan teamed up with rising pop singer Lizzy McAlpine to create a new version of "Call Your Mom," an emotional track from his hit 2022 album Stick Season.
Kahan recently brought McAlpine out as a surprise guest during his sold-out show at L.A.'s Greek Theatre on Aug.11, where the two singer/songwriters performed the song for the first time together.
Written about giving unconditional support to a loved one struggling with mental health issues and depression, the moving song reaches new heights with two voices on it. Kahan’s and McAlpine’s voices perfectly blend together and capture the lyrics’ powerful emotions.
Maren Morris - The Bridge
Maren Morris dropped not one, but two new songs, "The Tree" and "Get The Hell Out of Here," which both seem to focus on a new chapter in Morris’s life. "The Tree" feels like a farewell, as she proudly sings,"I'm done fillin' a cup with a hole in the bottom/ I'm takin' an axe to the tree/ The rot at the roots is the root of the problem/ But you wanna blame it on me."
"Get The Hell Out of Here" has a more mellow country melody that also talks about growth and navigating different areas of her life. Both songs share a different story, yet share the same theme of a transitional period in her life — and tease what’s to come on her next album, which will follow 2022’s Humble Quest.
As Morris said in a statement, "These two songs are incredibly key to my next step because they express a very righteously angry and liberating phase of my life these last couple of years, but also how my navigation is finally pointing toward the future."