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Nashville Songwriters Hall Of Fame 2020 Inductees: Bobbie Gentry, Kent Blazy & More

Bobbie Gentry in 1968

Photo: NBCU Photo Bank/Getty Images

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Nashville Songwriters Hall Of Fame 2020 Inductees: Bobbie Gentry, Kent Blazy & More

The talented new 2020 class will be celebrated Nov. 1, 2021, at the "50-51" edition of the Nashville Songwriters Hall of Fame Gala

GRAMMYs/Nov 3, 2020 - 04:17 am

The Nashville Songwriters Hall of Fame has announced their 2020 class of inductees: Steve Earle, Bobbie Gentry, Kent Blazy, Brett James and Spooner Oldham. 

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Because of the pandemic, the new 2020 class will be celebrated Nov. 1, 2021, at the "50-51" edition of the Nashville Songwriters Hall of Fame Gala. The yet-to-be-named 2021 class will also be officially inaugurated then. 

"This year marks our 50th year to welcome a new class into the Nashville Songwriters Hall of Fame," Sarah Cate, chair of the board of directors of the organization, said in a statement. "And although our year has looked different, we couldn't be more excited to continue our commitment and core mission by announcing the Nashville Songwriters Hall of Fame Class of 2020." 

GRAMMY-winning Americana artist Earle has been releasing music since his GRAMMY-nominated 1986 debut, Guitar Town. "Copperhead Road" and "The Devil's Right Hand" are among the most popular songs he's penned. The late GRAMMY-winning country/pop singer/songwriter/producer Gentry is best known for her 1967 GRAMMY-winning No. 1 hit "Ode To Billie Joe," as well as "Fancy" and others.

Kentucky-born country songwriter Blazy has written several hits for Garth Brooks, including "If Tomorrow Never Comes," the GRAMMY-winning country singer's first No. 1 on the country charts. GRAMMY-winning singer/songwriter/producer James has lent his songwriting skills to many major country acts including Billy Ray Cyrus, Martina McBride, Kenny Chesney and Carrie Underwood. He co-wrote Underwood's GRAMMY-winning No. 1 single "Jesus, Take the Wheel," among other No. 1 hits.

Muscle Shoals session musician and songwriter Oldham cowrote R&B and pop hits including James & Bobby Purify's 1967 GRAMMY-nominated gem "I'm Your Puppet," the Box Tops' "Cry Like a Baby" and Percy Sledge's "A Woman Left Lonely" and "It Tears Me Up."

This year's class joins the 219 songwriters inducted over the last 50 years.

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Music History From Coast To Coast: 10 Hall Of Fames To Visit This Spring
Molly Tuttle attends the opening of "American Currents: State of the Music" at Country Music Hall of Fame and Museum in 2024

Photo: Jason Kempin/Getty Images for Country Music Hall of Fame and Museum

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Music History From Coast To Coast: 10 Hall Of Fames To Visit This Spring

No matter where you are in the U.S., there’s probably an immersive music museum near you. Here are 10 amazing halls of fame for fans across genres and scenes.

GRAMMYs/Mar 26, 2024 - 01:25 pm

Across the United States, from the iconic Rock and Roll Hall of Fame to the esteemed Jazz Hall of Fame, music halls of fame dot the landscape, paying tribute to the pinnacle talents of the music industry throughout the years.

Whether you're a Billy Joel fan who wants to catch a glimpse of the piano he played on "Vienna," or get a peek at the mood board that led to Kacey Musgraves' "Slow Burn," these esteemed halls of fame offer a wide selection of programs and exhibits that provide a behind-the-scenes look at music history, past, present, and future.

From the sonic heart of Nashville, to the bustling music hub of Long Island, these institutions pay homage to top stars across the ages and are worth a trip to this spring. Regardless of your musical preferences, there's a music hall of fame and exhibit tailored to your tastes. Dive into these 11 this spring and discover something new about your favorite artists. 

Country Music Hall of Fame

Nashville, Tennessee

The Country Music Hall of Fame boasts a collection of over 2.5 million artifacts and is one of the most frequented museums in the United States. This institution celebrates the rich legacies of country music through a wide array of exhibits, memorabilia, and educational initiatives.

Stop by this spring for: "American Currents: State of the Music," spotlighting artists who are making waves in today's music scene.

In this exhibit, you'll find memorabilia from Oliver Anthony, Kelsea Ballerini, Sam Bush, Tyler Childers, Luke Combs, S.G. Goodman, Nat Myers, Nickel Creek, Joy Oladokun, Jelly Roll, Allison Russell, SistaStrings, Billy Strings, Taylor Swift, Molly Tuttle, Morgan Wallen, Kelsey Waldon, The War And Treaty, Lucinda Williams, Lainey Wilson, and Shucked (the Broadway musical scored by Brandy Clark and Shane McAnally).

From Jelly Roll's iconic jacket from his first headlining show in Nashville to an electric guitar belonging to Lainey Wilson, to a banjo once strummed by Billy Strings, visitors can see these artifacts firsthand that have shaped moments of music history.

Long Island Music & Entertainment Hall Of Fame

Long Island, New York

The Long Island Music & Entertainment Hall of Fame celebrates the indelible mark left by local musicians and entertainers on the music industry.

Within its walls, visitors can journey through Long Island's star-studded musical history with top names like Billy Joel, Twisted Sister, Mariah Carey, Simon & Garfunkel, Louis Armstrong, and more. Spanning genres from rock and pop to jazz and beyond, the museum offers a compelling narrative of Long Island's cultural richness.

This spring, don't miss the exclusive exhibit, "Billy Joel: My Life, A Piano Man’s Journey”. Showcasing over five decades of Billy Joel's most treasured possessions, the exhibit unveils rare memorabilia, behind-the-scenes footage, unique audio and video recordings, vintage instruments, and historic photographs — many of which were donated by the artist himself and are on display for the first time.

Drawing enthusiasts of all ages, this exhibit offers a once-in-a-lifetime opportunity to delve into Billy Joel's remarkable career journey, from his humble beginnings in Long Island to his iconic albums, world tours, artistic influences, and personal anecdotes.

Partnering with Stevie Van Zandt's TeachRock organization, the Long Island Music & Entertainment Hall of Fame also hosts regular teacher training events. Every Sunday, visitors can enjoy live music concerts featuring local emerging talent.

Musicians Hall of Fame & Museum

Nashville, Tennessee

From memorabilia from
Johnny Cash to TOTO, the Musicians Hall of Fame pays tribute to musicians from a wide array of genres. 

rom iconic instruments to stage attire worn during historic performances, each artifact offers a glimpse into the world of American music history. Inside, you'll also find the GRAMMY Museum Gallery offering an interactive experience for visitors on the history of the GRAMMY Awards.

Visitors to the Hall of Fame can try their hand at playing electric drums, keyboards, bass, and guitar, and even try out singing to a Ray Charles and the Raelettes track.

At the Musicians Hall of Fame, you'll also find exhibits dedicated to songwriting, engineering, and producing, allowing patrons to take a peek behind the scenes of what it takes to make a hit record.

Blues Hall of Fame

Memphis, Tennessee

Opened in 2015, The Blues Foundation's Blues Hall of Fame Museum captivates blues enthusiasts and casual visitors. Highlighting inductees across five key categories — Performer, Individual, Album, Single, and Literature —the museum offers an exploration of the genre's legacy. Visitors can walk through 10 curated galleries while immersing themselves in the music, videos, and stories of inductees. 

Take a walk around and visit Pee Wee Crayton's Fender Stratocaster Guitar, Donald "Duck" Dunn's Lakland Electric Bass, Matt "Guitar" Murphy's McHugh Guitar, Bettye LaVette's Kennedy Center Honors Performance Outfit, Stevie Ray Vaughan's Performance Kimono, and more. 

From rare album covers and photographs to prestigious awards, the exhibits showcase items that encapsulate blues history.

Jazz Hall of Fame

Kansas City, Missouri

Step into the rhythm and soul of jazz at the Jazz Hall of Fame in Kansas City. 

As jazz traversed the globe, it became a melting pot of diverse musical cultures, resulting in a tapestry of unique styles.

In the early 1910s, jazz emerged from a fusion of brass-band marches, French quadrilles, biguine, ragtime, and blues, crafting a sound marked by collective polyphonic improvisation.

Delve into the genre's improvisational spirit as you discover the groundbreaking work of jazz luminaries like Louis Armstrong, Duke Ellington and Miles Davis.

Explore the evolution of jazz through interactive exhibits and rare recordings that continue to inspire musicians and aficionados alike.

Alabama Music Hall of Fame

Tuscumbia, Alabama

The Alabama Music Hall of Fame was established by the Muscle Shoals Music Association, a professional organization made up of producers, musicians, songwriters, recording studio owners, and studio owners. 

In 1980, they founded the Alabama Music Hall of Fame to honor Alabama's top music achievers.

Through its exhibits and interactive displays, the Alabama Music Hall of Fame commemorates the diverse musical history of Alabama.

From Hank Williams' incisive country ballads to Lionel Richie's soulful melodies and Alabama's chart-topping hits, the museum illustrates the profound impact Alabama musicians have had on the world of music.

Nashville Songwriters Hall of Fame

Nashville, Tennessee

The Nashville Songwriters Hall of Fame is a non-profit committed to preserving songwriting in the Nashville music community.

Throughout its 40 years since inception, the Nashville Songwriters Hall of Fame used to be only virtual. The Hall of Fame Gallery is now open in the Music City Center, Nashville’s 1.2 million-square-foot convention center.

Featuring the works of legendary songsmiths such as Dolly Parton, Shania Twain, and Keith Urban, the Nashville Songwriters Hall of Fame has inducted many stars who have had a significant impact on the Nashville music scene.

Whether you're a devoted fan of country music or simply fascinated by the art of songwriting, the Nashville Songwriters Hall of Fame gallery provides an immersive experience that celebrates the past, present, and future of Nashville music complete with educational videos and memorabilia.

Rhythm and Blues Music Hall of Fame

Detroit, Michigan

As visitors step into the Rhythm and Blues Music Hall of Fame, they will be welcomed with a wealth of memorabilia and photographs that chronicle the evolution of R&B music.

Visitors can explore the pioneering work of legendary artists such as B.B. King and Aretha Franklin, whose voices transcended boundaries and inspired millions around the world. 

Visitors can also delve into the performances of James Brown, the "Godfather of Soul," whose stage presence revolutionized the live music experience. Through immersive exhibits and interactive displays, visitors have the opportunity to deepen their understanding of R&B music and its cultural significance.

Whether exploring the origins of the Motown sound or tracing the influence of gospel and blues on the genre, each exhibit offers a glimpse into the rich tapestry of R&B history. In addition to its exhibits, the Rhythm and Blues Music Hall of Fame hosts a variety of events, concerts, and educational programs throughout the year.

International Bluegrass Music Hall of Fame

Owensboro, Kentucky

The International Bluegrass Music Hall of Fame stands as a renowned institution, revered by music enthusiasts from around the world. Rooted in the heart of the Bluegrass State, this museum serves as a testament to the enduring legacy of bluegrass music and the many artists who have shaped its distinctive sound. 

The museum's current exhibits offer an immersive experience, inviting guests to explore the genre's rich tapestry through a diverse array of artifacts, memorabilia, and interactive displays. 

From the iconic instruments of Bill Monroe, the "Father of Bluegrass," to the revolutionary banjo picking of Earl Scruggs, visitors can trace the footsteps of these legendary pioneers and gain insight into their innovative contributions to the genre.

With displays featuring recordings and personal artifacts from modern-day luminaries like Alison Krauss, visitors can witness firsthand the evolution of bluegrass and its enduring relevance in today's music landscape. The museum serves as a hub for live performances, workshops, and educational programs, fostering a sense of community among bluegrass enthusiasts and providing aspiring musicians with the tools and resources they need to carry the genre forward into the future.

GRAMMY Hall Of Fame

Los Angeles, California

The Recording Academy has revealed 10 incredible recordings to be newly inducted to the distinguished GRAMMY Hall Of Fame as part of its 2024 inductee class and in celebration of its 50th anniversary this year.

The inducted recordings, which will be added to the iconic catalog residing at the GRAMMY Museum, will be honored at GRAMMY Museum's inaugural GRAMMY Hall Of Fame Gala and concert, presented by City National Bank, taking place Tuesday, May 21, at the NOVO Theater in Los Angeles. Tickets for and performers at the Gala will be announced at a later date.

This year's GRAMMY Hall of Fame additions, the first inductions since 2021, include four albums and six singles that exhibit qualitative or historical significance and are at least 25 years old. See here for a full list of the 2024 recordings inducted into the GRAMMY Hall of Fame!

10 Recording Studio Tours That Take Fans Behind The Music

Remembering Toby Keith: 5 Essential Songs From The Patriotic Cowboy And Country Music Icon
Toby Keith performs at the 2021 iHeartCountry Festival in Austin, Texas.

Photo: Michael Hickey/Getty Images

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Remembering Toby Keith: 5 Essential Songs From The Patriotic Cowboy And Country Music Icon

After a two-year battle with stomach cancer, country star Toby Keith passed away on Feb. 5 at the age of 62. Revisit his influence with five of his seminal tracks, including his debut hit "Should've Been a Cowboy."

GRAMMYs/Feb 7, 2024 - 04:39 pm

We may have known about Toby Keith's stomach cancer diagnosis for nearly two years, but that didn't keep the news of his Feb. 5 death from hitting hard. The oftentimes outspoken country music star enjoyed a three-decade career as one of the genre's beloved hitmakers, courtesy of unabashed hits like "Who's Your Daddy?," "Made In America" and "I Wanna Talk About Me."

Occasionally his in-your-face persona clashed with folks, particularly when it came to his political views in recent years. But for the most part, it was Keith's blue-collar upbringing and work ethic that shined through and resonated with his legion of listeners. 

It wasn't until his thirties that the future Songwriters Hall of Famer landed his first record deal in 1993, following years grinding away as a rodeo hand, in oil fields and as a semi-professional football player to make ends meet. The Oklahoma-born crooner would go on to record 20 No.1 hits, sell over 40 million records across 26 albums, and gross nearly $400 million touring — cementing himself as one of country music's most successful artists in the process.

As we look back on Keith's life and legacy, here are five essential cuts from the seven-time GRAMMY nominee, whose memory will live on in the hearts of country music artists and fans alike.

"Should've Been A Cowboy" (1993)

Few artists strike gold with their maiden release, but Keith did just that when his song "Should've Been A Cowboy" launched in February 1993. The upbeat track received widespread acclaim, eventually reaching No. 1 on the Billboard's Hot Country Songs chart a few months later.

"Should've Been A Cowboy" takes on a distinctly traditional tone as Keith romanticizes cowboy culture by referencing classic westerns like Gunsmoke with nods to Marshall Dillon and Miss Kitty in addition to six-shooters, cattle drives and Texas Rangers abound. The tune also reinforces the notion that cowboys just have more fun, whether its "stealin' the young girls' hearts, just like Gene [Autry] and Roy [Rogers]" or "runnin' wild through the hills chasin' Jesse James." 

By the looks of Keith's career, he certainly had his fair share of fun, and it may not have come if it weren't for "Should've Been A Cowboy."

"How Do You Like Me Now?!" (1999)

After a successful '90s run (which included two more No. 1s in "Who's That Man" and "Me Too"), Keith kicked off the 2000s with his fourth No. 1 hit, "How Do You Like Me Now?!" In signature Toby Keith fashion, he confronts his haters by asking the titular, rhetorical question, posed to his high school's valedictorian — who was also his crush. "I couldn't make you love me but I always dreamed about livin' in your radio," he sings on the brazen chorus.

The song is a stern reminder to never let anyone keep you from chasing your dreams; it's also a lesson of standing strong on your convictions. Its message also proved fitting for Keith's career: After Mercury Records Nashville rejected the song (and its namesake album) in the late '90s, Keith got out of his deal with them in favor of signing with DreamWorks Records, with whom he released the project a year later. Not only did the single go on to spend five weeks at No. 1 on the Hot Country Songs chart, but it became the singer's first major crossover hit.

"Courtesy of the Red, White and Blue (The Angry American)" (2002)

Keith was never afraid to share his opinion in public or in song, especially when it came to displaying his patriotism and appreciation for those who protect the United States. While the Okie approached this from a softer side on 2003's "American Soldier," his most renowned musings on the subject without a doubt came a year earlier with "Courtesy of the Red, White and Blue (The Angry American)."

On the angsty ballad — which was written in the wake of his father's March 2001 death and the Sept. 11, 2001 terrorist attacks — Keith channels a universal feeling of American hurt and pride. "Courtesy of the Red, White and Blue (The Angry American)" inspired an equal outpouring of support and outrage that, for better or worse depending on where you stand, helped cement the song into the annals of country music lore.

"I Love This Bar" (2003)

We've all got our favorite watering hole full of its own quirks and characters, from winners to losers, chain-smokers and boozers. Keith taps into that feel-good, hometown hang feeling with "I Love This Bar," a lighthearted tale from 2003's Shock'n Y'all that makes dingy dive bars feel like the prime party destination.

The midtempo track — Keith's 12th No. 1 — further plays into country music drinking tropes as Keith proclaims, "I like my girlfriend, I like to take her out to dinner, I like a movie now and then" before making a hard pivot, adding "but I love this bar." 

All joking aside, the song, and all of the unique individuals described within it, have a harmony to them inside those hallowed walls. It's a kinship that seems more and more difficult to find in today's world, and a sentiment best captured at the song's conclusion: "come as you are."

"As Good As I Once Was" (2005)

Your best days may be behind you, but that doesn't mean you can't still live your best life and thrive in the present — even if you don't get over hangovers as quickly as you used to.

That youthful wisdom is distilled into every lyric of "As Good As I Once Was," a reminiscent story in which a then-44-year-old Keith recounts his prime as a lover, drinker and fighter humbly. That being said, his pride is still quick to take charge with convictions like "I still throw a few back, talk a little smack, when I'm feelin' bullet proof."

Lasting six weeks at No. 1, "As Good As I Once Was" was the biggest of the 15 chart-toppers Keith tallied in the 2000s. And though he scored one more in the following decade (along with several other hits, including the playful drinking song "Red Solo Cup"), "As Good As I Once Was" will live on as one of Keith's quintessential messages of fun-loving confidence: "I ain't as good as I once was, but I'm as good once, as I ever was."

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Meet The First-Time GRAMMY Nominee: Coco Jones On Her Breakthrough Year, Turning Rejection Into Purpose & Learning From Babyface
Coco Jones

Photo: Courtesy Coco Jones

interview

Meet The First-Time GRAMMY Nominee: Coco Jones On Her Breakthrough Year, Turning Rejection Into Purpose & Learning From Babyface

Coco Jones is nominated across five categories at the 2024 GRAMMYs, including Best New Artist and Best R&B Album for her EP, 'What I Didn't Tell You.' The first-time nominee discussed her hit, "ICU," working with legends and the power of representation.

GRAMMYs/Jan 8, 2024 - 02:23 pm

Coco Jones is feeling more inspired than ever following a year of exciting surprises and breakthroughs. In 2023, the 25-year-old budding star celebrated her first Billboard Hot 100 entry thanks to her platinum-selling "ICU" single, embarked on her first headlining tour, and earned her first GRAMMY nominations.

"Being a GRAMMY-nominated artist changes everything. It's such a different creative mindset when the world says, 'You're good, we like what you do,'" Jones tells GRAMMY.com. "It's like a gold star. It makes you want to work harder, it makes you wanna continue to impress, and it makes you impressed with yourself, too."

Jones is nominated across five categories at the 2024 GRAMMYs: Her 2022 EP What I Didn't Tell You is up for Best R&B Album and its "ICU" will compete for Best R&B Performance and Best R&B Song. Her feature on Babyface's "Simple" has received a nod for Best Traditional R&B Performance. Jones is also up for the coveted golden gramophone for Best New Artist.

In recent years, her vocal prowess has received praise from SZA, Janet Jackson, and Beyoncé, but anyone who's even remotely familiar with Jones' story knows that her newfound success is anything but overnight. Jones first found success at age 14, when she starred in the 2012 Disney movie musical Let It Shine. The Tennessee native faced colorism early on, which she addressed in a 2020 YouTube video that went viral.

"I always wanted that representation that my dreams were possible growing up," she shares. "I definitely was not based in reality of what the entertainment industry is. It's tough and it's challenging and sometimes it isn't fair and that is not what I was prepared for as a kid."

During the pandemic, Jones secured a spot in "Bel-Air" (Peacock's reimagining of "The Fresh Prince of Bel-Air") as the spoiled yet beloved Hilary Banks, but she never let go of her love of  music. Following her 2014 departure from Hollywood Records, Jones released music independently, including the ominous "Hollyweird" and "Depressed"; when Def Jam approached her in the summer of 2021, she was ready for her close-up.

Fast forward to present, and Jones is gearing up for one of the most pivotal nights of her blossoming career. But perhaps the most precious thing she's collected along the way is self-assurance. "I'm learning that I have to believe in my creative choices and that I shouldn't second guess what I feel because it does well," she says with a laugh.

Of her recent success, Jones says the back-to-back accolades shocked her, but like a true artist, she's already thinking ahead and manifesting an exciting first for 2024: "I want my debut album to hit No. 1 on the Billboard 200 chart."

Ahead of the 2024 GRAMMYs, Jones discusses the power of representation for dark-skinned Black women, why her mother is her biggest inspiration, and how joining forces with Babyface created momentum in her career.

This interview has been condensed and edited for clarity.

After finding out that you received five GRAMMY nominations, you posted an Instagram video showing you and your mother reveling in the excitement of it all. Tell me more about that moment and your mother's role in this journey.

I'm one of four children and my mom owned multiple businesses, but she made us all feel loved and supported while also being a boss. Watching her navigate the entertainment industry — which she had no prior experience with — was very inspiring. She took every challenge head-on and still managed to make time with all of her kids. 

She's always been a visionary, so I think for her, it's like, This is exactly what we worked for. The end goal is to be award-winning, to be show-stopping, to be classic, to be timeless. That's what she saw for me even when I was a little girl on stage singing Aretha Franklin.

There were times when it was hard for me to see what she saw in me, especially when you're dealing with the rejection that is the music industry. But she always knows the right thing to say to keep me going and to keep my faith. So, when it wasn't like how it is now, she was the entire team. She did anything she could to help me progress.

You retweeted a meet-and-greet with a fan, who donned your merch from 2018, which seemed to take you by surprise. It seems like your 2023 breakthrough was a win for not just yourself, but for those early supporters as well.

I would definitely say it's a win for my fans and my supporters, but also for young Black women who look like me and have big dreams and just want to see what they are dreaming about is possible. I know that I inspire so many young Black women — they tell me almost every day that seeing me win helps them believe in themselves winning.

My goal is to continue to break those barriers down for young Black women so that it's not such a surprise when we succeed.

In a 2022 interview, you said you wanted to experience the highs of being an entertainer and being on stage "even if it meant a lot of lows." Many creatives feel that way. Do you have any advice for struggling artists who feel like no one's paying attention?

You can make it this thing where you feel like you're running out of time, or you can make it feel like you're adjusting to time. Time is whatever you decide it is.

There were so many obstacles I didn't understand, but hindsight is 20/20. I needed the lessons that I learned, I needed the self-reliance, I needed the optimism and the faith. So, I think it was all very growing but still tough not knowing what was going to happen, not knowing if I was going to have that life-changing job, that life-changing song. 

I'm just grateful to God for protecting me through all the confusion and for not giving up. I had enough support around me and enough doors to open even though they felt far and few between to keep me sustained and pursuing this dream, even though I was pursuing it without any guarantees.

What I Didn't Tell You isn't the first EP you released, but it's the one that made you a first-time GRAMMY nominee. What was different this time around?

I was very supported; when Def Jam approached me, they seemed so understanding of my vision that I couldn't help but feel like we were already a team. They helped me put the pieces together. Before this, I was just on my own or it was me and my mom, so I felt more supported with this EP release. My label understands me and what I want to be, and there's no pushback against who I am and what I can naturally do. It's all about enhancing. 

As part of R&B's new class, what do you want to bring to the genre?

More uptempo! I want to be able to sing my heart out but make a bop that you wanna dance to. I love how Whitney Houston would do that with some of her songs like "I'm Your Baby Tonight" and "How Will I Know."

Your breakthrough single, "ICU," is up for Best R&B Song, but what lesser-known song off What I Didn't Tell You (Deluxe) would you nominate in the same category if you could?

"Fallin'" because it's a sensual song, and I feel like it sits in a really cool, pretty place in my voice. It also tells a good story of the chaos that my life is while also starting to fall for somebody.

In 2022, you joined forces with R&B legend Babyface for his collaborative Girls Night Out project. Your "Simple" duet with him is nominated for Best Traditional R&B Performance. Do you think collaborating with Babyface acted as a precursor for the incredible year you had?

When I learned Babyface wanted me on his album, I was beside myself. He was really one of the first legends to give me that stamp of approval. I definitely think the recognition I got from him was like a turning point in what was next for my life. The world started to notice around that time. 

When I interviewed Babyface soon after the release of Girls Night Out, he talked about doing his homework to better understand the differences in today's R&B. That was surprising to hear, because he's clearly an expert at writing hit songs but not above learning from others. What did you learn from his mentorship?

I just learned that you can be a legend and you can still be open to ideas, open to new talents, and open to suggestions. Just stay open to what’s new, who's new, and why they're doing well, and that's what will keep you legendary. 

I'm a big fan of studying music, so I will continue to be a student. Creating music and studying music are two different things to me. I study it and then I feel creative, so I think it's about separating them because sometimes if you're creating while studying, you just end up repeating exactly what somebody's doing and that doesn't feel authentic. It's more about getting inspired and then creating.

My love for music and being a creative is what keeps me going because it's not always fun, it's not always easy. Sometimes it's about business, sometimes it's about pushing past your exhaustion. I don't think I would do that, not for this long, if I didn't love the payoff of being a creative. 

How will you celebrate if you win a GRAMMY?

I haven't thought about how I'm gonna celebrate. I think my favorite type of celebrations are intimate. They're with people who are in the mud with me — my family, my team. I would probably just want to have a great dinner and think about how far we've come and what's next.

2024 GRAMMY Nominations: See The Full Nominees List

Charles Esten On How Procrastination, Serendipity And "Nashville" Resulted In 'Love Ain't Pretty'
Charles Esten

Photo: Kirsten Balani

interview

Charles Esten On How Procrastination, Serendipity And "Nashville" Resulted In 'Love Ain't Pretty'

For the first time in his career, Charles Esten is fully focused on music. But as the actor/singer details, his debut album, 'Love Ain't Pretty' is much more than another venture — it's a lifelong goal achieved.

GRAMMYs/Jan 3, 2024 - 10:40 pm

Like many of his peers, Charles Esten has known music is his calling since he was a kid. But at 58, he's just now getting the opportunity to do what his contemporaries are long past: release a debut album.

As fans of the beloved ABC/CMT series "Nashville" or the hit Netflix drama "Outer Banks" know, Esten first established himself in the acting world. But as his "Nashville" role revealed, the actor also had some strong singing chops, too — and it wasn't a coincidence.

Due Jan. 26, Love Ain't Pretty is a testament to both Esten's patience and his passion. Combining his soulful country sound and emotive songwriting, Love Ain't Pretty poignantly captures his years of loving and learning. And with a co-writing credit on all 14 tracks, the album is the purest representation of his artistry possible.

"Being the age I am, and the difference of what this album is to what maybe my first album would've been if I was 28, is the intentionality," he tells GRAMMY.com. "I can chase what's thoroughly me, and the facets of that. And in the end, that, I think, makes better music anyway."

As the title suggests, Love Ain't Pretty mostly focuses on finding the beauty in life. Along with several odes to his wife, Patty ("One Good Move," "Candlelight"), Esten delivers tales of self-reflection ("A Little Right Now") and simply enjoying the moment ("Willing To Try"), all with a grit that's equal parts inspiring and charming.

Perhaps the most fitting sentiment on the album is "Make You Happy" — not because of its lovestruck narrative, but because it captures Esten's goal with Love Ain't Pretty and beyond: "Wanna make you happy/ Wanna make you smile."

"I know that musical superstardom is not an option," he acknowledges. "I don't even seek it. So, what do I seek instead of perfection? Connection."

Below, Esten recounts his fateful journey to Love Ain't Pretty — from his first taste of stardom to finally fulfilling his lifelong dream.

This interview has been edited for clarity.

All the way back in third grade, our elementary school had a contest to write the school song. They said, "Find a Disney song and use the melody and then put new words to it." I did it to "It's a Small World." I probably wrote little doodles on my own [before that], but that was the first one with any bit of fame. 

I went back, like 10 years later, and they were singing that. They actually made it as part of all the assemblies and everything. That feeling, to hear people singing words that you thought of, I'm sure that was the beginning of this path.

Eventually, when I went to college, I was in a band. But, even before I was in a band, my grandmother passed in my sophomore year of college. And, I didn't get back in time to see her. She had helped raise me when I was little, after my parents' divorce, so it hit me hard. I somehow was able to put what she meant to me in a song, and that made a big impact in a lot of ways. Whereas that third grade little ditty made everybody laugh and smile and everything, this made my mother and my aunts and uncles [cry] in a warm, loving way. I could see it affecting them. 

I could [also] feel it help me process what I was going through. That was another bit of an aha moment, like, "Oh wow, writing a song can do that also."

Right after that, I started a band. That experience of hearing a band bring your song alive — it was so much more full, this experience, and hearing somebody else add a thing you hadn't thought of, that was another true revelation, the power of that. So I got hooked rather quickly. 

Honestly, I probably would've stayed in that world if my band had stayed in that world. They all made the decision to graduate and go be doctors and lawyers and stuff, as the song says. When that finished up, I didn't know what I was going to do next. But, having experienced that made it clear to me that I was not cut out for a desk job — even though I had an economics degree. 

I had some friends that had gone to L.A. and started becoming actors. I thought, "Maybe I'll give that a try." But the long and the short of it is, if you had asked me, "Will you continue in music?" I'd be like, "Absolutely. I'm going to go out there and I'm going to meet another bass player and a drummer and another band will come."

It didn't happen. I went to London and played Buddy Holly for two and a half years in the musical "Buddy." When I went back to L.A. after that, then the family started to come, and so the band just never happened. But I had a piano, had guitars — I never stopped writing or playing.

At one point, I had the thought, "Well, I might have missed the boat in terms of ever getting to be a performer myself, but I can write songs." And by this point, I was really listening to a whole lot of country, '90s country, 2000s and all.

So, I decided I was going to start writing in a more formalized way, in a more intentional way, instead of just whenever a song came to me. And, as soon as I sort of said that, things started happening.

I met my friend Jane Bach, who is a great Nashville songwriter. She was going back and forth between LA and Nashville at the time. She invited me to sing at the Bluebird [Cafe in Nashville], which I knew very well, and I said yes. And twice, I had to cancel because I got other work. And at a certain point, I literally said to my wife, "When am I going to get to go to Nashville? That'll never happen."

[That] maybe was two or three years before "Nashville." And then I get this script that says, "Nashville." Next thing I know, I'm here and I'm literally doing my first scene in the Bluebird.

I understand, very cleanly, that ["Nashville"] opened all these side doors that most people don't have access to. But, I also know that there's a chance they could have all been opened and I could not have been ready. 

When it finally [happened], for a lot of people, just looking at an actor who's playing a singer/songwriter, I get the feeling that it was a pleasant surprise — I like to think that there was a little more there than they expected. It was actually more authentically who I was than the actor.

I never really quite verbalized this, but the feeling [of landing "Nashville"] was one of — it'll make me emotional — completion. I felt like the show was an answer to so many unsolved things in my life. And that's, I think, why we haven't left. And it's also why the album meant so much to me.

It meant so much to me that I didn't just get here and do an album. I got here at 46. To be that old and not really know who you are as an artist — I never had to define myself. So, I didn't chase that immediately. I just wanted to make music in Music City and make as much as I could. 

I always felt behind, because all my contemporaries that had been here, very many of them were already incredibly famous and already had done so much. But you can't [focus on] the road not taken. 

I have to admit, there's some part of me that would be like, "What if you were putting out your first album at 28?" That's nothing I sort of worry about. I know that it wouldn't have been this. I wouldn't change anything. I have this wife and this family and this career that brought me here. It feels like this was the way it was meant to happen, as strange as it all is.

I felt more prepared than people might expect. And I had something that most people didn't have, which was, Deacon walked in places before I did. Deacon sang at the Bluebird before Charles did. Deacon was at the Grand Ole Opry before I was.

That began what I would call my 10,000 hours in this town. Between the number of hours I've been able to be on stage at these incredible venues, and play music with these incredible people, and all the singles I was able to put out over the last 10 years, I now feel like that, in some ways, I have as much of a catalog as people that have been here for those 30 years. But, it's still my first album, which I've held onto for something special, and I'm so grateful for the way it turned out. I couldn't be happier.

I knew that I wasn't emptying the whole toolbox to play Deacon. But, having said that, I'm so moved by how much playing that guy influenced my music and my songwriting. A song like "A Little Right Now," it roars at the top and rages a little bit, but in general, that is a Deacon song through and through. "I'm a farmer praying for rain/ I'm a gambler that needs an ace of spades/ I'm a sailor hoping for a gust of wind/ I'm a singer looking for that song/ I'm a prisoner that ain't got long/ I'm a dreamer waiting for my ship to come in/ But lately all my roads have been running out/ There ain't no silver linings in these clouds/ Help me, Lord, and show me how to find the kind of faith that I once found/ 'Cause I could sure use a little right now." When you watch the show, you'll go, "That's the Deacon-est thing I've ever heard."

There's other songs on this album as well. "Maybe I'm Alright" — Deacon's journey was from utterly broken to "maybe I'm alright." As I look at it, he informs this album.

I'm a procrastinator. That's why I released so many singles in 2016, that world record. [Editor's note: Esten released 54 original songs once a week for 54 straight weeks, earning a Guinness World Records title in 2018 for the "Most consecutive weeks to release an original digital single by a music act."] 

That was a mind hack — a life hack — to arbitrarily create deadlines. And, my God, did that work, because I just started putting it out. [After that,] I started thinking about an album, and I even made an early attempt at it, and then COVID hit. 

They felt like songs from a thousand years ago [after the lockdown]. I pretty much scrapped it and didn't use any of them, and said, "I've just got to do this again in a different way. It's a different me. It's a different world."

My wife is not a procrastinator. And I'll show her, sometimes there's an upside of procrastinating. It's like using a crockpot when there's a microwave right there — it stews in all the ingredients. 

Deacon's a major ingredient, but if you just put that major ingredient on it and cook it real quick, it's too pronounced. Stew it in there with all the other ones until it's a new flavor, a new thing in its entirety. And that's what happened.

It's also interesting that, being the age I am, and the difference of what this album was to what, maybe, my first album would've been if I was 28, is the intentionality in terms of radio success or chart success — or chasing something that might not be thoroughly you, but might be a little more popular than thoroughly you. There's no reason for it at my age, so I can chase what's thoroughly me, and the facets of that. And in the end, that, I think, makes better music anyway.

There's a video I put out for "Somewhere in the Sunshine." Already, the impact of that song is sort of blowing my mind. The video is full of quotes from people that commented on YouTube about who they lost, and how it's giving them a little moment of peace, and how it's blessing them. That's my radio play. That's my GRAMMY.

I try to always realize how blessed I am to be able to do this. It's so much more precious later in life. I think people sometimes meet me and I have an enthusiasm for it that is younger than my years. And, maybe [that's] just because I've been waiting at a distance so long and it finally came true. I might get jaded someday, but it hasn't happened yet.

There's still an outsider mentality. I also feel like an anomaly. All the great artist friends I have, I'm not like them. They've been on the radio, they've had cuts, they've had hits. And then, all the new ones starting off doing their first album, I'm not in their group either — they have a whole career and future ahead.

On the other hand, I feel warm and welcomed in all of those arenas, and in everyone in this town. It always has been unusual for me here. All the reasons I'm here, all the why's, all the how's — but I guess, in the end, that's how I fit, and that's how I belong.

I was blessed that I was able to take my time. I think, once you let go of the outcome, freedom is available. It's just really hard to let go of that outcome. But, as I said, I'm a different beast. What I am means I better let go of that outcome, because the odds of me getting a No. 1 smash off this, they're not great. But the odds of me moving somebody with this music? I think they're pretty good.

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