meta-scriptWilco And Jeff Tweedy's Solid Sound Festival Announces June Lineup | GRAMMY.com
Courtney Barnett

Courtney Barnett

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Wilco And Jeff Tweedy's Solid Sound Festival Announces June Lineup

Solid Sound's Wilco-curated lineup highlights bands deserving greater exposure such as the Feelies and Tortoise

GRAMMYs/Feb 22, 2019 - 05:26 am

On Feb. 21, Wilco announced their curated lineup for this year's Solid Sound Festival on June 28–30 at MASS MoCA in North Adams, Mass. Wilco themselves are headlining along with Courtney Barnett, and the band's own Jeff Tweedy is also on board for a separate Jeff Tweedy & Friends set.

In addition to art experiences and fun activities such as axe throwing and yoga, Solid Sound's lineup provides an opportunity to learn what all the excitement is about regarding emerging and underground artists such as Clipping, the Feelies, Cate Le Bon, Jonathan Richman and Tortoise.

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Wilco won Best Alternative Music Album at the 47th GRAMMY Awards for 2004's A Ghost Is Born, and Tweedy also won independently at the 53rd GRAMMY Awards as the producer of Mavis Staples' Best Americana Album winner You Are Not Alone. Courtney Barnett was nominated for Best New Artist at the 58th GRAMMY Awards. Another previously nominated artist on Solid Sound's bill is jazz guitarist Julian Lage, who'll be appearing with his trio. The rest of the festival's lineup are distinctive and all deserving of a listen and a closer look, so here's a quick zoom in on five that are representative.

An experimental hip-hop collective signed to Sub Pop, Clipping came out with their debut album in 2009 and their third, Splendor & Misery, was released in 2016 to critical acclaim. They are considered as having emerged from being remix-centered to being leaders of the "noise-rap" genre.

Underground jangle-rockers from New Jersey, the Feelies have struggled with staying together, selling albums and affording studio time while influencing major bands such as R.E.M., from their first record, 1980's Crazy Rhythms, to their 2017 sixth album In Between. Their biggest hit singles were 1988's "Away" and 1991's "Sooner or Later."

Welsh singer/songwriter Cate Le Bon released her debut in 2009 and has come to greater attention recently for her work with Deerhunter. Darkness and fragility blend with art-pop experiments in both her solo work and collaborations.

Singer/songwriter Jonathan Richman is celebrated for both his solo work as well as playing in the Modern Lovers. His youthful and amusing zest on songs like "Ice Cream Man" can obscure his sophisticated craft, but his cult following knows to listen more deeply.

The progressive rock ensemble Tortoise released their self-titled first album in 1994 and broke into the Billboard 200 with two of their albums in the decade of the 2000s. In addition to bringing fresh attention to Chicago's music scene, Tortoise is considered to have pioneered the genre "post-rock." Jazz, electronica and dub are just a few of the eclectic influences they intregrate into their experimental collective's fresh sounds.

The MASS MoCA venue provides an art experience all its own and will be hosting exhibits by Laurie Anderson and Annie Lennox. Anderson recently received her first win at the 61st GRAMMY Awards and her virtual reality installation "Chalkroom" has been at the venue since 2017. Lennox's show "Now I Let You Go ..." opens there on May 25. 

Single-day tickets for Solid Sound will become available at the festival's website on Feb. 28.

Mavis Staples To Celebrate 80th Birthday With Three Concert Parties In May

Wilco in 2004
Wilco performing on "The Tonight Show with Jay Leno" in 2004

Photo: Paul Drinkwater/NBCUniversal via Getty Images

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Wilco's 'A Ghost Is Born' Turns 20: A Track-By-Track Retrospective

Wilco's 2004 classic 'A Ghost is Born' has accrued a dark reputation — for reasons deserved and undeserved. A more complete picture emerges when surveying the tracklisting, with insight from drummer Glenn Kotche and keyboardist Mikael Jorgensen.

GRAMMYs/Jun 21, 2024 - 02:25 pm

"That always confused me, when they were like, 'This is the most experimental album ever!'" says Mikael Jorgensen, Wilco's keyboardist of two decades, with a chuckle. "I mean, what's your reference point here? Have you not listened to Whitehouse, or any music that's reviewed in The Wire?"

Jorgensen's talking about 2004's A Ghost is Born — Wilco's jagged, spectral follow-up to their masterpiece Yankee Hotel Foxtrot, and his first album as part of the group. (For the attendant tour, guitarists Pat Sansone and Nels Cline would join, and cement their lineup that remains to this day.)

Indeed, critics and fans have always discussed A Ghost is Born with hushed tones — characterizing it as the experimental peak of the ex-"alt country" outfit. Some of its dark reputation is deserved, albeit tiresome to recapitulate: frontman Jeff Tweedy was at the nadir of his opiate addiction — a rough patch that he survived, and has discussed publicly, repeatedly, at length.

Plus, certain moments on A Ghost is Born undoubtedly represent their avant-garde apogee. It's the only Wilco album with Tweedy as the lead guitarist, which alone makes it singular; Cline is a masterful player, but Tweedy's skronky, untechnical, Lennon-meets-Shakey attack was captivating in its own way.

Tweedy is arguably responsible for A Ghost is Born's most extreme moments. He was famously painting pictures of his panic attacks and migraines — the former in the guitar crescendo of "At Least That's What You Said," the latter in the atonal, 12-minute coda of "Less Than You Think."

In short, A Ghost is Born is considerably out there. But to solely paint it with that broad brush would do it a disservice: the album also features some of Wilco's gentlest, prettiest material — as well as mellow gems like "Hummingbird," a skipping stone of a piano-led pop song.

A Ghost is Born was met with critical acclaim upon release on June 22, 2004, and even won Wilco their only GRAMMY to date — for Best Alternative Music Album. (At press time, they've been nominated for seven.) To ring in its 20th anniversary, here's a track-by-track breakdown of the album.

"At Least That's What You Said"

When you consider the enveloping, sound-effects-laden Yankee Hotel Foxtrot, it's still bracing to hear A Ghost is Born stir to life like a sleeping beast — just a little bit of electric guitar and piano rumbling around.

Eventually, Tweedy's near-silent, mumbled confessional erupts into a twisted, serrated, sparks-emitting Tweedy solo. (Seriously: we celebrate his songwriting, his wit, his authorial voice, and so much more: give the man his flowers as an electric guitarist.)

Read more: Jeff Tweedy & Cheryl Pawelski Sit Down For "Up Close & Personal" Chat: Yankee Hotel Foxtrot, Writing One Song & More

"Hell is Chrome"

"'Hell is Chrome' — that was really powerful in the studio, to record that," drummer Glenn Kotche tells GRAMMY.com. (A Ghost is Born was his second album with Wilco; he had joined for Yankee Hotel Foxtrot.)

That power was the quiet kind: "Hell is Chrome" is an eerie, spare, piano-led lament; each twist of Tweedy's tenor is goosebumps-inducing. And, accordingly, that howling first note of his guitar solo hits like a blast of a freezing draft.

"Spiders (Kidsmoke)"

"Spiders (Kidsmoke)" is another recording where I feel like you can hear my condition pretty clearly," Tweedy wrote in his 2018 memoir, Let's Go (So We Can Get Back).

As he explains, the mother of all migraines was squeezing his skull; they had to strip the composition to basics just so he could get through it. "This allowed me to just recite the lyrics and punctuate them with guitar skronks and scribbles to get through the song," he recalled, "without having to concentrate past my headache too much."

A spiky motorik jam reminiscent of Can or Neu!, "Spiders (Kidsmoke)" is Wilco's first great extended guitar workout — which, with the arrival of Nels Cline, would gather good company.

"Muzzle of Bees"

The hushed "Muzzle of Bees" tumbles forth so naturally, so patiently, that you wouldn't know it was one of the hardest to record.

"That was a tough nut to crack, for reasons that are still unclear," Jorgensen says with a laugh. "We did take after take, and version after version, and it kept changing, and the arrangement kept moving."

Whatever extra effort was required paid off: "Muzzle of Bees" is enchanting — with images of a random-painted highway, and treebanks playing catch with the sun. And the instrumentation sounds lush yet hardly there at all — like a treebranch scraping your window.

"Hummingbird"

Critics love to compare "Hummingbird" to the works of Randy Newman, which isn't that far off — a character study shot through traditionalist pop.

The vivid details — "a fixed bayonet through the great Southwest," "the deep chrome canyons of the loudest Manhattans" will take you away, but it's the elegaic chorus that resonates most: "Remember to remember me/ Standing still in your past/ Floating fast like a hummingbird." And with that, a sweet, aching fiddle solo brings it home.

Read More: Jeff Tweedy's Blurred Emotions: Wilco’s Leader On Cruel Country & Songwriting As Discovery

"Handshake Drugs"

Few songs capture aimless, urban wandering like "Handshake Drugs," a choogling, circuitous highlight; it feels like two parallel and inverted arrows, facing forward and backward.

Lyrically, Tweedy shows his mastery of conversational, sneakly profound, ouroboros-like bars: "It's OK for you to say what you want from me/ I believe that's the only way for me to be/ Exactly what you want me to be." A cracked Midwestern-ness that typifies Wilco. 

"Wishful Thinking"

One of the out-and-out prettiest songs on the album, "Wishful Thinking" should get more love in the Ghost discourse.

"Fill up your mind with all it can know/ Don't forget that your body will let it all go," a devastated-sounding Tweedy sings in the verse. And the chorus simmers down to a heartbeat-like pulse: "Open your arms as far as they will go/ We take off your dress."

"Company in My Back"

A little more lightweight than other Ghost songs — but variety and dynamics are what make the extreme moments pop. The meaning of "Company in My Back" is elusive, but that earworm of an arpeggio, along with Kotche's sparkling hammered dulcimer, make it fit the album like a glove.

"I've always had a particular fondness for 'Company in My Back,'" Jorgensen says, before directing readers to the half-speed, instrumental outtake: "That was just such a wonderful, hot, mysterious universe of sound." 

"I'm A Wheel"

Wilco get a battery in their back for "I'm a Wheel," a snotty blast of post-punk that points to gonzo future rockers like "Random Name Generator." Come for Tweedy rhyming "nein" with "nine," stay for "I invented a sister/ Populated with knives." With all he was going through, it's good to hear him having fun.

Read more: 28 Essential Songs By Wilco

"Theologians"

Tweedy returns to the instrumental palette of "Hummingbird" to ponder matters of the soul. Before concluding "Illiterati lumen fidei/ God is with us every day/ That illiterate light/ Is with us every night."

When "Theologians" blasts off, it feels like the thesis of the album: "No one's ever gonna take my life from me/ I lay it down/ A ghost is born/ A ghost is born/ A ghost of the born."

"I thought I was going to die," Tweedy wrote in his memoir. "I mean that in all seriousness… Every song we recorded seemed likely to be my last. Every note felt final." Yet "Theologians" pulses with life — and resolve.

"Less Than You Think"

Most talk about "Less Than You Think" naturally zeroes in on that alien, mechanical drone, which subsumes most of its runtime.

"Even I don't want to listen to it every time I play through the album," Tweedy once said. "But the times I do calm myself down and pay attention to it, I think it's valuable and moving and cathartic. I wouldn't have put it on the record if I didn't think it was great."

Partly why it hits so hard is that the preceding music is so magnificent — a devastated, naked ballad with Kotche's hammered dulcimer sparkling overhead.

"I wanted to make an album about identity, and within that is the idea of a higher power, the idea of randomness, and that anything can happen, and that we can't control it," Tweedy said in the same interview. Which is exactly what "Less Than You Think" communicates. 

"The Late Greats"

Wilco being Wilco, A Ghost is Born doesn't crumple into a heap: it finds a ray of hopeful light. The tumbling rocker "The Late Greats" turns over rock history to examine the underside:

"The best band will never get signed/ The K-Settes starring Butcher's Blind," Tweedy sings. "They never even played a show/ You can't hear 'em on the radio." And, as he concludes before the triumphal little finale: "The best song will never get sung/ The best laugh never leaves your lungs."

Looking back, "It's kind of hard to quantify," Jorgensen says. "Is it a rock record? Yeah. Is it a folk-rock record? Yeah, I guess. Is it an experimental album? There's certainly a component of that. It is all these things, but not one thing.

"So, I guess I identify with that part of it," he concludes. "It's a constellation." Indeed, across A Ghost is Born, there's a star for everyone: for its 20th anniversary, dust off the album, lie awake, and count them.

Songbook: A Guide To Wilco's Discography, From Alt-Country To Boundary-Shattering Experiments

Bonnaroo 2024 Recap Hero
Ethel Cain performs at Bonnaroo 2024.

Photo: Ashley Osborn for Bonnaroo 2024

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9 Epic Sets From Bonnaroo 2024: Ethel Cain, Melanie Martinez, Megan Thee Stallion & More

With an exciting mix of rising stars and big-name performers, Bonnaroo 2024 brought another year of showstopping performances to Manchester, Tennessee. Revisit some of the most intriguing sets from The Japanese House, Interpol and more.

GRAMMYs/Jun 18, 2024 - 06:40 pm

The 2024 iteration of Tennessee's Bonnaroo Music & Arts Festival was an absolute scorcher — even without the 95-degree highs.

The weekend brought some of the hottest names in music for a stacked lineup of buzzy newcomers and hitmaking veterans. From the Red Hot Chili Peppers' spectacular return to touring with John Frusciante, to Dashboard Confessional's star-studded Emo Superjam, to Billy Strings joining Post Malone for "rockstar," to Chappel Roan singing to a wig, there was no shortage of unforgettable moments at The Farm. 

While this year was the literally hottest that Bonnaroovians had seen in a few years, sweating through shirts (or lack thereof) proved completely worth it as some of the biggest iconoclasts came together and brought their all. It was electrifying, whimsical and at times emotional — and the bright, sunny skies served as the perfect backdrop for it all. 

If anything, the blistering — and briefly thundery — weather was a testament to the enduring nature of music fans; folks from all over the globe will never miss a chance to watch their favorite artists. Relive the magic with nine of the most exciting sets from Bonnaroo 2024.

The Foxies Took Technical Mishaps In Stride

The Foxies performing at Bonnaroo

The Foxies | Yvonne Gougelet for Bonnaroo 2024

Nashville's premier glitterpunk exports the Foxies delivered a fun, crowd-pleasing set Thursday night on the Who stage, even despite a flurry of audio issues and technical hiccups. The Roo crowd was forgiving, though, and the band rewarded us with some of the best songs from their catalog — plus a cover of Sheryl Crow's "If It Makes You Happy."

"Summer Never Dies," "Timothee Chalamet," and "Little Monsters" all landed perfectly, but the group's personality shone brightest during their newest release, "Natural Disaster." It couldn't have been a more apt song for Bonnaroo's carefree setting — an ode to feeling free and accepting the wildest parts of yourself. 

"A huge theme while we were writing ['Natural Disaster'], for me, was when I was 20 living in Brooklyn, how I was, all the cringey stuff that I did as a young adult," The Foxies frontwoman Julia Bullock told GRAMMY.com backstage. "I wish I wouldn't have shied away from it, or been embarrassed by it — I wish I'd leaned into the cringiness. This is an anthem for that: if I could do it all over again I would just embrace the fact that we are all just weird." Indeed we are, Julia.

The Japanese House Brought Love And Light

The Japanese House performing at Bonnaroo

The Japanese House | Yvonne Gougelet for Bonnaroo 2024

Since its 2015 inception, The Japanese House has always been in the zeitgeist. Where Amber Bain's heavily layered, mournful music was inescapable during the pale-grunge Tumblr era, it now occupies a much lighter space. Coming off of a banner year and a critically acclaimed album, In the End it Always Does, Bain has been embracing her pop side like never before.

Her set was a cornucopia of new and old sounds, the most exciting part of which was her new song, "Smiley Face." Written a year ago when Bain met her current fiancée on a dating app, "Smiley Face" is bright, soft, and sploshy, fraught with the energy of someone falling deliriously in love. "[When we first met] she lived in Detroit and I lived in London, and I would stay awake until she fell asleep," Bain tells GRAMMY.com of the song. "We were in different time zones. I was running on nothing — I felt a bit high." 

Like the rest of her discography, the song held the audience in the palm of its hand, this time enveloping us in a warm, flickering glow. "I could be losing my mind but something's happening," Bain sang, naturally, with a smile on her face. 

TV Girl Delivered A Masterclass In Melodrama

"I have a bit of stage fright," revealed TV Girl singer Brad Petering before the group's second to last song. Even if he felt it, stage fright wasn't apparent during the indie pop band's hour-long performance. Their set felt like a dream; onlookers got lost in the moment, spinning, swaying and dancing in the refreshingly cool breeze. 

It fell serendipitously near the 10th anniversary of their debut, French Exit, an album that launched them into the limelight as stalwarts of indie pop. Songs like "Louise" and "Lovers Rock" felt almost nostalgic 10 years on, and newer cuts like "99.5" and "The Nighttime" blended right in. Backed by a full band — including backup singers Kiera and Mnya, whose powerhouse vocals could've made for their own show — TV Girl turned already dynamic songs like "Birds Don't Sing" and "Not Allowed" into even fuller, radiant versions of themselves. 

Ethel Cain Took Us To Church

Ethel Cain performing at Bonnaroo

Ethel Cain | Ashley Osborn for Bonnaroo 2024

Despite its small size, there was no more perfect space for an Ethel Cain set than the reserved, remote That Tent in the quiet corner of Bonnaroo. Her performance saw the quaint venue packed to the brim, 1000-odd people staring back at Cain in dumbstruck awe, as her band played through songs inspired by Christian music and Gregorian chant.

Beginning with unreleased song "Dust Bowl" and the haunting "A House in Nebraska," Cain's performance was an intense, resounding 40 minutes that traversed between peace and emotional turmoil, much like all of the songs from her breakthrough album, Preacher's Daughter. The euphoric response from her overflowing audience left little doubt that her songwriting can break down walls; she's a timeless act, and her Bonnaroo set proved it.

​​Neil Frances Set Themselves Apart

There are a number of artists with variations of the name Neil Frances — or at least that's what it looked like from this year's Bonnaroo bill. One difference in letters, and you may have found yourself at the Other Stage at 6:15pm on Saturday, seeing Neil Frances instead of Neal Francis. But, whether you've been a fan of Neil Frances for years, or you wound up there by mistake, the indie-dance duo would not have let you leave disappointed. 

Backed by a live full band, their set felt like a psychedelic ode to the club, to dancing, and to feeling free. And their live production is every bit an artistic endeavor as is being in the studio. 

"We've always preferred to play with a live band; there are so many things that we do live that are completely different from the record," the duo's Marc Gilfry told GRAMMY.com. "It's fun, it's dramatic, and we have really great musicians."

Read More: NEIL FRANCES Just Want To Have Fun & Get 'Fuzzy'

Melanie Martinez Gave Us A Peek Inside Her Mind

Melanie Martinez performing at Bonnaroo

Melanie Martinez | Dusana Risovic for Bonnaroo 2024

Adorned with bows, horns, over-the-top dresses, and a multi-eyed, alien-like prosthetic mask, Melanie Martinez was dressed exactly how you'd think she would. With a stage setup of greenery, giant mushrooms, nymphs, and various mythical elements that seemed to revel in its own kitchiness, the details of Martinez's intricately-woven performance art unfolded around the audience, song by song, immersing everyone in a world of weird, elaborate fun.

Her dancers wove through a delicately choreographed, three-act narrative, taking the crowd through her three albums in chronological order, telling the story of the Cry Baby character, who first appears in her debut album, Cry Baby. The character transforms from baby to child to young adult, and finally, to a fully grown, pink-skinned being in the third act. Martinez's set was artistry in every sense of the word, taking fans through the ups and downs of youth and coming-of-age through rich metaphor and lyrical imagery — and prompting delighted sing-alongs as a result.

Interpol Were A Quiet Gem

Interpol performing at Bonnaroo

Interpol | Ismael Quintanilla III for Bonnaroo 2024

More than 25 years into their career, there's still something very disarming about Interpol. Maybe it's their effortless, NYC cool, or that they still know how to build the type of tension that gives you chills. Or maybe it's that they're men of very few onstage words — and when they do speak, you feel as though you've been given a gift.

Three things can be true, and they were for Interpol's Bonnaroo set Friday Night. Not ones to waste time talking, the three-piece rock band played an unbelievably tight 75-minute set, mostly sticking to a reliable selection of early hits, largely from their 2004 album, Antics. The crowd didn't seem put-off by the lack of chatter, as everybody had some singing along to do — because it was impossible not to.

Milky Chance Never Stopped Dancing

Milky Chance performing at Bonnaroo

Milky Chance | Douglas Mason for Bonnaroo 2024

Milky Chance wants you to dance. The German duo-turned-quad may have steadily transformed since their early folk days, but they've never abandoned their ability to make every beat danceable and each chorus undeniable. And on stage, they were having a ball.

With a set that included both 2012 hit "Stolen Dance" and their latest, "Naked and Alive,'' their evolution from folk renegades to breezier, disco-pop pundits is on full display — and we're glad they brought us all along for the ride. 

Speaking to GRAMMY.com backstage, bassist Philipp Dausch discussed their journey: "It was quite a process to become the band we wanted to be. Our music has always been in-between electronic and folky, so we put a lot of work into becoming that band on stage as well. We love rhythms and beats. We like when music moves you."

Megan Thee Stallion Declared This A "Self-Love Summer"

Megan Thee Stallion performing at Bonnaroo

Megan Thee Stallion | Pooneh Ghana for Bonnaroo 2024

No one is doing it like Meg. A highlight of day four — and perhaps the entire weekend — was Megan Thee Stallion's riotous, yet charming Sunday night set. Clad in a yellow-ombre bodysuit and welcomed by a crowd chanting her name, the Houston hottie commanded the What stage in a manner that suggested it won't be too long until she's in the headlining slot.

"Real hot girl s—," she screamed at the crowd, who didn't hesitate to scream back. It was clear she was on a high; not only was it her first Bonnaroo set, but it also followed back-to-back sold-out shows in her hometown of Houston, making it an absolutely monumental weekend for the rapper. 

Her and her dancers shook, twerked, and rolled through each hit without ever losing breath control — even during what she deemed the "personal section" of her set. And that portion was aptly-named; beneath the ass-shaking and thumping beats, "Cobra" brought about an air of sadness during an otherwise infectiously playful and positive performance. 

The lyrics chronicle her mental health struggles over the years amidst personal traumas and virulent online abuse. "Man, I miss my parents," she sang of her late parents, on what happened to be Father's Day. But shortly after the poignant moment, Megan quickly returned to her signature body-moving, sex-positve calling cards, "WAP," "Savage," and "Body," during which she declared this summer a "Self-Love Summer." That's some Real Hot Girl S— we can get behind.

15 LGBTQIA+ Artists Performing At 2024 Summer Festivals

Tanner Adell Press Photo 2024
Tanner Adell

Photo: Chase Foster

interview

Tanner Adell's Big Year: The Country Newcomer Talks Stagecoach, "BLACKBIIRD," & Meeting Her Childhood Idols

As Tanner Adell continues making waves in country music, she shares some of the most monumental moments from her career so far — from featuring on Beyoncé's critically acclaimed 'COWBOY CARTER' to making space for Black women at the CMT Music Awards.

GRAMMYs/Jun 6, 2024 - 02:48 pm

With one bold tweet, Tanner Adell's life changed.

"As one of the only Black girls in the country music scene, I hope Bey decides to sprinkle me with a dash of her magic for a collab," she wrote, minutes after Beyoncé premiered "TEXAS HOLD 'EM" and "16 CARRIAGES" during this year's Super Bowl in February.

At first, Adell was mocked for her pitch. "You're trying too hard, love," one user said. Another chimed in, "Baby, that album is finished with all the songs cleared. I don't know about this one. Maybe, open for the tour," another user remarked.

But she wasn't bothered by the chatter: "Those people said I look desperate, I'm like, 'You must not know me, b—!" Adell reveals to GRAMMY.com with a hearty laugh. 

Confidence is the inner core of the Tanner Adell ethos. And her boldness paid off because shortly after when Beyoncé approached her to feature on COWBOY CARTER.

In Adell's first music release of 2024, she appeared alongside Brittney Spencer, Tiera Kennedy, and Reyna Roberts in Beyoncé's cover of "BLACKBIIRD" by The Beatles. It was a full-circle moment for Adell in more ways than one, as her father used to sing the song to her as a child. Little did she know, decades later, she would popularize the track's backstory — the plight of Black women in the American South — alongside one of her heroes.

But before Adell became one of Beyoncé's songbirds, she was also the Buckle Bunny. On the 11-track mixtape, Adell traced the provocative tales of an acrylic nail-wearing, lasso-wielding heartbreaker. But for every Black girl that listens, it's more than a country project. It's also a reminder that it's okay to be feminine and girly, just like Shania Twain, Carrie Underwood or Taylor Swift.

Among her rodeo of exciting firsts, Adell tacks another on June 8, when she makes her debut at Nashville's Nissan Stadium during CMA Fest. She'll perform on the Platform Stage at the stadium; the next day, she'll play a set at the Good Molecules Reverb Stage outside of Bridgestone Arena.

Below, hear from Adell about her most memorable firsts thus far, from having her debut daytime television performance on "The Jennifer Hudson Show" to bonding with Gayle King behind the scenes at Stagecoach Music Festival.

Seeing Her Breakthrough Single, "Buckle Bunny," Have A Second Life

I released "Buckle Bunny" on the Buckle Bunny EP in July 2023. I actually teased it on social media first. Almost nine months before that, I had gone super viral with it. It was doing incredibly well, so my plans were to release it in January or February of last year. But, I ended up signing a record deal in December of 2022. There were plans for it at that time, but the timeline kept getting pushed back. It turned into a fight to get that song back into my hands, which was what prompted me to go independent. Eventually, I was able to work with my label, shake hands, and mutually part ways.

I started this year as an independent artist with this song that everybody loves. It's become a huge part of my brand, but it's really my life story. People might think it's a dumb song that was easy to write, but I was called a "buckle bunny." As a teenager growing up between Los Angeles and Star Valley, Wyoming, I was into glam country, and "Buckle Bunny" is the pinnacle of that. 

"Buckle Bunny" was my first single that charted. I felt like I finally had broken through that invisible box that Nashville put me in as a country musician. It was me saying, I'm not going to follow any rules. I'm going to be as true to myself as possible.

We, as Black women, have been fighting our whole lives. We've been fighting for space. I'm purposely trying to bring softness into the picture, allowing women who listen to my music to know that it's okay to feel that way. We don't always have to have our walls up.

"Buckle Bunny" is aggressively confident, but I think that's the door to softness. You have to be self-assured to let your walls down. My newest single, "Whiskey Blues," is my next step into that. I have another song on my social media, "Snakeskin," that people want me to release. "Buckle Bunny" is like the girl who protects those softer moments.

In a way, I look at all of this as a relationship between Tanner Adell, the artist, and Tanner, the person. For me, Tanner Adell is the buckle bunny. Then, you have Tanner, who's on the inside, writing all of these songs.

Serving A Bold Fashion Statement On Her First Major Red Carpet

I wore Bantu knots! I've always loved Bantu knots in all styles, the really small ones and the larger ones. There were ideas about whether I should do a certain number of them that was significant to me in some way.

I work very closely with Bill Wackermann, who was the CEO of Wilhemina Models. He does a lot of styling and has a close relationship with my manager. So, my manager was like, "You would love him!" At the time, I was trying to hone in on what myself is. What's the message I'm trying to convey through my fashion, hair, and beauty? 

Bill sat down with me, and I told him I wanted Natalia Fedner to do my dress, which is that stretchy chain metal dress. Originally, I thought I would do my long blonde hair, but Bill was the one who told me, "This is your first major red carpet as an invited artist. Think about what you want your hair to say." As a Black woman, our hair tells 1,000 stories with whatever it is, and the lightbulb went off in my head.

I knew I wanted my hair to say everything I needed to say without having to say anything at all. I also knew there would be a lot of people who didn't know the significance behind it or just thought it was some extreme hairstyle.

I've looked very deeply into my heritage. It turns out I have a bit of Bantu heritage in my DNA. I thought that was so cool because I do love the knots so much.

The CMT Awards were a big thing at my school, Utah Valley University. Everyone would get together in the dorms and watch the show. It's crazy that a couple years ago, I was watching it, and I'm here now. I feel very respected and loved. People I've looked up to would come up to me, and I was like, "I'm a huge fan." And they're like, "No! I listened to you."

I got to meet Gayle King, who I absolutely love. I remember watching her from afar while she was doing "CBS Mornings." She saw me from across the room, and I kid you not, in the middle of her interview, she started walking towards me. She was like, "I just want to tell you that you're so beautiful. The Bantu knots are stunning." That was my favorite moment of the night.

I also had the chance to see Tiera Kennedy. She's so sweet. We got matching blackbird tattoos before that. Being on the red carpet for the first time, it was comforting to see a familiar face. It really reinforces that idea that I belong here.

Being A Part Of COWBOY CARTER

So, I'm adopted. I have four siblings. We're all biracial, but our adoptive parents are both white. Obviously, my dad is a white man with five Black children. My parents always wanted me to understand that I am a Black woman, and he was very educational when it came to music. He taught me about the Black female power players and the buzz in the industry. But The Beatles were his favorite. So, when I finally told them the news, my dad immediately got choked up. He told me that "Blackbird" was one of his favorite Beatles songs.

My dad isn't the best with words when it comes to expressing his emotions, especially in front of people. He's a quiet, reserved dude. So, he eventually texts me, sending me screenshots about the meaning behind "Blackbird." The reason why it was his favorite song was because he had Black girls, and he told me, "This is special. This is not a burden to carry, but it might be a bit of weight on your shoulders. Keep your head up high and walk knowing that this is why he wrote this song."

I can remember going to a recital as a kid and being so nervous, but my dad was so confident and excited about my abilities. Was that strategic? Was it quiet strength? Maybe. It feels like this song has been a part of my whole life. So, to be on it, on such a massive album, feels very divine.

The whole process was a surprise. It took a few weeks to set in. But I always knew I would work with [Beyoncé], and I always said it's a matter of "when," not if. 

On the day of the Super Bowl, I saw that black-and-white picture of her, and I thought it looked a lot like a photoshoot that I took the week before. Let me make a tweet, just to put it out there. I don't know — she's magical! She has her way of knowing everything that's going on all the time. 

I think that tweet has almost 10 million views. It was fun to go back to that tweet to see the people who were supporting me. And also getting to say "I told you" to the people who didn't. It kicked off a Renaissance — pun intended.

Performing At Her First Stagecoach Music Festival

I have bad social anxiety, and I get nervous in front of crowds and people. So, festivals were never something that interested me, but Stagecoach was always one I felt like I could go to. And I was not disappointed.

I had the first slot of the day, which is a s—ty slot for anyone, but you have to pay your dues in country music. It's how you build your cred with these festivals, to show you're a hard worker and will perform like you're at a sold-out show in Madison Square Garden. And I did.

Mentally, I prepared for no one. I told myself it was okay if nobody came, and I'll perform like I always do. I'll figure out where the camera is and perform it for the jumbotron, so if no one comes to the pit, the people watching the livestream will have a great show. 

Well, I didn't have an empty pit! People showed the f— up and out. I heard people in line thought they were going to miss it because the gates opened late. Within the first 10 minutes, the VIP pit was half-filled with people screaming and running in their sweet little cowboy boots and hats. That never happens at Stagecoach or Coachella, but it's a testament to the relationship I built within my listeners. It was eye-opening for me. I don't think I'm ever going to play to a dead crowd again.

Before, Levi's reached out and said I was the first artist they wanted to collaborate with for Stagecoach. So, they custom-made my outfit. I told them I have these ribbons, inspired by my mom, who was a rodeo queen. I also told them if they can't incorporate them, I probably won't do it. But they loved it! And it was special because it came back to my mom. She was a winner, so when I wear the ribbons, I'm also a winner.

My mom has competed in over 1,000 competitions and probably places in half of those. In Wyoming, we had a big wall, covered in those IQHA (International Quarter Horse Association) ribbons. She gave me a strong sense of competition.

Making Her Debut On Daytime TV

I have overcome very serious, debilitating stage fright. I don't get nervous anymore, and performing live is my favorite thing. But I was not prepared for what a television show taping looks like.

We had a soundcheck, and there were a bunch of suits in groups of threes and fours standing everywhere. There were all these cameras and lights. Then, I start realizing I'm about to meet J. Hud, who I made little custom Crocs for. It was a dream come true.

I know a lot about her story. We have very different upbringings, but we're similar in the sense of trying to stand on ground that isn't steady. I see her as someone who is a great example. She's reached so many different avenues. For me to be able to sit down with an EGOT winner is a great honor. 

I kind of like to keep my manifestations as quiet as possible. I don't tell anybody anything, but an EGOT is something I wouldn't mind having, you know?

I look at her as a woman who exceeded greatness. So, it was just amazing — and for my first television debut. I felt like this is right for me.

Why 2024 Is The Year Women In Country Music Will Finally Have Their Moment

CMA Fest 2024 Playlist Hero
(L-R) Kelsea Ballerini, Dalton Dover, Chase Matthew, Jelly Roll, Ella Langley, Dasha, Avery Anna, Breland

Photos (L-R): Jason Kempin/Getty Images for the Country Music Hall of Fame and Museum, Jason Kempin/Getty Images for BRELAND & Friends, Jason Kempin/Getty Images for iHeartRadio, Amy E. Price/Getty Images, Jason Kempin/Getty Images, Brynn Osborn/CBS via Getty Images, Jason Davis/Getty Images for SiriusXM, Jason Kempin/Getty Images for BRELAND & Friends

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Get Ready For CMA Fest 2024: Listen To A Playlist By Dasha, Ella Langley, Chase Matthew, Avery Anna, & Dalton Dover

As country stars and fans flock to Nashville for CMA Fest, five of the lineup's most exciting acts curated a playlist of the songs they're looking forward to hearing live — from Shaboozey's "A Bar Song (Tipsy)" to Lainey Wilson's "Watermelon Moonshine."

GRAMMYs/Jun 5, 2024 - 02:25 pm

For more than 50 years, the Country Music Association has hosted the genre's biggest annual party in Nashville, Tennessee: CMA Fest. Originally dubbed Fan Fair, what began as a 5,000-person celebration of country music has turned into a four-day festival that draws an estimated 90,000 people each day. And with the genre being at an all-time high, the 2024 iteration of CMA Fest might just be the most thrilling yet.

The 51st annual CMA Fest will take over Nashville from June 6-9, with upwards of 300 country artists performing. As rising stars — and returning CMA Fest performers — Avery Anna, Dalton Dover and Chase Matthew will tell you, the magic of the weekend affair has always come down to the fans.

"I love the connection that the festival provides between artists and fans," Anna says. Dover adds, "Whether it's being reunited with those I've met in the past or getting some time to say hello to all the new faces in the crowd, it's just so special to be able to connect with everyone over our love for country music."

Matthew, who grew up in Nashville, has been part of both sides of CMA Fest. "I've seen CMA Fest grow to become this epic event that every music fan should experience," he says. "It's a great opportunity for fans to see and interact with their favorite country stars, as well as discover new artists they may not have had the opportunity to hear yet."

Even Dasha, who will be experiencing her first CMA Fest this year, knows just how important it is to any country music artist or fan: "CMA Fest is such an iconic celebration of country music."

Thanks to the runaway success of her hit "Austin," Dasha will be taking the Platform Stage at Nissan Stadium, which will highlight two budding stars each night amid performances from the genre's biggest names. "When I got that call, I got online to see the number of seats there and my jaw was on the ground," she recalls. "That'll be my biggest show to date, and I can't wait to show the people what we've got."

This year's CMA Fest also marks a first for Ella Langley, who will make her inaugural appearance on the Chevy Riverfront Stage in a "full-circle moment." And in teasing what she'll bring to her set, Langley encapsulated the energy of CMA Fest as a whole: "I hope the fans are ready for a bunch of dancing, a good message and a really good time."

As they prepped for CMA Fest 2024, Ella Langley, Dasha, Chase Matthew, Dalton Dover, and Avery Anna helped curate a playlist of songs they're excited to see — and perform — live. Whether or not you'll be heading to Nashville, jam out to tracks from Kelsea Ballerini, Sam Hunt, Cody Johnson, Zach Top, Megan Moroney, and more.