The rise of Luke Combs over the past few years, from his debut album to winning CMA Entertainer of the Year, has been unprecedented. He has put a voice to the humble thoughts and everyday struggles of all country music fans, leading a new charge of songwriters and artists who dig back into their origin stories and stories from their hometowns for inspiration, delivering a no-nonsense sound that feels gritty and authentic.

Now, Combs has returned with his fourth studio album – the sister record to his third album Growin’ Up that felt somewhat underwhelming, in comparison to the staggering power of his first two records. There was a degree of trepidation then when awaiting Gettin’ Old, but that feeling was unfounded that is filled with the killer songwriting we received with his debut record, with a layer of maturity that feels right considering the new stage Combs is now at in his life – as a father and husband. There’s plenty of material here that takes fans on the journey of Combs life, entering this new stage, as he explores the bonds of fatherhood and brotherhood on ‘See Me Now’ and ‘Take You With Me.’ Of course, Combs continues to revisit the stories of his childhood on ‘Hannah Ford Road’ and celebrate the blue-collar, regular man on ‘Joe.’

More than anything, this record is filled with killer storytelling songwriting, it’s classic Combs in sound, but with a newer mature sound and lyrical touch, filled with huge hits that do not feel inauthentic in reaching for the #1 spot. Gettin’ Old is a showcase in painting a picture of an artist and where they are currently at in their life and shows just why Combs star continues to shine so brightly.

The post ALBUM REVIEW: Gettin’ Old – Luke Combs appeared first on off the record.

It has been a mammoth, breakout year for rising country star, Lainey Wilson. Now, the 2022 CMA nominations have been announced and Wilson is leading out in her first year, with six nominations to her name. Here, are the 2022 nominations with our predictions for winners of the CMA.

Entertainer of the Year

Luke Combs
Miranda Lambert
Chris Stapleton
Carrie Underwood
Morgan Wallen

OTR Prediction: Carrie Underwood

Female Vocalist of the Year

Miranda Lambert
Ashley McBryde
Carly Pearce
Carrie Underwood
Lainey Wilson

OTR Prediction: Carly Pearce

Male Vocalist of the Year

Eric Church
Luke Combs
Cody Johnson
Chris Stapleton
Morgan Wallen

OTR Prediction: Morgan Wallen

Vocal Group of the Year

Lady A
Little Big Town
Midland
Old Dominion
Zac Brown Band

OTR Prediction: Lady A

Vocal Duo of the Year

Brooks & Dunn
Brothers Osborne
Dan + Shay
LoCash
Maddie & Tae

OTR Prediction: Maddie & Tae

New Artist of the Year

Hardy
Walker Hayes
Cody Johnson
Parker McCollum
Lainey Wilson

OTR Prediction: Lainey Wilson

Album of the Year (Awarded to Artist(s) and Producer(s))

Luke Combs, Growin’ Up (Produced by Luke Combs, Chip Matthews, Jonathan Singleton, Mix engineer: Jim Cooley, Chip Matthews)
Maren Morris, Humble Quest ˆ(Produced by Greg Kurstin,Mix engineer: Serban Ghenea)
Miranda Lambert, Palomino ˆ(Produced by Luke Dick, Miranda Lambert, Jon Randall, Mikey Reaves,Mix engineer: Jason Lehning)
Lainey Wilson, Sayin’ What I’m Thinkin’ ˆ(Produced by Jay Joyce, Mix engineer: F. Reid Shippen)
Old Dominion, Time, Tequila & Therapy (Produced by Shane McAnally, Old Dominion, Mix engineer: Justin Niebank)

OTR Prediction: Miranda Lambert, Palomino

Song of the Year (Awarded to Songwriters)

Jordan Davis, “Buy Dirt” (Jacob Davis, Jordan Davis, Josh Jenkins, Matt Jenkins)
Carly Pearce & Ashley McBryde, “Never Wanted To Be That Girl” (Shane McAnally, Ashley McBryde, Carly Pearce)
Morgan Wallen, “Sand In My Boots” (Ashley Gorley, Michael Hardy, Josh Osborne)
Lainey Wilson, “Things a Man Oughta Know” (Jason Nix, Jonathan Singleton, Lainey Wilson)
Chris Stapleton, “You Should Probably Leave” (Chris DuBois, Ashley Gorley, Chris Stapleton)

OTR Prediction: Carly Pearce & Ashley McBryde, “Never Wanted To Be That Girl”

Single of the Year (Awarded to Artist(s), Producer(s) and Mix Engineer(s))

Jordan Davis, “Buy Dirt” (Produced by Paul DiGiovanni, Mix engineer: Jim Cooley)
Kelsea Ballerini Feat. Kenny Chesney, “Half of My Hometown” (Produced by Kelsea Ballerini, Ross Copperman, Jimmy Robbins, Mix engineer: Dan Grech-Marguerat)
Carly Pearce & Ashley McBryde, “Never Wanted To Be That Girl” (Produced by Shane McAnally, Josh Osborne, Mix engineer: Ryan Gore)
Cody Johnson, “Til You Can’t” (Produced by Trent Willmon, Mix engineer: Jack Clarke)
Chris Stapleton, “You Should Probably Leave” (Produced by Dave Cobb, Chris Stapleton, Mix engineer: Vance Powell)

OTR Prediction: Jordan Davis, “Buy Dirt”

Musical Event of the Year

Dierks Bentley, Breland & Hardy, “Beers On Me” (Producers: Dierks Bentley, Ross Copperman)
Jason Aldean & Carrie Underwood, “If I Didn’t Love You” (Producer: Michael Knox)
Midland (Feat. Jon Pardi), “Longneck Way To Go” (Producers: Dann Huff, Shane McAnally, Josh Osborne)
Cole Swindell With Lainey Wilson, “Never Say Never” (Producer: Zach Crowell)
Carly Pearce & Ashley McBryde, “Never Wanted To Be That Girl” (Produces: Shane McAnally, Josh Osborne)

OTR Prediction: Carly Pearce & Ashley McBryde

The post Lainey Wilson Leads Charge of 2022 CMA Nominations appeared first on off the record.

• Luke Combs

• “Starting Over” – Chris Stapleton
  Producers: Dave Cobb, Chris Stapleton
  Mix Engineer: Vance Powell

• Starting Over – Chris Stapleton
  Producers: Dave Cobb, Chris Stapleton
  Mix Engineer: Vance Powell

• “Starting Over”
  Songwriters: Mike Henderson, Chris Stapleton

• Carly Pearce

• Chris Stapleton

• Old Dominion

• Brothers Osborne

• “half of my hometown” – Kelsea Ballerini (featuring Kenny Chesney)
  Producers: Kelsea Ballerini, Ross Copperman, Jimmy Robbins

• Jenee Fleenor, Fiddle

• “half of my hometown” – Kelsea Ballerini (featuring Kenny Chesney)
  Director: Patrick Tracy

• Jimmie Allen

The post The CMA Award Winners for 2021 Are Announced appeared first on off the record.

Country to Country; Europe’s biggest country music festival is back for 2022!  Returning for its eighth year on Friday 11 to Sunday 13 March 2022, the festival is set to bring yet another incredible line up to The O2 London, 3Arena Dublin and The SSE Hydro, Glasgow.

Headlining next year’s festival are country music superstars Luke Combs, Darius Ruckerand Miranda Lambert. Also making their return next year are multiple CMA award winners and nominees Kip Moore, Brett Young, and Ashley McBryde alongside Russell Dickerson, Scotty McCreery, Flatland Cavalry, Runaway June and Hailey Whitters who all make their main stage debuts.

For the very first time, international series Introducing Nashville will see artists take to the mainstage together for an acoustic set sharing stories behind their tracks. Line up announced soon!

The C2C Spotlight Stage will also be back in London and Glasgow featuring Tenille Townes and Callista Clark.  Watch out for news of the full line up in the coming months. BBC Radio 2 is the broadcast partner for the event.

Chris York, C2C Festival Co-Founder commented: “C2C Festival 2022 will continue to build on the massive success and impact of Country to Country in the U.K. and Ireland. We look forward to welcoming back all our passionate country fans in March 2022 once again.  We would like to thank our partners at BBC Radio 2 and The Country Music Association and as ever, thank you for your support.”

“C2C is a pillar in Country Music, not just to U.K. fans, but to the artist and industry community here in Nashville as well,” says Sarah Trahern, CMA Chief Executive Officer. “With the loss of the 2020 and 2021 shows, CMA is especially excited to be partnering with C2C again this year. As Country Music continues to grow through touring and streaming in the U.K., it is tentpole events like C2C that act as catalysts for the genre and help carry Country Music forward.”

The legendary Bob Harris OBE also said: “I am so proud to be part of the C2C family and have watched the festival grow to become one of the most important and iconic events in the global Country Music calendar.  I can’t wait to listen to the best music in the world, enjoy the fantastic atmosphere of the main auditorium, catch the excitement of the pop-up stages and meet the incredible Country fans that make C2C so special.” 

Tickets go on general sale at 10am on Friday 17^th September and are available from:

• London – www.axs.com/c2c  and www.gigsandtours.com
• Dublin – www.ticketmaster.ie
• Glasgow www.gigsinscotland.com

C2C London ticket holders will have access to daytime live performances and other live events.

FOR FURTHER INFORMATION: Website | Facebook | Twitter | Instagram

The post C2C Returns 11th – 13th March 2022 with Star-Studded Line-Up appeared first on off the record.

The post Our 2021 CMA Awards Nomination Thoughts and Predictions appeared first on off the record.

What a huge week for you, with the Opry, the singles coming out! It must be a lot to take in – how are you feeling about it?

It is, I was telling somebody last night, ‘It’s here, it’s the week. There’s a lot of stuff happening – music coming out, we have our first event with my mental health awareness foundation on Wednesday, and then the music and the Opry on Friday. Then, of course, I have people coming in from out of town, so it’s a whole lot, but it’s great.

It’s kind of the culmination of the dream. Everyone always sees the success, but they haven’t seen the years of work to get to where you are now – the years of grafting.

They always say it takes 10 years to make an overnight success.

I mean, the singles, I love them, I think they’re great. You’ve always shown in your music and your songwriting that real life. Is that something that’s always been really important to you?

Yeah, I mean with ‘Girl In It,’ it’s kind of the reasons I love that one so much. It’s  just the human condition in one song – the falling in love, the being in love, but then also the heartbreak, which most people are going to experience over the course of their life – all that stuff and finding a way to wrap those emotions into one song. We started that song with that in mind. I’m really proud of that one, because it’s just honest – you’re going to fall in love, you’re going to be in love and there’s probably gonna be a time where you’re going to mess things up and that’s okay because we all do.

These songs to portray the whole spectrum of life, you’ve got ‘Way Out’ which is very different from ‘Girl In It’ which is different from ‘Bucket List Beers.’ The last one resonated so much, because we’ve all had moments over the past year where we’ve felt like we’re missing out on those moments. I think that one has so much emotional resonance to it.

Right! Because we got those taken away from us for a while. With ‘Way Out,’ I remember that push-pull feeling, I’ve kind of been around the country and stuff and now when I look back at my hometown, it’s become a little more romanticised than it was before. I’ve always loved my hometown, but now I realise more than ever that it’s a really special place to me. I always wanted to write a song about that push-pull feeling – it being a special place but still need to go. The hook really comes from when I was on my way to Nashville to move, I remember being like, ‘what am I doing? I’m leaving a comfortable life and have it all set up back home. Why would I ever want a way out of there?’ In that case, I’m glad I kept driving to Nashville, but that’s kind of where that comes from.

For these songs, I know you’ve worked again with Jonathan Singleton, who you’ve worked with in the past. Can you talk about how that partnership evolved and what he has meant for your music?

It’s been invaluable. So Jonathan, I met him when I first moved to town and there was a song that was on the radio when I first moved called ‘Diamond Rings and Ole Barstools’ that I absolutely loved and he wrote that one. So, I started digging into what he had done and he wrote so many songs that I love, like ‘Why Don’t We Just Dance’ and ‘All The Way Down The Line.’  Every time I saw him play live, at all these writers’ rounds, I was like, ‘my gosh, this guy’s an absolute badass’. So, I got to meet him through Luke Combs and then we started writing songs together. I really just love his vibe and love being around him.

One day, I just said, ‘hey, what if we just work some songs for me? You know, what if you produce?’ And he’s like, ‘I’m gonna wait on you to ask me that’. We started the partnership that way, but my gosh watching his mind in the studio, he gets that kind of grit of the songs – he’s from West Tennessee – and he brings a little bit of that West Tennessee Memphis thing, where there’s always something moving in the song, even if it’s in the background. He has a lot of soul in his playing and what needs to be done in the song, he’s really one of the best – if not the best – when it comes to that kind of stuff. The songs would definitely not sound the way they do, track wise and feel wise if it wasn’t for him.

Obviously someone else who’s been instrumental in your career has been Luke Combs. How important was it for both of you to form this partnership where you wrote the songs that you wanted to create and this sound that wasn’t there before?

For us, when we came to town, we didn’t have anything going on and we were writing a lot together and we were talking about how we don’t know what Nashville really wants to hear and what sound we’re supposed to chase – that’s so exhausting. So, we thought why don’t we just write songs that we’re just going to love and be proud of, and do our own thing and then see where that lands us? On his side first, it happened to be the songs that everybody had been wanting to hear – that first record broke so many records and then the second one did the same. It’s all the same kind of sound and what was important for me is finding a way to still write those same type of songs that said things in the same sort of way, but sounded different sonically from what Luke’s been doing. These first three sound very different, though the authentic message is the same.

Well your vocals are so different. I mean the heart is the same, talking about real things and real people but your vocals are so different. I also wanted to talk to you about your Pretty Good Ball Fund – you’ve got stuff going on this week with it, can you talk a bit about it and how people can get involved? 

So, Pretty Good Ball started as an idea for me, I knew I wanted to start some sort of charity foundation – I didn’t know what that would be, but back in the fall, I just hadn’t had time to come reflect and all during the pandemic. I was looking back and thinking about what are some of the things I can do for myself that I had done before. I had talked to some people about therapy, and for me, it was just like,  let me learn about myself a little bit more and how can I better myself and learn some things about me that maybe have been holding me back in relationships and everything. That was so helpful for me, but we moved into this next chapter talking about a charity and I  told my manager Neil. I just got thinking about how hard this town is and there’s a lot of people – musicians and songwriters and stuff – who even if they’ve needed therapy, or are going through something or whatever, they don’t go, maybe because they can’t afford it. So,  one half of the fund is a fundraising thing for that, but the bigger part is being just the normal guy in town who hopefully helps break the stigma and makes it okay to talk about the fact that it’s okay to not be okay. When something’s wrong with your car, you take it to the mechanic, people aren’t any different and so, it’s getting that conversation out there and making it okay to talk about it. Hopefully, people think ‘Ray’s just a good old boy like us, if he’s okay talking about it, if he’s been in therapy, then if I’m feeling some type of way, it’s okay too.’ This is coming from a guy who didn’t know about mental health at all. I got myself through with willpower and then next thing, you’re still feeling the same way six months later. So, hopefully just making the conversation more okay to be had and breaking the stigma, but also we team with Musicians Health Alliance and they have the infrastructure to put any funds that we raise into place and so people can apply for help and stuff, and then they can help get you started in therapy and give you someone to talk to anonymously. I think that it gives people a real tangible outlet and helps continue the conversation.

I think it’s amazing what you guys are doing, so thank you so much for taking the time to chat with me today and good luck with this epic week you’ve got ahead!

Thank you for having me.

The post INTERVIEW: Ray Fulcher on Opry Debuts and New Tracks appeared first on off the record.

Since the release of his breakout hit, ‘Some Girls,’ Jameson Rodgers has been a hot name on everyone’s lips, waiting for an extended project from the phenomenal singer-songwriter who has made a name for himself creating a commercial country sound that manages to bridge the gap between bro and boyfriend country, creating a slick sound that feels very current, yet unique. Underneath it all, Rodgers creates tracks with an authenticity that is immensely humility, not veering away from the more everyday topics, like on ‘Good Dogs.’ His new EP – In It For the Money – released today, showcases all that humility and polish that we have come to expect from Rodgers, highlighting his diversity as a songwriter and artist.

The project begins with the bombastic party song, ‘Cold Beer Calling My Name,’ on which he is joined by his label mate Luke Combs. It takes some guts to go up one of the biggest vocalists in country music right now, but Rodgers more than holds his own on this blisteringly fun and boisterous track. ‘There’s a pocket full of pay day green / And my baby putting sugar on me.‘ It’s a blue-collar celebration of the end of the working day and sets the bar high sonically for the rest of the project. Next, Rodgers dives into his major hit ‘Some Girls’ that takes the pace back a step. It’s a pensive track about the human experience in all its forms and emotions. ‘Some hearts stay broke / Some hearts don’t skip a beat / Some people say goodbye then try to make it alright / Just like you’re doin’ to me.’ It’s a moving track but devoid of cloying sentimentality, making it strike home yet more, and an idea he explores again in ‘Desert’ – a meandering track about the journey of life in all its forms, led by the refrain – ‘Life’s kinda crazy, can’t predict the weather, but the cold and the rain and the pain don’t last forever.’ 

Continuing his authentic songwriting, ‘In It For the Money’ is one of the most honest tracks we’ve heard of the artist experience. ‘If I was in it for the money, I’d have quit a long time ago.’ It’s a real take on the difficulties of grafting as an artist over the year, sonically experimental in the outdo thanks to the aid of a vocoder, it is everything a country song should be – honest and real, and incredibly human.

The bombastic sound we were introduced to on ‘Cold Beer Calling My Name’ is reintroduced on ‘Rolling Rock, Rolling Stones,’ a heavier head-banging track about living a freer life. ‘I love to dance with honky tonk women, hey hey na na, I love the taste of the suds I’m sipping.’ It’s a foot-stomping and catchy track that will be a sure fire hit in its live retelling, before Rodgers takes the pace back down a notch for his final two tracks. ‘When You Think of Mississippi’ is the most sentimental moment on the EP, a nostalgic track looking back on a relationship. ‘Do you ever miss me, when you think of Mississippi.’ It’s a trip back down memory lane and is immensely poignant – allowing Rodgers to showcase the nuances of his vocal. The project rounds out with the most humble track – ‘Good Dogs’ – a song about losing his beloved pet. ‘Good dogs, don’t live long enough.’ It underlines yet again the authenticity and humility of Rodgers as an artist just stepping into his confidence and stride. It’s an immensely rounded project, full of big stadium-ready tracks as much with poignant writers round ‘moments’ that will make audiences fall for Rodgers – this is an artist that you should bet your money on right now.

The post EP REVIEW: In It For The Money – Jameson Rodgers appeared first on off the record.

1. Ashley Monroe announces forthcoming studio album – Rosegold

Ashley Monroe has announced that she will be releasing a new studio album – Rosegold – on April 30th. The album will be her first independent album after three released on Warner Music Nashville, and follows the release of a new single ‘Drive,’ marking a pivot away from her traditional country sound.

2. Luke Combs airs a full set from his second to last show on the What You See Is What You Get tour

Luke Combs has aired a full set from his second to last show on the What You See Is What You Get tour – a performance from Lexington, Kentucky last February.

3. The ACMs will take place live in Nashville in 2021

The ACMs have announced plans to air the awards show live from Nashville, following a similar format to the 2020 awards show.

4. Lainey Wilson releases debut record – Sayin What I’m Thinkin

The startling debut marks the ascendancy of Wilson as one to watch in the country music world. The record includes the single ‘Things A Man Oughta Know’ along with three brand new tracks.

The post Your Weekly Country Music News Round-Up: Ashley Monroe to Luke Combs appeared first on off the record.

21. ‘In Color,’ Jamey Johnson

Winners: Jamey Johnson, Lee Thomas Miller, James Otto

20. ‘Murder on Music Row,’ George Strait and Alan Jackson

Winners: Larry Cordle and Larry Shell

19. ‘Three Wooden Crosses,’ Randy Travis

Winners: Doug Johnson and Kim Williams

18. ‘Where Were You (When The World Stopped Turning),’ Alan Jackson

Winner: Alan Jackson

17. ‘Believe,’ Brooks & Dunn

Winners: Ronnie Dunn and Craig Wiseman

16. ‘Give It Away,’ George Strait

Winners: Bill Anderson, Buddy Cannon and Jamey Johnson

15. ‘I Drive Your Truck,’ Lee Brice

Winners: Jessi Alexander, Connie Harrington and Jimmy Yeary

14. ‘Beautiful Crazy,’ Luke Combs

Winners: Luke Combs, Wyatt Durette and Robert Williford

13. ‘Better Man,’ Little Big Town

Winner: Taylor Swift

12. ‘The Bones,’ Maren Morris

Winners: Maren Morris, Jimmy Robbins and Laura Veltz

11. ‘Broken Halos,’ Chris Stapleton

Winners: Mike Henderson and Chris Stapleton

10. ‘Over You,’ Miranda Lambert

Winners: Miranda Lambert and Blake Shelton

9. ‘If I Die Young,’ The Band Perry

Winners: Kimberly Perry

8. ‘Humble and Kind,’ Tim McGraw

Winner: Lori McKenna

7. ‘Follow Your Arrow,’ Kacey Musgraves

Winners: Brandy Clark, Shane McAnally and Kacey Musgraves

6. ‘Live Like You Were Dying,’ Tim McGraw

Winners: Tim Nichols and Craig Wiseman

5. ‘Stay,’ Sugarland

Winner: Jennifer Nettles

4. ‘The House That Built Me,’ Miranda Lambert

Winner: Tom Douglas and Allen Shamblin

3. ‘Girl Crush,’ Little Big Town

Winners: Hillary Lindsey, Lori McKenna and Liz Rose

2. ‘I Hope You Dance,’ Lee Ann Womack

Winner: Mark D. Sanders and Tia Sillers

1.’Whiskey Lullaby (feat. Alison Krauss),’ Brad Paisley

Winners: Bill Anderson and Jon Randall

The post The Ultimate Ranking of the Winners for CMA Song of the Year Since 2000 appeared first on off the record.

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