Americana/Country singer-songwriter, Noah Guthrie's sound has been described as possessing Chris Stapleton’s country/rock grit with the authenticity of Jason Isbell. The unique soulfulness in his richly textured voice and the unmistakable Southern influence in his music makes him capable of conveying emotion as only a handful of artists can in today’s musical landscape. Noah's latest album, BLUE WALL, honors the Blue Ridge Mountains where he grew up and still resides. Noah’s versatility and distinct voice is evident. However, Noah isn’t trying to box himself into any specific genre. For him, it’s just about making good, honest music - music that sounds like him - music that relates - music that makes the listener feel something.
Noah has built a strong following through powerful live performances, social media and television. He has released three critically-acclaimed albums. He has also performed on NBC’s Today Show and Tonight Show, Hallmark Channel’s Home & Family, and ABC’s Dancing with the Stars. The producers at the hit FOX TV show, GLEE, discovered his YouTube channel and were so impressed with Noah's voice, that they recruited him as a cast member for the sixth season of the show. Noah was also a semi-finalist on the 13th season of America's Got Talent.
As a solo performer (as well as with his band, Good Trouble) Noah has performed at major festivals, fairs and clubs all over the United States and Europe. Noah has opened for an impressive group of artists including Ed Sheeran, Ben Rector, Corey Smith, Sister Hazel, Matt Nathanson, Dwight Yoakam and has had the rare privilege of opening 7 shows for the legendary, Willie Nelson!
Noah, and his band, Good Trouble, were recently featured performers on Rock Boat XVIII with Sister Hazel, Barenaked Ladies, needtobreathe, Drew Holcomb, and others.
Noah Guthrie & Good Trouble are building a strong fanbase through their blistering live performances and are poised to be a force on the cutting edge of a new wave of artists with something to say and the ability to inspire the audience to listen and come along for the ride.
“I hear the crowd, I look around, and I can’t find one empty chair. Not bad for a girl going nowhere” sings Ashley McBryde on “Girl Goin’ Nowhere,” the seminal title track from her GRAMMY-nominated major label debut LP. They’re words built from experience: over the course of her life, growing up in Arkansas, McBryde’s been finding her own way to fill those seats and sway those hearts since the very first time her teacher told her that her dreams of writing songs in Nashville would never see the light of day. Every time she was brought down, she persevered; trusting her timeless tone and keen, unwavering eye for the truth. It paid off. In April 2017, Eric Church brought her on stage and called her a “whiskey-drinking badass,” confessing that he’s a massive fan. The rest of the world is quickly catching on, too.
Dubbed by NPR as “country music’s most exciting new country voice” and Rolling Stone citing she’s “an Arkansas red-clay badass, with the swagger of Hank Jr. and the songwriting of Miranda Lambert,” McBryde fearlessly lays it all on the line, and it’s that honest all-in approach that has led to The New York Times critic Jon Caramanica to opine that “the still beauty in her singing is impressive, but her easeful storytelling feels practically radical.” McBryde’s album showcases an artistic vision that proves her to be one of the genre’s keenest working storytellers, bringing unwavering honesty back into a pop-preoccupied genre. Pulling tales from every corner of her human experience – a happenstance love on “A Little Dive Bar In Dahlonega,” a neighbor with a heavy past on “Livin’ Next to LeRoy,” a girl with an impossibly possible dream on “Girl Goin’ Nowhere” – McBryde sings with fire and fury, laughing and swigging that brown stuff along the way. And she doesn’t do it in glitter and sequins, either, like a good lady of Music Row. McBryde wears her boots and crack her jokes: with McBryde, what you see is what you get, and what you get is what you see.
It’s that authenticity bleeding through every lyric, riff and song that had McBryde’s name on a number of “Best of 2018” lists, from The New York Times, Paste and Rolling Stone to Stereogum, UPROXX and Variety. It’s those lyrics that hit the heart and gut, like “here’s to the breakups that didn’t break us,” that scored her opening slots for Chris Stapleton, Miranda Lambert and Eric Church.
McBryde was raised in Mammoth Spring, Arkansas, taking to music at the age when most kids were running wild in the backyard, dressing dolls or playing with trains. At three, she’d secretly pluck her father’s guitar like an upright bass, and after about the 17th time being caught, her father bought her a guitar of her own. When she was twelve, she played her parents and grandparents her very first composition.
“It was about this awful torrid love affair,” says McBryde, laughing. “My mom was like, ‘oh shit. You are a twelve going on forty.’ At twelve I knew that I could make stuff up. At sixteen I was like, I’m getting good at this. By the time I got to college, I had a big catalogue for an eighteen-year-old.”
It was at Arkansas State when, while a member of the marching band, McBryde finally started sharing her voice with others – first at karaoke parties, then in a band, and then in Memphis where she’d play a mix of cover and original songs while still commuting from college. When McBryde finally moved to Nashville in 2007, she settled with a friend at an apartment in a building that housed storage units – not the most glamorous of homes, but enough of a place to crash in between a healthy dose of dive bars, biker hangouts, and colorful joints where she fought to have her songs heard.
Her first EP, the self-released 2016 Jalopies and Expensive Guitars was just a taste of what McBryde could do, and, on her full-length debut, she melds her songwriting chops with the vision of producer Jay Joyce, peppering her tales with a touch of guitar-driven rock fury – but offering plenty of room for her emotive, vulnerable twang to move softly through songs like “Girl Goin’ Nowhere,” which was written the morning that Guy Clark passed away.
“I’m not a pretty crier, and I got to my write with Jeremy Bussey that morning, red and blotchy,” she says. “So he said, ‘for Guy, maybe we should write a good song, one you’d want to play at the Opry someday.’ So, I told the story of when I was back in Algebra class, and we were going around the room saying what we wanted to do when we grew up. When it got to me, I said, ‘I’m going to move to Nashville and write songs, and they’re going to be on the radio.’ The teacher looked at me and said, ‘that won’t happen and you better have a good backup plan.’ It didn’t put the fire out, it just added to it.”
That fire's been described as a combination of Bonnie Raitt, Lzzy Hale and Loretta Lynn, and that's not wrong: McBryde isn’t afraid to tell the truth, get raw and real and use the spirits of country, folk and rock when it serves her greater purpose. And McBryde indeed played "Girl Goin' Nowhere" at her Opry debut, and still performs it on stage to crowds that now sing along. She gets emotional from time to time, remembering the days when she was working at a guitar shop or as a security guard or selling barbecue, never letting that vision go – a vision she shares on her debut LP that will help remind Nashville what country music is about. And those are the stories that shake us, make us and tell us a little more about what it's like to be human.
And that girl goin' nowhere, from a little town in Arkansas? She's a whiskey-drinking badass, going everywhere. Just watch.
“I FEEL LIKE I’M RIGHT BACK WHERE I STARTED,” SAYS WYNONNA JUDD, “LIKE I’M 18 ALL OVER AGAIN. WHEN I SING THESE SONGS, IT FEELS LIKE I’M COMING HOME.”
Indeed, ‘Recollections,’ Wynonna’s captivating new EP, marks both a literal and a figurative homecoming for the GRAMMY-winning icon, who recorded much of the collection while quarantining on her Tennessee farm in the midst of the COVID-19 pandemic. Forced off the road for the first time in years, she found herself reconnecting with her roots as she sang once again for the sheer joy of it, performing a series of loose and lively covers with her husband, former Highway 101 drummer, multi-instrumentalist and producer Cactus Moser. The resulting EP is a testament not only to Wynonna’s status as a jaw dropping vocalist and electrifying frontwoman, but also a consummate interpreter of song and a dedicated student of craft. She offers her singular take on tracks by Nina Simone, Slim Harpo, John Prine, Fats Domino and the Grateful Dead here, delivering spare, entrancing performances driven by deep empathy and gut intuition. Wynonna drills down to the essence of each song, stripping back layer after layer until she’s laid bare the raw, emotional core of the music. There’s no pretense or posturing on ‘Recollections,’ just pure heart and soul.
“I’ve learned a lot being at home these last few months,” Wynonna reflects. “When there’s no touring, no concerts, no band, no lights, no action, all that’s left is you and the song. All that’s left is your gift.”
And what a gift it is. Born into poverty in rural Kentucky, Wynonna first rose to fame as one half of legendary country duo The Judds, which she launched with her mother in the early 1980s. Over the ensuing decade, the pair would go on to release six studio albums that would yield an astonishing five GRAMMY Awards, fourteen number one singles, and sales in excess of 20 million records. In 1992, Wynonna embarked on a solo career with her five-times platinum debut, which established her as a critical and commercial powerhouse in her own right. Rolling Stone described her as “the greatest female country singer since Patsy Cline,” and The New York Times raved that she “demonstrates that a country performer can explore vibrant pop, deep gospel and straightforward rock and still make sense even to country traditionalists.” In the years to come, Wynonna would go on to collaborate with the likes of Emmylou Harris, Willie Nelson, Bonnie Raitt, Kenny Rogers, Dionne Warwick, Patti Labelle, and Jason Isbell, among countless other luminaries. In 2007, she became a New York Times bestselling author with the release of her much-lauded memoir, and just this year, it was announced she’ll receive a coveted star on the Hollywood Walk of Fame.
Despite all her success, Wynonna grew understandably weary of the music business, and after more than three decades, she decided to embark on a new chapter in 2019, starting over fresh and signing with stalwart indie label ANTI- Records.
“I never wanted to be defined by the business side of things, by all the industry accolades and awards,” she explains. “Don’t get me wrong, I’m grateful for all of that, but ultimately, I’ve always just wanted to be defined by my art, and ANTI- lets me do that. It’s like a shelter from the storm, a place where I can go after all these years in the business and make the music I want to make.”
It was precisely that freedom that led Wynonna to ‘Recollections,’ a project so spontaneous and organic she didn’t even realize she was making it at the time. “This EP was a labor of love without the labor,” she laughs. “As a songwriter, you can get bogged down in your own craft sometimes, but there’s something so liberating about letting go of all that and just inhabiting someone else’s writing.”
It’s that sense of liberation that fuels ‘Recollections,’ which opens with an infectious, stripped-down performance of “I Hear You Knocking,” most famously recorded by Dave Edmunds in 1970. The performance here is as raw as it gets, complete with playful banter and plenty of improvisation, and while the finished product is subtly fleshed out with some light touches of additional instrumentation, the core of it remains Wynonna and Moser, live, acoustic, and in the moment. The same goes for Wynonna’s devastating rendition of “Angel From Montgomery,” offered in tribute to John Prine shortly after his passing.
“I was sitting in the kitchen when I got the news that John had flown,” she explains. “I told Cactus I needed to sing ‘Angel From Montgomery’ that night because I needed to honor how much John had meant to me. I learned that song when I was a teenager, and now, forty years later, I’m still singing it, and hopefully passing it on to the next generation who will keep on singing it, too.”
The gritty “King Bee,” a half-century-old blues tune Wynonna and Moser have been performing live together for years, gets an extra boost of swagger from the couple’s palpable chemistry, with Wynonna bouncing swampy, distorted harmonica riffs off of her husband’s searing slide guitar. The pair’s jaunty take on the Grateful Dead’s “Ramble On Rose,” meanwhile, reaches new heights thanks to a guest appearance from Bob Weir, and an eerily hypnotic version of the Nina Simone classic “Feeling Good” finds Wynonna losing herself in a melody that’s long been a source of strength and comfort.
“One week I’ll sing that song onstage at a concert, the next week I’ll sing it to inmates at a women’s prison, and the next week I’ll sing it by myself on the farm,” says Wynonna. “It doesn’t matter where I am because singing that song represents freedom to me, it represents being alive and present and grateful.”
These days, such moments are more valuable and necessary than ever. It may be hard to make sense of the world around us right now, but one thing’s for sure: Wynonna’s right where she belongs. She’s home
Christopher Aubrey Shiflett (born May 6, 1971) is a guitarist for Foo Fighters, joining the band after the release of their third album, There Is Nothing Left to Lose. The first album he played on was One by One. Prior to joining Foo Fighters, Shiflett was resident lead guitarist for the energetic and well-known Bay Area, CA punk rock band No Use for a Name. Foo Fighters had lost both of their previous guitarists, Pat Smear (who played in punk legends The Germs and had been Nirvana’s touring guitarist) and his Foos replacement, Dave Grohl’s former Scream bandmate Franz Stahl, and were holding open auditions. Seeing an opportunity that he knew he could not pass up, he quickly parted ways with his former band to audition.
His departure was abrupt, as No Use for a Name were just about to head out on tour in support of their then-recent album More Betterness. He was replaced by Dave Nassie, a long-time guitarist for notorious Southern California metal legends Suicidal Tendencies.
Shiflett began his music career in another band called Lost Kittenz with current members of Sugarcult. He also currently plays in the punk rock cover band Me First and the Gimme Gimmes, and his own side-project, Jackson United. For numerous projects, Shiflett performed under the name Jake Jackson.
His brother Scott Shiflett plays in punk rock band Face to Face and has now moved onto Viva Death. Chris is married and has a son named Liam.
With over 12.3 billion on-demand streams, multi-platinum certifications and seven chart-toppers at Country radio, it’s no wonder The New Yorker dubbed Morgan Wallen “the most wanted man in country.” His critically-acclaimed, 4x platinum ACM Album of the Year Dangerous: The Double Album (Big Loud/Republic Records) -- Wallens follow-up to his Double Platinum breakout If I Know Me. -- topped 2021s all-genre Billboard 200 Albums year-end chart with 4.1 million units sold earning him 2022 Billboard Awards Country Male Artist top honor while continuing to notch historical chart status as Billboard’s longest running Top 10 album in history for a solo artist (eclipsing Adele’s 21 and Bruce Springsteen’s Born In The USA). Its success sparking an in-demand 55-show THE DANGEROUS TOUR in 2022 that kicked off this February and wrapped in early October, with the superstar’s first headlining stadium show at Globe Life Field in Arlington, TX that saw Wallen shattering attendance records previously held by Elton John and Lady Gaga. The east Tennesseans hit-packed set included “Up Down” (2017), “Whiskey Glasses” (2018), “Chasin You” (2019), “More Than My Hometown” (2020), “7 Summers” (2020, named one of Time Magazines Best Songs of the Year), “Sand In My Boots” (2021), and his crossover “Wasted On You.” Wallens first solo release of 2022, the emotional ballad “Don’t Think Jesus,” timed to Good Friday in honor of its redemptive lyrics, earned a Top 10 Billboard Hot 100 debut and landed atop Billboard Hot Country Songs chart making him the first artist to score three No.1 debuts on the chart (based on airplay, streaming and sales) since its inception. Follow up single “You Proof,” released in mid-May, became Wallen’s fastest chart climber to-date, reaching No. 1 after 14 weeks and remaining at No. 1 on Billboard’s Country Airplay chart for six non-consecutive weeks.
Working outside the traditional Nashville mainframe with producer Joey Moi, Hits Magazine notes, “Wallen continually colors outside the lines,” adding, in turn “hes connected to his fans in ways unprecedented for a country star.” Having already taken home New Artist of the Year in 2020, the CMA New Artist Winner also won AMAs fan-voted Favorite Male Artist and Favorite Country Song at 2022’s awards. The east Tennessee superstar and recent ACM Milestone Award recipient shares, “Awards are awesome, but my true measure of success is my fans, who this year I got to see every single night out on the road and will continue to do so for many years to come.” Thanks to nearly 1 million of his fans, $3 for every ticket sold during his 2022 Dangerous Tour has raised nearly $3 million benefitting the Morgan Wallen Foundation which funds causes close to his heart.
She is undeniably one of the most eloquently emotive vocalists of modern times.
Lorrie Morgan, the first woman in her genre to begin her career with three consecutive Platinum albums, is back in the studio with award-winning producer Richard Landis, working on a new album. It is sure to be yet another collection showcasing the rainbow of emotions, from darkest heartache to bright, shiny humor, that is the hallmark of Morgan’s range.
"Where I am in my life right now, I'm not afraid to express what I feel," she says. “I'm not afraid to express my views on anything, especially on being a woman and my experiences in this business and in life.”
She has been a daughter, a bride, a mother, a divorcee, a widow, a single mother, a breadwinner and, ultimately, a survivor. In many ways, Lorrie is a living, breathing country song, and she knows what she sings.
"I didn't want to just do another album. I want it to be something that really moves me. When I listened to songs for it, I'd think, 'No, not that one. I'm not going to be able to sing that one, because I'm not going to be able to feel it.' It is very important to me for this album to reflect the things that I am feeling today."
Morgan is known for her lustrous vocal phrasing and the down-to-earth believability of her torchy performances. On records such as “A Picture of Me Without You" and "I Guess You Had to Be There," the ache is palpable. She is feisty and sassy on "Watch Me," "What Part of No" "Five Minutes" and "I Didn't Know My Own Strength." She has kicked up her stiletto heels in fun on her hits "Except for Monday" and "Go Away." On her epic "Something in Red" she is an honest, struggling everywoman.
In addition to the project with Landis, Lorrie is excited to be co-writing a second project in collaboration with Larry Gatlin.
Recently in Nashville, Morgan commanded a stage shared by the iconic Judy Collins, in a concert performance honoring the 30th anniversary of LA-based record label, Cleopatra Records. She continues to match any of her earlier efforts, with an emotional range and a stage presence that is as vibrant as ever.
She is a peerless song interpreter, drawing from a deep personal well that spans enormous tenderness to cheeky hutzpah. Whether covering a classic or sharing one of her own songs, Morgan is truly a song stylist in the grandest tradition.
"I have always been a songwriter and I do love to write," she comments. "But I’m only comfortable co-writing with a few people, and I don’t like appointment writing at all. Plus, I'm not one of those people who says, 'If I didn't write it, I'm not going to record it.' If somebody else's song is better, I'm going to record it and not my own."
Lorrie Morgan has been around great songs all her life. She is a Nashville native who is the daughter of Country Music Hall of Fame member George Morgan. She made her debut on the Grand Ole Opry stage at age 13, singing "Paper Roses." Her father died suddenly of a heart attack at age 51. She was l6 at the time and just beginning her musical career. Lorrie Morgan began making her own records shortly thereafter and was inducted into the Grand Ole Opry at just 24 years old.
Morgan married fellow country singer Keith Whitley in 1986. She was signed to RCA Records in 1987, and her onslaught of hits began the following year. Whitley's tragic death of an alcohol overdose in 1989 left her a widowed working mother. Their duet "Til a Tear Becomes a Rose" earned her a 1990 CMA award.
Her first three albums, Leave the Light On (1989), Something in Red (1991) and Watch Me (1992), all earned Platinum Record awards. Her Greatest Hits collection (1999) is also Platinum. War Paint (1994), Greater Need (1996) and Shakin' Things Up (1997) are all Gold Record winners.
She sang "The Sad Cafe" on Common Threads: Songs of the Eagles, which was named the CMA Album of the Year in 1994. Country fans voted Lorrie Morgan their TNN/Music City News Female Vocalist of the Year in 1994, 1996, 1997 and 1998.
Lorrie Morgan maintained her recording pace in the new millennium, releasing collections in 2002, 2004, 2009 and 2010. In 2012 and 2013, Morgan starred and sparkled in the lavish Enchanted Christmas productions at the opulent Opryland Resort in Nashville. She took that show on the road in 2014.
Morgan has recorded in collaboration with her father, as well as Whitley, Frank Sinatra, Johnny Mathis, Tammy Wynette, The Beach Boys, Dolly Parton, Andy Williams, the New World Philharmonic, and Pam Tillis. She has toured with George Jones and shared a stage with Jerry Lee Lewis, newly inducted into the Country Music Hall Fame along with Whitley.
“My children and I are thrilled to see Keith’s name added to the list of stars who’ve earned their place in the Country Music Hall of Fame,” she says. “It is a well-deserved honor, though Keith himself would’ve been painfully humbled. I am happy for his family and the many, many fans who continue to point to Keith as one of the all-time greats.”
In 2013, Morgan first teamed with fellow Opry star Pam Tillis, daughter of Country Music Hall of Famer Mel Tillis. for the duet CD Dos Divas. The two hit makers then embarked on a joint tour that sold out every appearance in its initial two-year run. The stars continue to perform their collaborative Grits & Glamour shows, as schedules allow. The women connected as working mothers, as businesswomen, and as second-generation performers. They share an understanding, and a finely honed, if occasionally bawdy, sense of humor.
On the outside, Lorrie is very lighthearted. Still, on the inside, she carries a lot of pain. Singing is her therapy, she has said.
"My dad used to say, 'You should never take yourself too seriously,' and I got my sense of humor from my dad. I love to have fun. I've reached the age where I feel that I deserve good company around me, people who can make me laugh, who love music and who love to have a good time.”
Theirs is one of the most distinctive and recognizable sounds in the music industry. The four-part harmonies and upbeat songs of the Oak Ridge Boys have spawned dozens of Country hits and a Number One Pop smash, earned them Grammy, Dove, CMA, and ACM awards and garnered a host of other industry and fan accolades. Every time they step before an audience, the Oaks bring three decades of charted singles, and 50 years of tradition, to bear on a stage show widely acknowledged as among the most exciting anywhere. And each remains as enthusiastic about the process as they have ever been.
Buddy Jewell burst onto the country music scene after winning the inaugural season of the USA Network’s hit television series “Nashville Star.” After Buddy’s win, Columbia Records released his self-titled debut album “Buddy Jewell” which debuted at #1 on the Billboard Top Country Album charts as well as #13 on the Top 100 Pop Album Charts. The album was certified Gold later that same year, selling over ½ million copies. Buddy’s first two singles, “Sweet Southern Comfort” and “Help Pour Out the Rain (Lacey’s Song)” both landed in the top 5 on the singles chart. Jewell has since followed up with 5 more albums, “Times Like These,” “Country Enough” , “I Surrender All”, “Wanted : LIVE “and his newest release, “My Father’s Country.”
There were five of us thinking that we can
This is the life and times of a travelin’ band…”
Those words end the first verse of the title track to Sawyer Brown’s new CD Travelin’ Band. The life and times of a traveling band—if ever there were a band who is well qualified to paint a picture of what it means to be a travelin’ band, it’s Sawyer Brown. Founded in 1981, the band celebrates its 30th anniversary this year, having played more than 4000 shows over the course of those years, logging mileage well into the seven figures. And as the band clearly shows in its new CD, the wheels are still turning and an ever-open road stretches out ahead. “We are just who we are—period,” says lead singer Mark Miller when asked for some of the secrets to the band’s longevity. “From the beginning, we didn’t want to sell ourselves as something we weren’t. We’re blue collar, working class guys from the neighborhood who just happen to get up on stage at night and make music.” He then adds with a laugh, “OK, guys from the neighborhood who made some questionable clothing choices in the 80s—but it was the 80s, after all.”
The Nitty Gritty Dirt Band (NGDB) is an American country rock band from Long Beach, California. Formed in October 1965, the group was originally a jug band featuring guitarist and vocalist Jeff Hanna, guitarists Bruce Kunkel, Ralph Barr and Dave Hanna, bassist and guitarist Les Thompson, and drummer Glen Grosclose.
The Nitty Gritty Dirt Band has continued to maintain its remarkable enthusiasm with several new studio releases and frequent tours, including a third volume of Will The Circle Be Unbroken in 2002 with a huge cast of characters including Taj Mahal, Willie Nelson, Dwight Yoakam, Matraca Berg, and Alison Krauss.
The Frontmen features the dynamic voices of 90’s country legends: Richie McDonald (formerly of Lonestar), Larry Stewart (of Restless Heart) and Tim Rushlow (formerly of Little Texas).
From their rave review performances around the globe for our troops, to casinos, fairs and corporate events, to their globally televised performance on the steps of the hallowed Lincoln Memorial in Washington, DC, The Frontmen are making their mark on the Country music scene.
Stewart, Rushlow and McDonald have collectively sold over 30 million records and had over 30 major hits between them. They have a chemistry and brotherhood seldom matched and they have logged the travel miles to prove it, wowing audiences around the globe with their brand of highly successful intimate unplugged shows.
Powerhouse hits performed by the Frontmen of Country include Restless Heart classics, “The Bluest Eyes in Texas,” “That Rock Won’t Roll,” “I’ll Still Be Loving You” and “Why Does It Have to Be (Wrong or Right). Lonestar smashes such as “Amazed,” “Smile,” and “I’m Already There,” plus Little Texas hits including “God Blessed Texas,” “Amy’s Back in Austin,” and “What Might Have Been.” These songs and many others included in their shows are the soundtrack of a generation.
With their combined amazing vocal and instrumental talents, The Frontmen deliver a high energy show packed with fan-favorites from their three award-winning and critically-acclaimed bands, and also songs from some of the artists who have influenced them. The Frontmen deliver a truly one-of-a-kind concert experience.
Their stage is a place where they take you on a magical journey to the stories behind the songs. A place where the listener’s heart meets the singers’ hearts who made the songs famous, with an emotional impact that leaves audiences spellbound. The Frontmen deliver a show that is powerful, engaging, and authentic.
LeAnn Rimes is an international multi-platinum selling acclaimed singer and ASCAP award-winning songwriter who has sold more than 48 million units globally, won 2 Grammy® Awards; 12 Billboard Music Awards; 2 World Music Awards; 3 Academy of Country Music Awards; 2 Country Music Association Awards and one Dove Award. At 14, Rimes won “Best New Artist” making her the youngest recipient to take home a Grammy® Award. LeAnn has been honored with the Ally of Equality Award by the Human Rights Campaign for over 20 years of equal rights support, the 2019 HOPE Award for Depression Advocacy, and 2009 ACM Humanitarian Award, among other recognitions, solidifying her dedication to making the world a better place.
The powerhouse vocalist lit up television screens throughout the 2018 holiday season as she starred and served as an Executive Producer in Hallmark’s “It’s Christmas, Eve,” which earned the highest TV original movie debut to-date for the channel premiering to over 4.3 million viewers. In 2020, Rimes shined the brightest and won season four of FOX’s The Masked Singer, with Entertainment Weekly stating that she delivered “… the most beautiful performance in the history of The Masked Singer.”
Passionate about using her voice to help heal the world, LeAnn released a chant record in November of 2020 called CHANT: The Human and The Holy (EverLe Records / Thirty Tigers). Rimes continues her wellness journey with two seasons of her iHeartRadio podcast, Wholly Human, which will bring her lifestyle blog, Soul of Everle, to life and introduces fans to the teachers and wise souls that have made a positive impact on her life. LeAnn is currently serving as the inspiration judge on the discovery+ competition series, Meet Your Makers Showdown, which started streaming on November 27th. LeAnn is also now celebrating her 25th anniversary as a recording artist, commemorating the release of her debut album “Blue,” and will release her next studio album, God’s Work, in 2022.
When country music lovers talk about the greatest groups in the genre, Shenandoah is always at the forefront of any discussion.
Fueled by Marty Raybon’s distinctive vocals and the band’s skilled musicianship, Shenandoah became well known for delivering such hits as “Two Dozen Roses”, “Church on Cumberland Road” and “Next to You, Next to Me” as well as such achingly beautiful classics as “I Want to be Loved Like That” and the Grammy winning “Somewhere in the Vicinity of the Heart” duet with AlisonKrauss. Today that legacy continues as original members Raybon and Mike McGuire reunite to launch a new chapter in Shenandoah’s storied career. It all began when the guys got back together to perform a benefit concert for a friend battling cancer. “We saw how folks reacted,” Raybon says of the response to their reunion. “And then Jerry Phillips, son of legendary Sun Records producer Sam Phillips, said ‘You guys need to make a run at this. People still love what you do. You can tell by the reaction. There’s a lot of excitement in the air.’” “It’s kind of like riding a bicycle,” McGuire says of the band reigniting that chemistry on stage. “We had done so many shows over the years together, even though we spent 17 years apart, we got back up on the stage and it was like we never stopped. We knew those songs inside out. They were still dear to our hearts. It