Posts Tagged ‘Darius Rucker’
Wednesday, September 9th, 2009
It’s that time of year again! For each major category, we’ll look at who’s broken in since last year, who’s been booted out, plus some initial thoughts. As always, we invite you to share your own opinions in the comments. Without further ado:
- Kenny Chesney
- Brad Paisley
- George Strait
- Taylor Swift
- Keith Urban
Who’s In: Taylor Swift
Who’s Out: Sugarland
Snap Judgment: With Carrie Underwood and Sugarland a little out of the spotlight recently, it’s no shock to see the regular foursome of Chesney, Paisley, Strait and Urban prevail. Swift was a logical inclusion given her across-the-board dominance, but I gotta say that I’m surprised to see her acknowledged for it by the historically traditional-leaning CMA.
- Kenny Chesney
- Brad Paisley
- Darius Rucker
- George Strait
- Keith Urban
Who’s In: Darius Rucker
Who’s Out: Alan Jackson
Snap Judgment: Pretty predicable. Rucker has shown he can get serious spins at radio, which is probably what won him this slot over Jamey Johnson.
- Miranda Lambert
- Martina McBride
- Reba McEntire
- Taylor Swift
- Carrie Underwood
Who’s In: Reba McEntire
Who’s Out: Alison Krauss
Snap Judgment: Again, no big surprises. Martina always hangs in there somehow, doesn’t she?
- Big & Rich
- Brooks & Dunn
- Joey + Rory
- Montgomery Gentry
Who’s In: Joey + Rory
Who’s Out: The Wreckers (finally!), oddly not Big & Rich
Snap Judgment: I guess there has to be at least one defunct act in this category every year, huh?
- Lady Antebellum
- Little Big Town
- Rascal Flatts
- Zac Brown Band
Who’s In: Zac Brown Band
Who’s Out: Emerson Drive
Snap Judgment: I’m baffled to see the Eagles still here. I expect there will be a lot more shake-up in this category next year, with Love and Theft, Eli Young Band and The Lost Trailers all experiencing a rise in profile recently.
- Randy Houser
- Jamey Johnson
- Jake Owen
- Darius Rucker
- Zac Brown Band
Who’s In: Completely new line-up!
Snap Judgment: A strong group. Johnson, Rucker and Zac Brown Band are selling better than many of the veteran acts, so they’re the serious contenders this year, but all five nominees show great artistic potential.
- Brad Paisley, American Saturday Night
- Jamey Johnson, That Lonesome Song
- Sugarland, Love On The Inside
- Taylor Swift, Fearless
- Keith Urban, Defying Gravity
Snap Judgment: Probably as good a line-up as you could’ve hoped for. Never thought I’d live to see a CMA category where I thought Keith Urban had the weakest offering!
- “Chicken Fried” – Zac Brown Band
- “I Run To You” – Lady Antebellum
- “In Color” – Jamey Johnson
- “People Are Crazy” – Billy Currington
- “Then” – Brad Paisley
Snap Judgment: Sigh.
- “Chicken Fried” – Zac Brown & Wyatt Durette
- “I Told You So” – Randy Travis
- “In Color” – Jamey Johnson, Lee Thomas Miller & James Otto
- “People Are Crazy” – Bobby Braddock & Troy Jones
- “Then” – Brad Paisley, Chris DuBois and Ashley Gorley
Snap Judgment: I mean, it’s not like Randy Travis ever had his own hit with “I Told You So” or anything.
- “Cowgirls Don’t Cry” – Brooks & Dunn featuring Reba McEntire
- “Down The Road” – Kenny Chesney with Mac McAnally
- “Everything But Quits” – Lee Ann Womack with George Strait
- “I Told You So” – Carrie Underwood featuring Randy Travis
- “Old Enough” – The Raconteurs featuring Ricky Skaggs and Ashley Monroe
- “Start A Band” – Brad Paisley with Keith Urban
Snap Judgment: How in the world did that Raconteurs record sneak in there? Props, CMA!
- “Boots On” – Randy Houser
- “Love Story” – Taylor Swift
- “People Are Crazy” – Billy Currington
- “Start A Band” – Brad Paisley with Keith Urban
- “Troubadour” – George Strait
Snap Judgment: Not bad. Houser’s doesn’t have much, but the only one I outright dislike is Currington’s. It’s just another excuse for him to sit around looking scruffy on a beach.
- Eddie Bayers
- Paul Franklin
- Dann Huff
- Brent Mason
- Mac McAnally
Category CMA Awards
Tags: Ashley Monroe, Big & Rich, Billy Currington, Brad Paisley, Brooks & Dunn, Carrie Underwood, CMA Nominations, Darius Rucker, Eagles, George Strait, Jake Owen, Jamey Johnson, Joey + Rory, Keith Urban, Kenny Chesney, Little Big Town, Love and Theft, Mac McAnally, Martina McBride, Miranda Lambert, Montgomery Gentry, Randy Houser, Randy Travis, Rascal Flatts, Reba McEntire, Ricky Skaggs, Sugarland, Taylor Swift, The Raconteurs, The Wreckers, Zac Brown Band
Wednesday, August 19th, 2009
This is a guest contribution by regular commenter, Michael Hawkins, who posts as Highwayman3.
The movies have the Oscars, the world of music has the Grammys, and that world subdivided into the country genre has the CM’s—the annual extravaganza that we fans look forward to every year. We see our favorites perform, win awards and lose with smiling gracious faces, or not [insert the inevitable Faith Hill reference here]. Everyone picks their favorites in each category as to who they’d like to win. But what about the show itself, the backdrop for which these prestigious awards are presented?
Recently, there have been posts at both The 9513 and on this site where people have been weighing in on their favorite moments from these awards. It occurred to me that none of those moments have happened in the last few years. The awards have slid into mediocrity, which is a fitting representation of the current state of country music. I understand producing these awards must be tough because you have to be everything to everyone, and acknowledge the traditional country, the Disney country, the old and new alike, and bring in people who don’t belong for the sake of ratings.
What’s wrong with the show?
The awards themselves seem like an after thought, filler in between all the endless performances. The main suspense isn’t who wins, but rather, how many performances the producers can fit in 3 hours. Also, it’s become an award show that is ashamed of its roots, barely mentioning who is inducted into the Hall of Fame. Any artist with the slightest sign of a wrinkle, regardless of their legend status is shunned and hidden in the audience next to seat fillers and radio contest winners. It’s an award show with self esteem issues, not cool enough to stand on its own. You can bet the main attraction used to promote this year’s show will be a non-country performer like Kid Rock, The Eagles of last year, and Jamie Foxx of two years ago.
What can be done?
Well, the first order of business would be for the Sommet Center to take out a one day restraining order from Miley Cyrus on November 11, 2009, or better yet, the whole Cyrus family, Billy Ray, Noah, aunts, uncles, cousins, etc. Yes, she’ll bring in ratings, but we’ve gotten along fine without her for 40 plus years.
The CMA’s need to take a cue from the Grammy awards, or even the American Idol finale. There are so many surprises, legends, moving moments, coming at you, left right and center, you don’t know what’s coming next, all you know is you’re in for the ride, you’re loving every second and you’re talking about it the next day. Last year, the biggest surprise was Shania Twain presenting Entertainer of the Year, which she has done at least 3 times before, and to those who keep up on country news, it was hardly a surprise at all.
What can possibly be done to make the night more entertaining?
How about taking a cue from this yearis Academy Awards and only announce a handful of performers, leaving the rest a mystery? Don’t tell us who and what everyone’s performing, which leaves more room for surprises. Also, like the Oscars, don’t announce who is presenting, and before each award have a mini-montage of past winners. Then at the end, the curtain opens and a surprise past winner comes out and shares insights on their winning experience. Instead of the otherwise cheesy dialogue or weird presenter pairings, it would make more sense if they just brought out Trisha Yearwood for Female Vocalist, Vince for Male, The Judds for Duo, Alabama forGroup, and hand it off to the winner like an Olympic torch or rite of passage. This way of thinking would work out great for the Entertainer of the Year category, in bringing out past winners, Roy Clark, and Barbara Mandrell, who also happen to be this year’s Hall of Fame inductees.
Speaking of the Hall of Fame, I would prefer it if it went back to how it used to be with a taped bio and artists performing a medley of hits. But even that is too much to ask. If they are going to cut it out entirely, the least they could do is show 3 separate 30-60 second bios of each of the inductees at different times as they are going to commercial and have them wave from the audience. Or, from the paragraph above, show a taped piece just before Barbara and Roy present Entertainer.
The most boring parts of the show are seeing full performances from all the mundane hits of the past year. Was it necessary for Darius Rucker to perform “Don’t Think I Don’t Think About It” last year when he wasn’t nominated? Yes, it’s necessary for the biggest hits to be performed, but does every top 5 hit of the past year have to be sung? Instead, encourage them to sing unique songs, like Alan Jackson in 2005 performing, “Wonderful Tonight”, songs you’ll actually remember more than 5 minutes after they are performed. Another idea, which the Grammys have down pat, is pairing people up. Think of the Al Green, Keith Urban, Justin Timberlake and Boys 2 Men grouping of earlier this year. For the CMA’s, this would be a perfect year to acknowledge the 20th anniversary of the hat act boom of 89. Why not bring out Alan Jackson, Clint Black, Garth Brooks, and Travis Tritt for a small medley?
Instead of each of the new artist nominees performing their full songs – do we really want to see Julianne Hough performing a full version of her song this year? - it would be great if they stole from the ACM’s all-star opener this year, and did the same thing with the 5 nominees. Lady Antebellum can be the ring leader like Brooks & Dunn were at the ACMs, and they all can perform a small portion of their hits. To wrap it up, Lady Antebellum can present the award. This will allow more time for the Collaboration and Video of the year awards to be back on the telecast.
If you ran the CMAs, thinking creatively but realistically, which special moments would you create that could go down in history and make country’s biggest night more fun to watch? How would you make George Strait’s performance less predictable? And how would you measure that Miley restraining order? In inches, feet, yards, or miles?
Category CMA Awards, Guest Commentary
Tags: Alabama, Alan Jackson, Barbara Mandrell, Brooks & Dunn, Darius Rucker, Garth Brooks, George Strait, Julianne Hough, Lady Antebellum, Miley Cyrus, Roy Clark, The Judds, Travis Tritt, Trisha Yearwood, Vince Gill
Sunday, July 26th, 2009
The past two decades have only brought eight winners in the CMA Male Vocalist race, with only two of them – Toby Keith and Clint Black – winning only once. Compare this to the Female Vocalist race, which has brought twelve winners during the same time frame, though even that race has become more streaky of late, with Martina McBride and Carrie Underwood combining for seven victories in the past eleven years.
Is it time for an overhaul in the Male Vocalist race? Yes and no. There’s no denying that some of the multiple nominees/winners over the past nineteen years remain the genre’s strongest male voices. Still, there’s room for some others at the table. The problem is that there are so very few of the genre’s male artists that are genuinely at the top of their game. Even most of the men listed below have had weak singles this year.
Still, if I picked the five nominees for the 2009 CMA Male Vocalist of the Year, they would be:
If Johnson earns fewer than five nominations at this year’s CMA Awards, I’ll be shocked. In fact, I think he’ll earn six, with the surprise nomination being in this category. These aren’t predictions, though, so I’ll state that while I’m not particularly a fan of Johnson, his success at retail with a traditional project that has only received airplay for one single is darn impressive. Along with Brad Paisley, he’s one of only two artists I’ve listed that were determined by genuine merit, not process of elimination.
The genre’s most consistent radio act and the reigning champion for the past two years. In a stronger year, I would think it’s time to move on from acknowledging him in this category and consider him more for Entertainer of the Year, but he’s still the presumptive favorite in this race. At the very least, he deserves another nomination.
Too soon? Possibly. But replace his name with other candidates – say, Dierks Bentley, Jason Aldean, Gary Allan, Rodney Atkins, or Blake Shelton – if you think they made better music this year.
It’s hard to make the call about which perennial favorite – Alan Jackson or George Strait – deserves a shot this year, especially since neither of them are likely to contend for the win. “Sissy’s Song” is better than any of Strait’s singles this past year, but all of Strait’s are better than Jackson’s other two – “Country Boy” and “Good Time.” Seeing “I Still Like Bologna” sent to radio puts me firmly in Strait’s corner, whose “River of Love” and “Troubadour” brought me listening pleasure this year.
I don’t think that there’s a stronger singer in consistent rotation on country radio, even if his material has been slight this year. A case could be made for Tim McGraw or Toby Keith getting this slot instead, but they’re dealing with the same problem: weaker material than they’ve generally been known for.
Category CMA Awards, Conversations
Tags: Alan Jackson, Blake Shelton, Brad Paisley, Carrie Underwood, Clint Black, Darius Rucker, Dierks Bentley, Gary Allan, George Strait, Jamey Johnson, Jason Aldean, Keith Urban, Martina McBride, Rodney Atkins, Tim McGraw, Toby Keith
Saturday, July 11th, 2009
It’s time for an album sales update, our first since May 23. Brad Paisley is off to a strong start with American Saturday Night, selling 130k in its first week. That’s about 70k less than his previous two studio albums – Time Well Wasted and 5th Gear – opened with, but not a terrible drop-off, considering the state of the music market.
Meanwhile, the new studio albums by Rascal Flatts and Keith Urban are slowing down considerably, now being outpaced on a weekly basis by 2008 releases by Taylor Swift, Zac Brown Band, Darius Rucker and Lady Antebellum.
Among younger acts with a new album in 2009, the most impressive sales are coming from Jason Aldean, while 2008 releases from Kellie Pickler, Billy Currington, and Randy Houser are showing new signs of life.
Biggest disappointments? It’s hard not to look in the direction of Martina McBride, who has barely cleared the 100k mark on her new studio set. Lee Ann Womack’s 2008 set just made it over that mark, too. Then again, one only needs to have sold 455 copies to make the chart this week, with the anchor position going to Wynonna with that total. Her covers album Sing – Chapter 1 has sold 41k to date.
Here are the latest totals for albums released over the past three years that are still charting:
- Rascal Flatts, Unstoppable – 842,000
- Keith Urban, Defying Gravity – 452,000
- Jason Aldean, Wide Open – 384,000
- Kenny Chesney, Greatest Hits II – 281,000
- Dierks Bentley, Feel That Fire – 219,000
- Martina McBride, Shine – 104,000
- John Rich, Son of a Preacher Man – 103,000
- Eric Church, Carolina – 94,000
- Rodney Atkins, It’s America – 88,000
- Jake Owen, Easy Does It – 81,000
- Randy Travis, I Told You So: Ultimate Hits – 78,000
- Montgomery Gentry, For Our Heroes – 64,000
- Willie Nelson & Asleep at the Wheel, Willie & The Wheel – 56,000
- Steve Earle, Townes – 47,000
- Colt Ford, Ride Through the Country – 45,000
- Jason Michael Carroll, Growing Up is Getting Old – 45,000
- Wynonna, Sing – Chapter 1 – 41,000
- Hank Williams Jr. – 127 Rose Avenue – 34,000
- Ryan Bingham, Roadhouse Sun – 15,000
- Tracy Lawrence, Rock – 11,000
- Darryl Worley, Sounds Like Life – 8,000
- Holly Williams, Here With Me – 5,000
- Charlie Robison, Beautiful Day – 3,000
- Tanya Tucker, My Turn – 3,000
- Taylor Swift, Fearless – 3,464,000
- Sugarland, Love on the Inside – 1,683,000
- George Strait, Troubadour – 914,000
- Alan Jackson, Good Time – 869,000
- Darius Rucker, Learn to Live – 754,000
- Kenny Chesney, Lucky Old Sun – 721,000
- Zac Brown Band, Foundation – 681,000
- Rascal Flatts, Greatest Hits Vol. 1 – 680,000
- Lady Antebellum, Lady Antebellum – 674,000
- Toby Keith, 35 Biggest Hits – 652,000
- Jamey Johnson, That Lonesome Song – 509,000
- Toby Keith, That Don’t Make Me a Bad Guy – 403,000
- James Otto, Sunset Man – 374,000
- Julianne Hough, Julianne Hough – 314,000
- Kellie Pickler, Kellie Pickler – 261,000
- Dierks Bentley, Greatest Hits – 255,000
- Brad Paisley, Play – 247,000
- Dolly Parton, Backwoods Barbie – 208,000
- Tim McGraw, Greatest Hits Vol. 3 – 206,000
- Billy Currington, Little Bit of Everything – 191,000
- Trace Adkins, X – 185,000
- Montgomery Gentry, Back When I Knew it All – 184,000
- Joey + Rory, Life of a Song – 167,000
- Blake Shelton, Startin’ Fires – 165,000
- Eli Young Band, Jet Black and Jealous – 108,000
- Lee Ann Womack, Call Me Crazy – 102,000
- Craig Morgan, Greatest Hits – 81,000
- Hank Williams III, Damn Right Rebel Proud – 80,000
- Randy Houser, Anything Goes – 79,000
- Lost Trailers, Holler Back – 69,000
- Taylor Swift, Taylor Swift – 4,129,000
- Carrie Underwood, Carnival Ride – 2,918,000
Category Crunching the Numbers, News
Tags: Alan Jackson, Asleep at the Wheel, Billy Currington, Blake Shelton, Brad Paisley, Carrie Underwood, Charlie Robison, Colt Ford, Darius Rucker, Darryl Worley, Dierks Bentley, Dolly Parton, Eli Young Band, George Strait, Hank Williams III, Hank Williams Jr., Holly Williams, Jake Owen, James Otto, Jamey Johnson, Jason Aldean, Jason Michael Carroll, Joey + Rory, John Rich, Julianne Hough, Keith Urban, Kellie Pickler, Kenny Chesney, Lady Antebellum, Lee Ann Womack, Martina McBride, Montgomery Gentry, Randy Houser, Randy Travis, Rascal Flatts, Rodney Atkins, Ryan Bingham, Steve Earle, Sugarland, Taylor Swift, Tim McGraw, Toby Keith, Trace Adkins, Tracy Lawrence, Willie Nelson, Wynonna
Wednesday, July 8th, 2009
Thus far, 2009′s releases have done little to fire up the charts,
with most of this year’s strongest-selling albums being holdovers from 2008. While Rascal Flatts, Jason Aldean, and Keith Urban have sold strongly, the chart remains dominated by last year’s releases from Taylor Swift, Sugarland, Zac Brown Band, Lady Antebellum, Darius Rucker, and Jamey Johnson.
So what’s left for 2009? Here’s what we know so far:
- Carrie Underwood will release her third studio album on November 3, with a lead single going to radio this fall. Her previous set, Carnival Ride, is nearing sales of 3 million, and produced four #1 singles and a #2 single, all five of which were certified gold in their own right.
- George Strait will release Twang on August 11. It’s the follow-up to his 33rd platinum album Troubadour, a set which produced his 43rd #1 single and earned him the first Grammy of his career, along with a pair of CMA trophies (Single and Album)
- Miranda Lambert is readying Revolution for September 29. Lead single “Dead Flowers” is struggling at radio, but that’s never slowed her down at retail anyway.
- Reba McEntire’s Valory debut Keep on Lovin’ You arrives August 18. Lead single “Strange” is approaching the top ten.
- Willie Nelson releases another standards collection called American Classic on August 25.
- Rosanne Cash will release The List, a covers album, on October 6.
- Sarah Darling releases Every Monday Morning on July 28.
- Mac McAnally’s Show Dog debut – Down By the River – comes out on August 4. McAnally recently scored a big hit teaming up with Kenny Chesney on “Down the Road”, and was the co-writer on several classic Sawyer Brown singles like “All These Years” and “Thank God For You.”
- Mindy Smith releases Stupid Love on August 11.
- Radney Foster and The Confessions release Revival on September 1, with guest appearances by Dierks Bentley and Darius Rucker.
- Chris Young releases The Man I Want to Be on September 1.
Reissues and Compilations
- Brooks & Dunn release the 30-track #1 Hits…and Then Some on September 8. Track listing here. The set is preceded by lead single “Indian Summer.” The duo’s previous set, Cowboy Town, was their first to fall short of gold certification. The new hits compilation is similar in set up to top-selling collections by George Strait, Toby Keith and Reba McEntire in recent years.
- Wounded Bird just released 2-albums-on-1-CD collections for Kris Kristofferson on July 7. Eight albums are included from his 1972-1981 output
- A pair of Tommy Cash’s albums from 1970 will combine on one CD on July 21; Tommy is the younger brother of Johnny Cash
- Hank Snow’s 1958 album When Tragedy Struck is being remastered and reissued on August 11.
I’ll be picking up many of the above releases, but I have to say that I’m most looking forward to picking up all of the remastered Beatles albums and the Madonna anthology this fall.
What releases are you most looking forward to in the second half of 2009?
Category Conversations, News
Tags: Brooks & Dunn, Carrie Underwood, Chris Young, Darius Rucker, Dierks Bentley, George Strait, Hank Snow, Jamey Johnson, Jason Aldean, Johnny Cash, Keith Urban, Kenny Chesney, Kris Kristofferson, Lady Antebellum, Mac McAnally, Mindy Smith, Miranda Lambert, Radney Foster, Rascal Flatts, Reba McEntire, Rosanne Cash, Sarah Darling, Sawyer Brown, Sugarland, Taylor Swift, Tommy Cash, Willie Nelson, Zac Brown Band
Saturday, June 20th, 2009
I have to start with a disclaimer: I attended my first CMA Music Festival in Nashville, Tennessee, as a fan –a crazy, passionate, kid-in-a-candy-store fan– and nothing more. So rather than offer you a full review of the festival, which I don’t think I can adequately do, I instead present you with a narrow but meaningful sampling of my favorite memories from the week.
Dierks Bentley and Brad Paisley rock rain-soaked stadium until 2 a.m.
After a three-hour rain delay at LP Field Thursday night, Darius Rucker, Dierks Bentley and Brad Paisley played well into the morning to make up for the lost time. Despite the delay being somewhat poorly handled by management, an impressively large crowd of dedicated fans, draped in ponchos and drenched in humidity, waited around until after midnight for the concert to resume.
It was well worth the wait, as Bentley and Paisley delivered outstanding, high-energy performances and reminded me once again that there is legitimate, authentic talent in mainstream country music. In a fitting closing, Bentley joined Paisley on an extended version of his novelty hit “Alcohol,” during which the tourmates played on each other’s good-natured wit and kept the crowd on its feet until the last note.
Carrie Underwood soars on “Stand By Your Man”
In 2006, Carrie Underwood performed Tammy Wynette’s “Stand By Your Man” on the Grand Ole Opry stage, surprising Idol skeptics with her spot-on rendition. Three years later, she reprised her performance for the first time at her 2009 fan club party, as requested by her fans. She sang it brilliantly, with graceful conviction and emphasis on the natural “cry” in her voice, reminiscent of the female country greats.
The icing on the cake was Underwood’s admission that she’d love to record “Stand By Your Man” on a country classics album one day, along with an earlier admission that she’d been thinking about recording an album of hymns – two items high on most fans’ wish lists. Considering the other songs on her fan club party set list ranged from a rousing, acoustic “Sweet Child O’ Mine” to an impeccable “How Great Thou Art,” I think there are few limits to Underwood’s potential and depth as an artist, and I could not be more thrilled for her future in country music.
Tara falls in love with the Grand Ole Opry
I know, I know; it’s irrelevant to the festival, but the Opry was such an acutely special part of my Nashville experience that I just had to include it. I caught the Tuesday night show, featuring a wonderful mishmash of traditional and contemporary performances by artists such as the Charlie Daniels Band, Trace Adkins, Ricky Skaggs and Little Big Town.
But it was the entirety of the experience that really got to me: I was surprised to find that the Opry House itself, as a venue, is epic and intimate all at once, leaving you feeling like you’re experiencing something very grand that was crafted just for you. That personable quality, along with the Opry’s palpable energy and richly spiritual atmosphere, struck a particular chord inside me. Of all the live music venues I’ve been to, the Opry takes the cake.
The Judds reunion ends with an emotional “Love Can Build a Bridge”
I knew the rare mother-daughter reunion was going to be good when Naomi Judd joined Wynonna Judd on the LP Field stage sporting a hot pink, rhinestone-encrusted dress suit, and Wynonna turned to the audience, smirked and said: “some things never change.” And she was right, as the two masterfully charmed their way through a string of their 80s hits, ending with a poignant performance of “Love Can Build a Bridge.”
It’s a simple and incredibly sappy song, but it has timeless meaning, one that certainly wasn’t lost on the stadium crowd. The high point of the performance was the chilling chorus the entire audience sang a cappella, prompting Naomi to shed a few tears. You know ABC will never show a performance like that –one with social relevance but no 2009 pop culture relevance– on its three-hour special in August, but maybe that’s the kind of moment that isn’t meant to be broadcasted in living rooms across America.
The fans steal the show
Finally, for all its star power and talent, the CMA Music Festival really is fundamentally about the fans – the most passionate, tireless, supportive, ridiculously devoted people I’ve ever encountered, who blew me away with their spirit and unity. I’ve spent most of my life emotionally connecting to music and artists in ways that people around me don’t quite understand, so to be among thousands of fans who shared my exact sentiments was completely, overwhelmingly moving, and without a doubt the highlight of my week.
I met fans from all over the world, from Scotland to Canada to Australia, drawn to Nashville by good music and a chance to hang out with their favorite artists. To the CMA’s credit, the festival does an amazing job of fostering these reciprocal interactions between the fans and artists. I was skeptical about the festival actually feeling like a “thank you” to the fans, rather than a giant marketing effort, but I was quickly proven wrong by the genuine and even organic acts of the artists themselves.
The artists don’t have to participate in the charity events, much less sign autographs at them for hours, and they don’t have to hold fan club parties tailored to their fans’ interests. They don’t have to hug their fans or strike up conversations when they meet them at the convention center. Country artists don’t have to sincerely care about you in order to have successful careers (isn’t that evidenced by much of the entertainment industry?), but it seems most do.
And that’s why country music fans willingly continue to be the heart and soul of the industry. They request songs, buy albums, create street teams, spread positive messages, attend concerts, stream music videos, write to critics, rally around causes, camp out overnight on sidewalks, make T-shirts, support charities, vote for awards, write letters of encouragement…and the list goes on. They deserve respect and gratitude, and that, at its essence, is what the CMA Music Festival offers, in a way no other genre of music does.
Category Concert Reviews
Tags: Brad Paisley, Carrie Underwood, Charlie Daniels Band, Darius Rucker, Dierks Bentley, Little Big Town, Naomi Judd, Ricky Skaggs, Tammy Wynette, The Judds, Trace Adkins, Wynonna Judd
Saturday, May 23rd, 2009
Here are the latest totals for albums released over the past three years that are still charting:
- Rascal Flatts, Unstoppable – 669,000
- Keith Urban, Defying Gravity – 349,000
- Jason Aldean, Wide Open – 241,000
- Dierks Bentley, Feel That Fire – 189,000
- Martina McBride, Shine – 89,000
- John Rich, Son of a Preacher Man – 89,000
- Rodney Atkins, It’s America – 72,000
- Jake Owen, Easy Does It – 70,000
- Eric Church, Carolina – 66,000
- Randy Travis, I Told You So: Ultimate Hits – 59,000
- Randy Rogers Band, Randy Rogers Band – 57,000
- Pat Green, What I’m For – 54,000
- Willie Nelson & Asleep at the Wheel, Willie & The Wheel – 50,000
- Billy Ray Cyrus, Back to Tennessee – 29,000
- Jason Michael Carroll, Growing Up is Getting Old – 26,000
- Dean Brody, Dean Brody – 5,000
- Taylor Swift, Fearless – 3,220,000
- Sugarland, Love on the Inside – 1,594,000
- George Strait, Troubadour – 860,000
- Alan Jackson, Good Time – 803,000
- Keith Urban, Greatest Hits – 737,000
- Kenny Chesney, Lucky Old Sun – 696,000
- Darius Rucker, Learn to Live – 642,000
- Rascal Flatts, Greatest Hits Vol. 1 – 642,000
- Toby Keith, 35 Biggest Hits – 630,000
- Lady Antebellum, Lady Antebellum – 572,000
- Zac Brown Band, Foundation – 511,000
- Jamey Johnson, That Lonesome Song – 438,000
- Toby Keith, That Don’t Make Me a Bad Guy – 384,000
- James Otto, Sunset Man – 368,000
- Julianne Hough, Julianne Hough – 309,000
- Dierks Bentley, Greatest Hits – 244,000
- Brad Paisley, Play – 238,000
- Jewel, Perfectly Clear – 226,000
- Kellie Pickler, Kellie Pickler – 216,000
- Dolly Parton, Backwoods Barbie – 199,000
- Heidi Newfield, What am I Waiting For? – 197,000
- Tim McGraw, Greatest Hits Vol. 3 – 196,000
- Trace Adkins, X – 174,000
- Montgomery Gentry, Back When I Knew it All – 173,000
- Blake Shelton, Startin’ Fires – 152,000
- Joey + Rory, Life of a Song – 152,000
- Billy Currington, Little Bit of Everything – 133,000
- Chuck Wicks, Starting Now – 129,000
- Jimmy Wayne, Do You Believe Me Now – 127,000
- Lee Ann Womack, Call Me Crazy – 94,000
- Eli Young Band, Jet Black and Jealous – 92,000
- Hank Williams III, Damn Right Rebel Proud – 76,000
- Craig Morgan, Greatest Hits – 73,000
- Lost Trailers, Holler Back – 65,000
- Randy Houser, Anything Goes – 58,000
- Taylor Swift, Taylor Swift – 4,129,000
- Carrie Underwood, Carnival Ride – 2,852,000
- Trace Adkins, Greatest Hits Vol. 2 – 627,000
Category Crunching the Numbers
Tags: Alan Jackson, Asleep at the Wheel, Billy Currington, Billy Ray Cyrus, Blake Shelton, Brad Paisley, Carrie Underwood, Chuck Wicks, Craig Morgan, Darius Rucker, Dean Brody, Dierks Bentley, Dolly Parton, Eli Young Band, Eric Church, George Strait, Hank Williams III, Heidi Newfield, Jake Owen, James Otto, Jamey Johnson, Jason Aldean, Jason Michael Carroll, Jewel, Jimmy Wayne, Joey + Rory, John Rich, Julianne Hough, Keith Urban, Kellie Pickler, Kenny Chesney, Lady Antebellum, Lee Ann Womack, Lost Trailers, Martina McBride, Montgomery Gentry, Pat Green, Randy Houser, Randy Rogers Band, Randy Travis, Rascal Flatts, Rodney Atkins, Sugarland, Taylor Swift, Tim McGraw, Toby Keith, Trace Adkins, Willie Nelson, Zac Brown Band
Sunday, April 26th, 2009
Live and learn. I did a lot of living and learning during my first day (ever) at the Stagecoach Country Music Festival in Indio, California.
First lesson: Don’t rely on MapQuest. I didn’t take the large black freeways on the map to the beautiful but bizarre desert retirement slash resort community that hosts Stagecoach. Or the smaller blue lines, or even the teensy red ones. I took the non-existent purple ones through the backcountry past unusual rock formations and the odd farmhouse. It was just me and the random tanker truck going mach negativo.
Second lesson: Show up early. The tanker truck and purple lines aside, I didn’t plan well. And any plans I did have were shot to h*** as soon as I arrived at the polo fields and, well, circled the fields at a crawl (which is a generous term) for nigh two hours before entering the parking lot. So, as I slowly watched the thermometer inch up towards 100 degrees on my dashboard, I kissed goodbye my plans for The Infamous Stringdusters and Lynn Anderson. I’m sorry, guys.
Third lesson: Don’t presume anything about country music fans. While I was very slowly making my way into the parking lot, I took notice of the cars around me. There was a BMW in front of me, a Porsche on my left and a Mercedes behind me. Hmmm…didn’t they hear that polo was cancelled this weekend? But no, the fancy cars were full of college kids, a large family and an old couple…all dressed in cowboy boots and hats and headed to the festival. I’d say welcome to country music, Southern California style: cowboy boots and Gucci purses, but that would cheapen the genuine spirit of those who attended the festival. While not precisely diverse, I doubt you will find a more overall wholesome group of people anywhere. You can only have organized chaos in a group this large with people like this.
Fourth lesson: Bring a chair. Who knew? As the only person not schlepping a chair around, I might as well have had “Stagecoach virgin” stamped on my forehead. The chair guarantees you a position among the sea of people somewhere in the proximate vicinity of the stage. Proximity to the stage being relevant, of course; as long as you can see the big screens, you’re fine.
Fifth lesson: Sit near a speaker. Darius Rucker and Little Big Town both suffered from poor sound (as compared to Brad Paisley, whom you could hear clearly from the parking lot). They come off as incredibly sweet people, but if they’re not going to sing or talk any louder, you definitely need a large speaker nearby. This was particularly tragic during Little Big Town’s set. While large venues may help this band garner new fans, they are a band made for intimate venues. The intricacies of their harmonies get lost in stadium sound.
Sixth lesson: Try to forget lessons one through five and just enjoy.
Darius Rucker was on stage as I arrived. He has a pleasant voice and a laid-back stage presence that goes down easy, even if neither is particularly spectacular. He comes off as a quasi-country Jack Johnson, although slightly more interesting. Like LBT, he might be worth checking out in a smaller venue. His biggest moment, ironically, came when he sang Hank William Jr.’s “Family Tradition.” He had everyone in line at the hamburger stand about a mile away from the stage singing along. I heard later on that Brad Paisley joined him on stage for that particular number. The crowd ate it up.
ize-full wp-image-905″ title=”little-big-town-fl” src=”http://www.countryuniverse.net/wp-content/uploads/2008/07/little-big-town-fl.jpg” alt=”little-big-town-fl” width=”108″ height=”98″ />LBT took the stage singing “Good as Gone.” I was incredibly excited to see this group for the first time. Unfortunately, I feel as if I still haven’t heard them; properly, at least. However, I did hear enough to know that this isn’t the venue to fully appreciate them as a band. Despite having songs in their repertoire that rock, like “Good Lord Willing,” this isn’t a country-rock band built for conquering tens of thousands of people. And despite being beautiful singers, their harmonies don’t stand up well in the face of a brisk wind in an open setting. Still, what I did catch of their set, which included “Fine Line,” “I’m With the Band” and “A Little More You,” left me wanting more, even as I wondered during their closer, “Boondocks,” if they’re ever going to reach those heights again.
Reba McEntire took to the stage as the sun set over the desert, and as if rising for a queen, the sea of people took to their feet. Suddenly, it felt like I was at a concert, and a country one at that. With a killer band, vocals and stage presence, I have to admit that by the time Reba launched into “The Night the Lights Went Out in Georgia,” I had forgiven Mapquest and forgotten the parking situation. The best and worst part about a Reba show, is that she has so many hits, that you are inevitably going to hear some of your favorites, and miss out on others. Perhaps recognizing this, part way through her set McEntire launched into a medley of hits, including “Somebody” and “Love Revival.” Reba also played her new single, “Strange,” which didn’t sound out of place among her older material, including “Ring On Her Finger,” “I’m a Survivor” and “Fancy,” but didn’t rise to the same level either.
The thing about Reba, and to a certain extent Brad Paisley, the evening’s final performer, is that even if you knew nothing about country music, you would know they were among the genre’s stars. They both have that intangible “it” factor. What Reba has, that Paisley doesn’t have quite yet, however, is an extensive catalog. Therefore, if you’ve been to a Paisley concert in the past couple of years, you had already seen the show he put on at Stagecoach. A Paisley concert is an extravaganza built for the mainstream radio consumer. With high-tech screens in the background, it’s chalk full of radio friendly sing-a-longs, from the cutesy “Online,” “Alcohol,” “Ticks” and “Celebrity,” to the heartfelt “Letter to Me” and “Waitin’ on a Woman.” With his guitar flung over his shoulder, Paisley throws himself into both styles with equal aplomb, but I came to the realization last night that I much prefer Paisley in heartfelt mode. He’s fun on the ditties, but truly shines when he slows it down.
As it was the last stop on Paisley’s recent “Paisley Party” tour, Paisley promised at the beginning of his set to break all the rules and play until the sun rose. Being not entirely sure if he was going to follow through on that promise, and recalling how long it took to get into the parking area, I left a little early. It truly didn’t matter. I heard the rest of the concert as I spent 45 minutes looking for my car and another hour or so exiting the parking facility. Like I said earlier, Paisley had excellent sound.
Live and learn. At some point near midnight as I was crawling out of the parking lot, tired, a little cranky, wishing I had brought a chair and had one of the RVs parked in the adjoining lot to crash in, I wondered if the entire day had been worth it. My immediate answer: Reba had been worth every second, and Paisley was icing on the cake.