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Alice Cooper, Ozzy Osbourne, AC/DC and more rock stars are competing for your votes. Continue reading…

“Sounds like Entertainer of the Year to me.” To say it’s been a massive year for Lainey Wilson would simply be an understatement. Beyond releasing the 5-song deluxe edition to her 2024 record, Whirlwind, the “4X4XU” singer would also capture four separate ACM Awards for Entertainer, Female Artist, Artist-Songwriter and Album of the Year (Whirlwind) back in May. Couple that with the fact she was also named solo host at the upcoming CMA Awards in November and her continued success on the nearly year-long Whirlwind World Tour, and Wilson has been on nothing short of a tear. With the aforementioned Whirlwind Tour slowly coming to a close next month, the Louisiana native decided to pull out all the stops last night in her return to Nashville at the Bridgestone Arena. Beyond playing all of her solo hits such as “Heart Like a Truck,” “Watermelon Moonshine,” “Things a Man Oughta Know” and “4X4XU,” Wilson would bring out not one but three separate surprise guests throughout the show. Kicking things off early in the show was fellow CMA Award front-runner, Ella Langley, taking Miranda Lambert’s place on a killer rendition of “Good Horses.” View this post on Instagram A post shared by Whiskey Riff (@whiskeyriff) Not finished, Wilson would then call upon ERNEST to deliver an acoustic performance of their 2024 duet, “Would If I Could,” a song first written by the great Dean Dillon and Skip Ewing all the way back in 1996. @thenicolemurphy Lainey Wilson & Ernest Nashville #laineywilson #ernest #nashville @Lainey Wilson @Ernest ♬ original sound – Nicole Murphy Finally, Jelly Roll was the third and final surprise guest of Wilson’s star-studded night in Nashville, delivering a performance of their 2023 #1 hit, “Save Me,” which netted the duo a nomination at the 66th Grammy Awards for Best Country Duo/Group performance. @exceptionallyexcited And then she brings out Jelly Roll #laineywilson #jellyroll #nashville #concert ♬ original sound – Sheena Lynn In typical Jelly Roll fashion after the performace, the “Need a Favor” singer would pause the concert to deliver a signature speech, this time praising Wilson for her continued impact on the genre. Noting how much of an inspiration she’s been to so many young women around the country, Jelly would thank her for being the kind of role model he wants for his daughter. “I want you to know, as a girl dad, what you mean to my family and my daughter and all these little girls in this building. The inspiration. You are the role model us parents were praying for to encourage these young women to be brave, be bold and share their testimony across the globe. You did that, girl. You brought the bell-bottoms back in style, girl. You made country music cool again. Capping off the brief speech, Jelly would finish by making his prediction for the upcoming CMA Entertainer of the Year race next month. “A 66-city ‘Whirlwind Tour’ sounds like Entertainer of the Year to me. I love you, Lainey Wilson.” It seems as if Lainey has remained an award show darling as of late, highlighted primarily by her back-to-back Entertainer of the Year wins the past two years at the ACM Awards. With fellow nominees headlined by reigning EOTY, Morgan Wallen, as well as Chris Stapleton, Cody Johnson and Luke Combs this year at the CMAs, she’ll have some stiff competition to beat if she fulfills Jelly Roll’s prediction and takes it home for a second time in three years. Watch here: @nashvillexp This is why we love @Jelly Roll @Lainey Wilson’s Nashville show #Nashville #615 #LaineyWilson #JellyRoll #Country ♬ original sound – Nashville Experience Lainey Wilson Tour Dates October 3—Noblesville, IN—Ruoff Music Center§ October 4—Cleveland, OH—Blossom Music Center§ October 9—Columbia, MD—Merriweather Post Pavilion§ October 10—New York, NY—Madison Square Garden§ October 11—Mansfield, MA—Xfinity Center§ October 16—St. Louis, MO—Hollywood Casino Amphitheatre|| October 17—Rosemont, IL—Allstate Arena|| October 18—Saint Paul, MN—Xcel Energy Center|| October 24—Knoxville, TN—Thompson-Boling Arena at Food City Center# October 25—Charlotte, NC—Spectrum Center# November 7—Tampa, FL—Amalie Arena# November 8—Orlando, FL—Kia Center# ~with special guest Zach Meadows *with special guests ERNEST and Kaitlin Butts †with special guests ERNEST and Maddox Batson ‡with special guests Muscadine Bloodline and Drake Milligan §with special guests Muscadine Bloodline and Lauren Watkins ||with special guests Muscadine Bloodline and Maddox Batson #with special guests ERNEST and Drake MilliganThe post “Sounds Like Entertainer Of The Year To Me” – Jelly Roll Names Lainey Wilson His Pick For The Upcoming CMA Awards During Surprise Appearance In Nashville first appeared on Whiskey Riff.

The voice of Waylon Jennings is back, and it’s beautiful. Today, his son Shooter Jennings released an album called Songbird, a tracklist full of archival songs that he recently discovered, which were all recorded in the prime of Waylon’s career. It’s the first of a three-part project, and of course, Shooter produced it at Sunset Sound Studio 3, renamed by Jennings as “Snake Mountain,” where he produces all of the music he’s currently working on. When he initially announced the album, Shooter said they actually didn’t need too much work, but he did add some background vocals and other instrumentation just to polish it up and make it ready to be put on a professional album in the modern world of 2025. You’ll hear gorgeous backing vocals from two current country artists in Elizabeth Cook and Ashley Monroe. When Shooter first unearthed some of this music, his initial hope was to find a few unreleased Waylon Jennings songs that he could share with the world, though he discovered a whole lot more than that. Much of the music was recorded with Waylon’s band The Waylors in the prime of his career. It was all happening around the time that Waylon had won the fight for creative control, and he was making music on his own terms at this point: “What became very apparent to me was that my dad was recording constantly with his band The Waylors between tours. Just having won the David-and-Goliath battle against RCA for creative control and artistic freedom, Waylon was awarded the ability to record his music on his terms in his own studios, with his touring band, and without label oversight and without any outside influence.” Shooter explained that these weren’t just demos, they had been cut in a studio with the intention of being released, though unfortunately, for whatever reason, they just never made it to an album at that time: “There was just so much inside, my mind was blown! These weren’t demos, these were songs that were cut with the intention of releasing, and as time went on, not all of them found places on the albums that Waylon and the Waylors were releasing at the time.” What makes it all so much cooler is that Shooter also brought in surviving members of The Waylors to help with some final touches to polish the recordings up and make them album ready, including guitarist Gordon Payne, bassist Jerry Bridges, keyboardist Barny Robertson, and backing vocalist Carter Robertson. Shooter ensured that the music maintained the original integrity even in the modern world, and he mixed both the original and newly recorded material in a purely analog fashion on Sunset Sound Studio 3’s custom 1976 DeMedio API mixing board, which basically just means it was all done the old-fashioned way, exactly how Waylon would have done it. Shooter considers all three albums a gift to Waylon’s fans that have kept his music and legacy alive for so many years after his death in 2002: “This project has given me an entirely new chapter in my relationship with my father and working on this music has brought a whole new understanding about how, when and why my dad made music. The hard work is there on the tapes and the passion and the soul within is as alive today as it was the day it was recorded.” Shooter previously explained how much he went through to when it came to mixing the music and making sure all the tracks of all the instruments got produced correctly, and it’s beyond impressive, to say the least. With all of the recordings of previous vocals and instruments, which each individually had multiple takes per song, there were over 100 songs in total: “I used ProTools to prepare the tracks in the sense where, when they were open, they were exactly as they were put. They were digitized, but they were exactly as they were on those those tapes. So they were like 24 track sessions, the older stuff were 16 track, but most it was all 24 track. What I didn’t wanna do is do anything that would degrade that, the state of it. So what I did, some of them had like five vocal takes or six vocal takes, so I used ProTools to comp the way I would comp Charley’s records or Turnpikes. In the sense that out of those five vocals, I’ll go through and make a vocal track of the best vocal, which was really cool to do on my Dad, right? Just to hear all the different takes and go through it.” Shooter has done it all so tastefully, and it makes me respect him even more knowing he went out of his way to do it the hard way, with integrity, to entire the music was done right, just as his father would have done it. That type of character is hard to find, especially in the music industry, and it’s what makes this whole project so exciting and special. There’s no AI or gimmicks… just more of the incredible music Waylon wrote and performed that made him the icon he is. How cool is it that we get to hear his voice this way in 2025? You can absolutely tell how much love and care went into making this music as perfect as Waylon would have, and that is why it’s worth so much praise and attention. It sounds like a full and complete album Waylon would have, and maybe even wanted to, release back in the 1970s. There’s a reason Shooter’s probably the most highly sought-after producer in country right now, and this whole thing is a perfect example of why… I know his father would be incredibly proud, and he certainly delivered a massive, very important gift to country music fans like me who think Waylon was the best to ever do it. Enjoy… “I’d Like To Love You Baby” “I’m Gonna Lay Back With My Woman” “I’d Hate To Go Searchin’ Them Bars Again” “After The Ball” “Wrong Road Again” Songbird tracklist: 1. “Songbird” 2. “The Cowboy (Small Texas Town)” 3. “I’d Like To Love You Baby” 4. “I’m Gonna Lay Back With My Woman” 5. “Wrong Road Again” 6. “I Hate Searchin’ Them Bars Again” 7. “Brand New Tennessee Waltz” 8. “(I Don’t Have) Any More Love Songs” 9. “After The Ball” 10. “Dink’s Blues”The post Shooter Jennings Honors The Remarkable Legacy Of His Father Waylon Jennings With New Album Full Of Lost Songs From His Prime, ‘Songbird’ first appeared on Whiskey Riff.

An  international superstar… even if he didn’t want to believe it. Kip Moore has been at it for over two decades now, releasing his debut album Up All Night in 2012 and subsequent records like Wild Ones, Slowheart and Wild World that has captured the hearts of the dedicated fan base that he has both here in America, as well as overseas. But fans here in the United State might not realize just how big he is in places like Europe and South Africa. In fact, in 2024, he was awarded the CMA International Artist Achievement Award in recognition of his success outside of this country. Country music in general is wildly popular outside of the U.S., and you’ll often hear artists talk about just how into it the fans in other countries are. Contrasting the typically-rowdy and much more raucous crowds here, fans in Europe specifically tend to hang onto every word, and dig very deep into an artists entire album, making for an extremely unique experience when artists who are used to American country fans when they go overseas. And while Kip was a guest on Tracy Lawrence’s TL’s Road House podcast this week, he talked about how hard it was for him to wrap his mind around having such a large fan base in a country he never played after taking his Nomad World Tour there last year, playing for sold-out crowds in arenas. Lawrence asked him how that all happened, and Kip explained that it all started with a South African radio host who discovered his music organically and started playing it there: “In a lot different ways. The South Africa thing was all from one guy. Early 2022, my manager called me and said something crazy is happening in South Africa. We seen a really insane uptick and streams over there. And I just thought, ‘Oh, well the word’s getting out.’ And then the end of ’22 rolled around, and he said, ‘Man, something really wild. You’re streaming just as much in South Africa per week is you are in the states.’ The guy, which we didn’t know at the time, who owns the biggest like pop, rock, little bit of country, he plays whatever he wants because he owns it. It’s a hell of a concept for radio, right? He calls Sean and says, ‘Can he come and do a couple nights? a night in the club in Johannesburg and then like a night in Cape Town?’ And I was so fried at the end of the year, ‘I was like, there’s no way that I’m going over there for two shows.’ Mid 2023 rolls around, once again, he’s calling again. He says we wanna put him in the arena.” Kip was convinced that there was something fishy going on, though he finally gave in and agreed to do the shows so the guy would drop it. He thought they would sell 100 tickets, and after the weekend went by, they could cancel it and move on. But he ended up with the fastest sellout in Cape Town history, eclipsing Sting: “I’m like, this just sounds like a set up, something’s weird. An arena in the country I’ve never been to? And he said, ‘I swear the fan base is here to support it.’ I’m sick of even talk about this. When does he wanna do this tour? He wants to do the arena Johannesburg, Pretoria and Cape Town. By Monday morning when we sold 100 tickets, we’ll just cancel it. And because that’s where I had my mind, this is this is ridiculous. So I go about the rest of my week, and I don’t even give it any thought. Friday rolls around, I’ve completely forgotten about it, and I’m surfing that morning. I’ve got probably 15 missed calls from my manager, he says, ‘Congrats, it’s the fastest sellout in Cape Town history eclipsing Sting.’ And I said, ‘You gotta be kidding me.’ It was gone in seven minutes, so they’ve already booked night two.” Kip ended up selling out a stadium in, playing to over 25,000 fans a while back, leading to his aforementioned award and continued success touring internationally. I’ve always felt like Kip hasn’t fully gotten the attention or credit he deserves, his music really is great and he’s an incredibly talented live performer, so it’s really cool to hear that he’s having incredible success outside of the country because that’s NOT easy to do for anyone, but especially someone who has never toured in those markets before. It’s understandable that he didn’t want to go over there and lose money, because he also talked in the episode about how much more expensive it is to tour in other countries, and obviously no one wants to put in all the effort that goes into an international tour if you don’t think anyone’s going to show up. But it sounds like the people in South Africa and all the other countries I mentioned have real taste, and I love to hear that… View this post on Instagram A post shared by Tracy Lawrence (@therealtracylawrence) The post Kip Moore Didn’t Even Want To Play In South Africa Because He Didn’t Think He’d Sell Any Tickets, But He Ended Up With The Fastest Sellout In Cape Town History first appeared on Whiskey Riff.