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Throughout their career, Blackberry Smoke have embodied Georgia’s rich musical legacy, honoring the people, places and sounds of their home state. Their latest album, Be Right Here draws inspiration from Southern rock, blues-leaning classic rock and rootsy vintage country and is full of vivid and relatable characters that ensure the songs often resemble rich short stories.
Over the past two decades, Blackberry Smoke has amassed the following of a loyal fanbase, leading their last six full-length albums to achieve great chart success, including 2021’s You Hear Georgia, which reached #1 on Billboard’s Americana/Folk Albums chart and 2024’s Be Right Here, which reached the top 5 on the Top Current Album Sales chart.
Touring relentlessly, the band know a little something about hitting the road in order to find a place to belong, and supported by the strong fanbase of Brothers and Sisters, legions of whom travel across the globe to support the band, they in turn give fans a palace to belong.
Over the years the band has appeared across the globe on stages such as Austin City Limits, Bonnaroo, Summerfest, Glastonbury, Download UK, to name a few, and has no plans to stop anytime soon.
For Blackberry Smoke, embracing the light and finding the silver lining are once again at the heart of what they do best.
Award-winning singer/songwriter Jamey Johnson has served as country music’s north star for nearly two decades, inspiring a generation of artists with his unforgettable albums that have built a bridge connecting traditional country with the music of today.
The 10-time GRAMMY nominee has been called “one of the greatest country singers of our time,” by The Washington Post. As rock legend Don Henley says, Johnson is “the nearest thing” we have to late country icon George Jones. His music has garnered international acclaim and is embraced by fans of classic and contemporary country, as well as Americana and mainstream rock.
The Grand Ole Opry member is also widely regarded as one of the greatest country songwriters of his generation. He is one of only two people in the history of country music (along with Kris Kristofferson) to win two Song of the Year awards in the same year–for “Give It Away” and “In Color”–from the Academy of Country Music and the Country Music Association.
A consummate storyteller, his songs have been recorded by George Strait, Trace Adkins, Willie Nelson, James Otto, Joe Nichols and others. He is “a first-rate preservationist of classic country songwriting…,” says The New York Times.
The Alabama native’s recent prime-time television performances have been widely recognized as the best of the shows, from singing “Georgia on My Mind” in the 2023 CBS special Willie Nelson’s 90th Birthday Celebration and “Angels Among Us” for the 2024 CMT Giants: Alabama to performing “Beer for My Horses” in August with Lainey Wilson for the top-rated NBC special Toby Keith: American Icon and debuting his powerful song, “21 Guns,” during PBS’ National Memorial Day Concert earlier this year.
His new Warner Music Nashville album, Midnight Gasoline, is his first new solo studio album in 14 years, making it among the most-anticipated releases of the last decade. It’s his sixth album as well as first project with Warner Music Nashville in conjunction with his label, Big Gassed Records.
It is also the first of his Cash Cabin Series, a collection of albums recorded at the famed studio, which was once owned by Johnny and June Carter Cash and is now owned by their son, musician/producer John Carter Cash. Johnson spent three weeks recording about 30 songs at the Hendersonville, TN, studio, sleeping in his bus parked outside so that he could remain totally immersed in the creative energy.
“There is a spirit in the place,” he says. “It feels like home to me. It feels important, like a place I need to be. It’s so warm and welcoming and brings out everything good.”
Midnight Gasoline contains songs written in the last few years, such as “What a View,” and “21 Guns,” as well as songs from the 2000s – 2010s, including “What You Answer To” and “Bad Guy.” “In that regard, I really am picking up where I left off, grabbing those few songs that were probably ready to put out back then. It’s good to get those out there,” says the Alabama native.
Midnight Gasoline, known as Cash One, is a musical continuation of his last two solo studio albums, That Lonesome Song, which was certified platinum for 2 million in sales, and the gold-certified 2010 album, The Guitar Song, which debuted at No. 1 on the Billboard Top Country Album Chart. Rolling Stone and Spin named The Guitar Song to their all-genre Top 5 Best Albums of the Year. (He also released a 2012 duets project, the Grammy-nominated Living for a Song: A Tribute to Hank Cochran.)
His award-winning song “In Color” received a 5X-Platinum Award for reaching 5 million in sales/streams, “High Cost of Living” received a Platinum Award for 1 million in sales/streams, and the songs “That Lonesome Song” and “Between Jennings and Jones” received Gold Awards for sales/streams of 500,000.
Rolling Stone says he “… turns out to be [country’s] most reliable traditionalist, a Music Row pro who can write a song for every emotional season,” and describes the album as “a two-disc dissertation on the art of country music songwriting.”
His timeless songs poignantly and honestly capture the harsh realities of life, addiction, heartbreak and disappointment while offering messages of hope, humor and love. His music spans a range of emotions, from self-destruction to self-redemption. His deep and rich baritone, simultaneously haunting and soothing, is never rushed or overstated. But the songs on Midnight Gasoline have a deeper resonance because they are interpreted by a man who is older and wiser, and he pours that experience into every note.
For instance, “Sober,” which he wrote with James Slater, describes the difficulty of remaining sober, especially in a city and industry that glorify drinking. The song’s lyrics, according to American Songwriter, are “heartbreaking in their simplicity.”
“It’s for people who know the struggle,” says Johnson, who also co-wrote 2009’s “High Cost of Living” with Slater. Music Row’s Robert K. Oermann says, “Johnson remains one of our most towering country vocalists, and this spare, stripped-down track lets him emote magnificently on the ballad… The whole performance rings with honesty and truth.” As Saving Country Music says, “Whether you’re clean or not, ‘Sober’ is the Jamey Johnson song you’ve waited 15 years for.”
Midnight Gasoline is a tribute to collaboration and a testament to the importance of Johnson’s friends. In an industry known for self-promotion, Johnson is dedicated to building and supporting a musical community that benefits and celebrates all. He is quick to share credit with those around him. The album’s first half was produced by The Kent Hardly Playboys–Wayd Battle, Jim “Moose” Brown, Tom Bukovac, T.W. Cargile, Kevin “Swine” Grant, Cowboy Eddie Long, Dave McAfee, James Mitchell and Chris Powell.
Dave Cobb, who also worked on That Lonesome Song and The Guitar Song, produced the album’s second half, including “Saturday Night in New Orleans,” “One More Time,” “Sober,” “Tired of It All,” “No Time Like the Past” and “What You Answer To.” “What a classy guy and a tasteful musician, and an endless wealth of ideas for a producer,” Johnson says.
The album, like Johnson’s life, is made better by singer-songwriters Lee Brice, Dallas Davidson, Rob Hatch, Randy Houser and Jerrod Niemann. They have remained friends since their early days of performing on Nashville’s famed Lower Broadway, driven by their shared dreams of a career in music.
“These guys have been brothers to me since we met. That has been my support team for over 20 years. These are the kinds of friends who don’t fade with time,” he says. “It just gets stronger.”
He co-wrote “What a View” with Davidson, Houser and Hatch in the Bahamas during a writing session that sparked a new burst of creativity for Johnson. “For years, I would write songs, but I wouldn’t write songs that were a little too personal. I would just stop and not get into it any further. I wasn’t ready to try and understand whatever feelings that those songs brought out.
“’What a View’ was the first of these songs that came straight from me and straight from a very personal place. I felt like I had finally made it past one chapter in a book. It also felt like it was a small success that I could build on, and when I had that small success, I ran with it instead of tucking it away.
“Everything inside of me was telling me to send this to George Strait, but Randy, Dallas and Rob wouldn’t let me. They said, ‘This is not for George Strait. You have to record this song.’”
He co-wrote “No Time Like the Past” with Chris Stapleton, who also helped Johnson finish “Saturday Night in New Orleans,” a song he started with Tony Joe White, who died before they could complete it.
“Tony Joe and I were talking about how unique New Orleans is,” he says. “Nashville is a music town, but it doesn’t have the same sort of feeling that New Orleans has, where you forget what day it is. Every night is Saturday night in New Orleans.
“Chris and I were trying to paint a picture of what these things were that make it feel that way. I hoped the song would somehow produce the sound that helps you envision what the town is. You can almost smell the crawfish, beignets, coffee and everything else.”
Although he hadn’t released a new solo album in more than a decade, Johnson has remained busy touring and writing, as well as recording for others’ projects. He is featured on the 2024 Tom Petty & the Heartbreakers tribute album, Petty Country: A Country Music Celebration of Tom Petty and 2023’s A Tribute to The Judds. He has recorded with artists including the Zac Brown Band, Emmylou Harris, Willie Nelson, Alison Krauss, Ray Benson, Kris Kristofferson, Shooter Jennings, Joe Bonamassa, Blackberry Smoke, Larry Fleet and Mo Pitney.
He has been a part of several tours of “The Last Waltz,” featuring a star-studded group of musicians, including Eric Clapton, Don Was, Elvis Costello, Cyril Neville and Warren Haynes, paying tribute to The Band’s farewell concert in 1976. He was also honored to be invited to turn two of Johnny Cash’s unfinished poems into songs for the album called Forever Words.
It was his time spent with another friend, Toby Keith, that served as the inspiration for Johnson’s return to the studio. The two began writing a few songs over the phone while Keith was at his home in Oklahoma battling cancer. Johnson assumed that the larger-than-life Keith would beat the disease and they would finish and release their work. But it was not to be.
“When he passed away, I realized that’s it,” he says. “That’s the end of his discography, and it was a wake-up call. He left a great catalog, a full catalog. He didn’t leave one song unwritten and he told it all.
“I can’t say the same about me,” he says. “I haven’t written it all. I have written a lot, but I am nowhere near done. It made me more focused about writing, but it also made me realize to get this music out there, there’s going to be a lot of studio time to make up for the years where I didn’t put anything out.”
Johnson has already been performing his new songs in his shows, and he has been reinvigorated by not only the audience’s overwhelming reception, but an unexpected realization that he’s had along the way.
“It has been a joy to stand there and play these new songs to my fans every night on this ‘What a View’ tour,” he says. “It reminded me of something I should have been doing the whole time: delivering the message. These songs all come from somewhere, and for me, they all come from a higher power.
“My job as a songwriter and a singer is to take that message that God gave me through these songs and deliver that message to His people and to do that at the best of my abilities and with a positive attitude and joy in my heart. That is something I got from this album that I don’t think I’ve gotten before, which is the ability to do that, and I appreciate it.”
Steve Earle is one of the most acclaimed singer-songwriters of his genera:on. A protege of legendary songwriters Townes Van Zandt and Guy Clark, he quickly became a master storyteller in his own right, with his songs being recorded by Johnny Cash, Waylon Jennings, Joan Baez, Emmylou Harris, The Pretenders, and countless others. 1986 saw the release of his record, Guitar Town, which shot to number one on the country charts and is now regarded as a classic of the Americana genre. Most recently, Earle’s 1988 hit Copperhead Road was made an official state song of Tennessee in 2023.
Subsequent releases like The Revolu4on Starts…Now (2004), Washington Square Serenade (2007), and TOWNES (2009) received consecu:ve GRAMMY® Awards. Jerry Jeff, released in 2022, consisted of Earle’s versions of songs wri]en by Jerry Jeff Walker, one of his mentors. Earle has published both a novel I’ll Never Get Out of This World Alive (Houghton Mifflin Harcourt 2011) and Dog House Roses, a collec:on of short stories (Houghton Mifflin 2003). Earle produced albums for other ar:sts such as Joan Baez (Day AHer Tomorrow) and Lucinda Williams (Car Wheels on A Gravel Road)
As an actor, Earle has appeared in several films and had recurring roles in the HBO series The Wire and Tremé. In 2009, Earle appeared in the off-Broadway play Samara, for which he also wrote a score that The New York Times described as “exquisitely subliminal.” Earle wrote music for and appeared in Coal Country, for which he was nominated for a Drama Desk Award. Earle is the host of the weekly show Hard Core Troubadour on Sirius Radio’s Outlaw Country channel.
In 2020, Earle was inducted into the Nashville Songwriters Hall of Fame. And in 2023, Steve was honored by the Bruce Springsteen Archives & Center for American Music. Steve’s latest album, “Alone Again (Live)”, released on July 12th, 2024. Most recently, Steve was honored with an invita:on to join the Grand Ole Opry and was officially inducted on September 17th, 2025. He addi:onally shared the stage with Brandi Carlile at The Capitol Theatre in Port Chester, NY on December 12th, 2026 for his 11th Annual John Henry’s Friends Benefit Concert.
Nearly a decade ago, Margo Price turned Nashville on its head with her breakthrough, beloved debut solo album, Midwest Farmer’s Daughter. Released in the throes of bro-country and before pop stars were crossing over into the genre left and right, it showcased an artist completely unafraid to double down not only on herself, but what she’d always loved: classic country songs written from the intellect and the gut, hell-bent on truth-telling and both timeless and urgent all at once. Respected by her peers, praised by critics and beloved by her fans, Price created a lane where independent-minded, insurgent country music can exist and thrive alongside the mainstream, and became an ardent fighter for her beliefs in a genre where the norm is to shut up and sing. A trailblazer and a champion for the craft, Price redefined what it meant to be a modern country artist.
And now she’s back with an exquisite, truly timeless album that reconnects with her roots and pays tribute to the art of the country song, inspired in part by the legends whom she now calls colleagues and friends. Hard Headed Woman is both a look forward and a look back: a way to march forward while staying true to yourself when the path of less resistance is right there in front of us, and short cuts are around every corner. And a way to look back when we need to trim what is no longer working, and to stay connected with where we’re from. It is a promise and a manifesto, a love song to both a city and a genre, and a defiant cry for individuality.
In creating Hard Headed Woman, Price brought all of her power as one of our most beloved and respected songwriters to craft a deep exploration of love and America in a time of unprecedented uncertainty. Featuring appearances from Tyler Childers, co-writes with Rodney Crowell and a Waylon Jennings song that his widow, Jessi Colter, urged her to sing, it is country music as only Price can make it: free of rules, cherishing tradition, hard headed to the core but with a delicate, beating heart.
Since releasing Midwest Farmer’s Daughter, Price has barely slowed down. She’s made four records, played Saturday Night Live, been nominated for a Grammy, toured the world alongside artists like Chris Stapleton and Willie Nelson, released a lauded memoir (Maybe We’ll Make It, due on paperback September 2nd), became an in-demand producer and was appointed as the first female board member of Nelson’s Farm Aid. And she’s been fearless when it came to genre, venturing into psychedelic rock on her most recent, Jonathan Wilson-produced record, Strays. It would have been easiest to just stay that course, and keep running. But Price doesn’t follow success or comfort. She follows the art.
It took a whole lot of hard work and honesty with herself and others to get there, but that’s never stopped Price before. “I made the decision that I had to rebuild everything from the ground up,” Price says. “There’s all this pressure to be pumping out content, and I felt the opposite in the way I wanted to approach this record and my life in general.”
Price had also established herself as one of the most passionate, vocal artists in country music and beyond when it came to standing up for political and personal causes, from the presidential election, to abortion to gun control: happily hard headed when it came to the fight for equality and justice, especially for the working class and underserved in our society. Price has always brilliantly woven her activism into her songs, but her role as a spokesperson had started to overtake, on occasion, her role as a songwriter. She wanted to focus on using her written word to deliver the most potent punch of all.
“I always hope to do like Johnny Cash did,” Price says, “which is speak up for the common man and woman. But there have been so many threats and anger and vitriol over the years, when I am only coming from a place of love.”
Price realized she just needed a break from everything outside of the bubble of family life and her art. She started spending more time at home, writing songs alone and with her husband, Jeremey Ivey. She started popping up in the dive bars and tiny venues around Nashville where she got her start, sometimes just to play a country cover or two or dance with the crowd. She refused guidance to write for pop stars or compromise her values for a quick buck. Most of all, she turned the emphasis in her music back to songwriting, exactly where she began.
“So much of Strays was leaning into this psychedelic, textural territory,” says Price. The music lent itself to vibrant, heavy stage jams, with Price often hopping behind the drumkit and bruising her thigh from a tambourine beat. She found herself longing for the days when it was just her and her guitar, playing at an East Nashville dive bar. “I always knew,” she adds, “I would come back to this more rooted sound.”
Hard Headed Woman is rooted to its core. Rooted in Price’s history and struggle to make it as a musician for so many years in a town that prizes uniformity and the bottom line, rooted in the country and folk sounds that have become her signature, rooted in the simplicity of a few key collaborators instead of songs-by-committee. At the heart of Price’s work is her creative partnership with Ivey, with whom she describes as having a “soul connection.” “I’m a songwriter,” Price says. “I’m not somebody who goes out and needs five people to craft a song, and then tack my name on it. That’s never been my style. I have something to say.”
Something to say, nothing to prove. The first song they wrote for the album that would become Hard Headed Woman was “Close to You,” a simple, pining call for a lover that is infused with the sounds of the desert. It’s unfettered and truth-telling, accented by some flamenco guitar and Price’s gorgeous, urgent vocals. “We played the jukebox while democracy fell,” Price sings, never letting her songs fall out of the context in which they exist. It’s the kind of thing that only she could write, carrying both love and fear in one single line.
As more songs started to form, an early boost of confidence came from her friends Rodney Crowell and Emmylou Harris, who heard some of the work at a political fundraiser and encouraged Price to keep going. “I have both of them to thank for building me up and making me believe in the songs I am writing in this season of my life,” Price says. Crowell remained not only an inspiration and supporter of the album but a contributor: he co-wrote two songs with Price and Ivey.
The album that unfolded from there is drenched in Price’s unique story and unshakeable instincts: while Midwest Farmer’s Daughter was about her journey from childhood to Nashville, Hard Headed Woman is very much her battle since from dive bars to tour buses, through parenthood and marriage, through scrutiny and sacrifice all while fighting constantly for what she believes in, and the music she loves. It begins with a proclamation on the prelude, which serves as the album’s mission statement: or, Price puts it, “a disclaimer and reminder that I don’t owe you fucking shit.”
Songs like the album’s lead single, “Don’t Let the Bastards Get you Down,” speak for the downtrodden and the forgotten, an “anthem for people who are being overlooked in society and need to be lifted up,” Price says, “because we are up against so much right now.” As so many of Price’s songs do, it speaks both for the personal and the political all at once. Price was inspired by the message Kris Kristofferson whispered to Sinead O’Connor when she was booed on stage at a Bob Dylan 30th Anniversary show, and even got Kristofferson’s widow’s blessing to include his name on the credits. “I always admired Kris for how he stood by her in that moment, instead of pulling her off the stage like they told him,” Price says. It serves as a reminder to anyone who encounters resistance in the face of fighting for justice to keep going, especially when it would be so much easier to capitulate and cower.
“The song was originally written for a movie that never happened, but it feels so timely with everything that’s going on in the world,” Price explains. “The phrase, ‘Don’t Let The Bastards Get You Down’ originates from Margaret Atwood’s brilliant 1985 piece of literature, The Handmaid’s Tale. It’s referred to in Latin and used as a rallying cry for resistance against the oppressive regime that symbolizes resilience and hope in the face of adversity. Nolite te Bastardes Caborundorum.”
That spirit resonates all across the songs of Hard Headed Woman. The blistering “Don’t Wake Me Up” was based around some writings that Ivey stumbled upon in one of Price’s notebooks, inspired in part by her deep readings of Frank Stanford, one of her favorite poets due to his freewheeling work free of boundaries. They spun it all into song in minutes that chugs with the essence of Dylan’s “Subterranean Homesick Blues”: “The way this world is going, ain’t where I’m at,” Price howls in her powerful, unmistakable voice. “Nowhere is Where,” turns slow and contemplative, road-worn but never broken, the call of someone who has been to the mountain but never forgets the prairie below. And “Losing Streak” whirls in with an organ and out with a weary, world-worn defiance: our worst times don’t define us, but they’re always part of who we are.
There are songs that go back to the beginning of Price’s early grind, like the western-tinged “Wild at Heart,” reflecting on how much her life and the city of Nashville has changed over the years – and how important it is to stay true to exactly who you are despite it all. Another, called “Red Eye Flight,” is about both leaving a lover and also leaving her longtime band the Pricetags. “I’ve been with those players for ten, thirteen years,” she says. “But I could feel that I needed to make a change, and to change texturally what’s going on with the band. But it’s a familial bond, different than a friendship.”
There are a few choice covers and cuts, too: “Love Me Like You Used To Do” is by Price’s friend Steven Knudson, an unsung Nashville writer on whom she hopes to shine a spotlight (helping to elevate the town’s incredibly talented but buried voices is one of Price’s favorite pastimes). Friend Tyler Childers joins Price on that waltzing country ballad, while “I Just Don’t Give a Damn” is Price’s “Jolene goes to Memphis” take on the Jimmy Peppers and George Jones classic. And showcasing how Price has been trusted by the greats to lead the next generation of country music renegades, “Kissin You Goodbye” was given to Price by Jessi Colter, Waylon Jennings’ widow, when Price was producing her record. They’re songs chosen to appreciate the past and the present as she sees it – not as Music Row or the algorithm might dictate – and place Price squarely amongst her heroes as a living and breathing part of the new country tradition.
When it came time to record Hard Headed Woman, it was important for Price to keep that ethos alive, decamping to Nashville’s RCA Studio A and reuniting with producer Matt Ross-Spang, with whom she made her first two solo albums. Though she has worked with everyone from Sturgill Simpson to Jonathan Wilson since, it was Spang’s vocal rebuke of easy studio shortcuts that made her eager to reunite again. “He’s so unpretentious,” Price says. “He fully believes in me, he fully believes in my songs. He got us back to feeling it in your gut and not needing everything to be so perfect.”
It felt truly significant for Price to make the album in Nashville, a city where she’s lived for over two decades and played a seminal role in its transformation, yet somehow never recorded an album in the place she’s called home. The historic RCA Studio A helped connect Price even closer to the legacy of songwriting she holds so dear, a place where everyone from Dolly Parton to John Prine to Loretta Lynn have made albums. “It felt like there were ghosts and spirits just hanging out,” Price says. In perfect kismet, she also launched her own signature Gibson J-45 guitar, inspired by her 1960’s Gibson she’s had by her side for years as her career took off. It’s all part of the continuity that she wishes to create with her art, not just with timeless songs but inspiring future generations of women, mothers and artists in general who don’t want to sacrifice their vision, moral compass or family life in favor of mainstream success.
At its core, Hard Headed Woman is about that furious instinct to never waver, especially when ourselves, our values and our future is so clearly on the line. As she sings on the title track, “I ain’t ashamed, I just am what I am.”
“I hope this album inspires people to be fearless and take chances and just be unabashedly themselves,” Price says, “in a culture that tries as hard as it can to beat us into all being the same.”
From its roots as a barnstorming Idaho outfit to its modern-day status as a torchbearer for independent Americana music from coast to coast, Reckless has tied Austin rock and cowboy poetry together seamlessly for more than 25 years. Now, the band is slowly winding down its touring days.
Co-founders and brothers Willy and Cody Braun told Rolling Stone in late 2022 that Reckless will pare its touring schedule back to roughly 35 shows a year from 2023-35 before retiring from the road altogether. This alone is a major change for a group that has neared or exceeded 200 shows a year for most of its career.
The reason for the long goodbye, according to the members, is to ensure fans have opportunities to catch more shows without the pressure a whirlwind farewell tour puts on both artist and the audience.
“The coolest thing about our fan base is, we got them one at a time,” Willy — Reckless’s frontman, says. “We didn’t go out there with one big hit or music video or one big tour. We literally got our fans on an individual basis. I’m pretty proud of that part: Once we got a fan, they stayed with us.”
Cody — who plays fiddle and mandolin — and Willy grew up in rural Idaho, near Stanley, in a family full of musicians. They are joined in Reckless by drummer Jay Nazz, bassist Joe Miller, and steel guitar player Geoff Queen.
Before wrapping up on the road, Reckless plans to release at least one more full-length album — a follow to the double album American Jackpot/American Girls, which was released in spring 2020 just as the pandemic shut down live music and scuttled a release tour — and the band intends to announce multiple projects, big and small, between now and 2025.
Reigning from Southern California, Robert Jon & The Wreck take the Southern rock sound from the East Coast and make it their own. Since their inception in 2011, these native Californians—Robert Jon Burrison (lead vocals, guitar), Andrew Espantman (drums, background vocals), Henry James Schneekluth (lead guitar, background vocals), Warren Murrel (bass), and Jake Abernathie (keyboards)—have been electrifying audiences all over the world with their soaring guitar leads, rich vocal harmonies, and unforgettable songs. Simply put, it is impossible to ignore when these talented musicians take the stage.
The band has made an undeniable impact across the globe, playing sold-out shows and sharing the stage with the likes of Joe Bonamassa, Blackberry Smoke, Peter Frampton, The Marshall Tucker Band, The Black Crowes, Little Feat, and Rival Sons. 2020’s Last Light On The Highway earned worldwide acclaim, and 2021’s Shine A Light On Me Brother continued their upward climb, leading to a collaboration with Bonamassa’s Journeyman Records. That partnership paved the way for even more ambitious projects, including 2023’s Ride Into The Light, a dynamic, multi-faceted album that showcased collaborations with GRAMMY-winning producers Don Was, Kevin Shirley, and Dave Cobb, alongside contributions from Bonamassa and Josh Smith.
That same year also saw the release of Live At The Ancienne Belgique, their first official live concert film, praised by Music News as “one of the best live albums I have heard in years.”
In 2024, Robert Jon & The Wreck teamed up once again with Kevin Shirley (Iron Maiden, Aerosmith, The Black Crowes) for the release of Red Moon Rising. The record was hailed as their most fully realized work yet, with critics calling it “a bold step forward” and “a masterclass in modern rock & roll with vintage soul.” The collaboration with Shirley further cemented the band’s reputation as torchbearers of timeless, heartfelt rock music.
The band continues their momentum with the release of Heartbreaks & Last Goodbyes, produced by GRAMMY-winner Dave Cobb (Chris Stapleton, Brandi Carlile, Rival Sons). The album captures the raw energy and spirit of the band while pushing their songwriting into bold new territory.
For the past two decades, Austin’s The Band of Heathens have been ahead of the curve. Whether that’s through incisive lyrics or a sound they crafted that’s become mainstream, the group of troubadours has been steadfast in their truth. On the band’s upcoming album, titled Country Sides, The Band of Heathens takes a look back at their career with gratitude and great satisfaction.
Formed in 2005, the Heathens broke into the public consciousness in 2009 with their heartfelt blend of country and rock, including memorable performances at Austin City Limits on PBS and the Austin City Limits Festival. Since then, members have come and gone, but principal songwriters Ed Jurdi and Gordy Quist give the band its collective focus and provide the DNA to the songs beloved by folks around the globe.
For a band that’s accomplished so much and on their own terms, the approach for this album was natural and felt right. The themes addressed on this album, such as the reflective, contemplative nature of the lyrical matter, led to questions like “What’s next?” As always, The Band of Heathens is debating what that future looks like. It certainly includes more music and touring. But, in what fashion? Not even they know. That said, their music continues to live on. Look no further than the success of 2011’s “Hurricane. Nearly 15 years later, the song went gold and has since been certified platinum, showcasing the band’s resonant sound. And, at this point in their career, they’re perfectly content with what they’re doing.
Anchored by Bowdon natives and siblings, Zach and David Steed, the Steed Brothers share a bluegrass legacy with their father, Mike Steed, who founded the distinguished bluegrass band, Bullsboro. Zach and David are members of the Atlanta Country Music Hall of Honor and have recorded and performed live with many bluegrass luminaries over the years, including The Lonesome River Band, Larry Cordle and Doyle Lawson. The Steed Brothers are David Steed on mandolin, Jake Steed on banjo, Jane Baxter on bass and Zach Steed on guitar.
The Black Bettys, based out of Atlanta, Georgia consistently captivates and thrills audiences both in the U.S. and Internationally with their high-energy, passion filled performances and soul stirring vocals…The Black Bettys are among the ‘first’ call background support vocalists for hitmaking Artists such as Toni Braxton, Ludacris, Keith Sweat, Kristian Bush, Blackberry Smoke, Monica, Chante’ Moore, Angie Stone, Award Winning great Regina Belle and Legendary Gospel Queen Dottie Peoples.
The Black Bettys first hit single release in the Fall of 2021 titled “U Belong 2 Me”, was penned by legendary singer, songwriter Kipper Jones and one half of the R&B duo Sherita Murphy and was produced by Rodney Edge Sr. Since the release of “U Belong 2 Me” it has topped charts in the UK, France, and Montreal, Canada and has garnered support from DJs across the world! It doesn’t stop there, The Black Bettys also have movie screen credits, and appearances on ‘Saint and Sinners’ and the hilarious ‘Coming 2 America’ starring the talented and funny Eddie Murphy.
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