For more than 50 years, the Country Music Association has hosted the genre's biggest annual party in Nashville, Tennessee: CMA Fest. Originally dubbed Fan Fair, what began as a 5,000-person celebration of country music has turned into a four-day festival that draws an estimated 90,000 people each day. And with the genre being at an all-time high, the 2024 iteration of CMA Fest might just be the most thrilling yet.

The 51st annual CMA Fest will take over Nashville from June 6-9, with upwards of 300 country artists performing. As rising stars — and returning CMA Fest performers — Avery Anna, Dalton Dover and Chase Matthew will tell you, the magic of the weekend affair has always come down to the fans.

"I love the connection that the festival provides between artists and fans," Anna says. Dover adds, "Whether it's being reunited with those I've met in the past or getting some time to say hello to all the new faces in the crowd, it's just so special to be able to connect with everyone over our love for country music."

Matthew, who grew up in Nashville, has been part of both sides of CMA Fest. "I've seen CMA Fest grow to become this epic event that every music fan should experience," he says. "It's a great opportunity for fans to see and interact with their favorite country stars, as well as discover new artists they may not have had the opportunity to hear yet."

THE WAIT IS OVER.

Buy #CMAfest four-night passes: https://t.co/rBbckYh5A8
Single night tickets on sale at 10AM/CT pic.twitter.com/OqW3YqD0RP

— CMA Country Music (@CountryMusic) March 14, 2024

Even Dasha, who will be experiencing her first CMA Fest this year, knows just how important it is to any country music artist or fan: "CMA Fest is such an iconic celebration of country music."

Thanks to the runaway success of her hit "Austin," Dasha will be taking the Platform Stage at Nissan Stadium, which will highlight two budding stars each night amid performances from the genre's biggest names. "When I got that call, I got online to see the number of seats there and my jaw was on the ground," she recalls. "That'll be my biggest show to date, and I can't wait to show the people what we've got."

This year's CMA Fest also marks a first for Ella Langley, who will make her inaugural appearance on the Chevy Riverfront Stage in a "full-circle moment." And in teasing what she'll bring to her set, Langley encapsulated the energy of CMA Fest as a whole: "I hope the fans are ready for a bunch of dancing, a good message and a really good time."

As they prepped for CMA Fest 2024, Ella Langley, Dasha, Chase Matthew, Dalton Dover, and Avery Anna helped curate a playlist of songs they're excited to see — and perform — live. Whether or not you'll be heading to Nashville, jam out to tracks from Kelsea Ballerini, Sam Hunt, Cody Johnson, Zach Top, Megan Moroney, and more.

CMA Fest Turns 50: Lainey Wilson, Brett Young, Reba McEntire & More Share Memories From The Country Staple

If Tom Petty and the Heartbreakers landed in 2024, how would we define them? For fans of the beloved heartland rockers and their very missed leader, it's a compelling question.

"It's not active rock. It's not mainstream rock. It's not country. It would really fall in that Americana vein," says Scott Borchetta, the founder of Big Machine Label Group. "When you think about what his lyrics were and are about, it's really about the American condition."

To Borchetta, these extended to everything in Petty's universe — his principled public statements, his man-of-the-people crusades against the music industry. "He was an American rebel with a cause," Borchetta says. And when you fuse that attitude with big melodies, bigger choruses, and a grounded, earthy perspective — well, there's a lot for country fans to love.

That's what Coran Capshaw of Red Light Management bet on when he posited the idea of Petty Country: A Country Music Celebration of Tom Petty, a tribute album released June 21. Featuring leading lights like Dolly Parton ("Southern Accents"), Willie and Lukas Nelson ("Angel Dream (No. 2)," Luke Combs ("Runnin' Down a Dream"), Dierks Bentley ("American Girl,") Wynonna and Lainey Wilson ("Refugee"), and other country luminaries covering Tom Petty classics, Petty Country is a seamless union of musical worlds.

Which makes perfect sense: on a core level, Petty, and his band of brothers, were absolutely steeped in country — after all, they grew up in the South — Gainesville, Florida.

"Tom loved all country music. He went pretty deep into the Carter Family, and "Will the Circle Be Unbroken?" and the folk, Americana heart of it," says Petty's daughter, Adria, who helps run his estate. "Hank Williams, and even Ernest Tubb and Patsy Cline… as a songwriter, I think a lot of that real original music influenced him enormously." (The Flying Burrito Brothers, and the Byrds' Gram Parsons-hijacked country phase, were also foundational.)

A key architect of Petty Country was the man's longtime producer, George Drakoulias. "He's worked with Dad for a hundred years since [1994's] Wildflowers, and he has super exquisite taste," Adria says.

In reaching out to prospective contributors, he and fellow music supervisor Randall Poster started at the top: none other than Willie Nelson and Dolly Parton. "Having Willie and Dolly made people stand up and pay attention," Dreakoulias told Rolling Stone, and the Nashville floodgates were opened: Thomas Rhett ("Wildflowers"), Brothers Osborne ("I Won't Back Down"), Lady A ("Stop Draggin' My Heart Around"), and so many others.

Each artist gave Petty's work a distinctive, personal spin. Luke Combs jets down the highway of "Runnin' Down the Dream" like he was born to ride. Along with Yo-Yo Ma and founding Heartbreakers keyboardist Benmont Tench, Rhiannon Giddens scoops out the electronics and plumbs the droning, haunting essence of "Don't Come Around Here No More."

And where a lesser tribute album would have lacquered over the songs with homogenous Nashville production, Petty Country is the opposite.

"I'm not a fan of having a singular producer on records like this. I want each one of them to be their own little crown jewel," Borchetta says. "That's going to give us a better opportunity for them to make the record in their own image."

This could mean a take that hews to the original, or casts an entirely new light on it. "Dierks called up and said, 'Hey, do you think we would be all right doing a little bit more of a bluegrass feel to it?' I was like, 'Absolutely. If you hear it, go get it.'"

"It had the diversity that the Petty women like on the records," Adria says, elaborating that they wanted women and people of color on the roster. "We like to see those tributes to Tom reflect his values; he was always very pro-woman, which is why he has such outspoken women [laughs] in his wake."

Two of Petty Country's unquestionable highlights are by women. Margo Price chose "Ways to Be Wicked," a cut so deep that even the hardcore Petty faithful might not know it; the Let Me Up (I've Had Enough) outtake was buried on disc six of the 1995 boxed set Playback.

"Man, it's just one of those songs that gets in your veins," Price says. "He really knew how to twist the knife — that chorus, 'There's so many ways to be wicked, but you don't know one little thing about love.'" Founding Heartbreakers guitarist Mike Campbell features on the dark, driving banger.

And all interviewed for this article are agog over Dolly Parton's commanding take on "Southern Accents" — the title track of the band's lumpy, complicated, vulnerable 1985 album of the same name. "It's just revelatory… it brings me to my knees," Adria says. "It's just a phenomenal version I know my dad would've absolutely loved."

"It's one of Dolly's best vocals ever, and it's hair-raising," Borchetta says. "You could tell she really felt that track, and what the song was about."

Adria is filled with profuse gratitude for the artists preserving and carrying her dad's legacy. 

"I'm really touched that these musicians showed up for my dad," she says. "A lot of people don't want to show up for anything that's not making money for them, or in service to their career, and we really appreciate it… I owe great debt to all of these artists and their managers for making the time to think about our old man like that."

Indeed, in Nashville and beyond, we've all been thinking about her old man, especially since his untimely passing in 2017. We'll never forget him — and will strum and sing these simple, heartfelt, and profound songs for years to come.

Let Your Heart Be Your Guide: Adria Petty, Mike Campbell & More On The Enduring Significance Of Tom Petty's Wildflowers

When you think of Johnny Cash, what comes to mind? Perhaps it's the penitentiary serenader. The Rubin-retrieved elder statesman. The Man in Black who walked the line and fell into a burning ring of fire. Maybe even Homer's chili-pepper-hallucinated coyote on "The Simpsons." But what about Cash, the songwriter?

Certain hits of his — like that aforementioned mariachi-powered classic — were by outside writers. And an inarguable component of Cash's genius is how he could take a song by Merle Travis ("Dark as a Dungeon"), Bob Dylan ("It Ain't Me Babe") or Nine Inch Nails ("Hurt") and utterly inhabit it.

But simply a master interpreter he wasn't. From "Cry! Cry! Cry!" to "I Walked the Line" and "Folsom Prison Blues," Cash had a hand, in part or in whole, in writing some of his most monumental tracks. So why didn't this descriptor ever quite stick?

"Bob Dylan said he is one of the greatest writers of the 20th century. He didn't say 'songwriters'; he said 'poet laureate,'" John Carter Cash — the only child of Johnny and June Carter Cash — tells GRAMMY.com. "So, I think his contemporaries knew it, but not as many as the fans, because I think his image overshadows all that somehow."

With this in mind, John Carter helped bring a posthumous Cash project to life — one that celebrates his sometimes undersung facility in this department.

Welcome to Songwriter: An 11-track collection of previously unheard Cash originals from across the decades, like "Have You Ever Been to Little Rock," "I Love You Tonite," and "Like a Soldier." The album was recorded in 1993 at LSI Studios in Nashville, as songwriting demos.

John Carter always knew about the existence of these sessions — after all, he played guitar on them.

"Dad didn't really have the intention of releasing these as a body of work at that time, because he was sort of changing his mentality about his records," he explains. "I think he wanted to look at his old albums that had been successful — and this was right before he did the American Recordings stuff."

Read more: 10 Ways Johnny Cash Revived His Career With American Recordings

Despite existing in this liminal zone, the songs Cash tracked are superb. Opener "Hello Out There," which John Carter believes to be about the Voyager launches, is essentially Cash's "Space Oddity" — a cosmic statement from a typically boots-on-the-ground artist.

The following track, "Spotlight," finds the Man in Black singing to, well, the spotlight: "Don't let it show/ That my heart went with her when I let her go/ Don't let anybody see deep within the soul of me/ Or they will see that something there is not quite right." The highlights just roll on, from the entrancing psychedelia of "Drive On" to the spare, poignant "She Sang Sweet Baby James."

Wisely, John Carter and co-producer David "Fergie" Ferguson, who'd worked with Cash since the 1980s, stripped away some dated production, and centered Cash’s hypnotic performances. They also brought in musicians who'd worked with Cash: guitarist Marty Stuart, now-departed bassist Dave Roe and drummer Pete Abbott.

In the original session, Waylon Jennings sang on "I Love You Tonite" and "Like a Soldier"; in the 2020s, Vince Gill added vocals to "Poor Valley Girl," and the Black Keys' Dan Auerbach added some simmering, bluesy guitar to "Spotlight."

When Ferguson heard the material for the first time, he was floored — by his voice, for one thing. "And what a good job they did recording it," he tells GRAMMY.com. "It could have just as easily been screwed up — been distorted, or had a big hum in it. Nowadays, you can take care of a lot of that, but a lot of it can't."

Then, there are the songs; Ferguson calls "Spotlight" "poetic in a lot of ways," and singles out "She Sang Sweet Baby James" as "kind of folky Johnny, storytelling Johnny. That was one of the first I heard where I said, Man, that's so good. I've never heard that. I was really surprised."

He's excited for the fan reaction to "Hello Out There." "When he does those echoes — 'Calling, calling, calling,' those are not digital echoes," he stresses of that recurrent hook. "He wanted them there. That ain't something we chose to do, but I really like those."

Ferguson also hails its lyrical timeliness: "It's kind of him singing about the world going to s—. He had a naturalist part of him. He loved Mother Earth."

John Carter is thrilled about the dynamism, and variety, of the material on Songwriter. "There are silly, fun songs. Ther are songs of faith, there are songs of his love — specifically for my mother," he says. "There's songs of loss and sadness. There's songs of mystery and eternal yearning that happen to also be gospel songs.

"It's a bright time in my memory of my father, even though he did have his ups and downs through his time period," John Carter concludes. "I hear his personality when I look through these songs. I hear his depth that he was a deep thinker and that he believed what he believed, and that's what it was. I hear the mystery that he perceived."

But one mystery should be cleared up right now: Johnny Cash was a great songwriter, on top of everything else he's famous for — and here are 11 colorful, memorable points of proof.

How Petty Country: A Country Music Celebration Makes Tom Petty A Posthumous Crossover Sensation

Shaboozey's "A Bar Song (Tipsy)" is flipping country music on its head. His genre-bending hit, which interpolates J-Kwon's 2004 hip-hop smash "Tipsy," replaced Beyoncé's "TEXAS HOLD 'EM" atop Billboard's Hot Country Songs chart in April — marking the first time that two Black artists held the No. 1 spot back-to-back on the chart.

The history-making feat — and the massive success of "A Bar Song" — is a major win, especially given how Black artists have historically been shut out from country music, even in the last 10 years alone. In 2016, for instance, Beyoncé and The Chicks' CMA Awards performance of "Daddy Lessons," a country-leaning tune off the Houston native's sixth album, Lemonade, caused an uproar within the country music community, with many fans boycotting the show. Beyoncé later hinted that the backlash birthed her country-tinged 2024 LP, COWBOY CARTER, as she "did a deeper dive into the history of Country music and studied our rich musical archive."

Then, in 2018, Billboard controversially removed Lil Nas X's GRAMMY-winning, Billy Ray Cyrus-featuring smash "Old Town Road" from the Hot Country Songs chart as it was poised to claim the top spot, because it didn't "embrace enough elements of today's country music." Lil Nas X's comment on the dispute perfectly depicted the ongoing debate around what qualifies as country music: "The song is country trap. It's not one, it's not the other. It's both. It should be on both [charts]."

Mainstream country music has long been a white, straight, cisgender male-dominated genre. But in recent years, an influx of Black country artists have been challenging the traditional norms of what country music looks and sounds like. In turn, they're helping the genre become more accessible and appealing to a broader audience — and it's forcing even some naysayers to pay attention. 

Along with Shaboozey, many rising artists are incorporating hip-hop and R&B elements into their country music. Tanner Adell's viral hit "Buckle Bunny" features rap-inspired verses and thumping bass; a guitar-fueled rap cadence carries BRELAND's "My Truck"; and Blanco Brown's "trailer trap" helped his line dance smash "The Git Up" top the Hot Country Songs chart for 12 nonconsecutive weeks in 2019. Several artists are leaning more into the traditional sound, too, as evidenced by the latest singles from Tiera Kennedy ("I Ain't a Cowgirl") and Chapel Hart ("2033").

Trailblazers like Darius Rucker, Kane Brown and Mickey Guyton have been pivotal to disrupting the scene and opening doors for marginalized acts. Rucker's "Don't Think I Don't Think About It," from his 2008 country debut, Learn to Live, earned him a No. 1 on the Hot Country Songs chart — the first Black artist to celebrate such an achievement since Charley Pride's "Night Games" in 1983. With 2017's "Heaven," Kane Brown made history twice: he was the first artist to top all five Billboard country charts simultaneously, and the first Black country artist to earn RIAA Diamond certification with an original song. Guyton's history-making feat came at the 2021 GRAMMYs, where she was the first Black woman ever nominated for Best Country Solo Performance, for her autobiographical "Black Like Me."

As country music continues to evolve, how will it make more room for boundary-pushing Black artists? GRAMMY.com tapped six rising stars — BRELAND, Chapel Hart, Kentucky Gentlemen, Camille Parker, Reyna Roberts, and Julie Williams — to discuss the future of a genre that has historically lacked diversity, the undeniable impact of Beyoncé's COWBOY CARTER, and the artists that inspire them to push forward.

Quotes from these interviews have been edited for brevity and clarity.

Shaboozey's "A Bar Song" and Beyoncé's "TEXAS HOLD 'EM" are among 2024's biggest songs regardless of genre. What do you think are the key ingredients for making a great country song? How has it changed?

Brandon Campbell of Kentucky Gentlemen: All the best country songs have authenticity and truth. From the feel-good jams to the heartbreak, it's all about relatability and people being able to see themselves and what they've experienced in those songs. 

BRELAND: A great country song tells a linear story in which all of the lyrics relate back to a central concept. My favorite country songs also include elements of wordplay where a word or phrase is flipped, usually at the conclusion of the chorus.

I think the structure of country songs is about the same as it was 20 years ago, but there has just been some changes sonically. I've noticed fewer country songs have bridges, and the songs tend to be shorter now in general, which is consistent with trends across the music industry as a whole.

Reyna Roberts: It's about the instrumentation, lyrics and heart that's put into the music and how authentic it is. I personally love slide guitar, banjos, fiddles, harmonicas, and acoustic guitar, so those are key instruments in my music. I always make sure the foundation of classic country music is there and build upon that. Storytelling is equally as important; I pour my everything into the melodies and lyrics in every song I write.

Trea Swindle of Chapel Hart: The instrumentation has changed so much. Now there's the electric guitars and 808s. I think whenever Jason Aldean did "Dirt Road Anthem," it introduced 808s to country music and set off the whole bro-country moment. 

And, the thing about country music is it's all about the story, and it's all about the experience of creating music that has heart and soul and an impact. It's not like an AI-generated song with country buzzwords like truck, snake, boots, hat. That's not what it makes it country, and sometimes, it's not in the instrumentation that makes it country. You can hear a Vince Gill song, and it doesn't have a single guitar in it. It's all piano, but it's country at its core.

Camille Parker: I'm constantly referencing music that has lasted decades and speaks to people in a real way. The best country songs make people feel seen regardless of where they're from. I grew up on traditional country songs like "Kiss an Angel Good Morning" by Charley Pride and "You Don't Know Me" by Ray Charles. Those songs have evergreen lyrics, amazing production, and make you feel something real every time you hear it.

Julie Williams: All my favorite country songs pull me in with the storytelling and transport me to another place — either a memory of some place I've been or to an imaginary world. These stories can be raw and vulnerable or fun and lighthearted. Another core piece is a great melody, one that makes you want to jump in and sing along and gets stuck in your head. But we're in an exciting time in country music where we're hearing more types of stories like Mickey Guyton's "Black Like Me" and Brittney Spencer's "Thoughts and Prayers." 

Like most genres and sounds, the origins of country music are largely Black — why do you think it's been difficult for its roots to be widely acknowledged? Do you feel that's changing?  

BRELAND: Country music is undeniably influenced by Black musicians and Black culture, as with all American musical genres. But from the beginning of country music's popularization, there has been a concerted effort to separate it from its Black roots. In the '50s and '60s, country songs by white artists were considered country songs and hillbilly music, and country songs by Black artists were labeled and marketed as race records and eventually the blues. Since then, both genres have evolved in different directions, and their shared history is only now being discussed.

Williams: Mainstream country music has evolved into a genre rooted in patriotism, conservatism and general pro-America sentiments. For there to be an acknowledgment of the erasure of Black country music pioneers, there would have to be a wider acknowledgement — or, more specifically, a reckoning — that America hasn't always been so great. And, for some, that feels threatening.

Derek Campbell of Kentucky Gentlemen: There's a long history of people being unaware or not fully acknowledging Black efforts and contributions across many different genres. That's changing largely due to the fact that so many new people are discovering their love for country music. Those same people have joined in on important discussions while deep diving into its roots. They've had an incredible curiosity for acts like us who have been working in the genre all these years. 

Parker: More people are discovering missing pages in country music's history. For some, it may be difficult to challenge what they thought was a complete story, but it's important to acknowledge the past so we can all move toward a more informed and honest future.

Swindle: Since country is cool now, audiences far and wide are finding people they like and all these subgenres of country, or even some of the old-school, tried-and-true stuff. Every other genre has branched out, and I'm so glad that country is finally joining the party.

We all tell the same stories. Like Toby Keith's "How Do You Like Me Now?" for instance. How is that different from [rapper] Mike Jones' "Back Then"?

Danica Hart of Chapel Hart: When we were on "America's Got Talent," I said "Country music doesn't always look like us." And I think, for so long, country music has done what has made country music billions of dollars. Country music has never had a Black superstar, but that also takes a lot of money for a label. The industry has just been working the formula that has worked for them for hundreds of years.

With social media, everything's just right at the tips of your hands. Back in the day, you had to go on a radio tour, you had to go do the arena tour — you had to get in front of somebody before you would reach a million people. Now you can get on TikTok and be like, "Go stream my music" and get a million followers. There's an evolution going on that's really in favor of all artists.

Read More: Beyond Country: All The Genres Beyoncé Explores On 'Cowboy Carter' 

How has "the Beyoncé effect" helped thrust country music even further into the mainstream and make it more inclusive? 

B. Campbell: It's been great to see so many of us Black country artists gain visibility, and it's been even better seeing more broad audiences feeling more comfortable being country music fans. In all of our years doing this for a living, we've never seen more Black people and people of color in the audience dancing and singing back at us. It's been truly incredible and game-changing.

BRELAND: Beyoncé is helping to evolve country music because she brings with her a diverse group of millions of non-traditional country music listeners into the format. For decades now, country music has felt, to a lot of Black people, as a white space, so few Black artists and fans have felt safe and accepted in it. But now, the demographics are changing, and they have been in the years leading up to COWBOY CARTER.

If Beyoncé's fans and all of the other people inspired to broaden their musical horizons as a result of her album are willing to continue supporting Black artists in country, and the genre in general, this can be a really powerful and sustainable development in country music.

Swindle: It piqued the interest of people who may have naturally gravitated toward hip-hop or R&B. Now that Beyoncé decided to do a country album, it forced a lot of other platforms to say, "Okay, Beyoncé's doing it, but look at all these other artists," so it just shined a brighter light — and that, I appreciate.

Roberts: My numbers have grown exponentially over social media and DSPs. A lot of fans that don't typically listen to country music are now listening to my album and experiencing my art. (Editor's Note: Roberts was featured on COWBOY CARTER track "BLACKBIIRD" with Brittney Spencer, Tanner Adell, and Tiera Kennedy; she also offered background vocals for "TYRANT.") 

My goal has always been to reach people within and outside of the genre, and that's what's happening now. Many people didn't entirely see my vision before, but now I feel like people can see it clearly.

Parker: I feel so confident creating across genres and blending sounds because of artists like Beyoncé. She's shown us that you become the mainstream by creating art that resonates. COWBOY CARTER lets people imagine new possibilities in collaboration and expression. I love that she made this record so intentionally, and it's been a gift to witness people all over the world fall in love with a genre so many of us were raised on.

Williams: There are many folks that might not have felt like country music was a genre that they enjoyed, or even felt safe engaging with, so they might not turn on a country music radio station or go to a country music festival. And the country music industry gatekeepers that control those means of music discovery haven't historically played artists of color.

What's incredible about the Beyoncé effect is that people are going around those middlemen. Fans are discovering new Black country artists directly on social media.

In putting out COWBOY CARTER, Beyoncé has put a spotlight on Black country. I have personally seen an increase in my numbers on streaming, social, and press hits. Black country artists have been out here for a while hustling and trying to be heard, but as a driver of culture, Beyoncé helped elevate the movement to an international stage. 

Where do you think diversity within country music stands these days?

Roberts: I feel like it's changing by artists like myself, and others who are acknowledging the history of country music and the true legends behind the genre that most people don't know about. Of course, I'm speaking about Linda Martell, Leslie Riddle, Tee Tot Payne and so many others who created what we consider to be classic country, and who taught Hank Williams, Jr., Johnny Cash and so many other phenomenal artists that we uphold today.

Parker: I've experienced firsthand some of the progress that's been made, and it's truly special.  I think fans are connecting to our authenticity, and it's exciting to see more people from different walks of life at the shows and supporting us online.

Country music has such a powerful opportunity to make our space even more supportive of art and the people that create it. We're seeing all kinds of artists fall in love with country music, and I'm excited to see more collaborations. 

BRELAND: Diversity within country music is at a very pivotal inflection point. We're seeing more Black artists on the Billboard charts, and women like Lainey Wilson finding unparalleled success. There are finally more conversations about diversity that are happening within the genre.

However, many of these Black artists are not getting played at country radio, are not able to secure significant opening tour slots, and are not being given the same opportunities to sign record deals and release music at a higher level. All of those things need to continue to change for us to see sustainable careers of these diverse acts.

Swindle: I feel like the diversity has definitely changed. It's taken leaps and bounds, but in my heart, I just can't wait until we get to the point where people won't have to say, "She's a great Black country artist." No, she's just a great country artist. That's the goal. Because at the end of the day, it's about the music regardless of who's singing it.

Wiliams: It's getting better, but we have a long way to go before country music is [fully] welcoming and safe for BIPOC and LGBTQ+ communities. A big part of that is not only diversifying the artists that are on stage, but also the people behind the scenes: industry folks, producers, engineers, musicians, photographers.

Read More: How Queer Country Artists Are Creating Space For Inclusive Stories In The Genre 

In what ways can the industry do a better job at championing Black country artists? 

Williams: Right now, the industry does a great job of championing Black country artists around Black History Month and Black Music Appreciation Month. But I would love to see more love from the industry throughout the year.

Folks can make sure when they are organizing festivals or radio hours that they include Black artists, and also make sure when including those artists, they don't just give them the worst spot and call it a day. When putting together tours and support slots, booking agents can consider Black artists to add to the lineup and help introduce them to fans that might not discover them otherwise.

Roberts: The industry can have us perform at award shows that's within country music — and outside of country music, like the GRAMMYs — while putting the same amount of resources, attention, promotion, and money into us as other artists in the genre, as well as playing our music on country radio and radio stations outside of country. Black artists who have impacted the country legends also deserve formal recognition by organizations like the Country Music Hall of Fame.

BRELAND: The industry has to understand that positioning Black artists in this genre isn't going to work the same ways it would for a white artist. Our stories and our struggles are unique, and trying to erase our race from that narrative doesn't benefit anyone.

On the flip side, none of the Black artists I know in this space want their Blackness to be the only aspect of their story that gets told, either. And unfortunately, since 2020, it seems like most of the opportunities that come up for Black artists in country are addressing exactly that. So, the industry has to better understand the nuances of our existence in this space and work with us to find the best ways to support. 

The music industry is going to have to be more willing to play Black artists on country radio, book more Black artists on festivals and opening tour slots, and support Black artists editorially and on playlists. We need all of the same opportunities as our white peers, and additional support to push back against the systemic obstacles that have been put in our way.

B. Campbell: Placing more resources behind Black country artists is needed. Also, expanding the idea of what country music looks like can help continue to open doors. When you expand that narrow idea of what country music is to what reflects reality, then more of the world will be ready for us and our music.

Hart: There are artists that labels lose money on every day of the week. I think the way to change is to take a chance on a Black artist. The money's got to be lost anyway.  

Now that we see there's Black people that exist in this space, let's throw some money behind it and see what happens. That takes a conscious, bold, and brave effort, but it also requires a little digging and getting educated about who's out there. When they're playing their shows, are people showing up? Are they selling out theaters?

I think consumers forget that the people have the power. We saw that when someone called a country radio station and requested Beyoncé's "TEXAS HOLD 'EM." Everybody flooded that particular station until they finally were like, "Fine, we will play the song." There's a charge to the fans and the consumer to be more proactive in helping to promote Black artists.

What do you make of how Black artists have been standing out within the country community as of late?

Parker: It was exciting to see so many Black women enter the country space a few years ago — it was a big part of why I moved to Nashville to start my career. I've noticed the more brave you are, the more likely you are to create real, lasting change. Our industry is changing, and there are so many of us who want to serve music fans in new, creative ways.

D. Campbell: It's been such a blessing to have so many new fans searching for our music, coming out to shows while we're on the road, and asking to hear more of us. We can't wait to see how this carries us moving forward.

BRELAND: The Black artists in country music right now are incredibly talented and all have great stories and approaches to their craft. And I've done everything in my power to elevate them, whether it's bringing them on tour or out with me at my annual BRELAND & Friends benefit, collaborating on songs with them, or just keeping an open dialogue going with them. We have a great community of Black artists that all have the potential to be very successful, and I love to see it.

Williams: It's incredible that Black country artists have been standing out in the country music community — and long overdue! To see Shaboozey killing it with a No. 1 song and a packed CMA Fest stage, it gives me hope. Any win for a Black country artist is a win for the whole culture.

What contemporary artists have you seen break barriers? And who are some newcomers that are doing the same?

D. Campbell: We humbly name ourselves; showing up as our entire selves is daring in a genre that for decades proved it didn't believe we belonged, but we do it anyway. When you see the barriers being broken, it makes it easier to get up and do what you were born to do each and every day because you know it's possible. Also, Brittney Spencer's vulnerability and versatility have been breaking barriers for a while now. 

Williams: Mickey Guyton has been in Nashville for years, putting out incredible music, playing the game, and fighting for her voice to be heard. But in 2020, she put out "Black Like Me," a song that was unapologetically her and has inspired a new wave of artists to be our authentic selves despite what have been told is "commercial" or "acceptable" in country music.

BRELAND: Mickey revolutionized this space by talking about her experiences at a time where she was one of the only ones doing it. Her GRAMMY nomination [for Best Country Solo Performance for "Black Like Me "in 2021] inspired so many artists, including myself, to believe success was possible here. 

I also think about artists like Nelly, who for the last 20-plus years has blurred the lines of where country music fits into the larger conversation of Black culture. I've been inspired by how seamlessly he weaves between the hip-hop and country worlds.

Artists like Brittney Spencer, Shaboozey and Tanner Adell have all been bringing a new energy into the genre and all of their debut projects are very strong. Seeing Shaboozey's chart topping success with his single, Tanner's movement as an independent artist, and Brittney finally getting her flowers after over a decade in Nashville — all of those artists motivate me to keep going. 

Williams: Brittney Spencer is such an incredible songwriter and an even better artist and performer — I was lucky to write my song "Big Blue House" with her. I appreciate how she uplifts those around her. She is such a force! 

Rissi Palmer started Color Me Country Radio on Apple Music to highlight artists of color in country music and educate folks on the history of country music. She also awards Color Me Country grants to help smaller, independent artists fund their projects.

Denitia Odigie is another artist you cannot miss. Her voice is otherworldly and her blend of classic country sounds with modern twists is so fresh and unlike anything I'm hearing out of Nashville.

Swindle: Darius [Rucker], who first dominated the world with Hootie & The Blowfish, then he said, "I'm going back to my South Carolina roots, and I'm going to sing what I want sing from my heart," even though he didn't look like what most people were expecting country music to be.

That authenticity shines through every time. It's undeniable, and that's with anything. I've seen some artists try something because they think it's trendy, but the minute they just start being themselves, that's when it sticks. 

Where do you think country music is headed in 2024 and beyond?

Roberts: I believe it's going to be a blending of genres. I call my music Country Plus, which is country, hip-hop, rock, and pop. My vision is to create music that is innovative, and to do collaborations that bridge the gap between other genres and country music. I want to work with artists that have inspired me outside country music, including Megan Thee Stallion, Lady Gaga, Christina Aguilera, Ariana Grande, and Rival Sons.

B. Campbell: With the idea of country music expanding, there are more voices that are going to be heard and more stories that are going to be told. So many more people are seeing themselves in our music and this genre.

BRELAND: Country music is just getting started. It's the final frontier for really well-written songs, which the listening public is desperate for more of, and I think it's going to continue getting more diverse in the process.

Devyn Hart of Chapel Hart: Country music is about to do some things, and I don't know if everybody's ready for it, but it's happening already. There are so many subgenres — country-pop, country-soul, country-hip-hop, country-rock. It's like a melting pot.

Parker: Country music will always remain because of its power to tell stories. My hope is that, in the future, we will see more art that tells our stories more authentically, creatively, and uninterrupted by anything that doesn't push us toward the future. 

The 2024 iteration of Tennessee's Bonnaroo Music & Arts Festival was an absolute scorcher — even without the 95-degree highs.

The weekend brought some of the hottest names in music for a stacked lineup of buzzy newcomers and hitmaking veterans. From the Red Hot Chili Peppers' spectacular return to touring with John Frusciante, to Dashboard Confessional's star-studded Emo Superjam, to Billy Strings joining Post Malone for "rockstar," to Chappel Roan singing to a wig, there was no shortage of unforgettable moments at The Farm. 

While this year was the literally hottest that Bonnaroovians had seen in a few years, sweating through shirts (or lack thereof) proved completely worth it as some of the biggest iconoclasts came together and brought their all. It was electrifying, whimsical and at times emotional — and the bright, sunny skies served as the perfect backdrop for it all. 

If anything, the blistering — and briefly thundery — weather was a testament to the enduring nature of music fans; folks from all over the globe will never miss a chance to watch their favorite artists. Relive the magic with nine of the most exciting sets from Bonnaroo 2024.

The Foxies Took Technical Mishaps In Stride

The Foxies | Yvonne Gougelet for Bonnaroo 2024

Nashville's premier glitterpunk exports the Foxies delivered a fun, crowd-pleasing set Thursday night on the Who stage, even despite a flurry of audio issues and technical hiccups. The Roo crowd was forgiving, though, and the band rewarded us with some of the best songs from their catalog — plus a cover of Sheryl Crow's "If It Makes You Happy."

"Summer Never Dies," "Timothee Chalamet," and "Little Monsters" all landed perfectly, but the group's personality shone brightest during their newest release, "Natural Disaster." It couldn't have been a more apt song for Bonnaroo's carefree setting — an ode to feeling free and accepting the wildest parts of yourself. 

"A huge theme while we were writing ['Natural Disaster'], for me, was when I was 20 living in Brooklyn, how I was, all the cringey stuff that I did as a young adult," The Foxies frontwoman Julia Bullock told GRAMMY.com backstage. "I wish I wouldn't have shied away from it, or been embarrassed by it — I wish I'd leaned into the cringiness. This is an anthem for that: if I could do it all over again I would just embrace the fact that we are all just weird." Indeed we are, Julia.

The Japanese House Brought Love And Light

The Japanese House | Yvonne Gougelet for Bonnaroo 2024

Since its 2015 inception, The Japanese House has always been in the zeitgeist. Where Amber Bain's heavily layered, mournful music was inescapable during the pale-grunge Tumblr era, it now occupies a much lighter space. Coming off of a banner year and a critically acclaimed album, In the End it Always Does, Bain has been embracing her pop side like never before.

Her set was a cornucopia of new and old sounds, the most exciting part of which was her new song, "Smiley Face." Written a year ago when Bain met her current fiancée on a dating app, "Smiley Face" is bright, soft, and sploshy, fraught with the energy of someone falling deliriously in love. "[When we first met] she lived in Detroit and I lived in London, and I would stay awake until she fell asleep," Bain tells GRAMMY.com of the song. "We were in different time zones. I was running on nothing — I felt a bit high." 

Like the rest of her discography, the song held the audience in the palm of its hand, this time enveloping us in a warm, flickering glow. "I could be losing my mind but something's happening," Bain sang, naturally, with a smile on her face. 

TV Girl Delivered A Masterclass In Melodrama

"I have a bit of stage fright," revealed TV Girl singer Brad Petering before the group's second to last song. Even if he felt it, stage fright wasn't apparent during the indie pop band's hour-long performance. Their set felt like a dream; onlookers got lost in the moment, spinning, swaying and dancing in the refreshingly cool breeze. 

It fell serendipitously near the 10th anniversary of their debut, French Exit, an album that launched them into the limelight as stalwarts of indie pop. Songs like "Louise" and "Lovers Rock" felt almost nostalgic 10 years on, and newer cuts like "99.5" and "The Nighttime" blended right in. Backed by a full band — including backup singers Kiera and Mnya, whose powerhouse vocals could've made for their own show — TV Girl turned already dynamic songs like "Birds Don't Sing" and "Not Allowed" into even fuller, radiant versions of themselves. 

Ethel Cain Took Us To Church

Ethel Cain | Ashley Osborn for Bonnaroo 2024

Despite its small size, there was no more perfect space for an Ethel Cain set than the reserved, remote That Tent in the quiet corner of Bonnaroo. Her performance saw the quaint venue packed to the brim, 1000-odd people staring back at Cain in dumbstruck awe, as her band played through songs inspired by Christian music and Gregorian chant.

Beginning with unreleased song "Dust Bowl" and the haunting "A House in Nebraska," Cain's performance was an intense, resounding 40 minutes that traversed between peace and emotional turmoil, much like all of the songs from her breakthrough album, Preacher's Daughter. The euphoric response from her overflowing audience left little doubt that her songwriting can break down walls; she's a timeless act, and her Bonnaroo set proved it.

​​Neil Frances Set Themselves Apart

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There are a number of artists with variations of the name Neil Frances — or at least that's what it looked like from this year's Bonnaroo bill. One difference in letters, and you may have found yourself at the Other Stage at 6:15pm on Saturday, seeing Neil Frances instead of Neal Francis. But, whether you've been a fan of Neil Frances for years, or you wound up there by mistake, the indie-dance duo would not have let you leave disappointed. 

Backed by a live full band, their set felt like a psychedelic ode to the club, to dancing, and to feeling free. And their live production is every bit an artistic endeavor as is being in the studio. 

"We've always preferred to play with a live band; there are so many things that we do live that are completely different from the record," the duo's Marc Gilfry told GRAMMY.com. "It's fun, it's dramatic, and we have really great musicians."

Read More: NEIL FRANCES Just Want To Have Fun & Get 'Fuzzy'

Melanie Martinez Gave Us A Peek Inside Her Mind

Melanie Martinez | Dusana Risovic for Bonnaroo 2024

Adorned with bows, horns, over-the-top dresses, and a multi-eyed, alien-like prosthetic mask, Melanie Martinez was dressed exactly how you'd think she would. With a stage setup of greenery, giant mushrooms, nymphs, and various mythical elements that seemed to revel in its own kitchiness, the details of Martinez's intricately-woven performance art unfolded around the audience, song by song, immersing everyone in a world of weird, elaborate fun.

Her dancers wove through a delicately choreographed, three-act narrative, taking the crowd through her three albums in chronological order, telling the story of the Cry Baby character, who first appears in her debut album, Cry Baby. The character transforms from baby to child to young adult, and finally, to a fully grown, pink-skinned being in the third act. Martinez's set was artistry in every sense of the word, taking fans through the ups and downs of youth and coming-of-age through rich metaphor and lyrical imagery — and prompting delighted sing-alongs as a result.

Interpol Were A Quiet Gem

Interpol | Ismael Quintanilla III for Bonnaroo 2024

More than 25 years into their career, there's still something very disarming about Interpol. Maybe it's their effortless, NYC cool, or that they still know how to build the type of tension that gives you chills. Or maybe it's that they're men of very few onstage words — and when they do speak, you feel as though you've been given a gift.

Three things can be true, and they were for Interpol's Bonnaroo set Friday Night. Not ones to waste time talking, the three-piece rock band played an unbelievably tight 75-minute set, mostly sticking to a reliable selection of early hits, largely from their 2004 album, Antics. The crowd didn't seem put-off by the lack of chatter, as everybody had some singing along to do — because it was impossible not to.

Milky Chance Never Stopped Dancing

Milky Chance | Douglas Mason for Bonnaroo 2024

Milky Chance wants you to dance. The German duo-turned-quad may have steadily transformed since their early folk days, but they've never abandoned their ability to make every beat danceable and each chorus undeniable. And on stage, they were having a ball.

With a set that included both 2012 hit "Stolen Dance" and their latest, "Naked and Alive,'' their evolution from folk renegades to breezier, disco-pop pundits is on full display — and we're glad they brought us all along for the ride. 

Speaking to GRAMMY.com backstage, bassist Philipp Dausch discussed their journey: "It was quite a process to become the band we wanted to be. Our music has always been in-between electronic and folky, so we put a lot of work into becoming that band on stage as well. We love rhythms and beats. We like when music moves you."

Megan Thee Stallion Declared This A "Self-Love Summer"

Megan Thee Stallion | Pooneh Ghana for Bonnaroo 2024

No one is doing it like Meg. A highlight of day four — and perhaps the entire weekend — was Megan Thee Stallion's riotous, yet charming Sunday night set. Clad in a yellow-ombre bodysuit and welcomed by a crowd chanting her name, the Houston hottie commanded the What stage in a manner that suggested it won't be too long until she's in the headlining slot.

"Real hot girl s—," she screamed at the crowd, who didn't hesitate to scream back. It was clear she was on a high; not only was it her first Bonnaroo set, but it also followed back-to-back sold-out shows in her hometown of Houston, making it an absolutely monumental weekend for the rapper. 

Her and her dancers shook, twerked, and rolled through each hit without ever losing breath control — even during what she deemed the "personal section" of her set. And that portion was aptly-named; beneath the ass-shaking and thumping beats, "Cobra" brought about an air of sadness during an otherwise infectiously playful and positive performance. 

The lyrics chronicle her mental health struggles over the years amidst personal traumas and virulent online abuse. "Man, I miss my parents," she sang of her late parents, on what happened to be Father's Day. But shortly after the poignant moment, Megan quickly returned to her signature body-moving, sex-positve calling cards, "WAP," "Savage," and "Body," during which she declared this summer a "Self-Love Summer." That's some Real Hot Girl S— we can get behind.

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