meta-scriptWarren Zeiders' Big Year: The Country Star Recounts His Journey From 'Pretty Little Poison' To 'Relapse' | GRAMMY.com
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Warren Zeiders

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Warren Zeiders' Big Year: The Country Star Recounts His Journey From 'Pretty Little Poison' To 'Relapse'

Just 12 months after Warren Zeiders released his debut album, his sophomore set is already here. The singer/songwriter details his milestone-heavy breakthrough year, from a No. 1 hit to a tour with Jelly Roll.

GRAMMYs/Aug 28, 2024 - 03:53 pm

Warren Zeiders has a whiteboard in his house where he writes himself daily reminders. But there's one that always stays: a quote that reads, "Nothing changes if nothing changes."

That sentiment couldn't be more fitting for the 25-year-old, whose life has changed drastically over the last few years. After an injury derailed his plans to pursue a career in lacrosse, Zeiders pivoted to music in 2021, and immediately made waves with the viral single "Ride the Lightning." Just three years later, he's one of country music's most unique new male voices, who has already scored a No. 1 hit and headlined multiple sold-out tours.

"I'm a firm believer, in three years of doing this, that this is what I was put here on this Earth to do," Zeiders tells GRAMMY.com. "I couldn't envision myself doing anything else. It's so funny how things have a way of working out."

What's perhaps even more remarkable about Zeiders' country music success story is that he had never even written a song prior to 2021. Stats aside, it's undeniable that he's a star — from the compelling grit of his voice and his candidly emotional lyrics, to his onstage swagger. Music clearly comes naturally, because Zeiders has already released his second album.

Relapse, the follow-up to 2023's Pretty Little Poison, offers a deeper look into Zeiders' artistry, from the racing, pop-tinged title track, to the impassioned ballad "High Desert Road," to the harrowing confessional "Devil I Know." It further proves he's equally unafraid to be raw in his storytelling and to push his vocal ability, both attributes that have helped him break through in the booming country music scene.

Just four days after Relapse arrived, Zeiders hit the road with Jelly Roll on The Beautifully Broken Tour. The Pennsylvania-born singer will serve as direct support on the two-month trek, which will hit arenas around the United States including New York's famed Madison Square Garden — adding more huge milestones to his already stacked resume.

"It does nothing but motivate me and want me to push that much harder," Zeiders says of the tour. And with The Relapse Tour already set for the spring of 2025, he's ready for things to only keep getting bigger. "I'm a personality that always likes to be growing, expanding and trying new things. So we'll see what the future holds."

Ahead of releasing Relapse, Zeiders reflected on his major achievements over the past year. Below, hear from the budding star himself about landing a No. 1 hit with "Pretty Little Poison," winning his first award and more.

Releasing His Debut Album, 'Pretty Little Poison'

I think a lot of people forget I was an athlete my whole life. I was playing lacrosse for 12 years. That was my livelihood, that was my passion, that was everything to me. Obviously I love music and I love what I get to do, but music wasn't a lifetime goal when I was a little kid. It wasn't until COVID had hit where I started posting videos on social media, and things started to kind of snowball.

I firmly believe that the good Lord always did have music on my heart, because I always loved to sing and play guitar, but it was just nothing that I ever thought was worth pursuing. That all to be said, I think I did have a healthy chip on my shoulder [about my first album]. I did want to solidify myself [as] not a flash in the pan, not just a dude who had a viral moment on social media. I took that and kind of just ran with it, and was like, I know the gift that I believe that the good Lord gave me, and my fan base is growing, and people are showing up to these shows

So when it came to making my debut record, I really did take my time on that. I was very selective with the songs, and [tried] to make my first cohesive body of work. It was one of the most stressful times of my life, because I was so hard on myself — and always have been, whether it was in sports or now doing this — but I really did want to prove it to myself, and want to prove it to the people that were already believing in me. 

When that album finally came out, I felt so much relief for a moment. [I also know] that now is the time to continuously push the record and let people know it's out. But it's made me grow so much in my artistry and have more faith in myself.

I actually got really, really sick when my album dropped. The following day, I was like, deathly sick signing thousands of records for fans. I wasn't contagious, but it was just a fun story to look back on. It's God's sense of humor, just letting you know you're still alive.

Earning His First No. 1 At Country Radio With "Pretty Little Poison"

I remember posting it for the first time on Instagram. I can vividly remember the clip; it was of me in the vocal booth singing. That song, I must have sang over 100-plus times [in the booth]. I was beating myself up so much to the point of, like, I'm not believing the person singing this song right now. I was having to get myself back into that headspace [of] when I wrote it.

I took that clip and threw it up on social media. It got a decent amount of views, but it was nothing crazy. It wasn't until almost a week later, when I posted another video of me in the studio, sitting with my engineer at the time, in the studio, listening back. And I remember texting my manager, being like, "Um, this thing's going uber viral right now," and he was like, "I think we got one." 

We were seeing the thing unfold before its release, and then when it came out, through the streaming numbers and the interactions on social media, we knew that we had something special. I had faith in it from the beginning, and seeing what it was doing performance-wise, on the streaming side, I was like, This is a great piece of art to take to country radio… It'll be my first kind of splash into the scene. And lo and behold, 34 weeks on the charts, and it's a No. 1 — a pretty fast climb. 

The night it officially went No. 1, I had my dad out on the road, which was super cool. We were playing a place called Emo's in Austin, Texas. I vividly remember popping off a bottle of champagne after the show and giving a speech, and then we went across the street and played a couple rounds of pool. [And] my momma surprised me when I got home that weekend. She made me breakfast and had number one balloons and everything. 

Shout out to my CEO, Aaron Bay-Schuck, over at Warner L.A. When we first met, he was like, "You get about one victory lap for each win." I'm a firm believer in that, just from my athletic background. It's one thing to soak the win in for a second, but the reality is, the job's never done. As a guy who has been doing it for a short term, but I plan to be for a long time, and I have very high goals for myself — that is, stepping into arenas and stadiums one day myself. It's gonna take time, a lot of effort, but the job's never done.

Making His National Television Debut On "Jimmy Kimmel Live!"

It wasn't that I was nervous, it was just a new experience, and it was trusting in my ability and trusting in my gift and being like, This is another day in the office. The song was officially already  No. 1, and that gives you a little bit more confidence when you're singing it for the first time on live television.

I was actually supposed to play "Kimmel" the year prior, but the writer's strike had occurred. Once they got back on the air, it lined up almost a year to year to the date, of me finally getting onto Jimmy Kimmel. Rather than playing it on live television when the song had recently just come out, ["Pretty Little Poison" was a] No. 1 song, and [had] hundreds of millions of streams, and [it was] double platinum. 

Unfortunately, Jimmy wasn't there by the time we got in to record. And we waited as long as we could to hopefully see if he was going to be back, but, you know, I can relate — we all have our busy schedules. We had to catch a flight. We were flying back to Nashville, and me and some of the guys on my team, we got to watch [the performance] on our Southwest flight. It was super cool.

Winning His First Award, The CMT Music Award For Breakthrough Male Video

Two days prior, I did some interviews, and they were like, "How are you feeling about your first nomination?" I was like, "I'm excited to accept my award on Sunday night." The only moment of doubt I had was when it finally came down to the nominees for my [category]. I was like, Man, you're up against great competition here. Those few moments were up, and they said my name. And I was like, Okay, that's right.

My mom, dad and sister were all at the CMT Awards — mom and sister were, like, 10 rows behind us, but me and my dad were in the seats with all the artists. My dad has always been my best friend and my biggest supporter, and I attest a lot of my success to how he and my mom raised me — my work ethic, my drive and my faith, and how I view life and what I want to achieve. 

That being said, I did get emotional when I accepted my award. I stood up and gave [my dad] a really big hug, and I could already see him tearing up. And when I went to take the stage, I was like, Just make sure you give thanks to God, and keep it short and sweet. I want to make sure I thank the fans a lot. And it was second nature to say something about my dad.

I have a wall dedicated for "Pretty Little Poison" plaques, and then I have some mantles in my kitchen/living room space. I've got the CMT award next to my first vinyl of the Pretty Little Poison album, my Opry sign from when I played it for the first time, my letter that I wrote to my fans when the Pretty Little Poison album dropped. Just a lot of cool, fun stuff. It's the inner athlete of me. [Laughs.]

Creating (And Releasing) His Second Album Amid His Breakout Year

I was [still] learning my voice. Your voice is a muscle. [Singing is] my daily grind of working out — the time and the energy, and just putting in the hours of work. My voice had developed so much from posting videos on social media to then going out and singing night after night. You're constantly growing and figuring yourself out.

The same applies to the writing mentality. The more you do it, the more you know what you want to say. It's been a lot of fun, and I've really gotten a good grasp on what I wanted to say on that first record, and now, this new one.

I like to say there's a lot of different facets to [my] artistry. I'm really excited about this album, but there are definitely other things in the works for the near future. So let's just say what's coming out in August is a great sampler — some tastes and flavors of what's to come. 

Obviously, there's music in this new [album that's] a reincarnation of Pretty Little Poison, lyrically and musically. But then there's stuff that's acoustic driven, like "Addictions," [which is] meant for you to soak in the words that I'm saying. But then there is stuff like "Relapse" that fits more into that modern — I don't even know if I want to say pop, but it's a different side of me.

I've been very hands-on with my producers on this music. And whether somebody likes this song or doesn't like this song, they can find something in this project that they like. It's gonna keep the fan base that's already pre-existing and it's going to bring in a new side too, which I'm really excited for.

Hitting The Road With Jelly Roll

Here's what I'll say: it won't be new to me in numbers. What'll be new to me is the atmosphere.

I've been doing the whole headlining thing since I started hitting the road, minus, obviously, festivals and stuff like that. But these will be the biggest arenas I've stepped into, and being direct support for Jelly Roll, who is having an iconic year, I think it just was a match made in heaven for us to come together and hit the road.

The rooms are getting bigger, but it just gives you that much more of a taste to be like, Let's go put on a hell of a show. Before you know it, you keep working your ass off, and we'll be playing these places and headlining them ourselves.

I've gotten a chance to talk to Jelly Roll and his bandmates quite a bit, and they're just good people. I'm sure there'll be a bunch of fun going on behind backstage and in the parking lots — I guess he's bringing a portable gym, ice baths and saunas. And I'm like, "Dude, you're speaking my love language." So I'm sure there'll be a lot of stories to tell — and not tell.

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Thomas Rhett Press Photo 2024
Thomas Rhett

Photo: Josh Aikin

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'About A Woman' Named Lauren: How Thomas Rhett's Wife Inspired His New Album

With his seventh studio album, Thomas Rhett goes all-in on making music for his wife. The country star breaks down how Lauren influenced songs like "What Could Go Right" and "Church."

GRAMMYs/Aug 23, 2024 - 05:24 pm

Thomas Rhett married his wife, Lauren, in 2012 — the same year he launched his career in country music. Naturally, the majority of his catalog has been inspired by their relationship. Over a decade into their marriage, Rhett has officially dedicated an entire album to the love of his life, the aptly titled About A Woman. And is she surprised? Absolutely not.

"A lot of people are like, 'Oh my gosh, does she just melt when she hears these songs?' And I'm like, 'Maybe back in the day, but not anymore,'" Rhett tells GRAMMY.com with a laugh. "It's actually gotten to the point where she's like, 'How do you continue to write about me?'"

But unlike Rhett's GRAMMY-nominated ballad "Die a Happy Man" or his 21st country radio No. 1, "Angels (Don't Always Have Wings)," About A Woman is largely full of upbeat tracks — something that did surprise his wife. "That was her favorite part," the singer adds. "She wants to know there's some fun that can be had with a love song."

From the racing, pop-tinged melody of "Fool" to the bluesy, howling hook of the title track, About A Woman is a feel-good celebration of love. Thomas and Lauren's love story — which dates back to grade school — is most vividly reflected in "What Could Go Right," a retelling of the night they went from friends to lovers. Other personal touches are scattered across the album, including "Church," an ode to their favorite artist, Eric Church, and "Overdrive," which features an anecdote from a high school party.

Of course, there is one ballad on the album, the heartfelt closer "I Could Spend Forever Loving You." But while Rhett was making About A Woman, he knew that the best way he could accurately portray their relationship was with uptempo songs.     

"It kind of feels like we're 21 again — there's a lot more flirting going on, there's more dates, there's more adventure. Even though we have four children, our love level today feels very young and wild and reckless," Rhett says. "That was a fun thing to get to capture on a lot of these songs. I was writing from this giddy phase."

Ahead of About A Woman's Aug. 23 arrival, Rhett sat down with GRAMMY.com for an in-depth chat, well, about a woman. Below, hear from the singer himself on how his wife inspired some of the songs on the album.

"What Could Go Right"

I've been trying to write this song for, like, five years. There was a moment when I was 21 years old — and if you don't know anything about me and Lauren's story, we grew up knowing each other, and I always was head over heels for her. We dated a little bit in high school, but it was kind of a young, dumb high school relationship.

We still remained best friends — she would date somebody else, I would date somebody else, but we would always double date with each other. And I think that she was fully over me in her mind, but there was like this little part of me in the back of my mind that just never got over her.

Right before her last semester of college, I texted her, and I was like, "Hey, this is gonna sound really awkward, but I don't know that I can be your friend anymore, because I'm actually, like, in love with you." I think she didn't know how to respond to that. 

So I called her dad, and I was like, "You think I should tell her?" And he was like, "Well, if you don't tell her tonight how you feel about her, I'm gonna tell her." And I was like, "Well that would be even more awkward."  

The night her sister graduated high school, the crowd had started to die down, and Lauren's dad looked at me and he said, "Now's your time." I remember walking out there and kind of just laying it all out. And she looked at me, and she was like, "I feel like you just ruined our friendship." And I said, "Well, I would rather ruin our friendship today knowing that we can be friends later, rather than pretend to be your buddy, but I really just want to make out with you." 

I pulled the cheesiest line ever — it felt like Ryan Gosling out of The Notebook — I was like, "I dare you to kiss me. And if you don't feel any fireworks, if you don't feel any butterflies in your stomach, then let's just move on." And she was like, "Alright, we'll give it a shot." So we kissed, and that was the beginning of everything. We started dating the day after that, and six months later, we got engaged, and, nine months after that, got married, and here we are with four children, 12 years later. And it all started because of that night. 

That's why that song resonates with me so much. It kind of reminds me of [my song] "Life Changes" — it's just so vividly detailed that it could only come from my mouth. For me and Lauren both, that song holds such a special place in our hearts.

"Overdrive"

It was my junior year, and my wife was the homecoming queen — everybody in our school wanted to date Lauren. She was just so breathtakingly gorgeous, and her heart was so real and authentic.

I remember driving to this party that everybody was going to, and Lauren texted me, like, "Can you pick me up and take me to this thing?" So it was this feeling of being 16, 17 years old, just like, Man, I know that it's your boys before everybody else, but in this case, I'm dropping y'all. The hottest girl in my world just asked me to pick her up to take me to this party, so I'm getting there as fast as I possibly can. 

I think the only line that does not directly correlate to my wife is in the second verse, when it says [something] like, I had to put you on my shoulders because you're wearing high heels to a bonfire party. My wife would rather die than put high heels on and/or put makeup on.

"Gone Country"

If I'm being completely honest with you, it is the only track on the record that does not directly relate to my wife. When I listened to that chorus, I was like, Man, our genre is having such a massive moment. And there's so many stories I've heard of girls or guys from the city meeting a girl or a guy from the country, and falling in love with the simplicity of the lifestyle.

At the end of the day, I didn't need it to fit the rest of the story. I couldn't get enough of the song, so I was like, You know what, I'm gonna let this one slide a little bit.

My wife is as country as crap. [Laughs.] When I played this for her, she's like, "This is not about me, right?" I was like, "No, this is about people just really wanting to be inundated in the country music culture."

We're pretty dadgum equal [when it comes to being country]. I was born in Valdosta, Georgia, which is a real southern part of Georgia, but I grew up in Nashville. My dad's probably the biggest redneck that I know, alongside Lauren's dad. But we both grew up hunting, fishing, riding four wheelers, catching bream out of some stale pond and frying them in Crisco, eating biscuits and gravy for breakfast. She would say that she's more country than me, but I'm just going to let her believe that. Happy wife, happy life.

"Beautiful As You" (The Instagram Version)

Our whole relationship has been based on picking on each other. Even in middle school when I first got to know her at church camp, she would always look at me and be like, "You're shorter than me." That was how we started our friendship, and that's kind of how we flirted with each other.

It's a really good feeling to know that we have never lost that bit of our relationship. We both have the same humor — like, on Instagram, when we see memes and we show them to our whole family, and me and Lauren are dying laughing. That's how you know that you're made for each other, in a certain way.

It's always fun to kind of slide one in that's unflattering of Lauren — because the irony of that is, there's really nothing that's unflattering about her, and there's so many things that are unflattering about me. So when she wants to get me back, it's such a more in-depth getting back than me getting back at her. [Laughs.]

"After All The Bars Are Closed"

I can list like, five to 10 moments — even in the last six months — where that was our story of just like, "Hey, the kids are down. Let's go build a fire and let's sleep outside tonight." Whereas, even two years ago, it was like, get me to my pillow as fast as humanly possible, because life was just so fast and chaotic.

Last year, we did this road trip out West. We did Zion National Park, went all over to the National Parks in Utah, New Mexico and Colorado. Those nights where we were hiking all day, and our kids are so worn out — that was when me and Lauren would go grab some random craft beer out of the fridge, [sit] on the back porch, and get out our star app and try to find as many as many constellations as we possibly could. And [we'd] get to reminisce about the week, and laugh, and flirt, and kiss. Those things sound really normal for a newlywed couple, but when you experience a lot of years of marriage and start to have kids, you realize those moments can be very few and far between, if you don't make a diligent point to make those nights happen.

Lauren loves to play board games. [When] the rest of our family is, like, dead tired, Lauren looks at me, she's like, "What game are we gonna play?" and I'm like, "Are you not exhausted?" And she's like, "Yes, but this is where my cup gets filled up for the next day." 

As sort of PG as all of that sounds, that is sort of my rendition of "After All The Bars Are Closed." I had this conversation with Julian [Bunetta, Rhett's longtime co-writer/producer] a lot, but it's like, "Man, how do you take things that are actually happening in your life and have them apply to an 18-year-old kid?" 

So "After All The Bars Are Closed" was just like, "Everyone's down for the count, but me and you still have energy to keep this party going" — which can relate to people in their mid 30s and 40s, but also can relate to kids going to the bar when they're 18 years old and wanting to go find the field to park in afterwards.

"Church"

I was about to headline Stagecoach for the first time, and I got this chorus and verse sent to me by a couple of guys that I've written with a ton. Me and these co-writers really bond over being Eric Church nerds. When I heard this hook [with] all these super inside Eric Church references, I knew from that moment that this was going to be — besides "What Could Go Right" — the [song] that [Lauren] goes back to the most.

The majority of me and Lauren's high school and college really revolved around two people: Corey Smith and Eric Church. So I have all these memories of seeing Eric Church with my wife, or her buying me a copy of "These Boots," and me buying her a copy of Chief, and just spending our days memorizing these words. It was always my mission to learn so many Eric Church songs so that I could play them around bonfires and parties.

As I've been in this career for 15 years, me and Lauren have gotten to know him and his wife pretty well. I remember finishing that song and sending it to Eric, and getting his stamp of approval on that song was one of the biggest highlights of my career. His music meant so much to our love story, and I have so many memories that are attached with Lauren to his music, that this song just had to be on the project.

"Somethin' 'Bout A Woman"

It was like, 1 o'clock in the morning after a show. I'd learned these random jazz chords that day that I started kind of playing. My bus driver's name is Rhett — he's 82 years old, and he drove buses for, like, Mötley Crüe and Dolly Parton — and I looked at Rhett, and I said, "What should we write about?" And he just looked at me, and he said, "I don't know. I guess something about a woman." And this song fell out in 30 minutes.

I love this track so much because it's something I've been trying to write for a long time, but it's never really come out in a unique way. This song has such a vibe, so much sauce. It's like, Steely Dan meets the Rolling Stones meets my love for R&B. It's kind of my best attempt at doing what Chris Stapleton does every day.

"I Could Spend Forever Loving You"

We went into that session not even thinking we were writing a song for this record. Our ultimate mission was to try to write a song we could get in the "Yellowstone" [TV show] soundtrack.

I'm obsessed with love films that end with the couple being old together. I'm obsessed with nostalgia, and I'm obsessed with things working out in a positive light. I cannot wait to be 40. I can't wait to be 50. I can't wait to be 60. Because it's just sort of like, "Hey, we made it another decade!" 

I dream about sitting on the front porch in the middle of the country with Lauren, in a rocking chair, watching our kids who we raised, and looking at our grandchildren. I'm obsessed with the thought of knowing that we're gonna finish this race really strong. 

That's where the inspiration of "I Could Spend Forever Loving You" came from. It's like, there's gonna be ups and there's going to be downs, but we can kind of weather any storm — because we've already weathered plenty of storms.

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Lainey Wilson performing at Faster Horses 2024
Lainey Wilson performs at the 2024 Faster Horses Festival.

Photo: Scott Legato/Getty Images

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Lainey Wilson's Road To 'Whirlwind': How Superstardom, True Love & Staying Grounded Influenced Her New Album

As Lainey Wilson continues her reign as country's current queen, take a deep dive into her hard-won rise — and how it all led to her most assured album yet.

GRAMMYs/Aug 22, 2024 - 04:49 pm

Lainey Wilson will be in discussion, with a performace to follow, at the GRAMMY Museum on Sept. 5. Learn more about the event here.

If there's one word to describe Lainey Wilson's life in the past year, it's whirlwind — which is exactly how she chose the name of her third album.

Since releasing Bell Bottom Country in 2022, the Louisiana-bred singer has been on an unprecedented tear. Whether she's selling out arenas nationwide, collecting countless awards, or launching or own line with Wrangler, Wilson is country music's newest queen. 

It's the culmination of a long and hard-fought journey for Wilson, who first moved to Nashville over a decade ago with not much more than a dream. But as she explained to GRAMMY.com earlier this year, Wilson has been manifesting this level of country music success since she wrote her first song at just 9 years old. 

"I've dedicated my life to it," she said. "And it really is cool to just feel like that little 9-year-old girl who was writing her first song, that she wasn't completely crazy."

Read More: Lainey Wilson On How Her Stardom Is A Testament To "Believin' And Receivin'"

Wilson grinded behind the scenes in songwriter rooms and at local gigs during her early years in Nashville, independently releasing her self-titled debut record in 2014, followed by the fittingly titled Tougher in 2016. It was a time of trial by fire as Wilson was learning how to navigate not only Nashville's music scene, but honing her own voice as a songwriter as well.

"Each album has been a reflection of the season I was in at the time,"  Wilson tells GRAMMY.com now. "My first album was the safest. I was young and had just moved to Nashville, but still hadn't seen too much of the world just yet. My next album became more confident and a little sassy. After that, I started to really discover my north star, staying open to all kinds of people and opportunities and sticking with the parts that felt the most authentic to me."

Just months before signing with Broken Bow Records in 2018, she delivered another self-titled project – this time, an EP, which conveyed both gratitude and sensitivity with songs like "Dreamcatcher" and "Breakin' Your Heart." Both qualities would soon become Wilson's trademark, and what particularly made listeners gravitate toward her breakthrough hit (and eventual first No. 1 at country radio), "Things A Man Oughta Know."

First appearing on her 2019 EP, Redneck Hollywood, "Things" was the second single on her debut studio album, 2021's Sayin' What I'm Thinkin'. Along with putting Wilson on the map, the LP also introduced fans to her unique style that she calls "bell bottom country" — sonically, a mix of nostalgic and twangy, pop-tinged sounds that never takes itself too seriously; visually, presented with flair (and flare) in her now-signature bell bottom pants.

"It's finding that thing that makes you unique, and leaning into it," Wilson told Rolling Stone in 2021. "It could be your story, your sound, where you're from, how you're raised, how you dress. I kept thinking about those words, 'bell-bottom country'…how can we do this? I definitely wanted a bit of Bobbie Gentry vibe, but also the pureness of Lee Ann Womack but also the sassiness of Dolly Parton. I wanted it to feel timeless and classic and, honestly, a little not too perfect."

Once "Things A Man Oughta Know" topped the charts, it wasn't long before Wilson did it again with Cole Swindell on "Never Say Never," her first of several chart-topping duets to come. She also hit the road opening for Jason Aldean, setting her up as an artist to watch and ensuring that she wouldn't be a flash-in-the-pan success story.  

After being unapologetically herself on Sayin' What I'm Thinkin', Wilson doubled down on that sentiment — and her brand — with Bell Bottom Country, a 16-song exploration of classic country instrumentation with glimmering '70s rock elements. It saw Wilson tell her story more than ever before, from the heartfelt ode to her father, "Those Boots (Deddy's Song)," to the strong-willed generational tale of "Wildflowers & Wild Horses." 

Though Bell Bottom Country was a bit of a slow burn — peaking at No. 9 on Billboard's Top Country Albums chart — Wilson's place in the country music zeitgeist was rapidly rising. Two weeks after Bell Bottom Country arrived, she made her acting debut as a guest star in "Yellowstone"; a month later, her booty-hugging bell bottoms went viral on TikTok.

Within the next several months, Bell Bottom Country spawned two No. 1 hits: the dynamic resilience tale, "Heart Like a Truck," and the "Strawberry Wine"-esque "Watermelon Moonshine." By the end of 2023, she'd score four No. 1s (thanks to collabs with HARDY and Jelly Roll), serve as direct support for Luke Combs' stadium tour, and become a brand ambassador for Wrangler jeans and Stella Rosa wines — all of it propelling Wilson to becoming a household name. And by May 2024, she'd scooped up three of the most coveted country awards: Entertainer Of The Year at both the Country Music Association Awards and the Academy Of Country Music Awards, and a GRAMMY for Best Country Album for Bell Bottom Country.

As her fame rose, Wilson had to make a conscious effort to stay grounded — especially because her personal life presented a whirlwind of its own. While the singer's career, as she puts it, "had me feeling like I was holding on to the tail of an airplane," her dad experienced several health issues, and simultaneously, she was balancing a relationship with former NFL quarterback Devlin Hodges.

"I had to learn how to rise to the occasion, deal with the pressure, and tend to my feelings and personal life around it all," Wilson explains. "I didn't feel in control of anything; like I was the victim of the chaos."

But as she started to make peace with her new reality, Wilson found solace in music. Soon, she had the makings of her fifth album, Whirlwind. "I [found] my footing through writing these songs and committing to a few good habits that have helped me become my best self," she adds.

Like Bell Bottom Country, Whirlwind sees Wilson telling her story — so, naturally, this time, there's a lot more love songs. "Counting Chickens" and "4x4xU" hint that she's found her life partner, while "Hang Tight Honey" and "Good Horses" remind that she won't let fame get in the way of a good thing. (Even the title track flips the proverbial whirlwind of her career into a metaphor for love: "We're a whirlwind/ But baby, loving you's a breeze.")

Whirlwind largely expands on Wilson's signature country flair, but a standout is the hip-hop, rock and country mash-up "Ring Finger" (which, ironically, is a breakup song; "I got the ring, he got the finger," she sings on the chorus). Much like with her previous two albums, Wilson teamed up with producer Jay Joyce for the project, noting that his willingness to experiment has helped her establish a sound that's fresh and unique, but also classic and timeless — a formula that's only proving to be more and more successful for the singer.

"I've become more confident, first and foremost," Wilson says of her growth. "I've seen beautiful things that come from pressure, and the things it can break. From that, I feel like I am writing with more wisdom and understanding and doing so in a way that kind of observes feelings instead of getting lost in them."

That wisdom and understanding is perhaps most apparent on "Middle Of It," an autobiographical illustration of how she's navigated her growing success. But whether she's exploring new sounds or new storylines, Wilson continues to prove that she'll never lose sight of the country-loving, hard-working girl she's always been.

Whirlwind paints a picture of Wilson rising above her success and its ensuing chaos, ultimately finding herself more at ease than ever before. It's all proof that her long-traveled journey has been well worth it — she's helped make country music cool again, and she doesn't plan on slowing down anytime soon.

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Post Malone Sound Evolution Hero
Post Malone

Photo: Brett Carlsen/Getty Images for Spotify

feature

Post Malone's Sound Evolution: How His Country Turn With 'F-1 Trillion' Fits Into His Shape-Shifting Style

On the heels of Post Malone's Grand Ole Opry debut, dive into the superstar's discography and discover how his unpredictable musicality has led to his first country album, 'F-1 Trillion.'

GRAMMYs/Aug 15, 2024 - 01:30 pm

Post Malone is getting ready to make perhaps the biggest pivot in a career full of them: a country album. Titled F-1 Trillion, it might seem like a strange move for a man who first came to fans' attention rap-singing over trap beats. His breakout track, after all, was co-produced by a guy best known for working with Tyga, Travis Porter and 2 Chainz.

But Post has never been comfortable sitting still. Over the years, the 10-time GRAMMY nominee has explored a great deal of musical ground, all the while branching out from the trap-influenced sound that first brought him fame in 2015. 

While he has broadened his vision both in terms of musical styles and subject matter, Post has long featured roots music elements in his sound. His country music turn shouldn't come as too much of a surprise to veteran listeners, who surely remember the Texas-raised star referencing George Strait's "All My Ex's Live In Texas" back on his first album.

In fact, Post and country music have a long-standing connection, from covers of genre classics to a Joe Diffie tribute at the 2023 CMA Awards. And with F-1 Trillion already spawning the biggest country hit of the year so far — the chart-topping Morgan Wallen collab "I Had Some Help" — Post's country venture is shaping up to be his latest massive success. 

He further proved that less than 48 hours before F-1 Trillion's Aug. 16 release, when he made his debut at country music's hallowed Grand Ole Opry. Three-time GRAMMY winner Brad Paisley may have put it best as he introduced Post onto the Opry stage: "This is a guy who made his mark in other formats, and has a country heart."

As Post releases F-1 Trillion, GRAMMY.com traces his musical history, from his hip-hop beginnings to his honky-tonk present. Below, see how Post Malone's style has evolved through the years.

'August 26th' & 'Stoney': Establishing Hip-Hop Clout

Post's debut album, Stoney, and the pre-album mixtape teaser, August 26th, both feel like an expansion of his breakout hit "White Iverson." Like that smash single, most of the tracks on these two projects feature trap-style drums, with their distinctive 808-style kick drums and fast hi-hats. Post is sing-rapping, often about topics that wouldn't sound out of place on any other circa-2016 trap project: luxury brands, jewelry, being at the strip club, and flexing on haters.

But there was something else there, too. Post had his emotional moments, where his still-new success was giving him the blues. There was also rock influence — "Hollywood Dreams" even rewrites a Fleetwood Mac classic. And both projects had moments of roots music, as well as blues and folk overtones that would only grow more prominent as time went on. August 26th's "Oh God," which closes the project, is basically a blues number, as its prominent acoustic guitar and lyrics with ominous Biblical references testify. Stoney likewise closes with an acoustic song, "Feeling Whitney" — leaving his newfound mass audience convinced that he knew how to handle a stripped-down ballad.

'beerbongs & bentleys': Rap, With Hints Of Rock

Post's second proper album has two main kinds of songs, both of which are reflections on his recent success. There are the songs about the spoils of stardom (parties, drugs, women, money, luxury goods, and especially cars — the album ends with three automotive tracks in a row); and then there are the songs about its downsides, often with very literal titles like "Paranoid" and "Rich & Sad."

Musically, Stoney's trap drums are still there. But Post's melodic taste has expanded, from standard rap-singing to something a little closer to the rock and roll he loves (this is, after all, a guy who will cover an hour's worth of Nirvana songs at the drop of a hat). 

The outlier on this album is "Stay," an acoustic-heavy pop song so Beatles-esque that its working title was "George," for George Harrison. Like "Feeling Whitney," "Stay" further shows Post's affinity for quieter, more stripped-down songs — an ability he'd continue to refine with subsequent albums, including F-1 Trillion's heartfelt ode to his daughter, "Yours."

'Hollywood's Bleeding': The Exploratory Phase

With 2019's Hollywood's Bleeding, Post dares to leave the trap drums and hip-hop stylings alone for multiple songs at a time. The album does bring in its fair share of rappers to be sure; DaBaby, Future, Young Thug, Swae Lee, and Travis Scott all feature. But the main thing that sets the project apart from its predecessors is not that, nor the subject matter, but the variety.

There is one song that veers close to heavy metal, "Take What You Want," which was produced by classic rock whisperer Andrew Watt and featured the Prince of Darkness, Ozzy Osbourne. There's a sunny jam band-style track about life on the road ("Myself"). There's an indie-pop number ("Circles"). There's one straight-ahead pop song ("Staring At The Sun"), and a different one with a string section ("Internet"). There are several rockers that could (and did) fit right in on alternative radio.

Hollywood Bleeding was the first time that Post leaned all the way into his versatility. He fully inhabits each genre he tries, exploring almost every nook and cranny of the contemporary rock and pop world along the way. After such a varied album, it only makes sense that his next project should be more focused. In retrospect, this album can be read as an early indication that a country album was all but inevitable: if Post can convincingly pull off so many genres, why not country?

'Twelve Carat Toothache': Post Gets Serious

Malone's first album of the pandemic era continues his evolution away from hip-hop trappings begun on its predecessor, and is more cohesive sonically than its predecessor. Even the songs with actual rapping, like a collaboration with Doja Cat, sound more like pop than rap.

Instead, Twelve Carat Toothache is the work of a musician who wants to leave the hip-hop trappings of the likes of "White Iverson" and "Go Flex" — musical and lyrical both — behind him. The project begins with just acoustic piano and Post's voice on "Reputation," and ends with a voice-and-acoustic-guitar demo of album standout "Euthanasia" (titled "New Recording 12, Jan 3, 2020"). 

Twelve Carat Toothache has plenty of ballads: acoustic ones, rap-singing ones, dramatic rock ones. And big emotions are the name of the game — tracks subtitled "A Happier Song" and "A Sadder Song" are back-to-back, and "Euthanasia" and "When I'm Alone" are as feelings-forward as their titles would indicate. 

After the exploration and variety of Hollywood's Bleeding, Twelve Carat Toothache indicates that Post wants to be taken seriously as an album artist — and, as F-1 Trillion's down-home songs would later fully reveal, someone who can tug on the listener's heartstrings. He would continue those quests in a most unexpected way: by looking back to the '80s.

'AUSTIN': A New Wave, In All Senses

We're a long way from rap now; AUSTIN is fully a rock and pop album. There are no rapper guest appearances — in fact, there are no guest appearances at all. And with his birth name serving as the album's title, it seems that was every bit intentional.

The record has plenty of rootsy, acoustic songs, especially towards the end. But it also has something different for Post: a new wave, 1980s synth-pop feel on a number of tracks. The cohesiveness of Twelve Carat Toothache is retained, and the end product is extremely professional and polished. As a whole, the album (perhaps uncoincidentally) puts Post's songwriting skills on full display. 

At this point, Post has traveled very far from his early days. His next move would have to be something that builds on his now-well-established cred in pop and rock styles, but that would also surprise his current fans — and maybe bring him some new ones. 

'F-1 Trillion': The Country Era Begins

Rumors began over a year ago that Post was going to release a country album, and he openly acknowledged it was a possibility in interviews. So it was no surprise when F-1 Trillion was finally announced earlier this year.

As the project's lead single hints, Malone will have plenty of help: F-1 Trillion will feature guest appearances from country titans Morgan Wallen, Blake Shelton, Brad Paisley, Luke Combs, Chris Stapleton, Tim McGraw, Lainey Wilson, Jelly Roll, Hank Williams, Jr., Dolly Parton and more. The who's-who-of-country guest list shows that Post has plenty of clout in Nashville — and considering the album reportedly moved more than 500,000 units before it was even released on Aug. 16, he's making waves with country fans, too.

The songs vary sonically from big country-pop hooks ("I Had Some Help") to fiddle-filled romps ("Pour Me A Drink") to tear-jerking ballads that are sure to make their way into the repertoire of wedding bands across the country ("Yours"). Post blends in with his vocal costars, with a little bit of AutoTune on a few tracks marking the only noticeable connection to his trap music beginnings.

Lyrically, he puts plenty of emphasis on clear narrative and the puns and reversals that are country music's stock in trade (in the Combs duet "Guy For That," he has a "guy" on speed dial for every possible need — except, of course, for repairing his girl's broken heart). Now, he's focused on telling a straightforward, compelling story versus evoking mood and emotion — an indication that nearly a decade in, he's still growing as a songwriter.

The fact that Post can convincingly pull off a country album continues to demonstrate to the world that he's as unpredictable as he's always been. There's no telling where he'll end up next, and that's what makes him so intriguing to his fans — a group that now includes people who love both "White Iverson" and "White Horse."

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Ella Langley Press Photo
Ella Langley

Photo: Caylee Robillard

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Meet Ella Langley, The "You Look Like You Love Me" Singer Ready To Be Country Music's Next Straight-Shooting Queen

With her debut album, 'hungover,' Ella Langley doubles down on the relatable, raw songwriting that's helped her become one of country's most promising new stars: "I’m here to play."

GRAMMYs/Aug 7, 2024 - 01:15 pm

Just hours before Ella Langley released her debut album, hungover, she checked off another career goal: playing a stadium. Opening for Morgan Wallen in Kansas City, Missouri, she couldn't help but flash back to young Ella, whose musical aspirations have long been stadium-sized.

"I've been manifesting this my whole life. People used to ask me, 'How far do you want to take it?' and I was like, 'As far as I can — which is, in my brain, a stadium,'" the rising country star tells GRAMMY.com on the day of her album release. "So with the record coming out and playing my first stadium, I just kept thinking about that little girl that would lay in her room, stare at the ceiling and wonder if her dream would ever work out. And yesterday, it felt like it's coming true."

It's not entirely surprising that two major milestones happened simultaneously for the Hope Hull, Alabama native. Since she moved to Nashville in 2019, Langley has been winning over peers and fans alike with her candid storytelling and playful demeanor. It's exactly why she's been touted as an artist to watch by CMT and the Grand Ole Opry, among many others; it's also why her most recent single, the cheeky Riley Green team-up "you look like you love me," has been making waves on social media and even across the pond in the U.K., where it's already hit No. 1.

The rest of hungover further showcases her raw-and-real approach, from the twangy kiss-off "cowboy friends" to the regretful tale of "love you tonight." She masterfully finds a balance between straightforward and meaningful, ultimately reminding listeners that it's okay to not be perfect — and to lean into that.

"There's this level of honest that I'm not afraid to be," Langley says. "I think people need somebody like that."

Below, the buzzy country singer details the "badass" women who have inspired her strong-willed attitude, how she's seen her music impact fans, and why she'll never stop thinking of her growing success as "just nuts."

You've said you didn't really consider yourself a songwriter, which is why you moved to Nashville. Now you've co-written two full projects. Clearly you had some sort of songwriting talent in you!

I just have the imagination of a 10-year-old, and that helps, for sure, with songwriting. My dad's an incredible storyteller. My grandpa was an incredible storyteller. Really, storytelling is what my family did. If you come and sit at our dinner table, everyone's talking over each other, laughing loud, telling the same stories that everyone's heard. If one new person sits at the kitchen table, they're in for a loud dinner.

I was singing constantly as a kid. Like I said, I've known my whole life what I wanted to do, so I was always doing it. But I tried to sit down and write songs, and every time I would try to write a whole song, it came out weird. Melodies are always what I would write a lot of, I still feel like [that's] one of my strong suits is in a room.

COVID hit six months after I moved to town, and that was a blessing in disguise for me. I was playing shows still back in Alabama and all over the Southeast. That's how I was paying my bills. I was playing cover gigs — this only job I've ever had, minus a stint in high school with a trampoline park. But that didn't last too long. [Laughs.]

When I [first] moved, I was struggling figuring out how to write. But then COVID hit, and I couldn't do anything but write songs. I found some incredible people in that six months I had before [the pandemic], and that's all I did was write, write, write. 

What was the first song that you wrote that you were like, This is who I want to be as an artist?

I don't think there was one song that did that for me. I was talking to Lainey Wilson last night about how it's really crazy [that] when you move to town, people are like, "Who are you as an artist?" You ask a 20-year-old who they are — I don't know! I don't know anything! I'm just doing my best. I'm just trying to survive without my parents telling me what to do right now. So really, this record is my life that I've written from 20 to 25. They're all just journal entries. 

We cut "paint in town blue," "hungover," "you look like you love me," and "nicotine" all this month last year, and I still had no idea what the title was going to be. When I was driving around listening to the mixes, I was listening to "hungover." When I was thinking about the title hungover, and what that represents, I was like, Oh, my God, it just does represent everyone's life from 18 to 25. It's growing up, and just kind of giving yourself grace to live your life and figure that out.

Since you've been manifesting this for your whole life, did you have a vision of what you were wanting to bring to country music?

No. Putting this record together has made it make sense. You know, you go so long [playing] cover gigs, and then [when] I started doing my first tour, I'm singing a 45-minute set and I have one song out.

It took this record, putting this together, and kind of figuring that out to really understand who I want to be for my fans — and actually realizing that I have fans now, which is crazy to think and say. Every show I see more and more people singing, and it's as many girls as it is guys singing the same songs. And I love that they're just singing their hearts out.

I think what I want to be for my fans and for country music is just — grace is my word. You don't always have to be perfect. None of us are. So just do your best and love what you do.

The titles of both of the projects you've put out, your EP Excuse The Mess and now hungover, are so indicative of that. Have you had a chance to go back to Excuse The Mess and compare the two, or think about how much you've grown?

Definitely. I thought a lot about Excuse The Mess when I was building this record. I'm so proud of that little project and what came out of it. I got nominated for my first award ever off that record. And the two acoustic songs at the end of it are still two of my favorite songs I've ever written. 

I think Excuse The Mess to hungover is a good jump. It's almost like an extension of that. But like I said, my songs are journal entries of my life. [For] the next one, hopefully I won't do as many crazy ass things. [Laughs.]

But that's what makes you relatable and so lovable — you're just singing about the stuff that mid 20-somethings do. You make the mistakes you learn from them, and you sing about them, and everybody loves it. We've all been there!

Exactly. It's funny, I started realizing pretty early on in town how honest I was in [songwriting sessions]. Because a lot of writers were like, "Dang!" I always say that the songwriters in Nashville know way too much about my personal life. 

I played a show when I was on tour with Riley [Green] earlier this year. We played in Huntsville, Alabama, and this was the first time I've played a show in Alabama in a minute. We did a meet and greet, and so many people [I know] came. My little sister's going into her senior year [of high school]...she came up to me and she was like, "Watching you do what you do — just the fact that you moved, and watching you just keep pushing at it, I can get up and go to the gym. I can get up and clean my house. You don't understand the hope and motivation that it gives people like us."

That was kind of a big moment for me. This is affecting people now. It's just nuts.

See, you can keep doing crazy s— and you'll still have fans!

I've been this way since the day I was born, so I figure it's not going to stop now. My frontal cortex did develop, so maybe I'll think a little bit more.

I had a feeling you've always been a straight shooter.

It's kind of funny — I think it's something that, if somebody's new [on my team], they have to get used to. If you're used to it, it's kind of nice. I say exactly what I mean all the time. I never beat around the bush!

Where do you think you got that from?

My dad. He's honest — and my mom's honest, but they're very honest in different ways. My dad's a little more Southern Baptist where he's, like, around some people, gonna be a little sweeter. That does rub off on me, because I'm from the South. But, I don't know, I've just always said exactly what I think. Sometimes it's good and sometimes it's not. But the older I get, the more I realize it pays off! 

It's made me some really cool relationships in this job, with other artists and just people in general. I met Eric Church for the first time the other night. In Nashville, there's this unspoken rule about how you treat artists — especially when you're another artist, you don't want to just walk up and be weird. But I did the Toby Keith tribute [in Nashville on July 29], and whenever I heard Eric Church was playing it [too], I couldn't stop thinking, Am I going to get a chance to shake this man's hand? He's such a legend to me. 

There was a bar side stage, and he was standing at the end of the bar, right next to Lainey [Wilson] and HARDY and I'm like, Oh my God, that's perfect. I'm friends with them, this is my in! I walked up there and I was like, "I'm not trying to be weird, and if I am, please just tell me. But I have to tell you, I just think you're a badass, and I would kick myself in the ass if I did not shake your hand and tell you that." And that's how I got a tour with Jamey Johnson — I said the exact same thing. 

It's like, how are you surrounded by these people that you've grown up watching, wanting to do what they do, admiring, learning from, and then you just get to meet them, and they're all "Love your voice, love your songs!" Like, "You know who I am? Wow, I'm gonna need to sit down."

So that's how Eric responded?

Yes! It was nuts! Then I leaned into HARDY and I said, "Do you remember the first time you were around the most famous people you've ever been around?" He said, "Yeah, is that you right now?" I said, "Yeah." He was like, "That's awesome!" He had the biggest grin on his face.

It's cool, because Eric is a straight shooter too, so I'm sure he loves seeing another female artist doing that. Because since, like, Miranda Lambert, there really hasn't been a female country artist with such a power stance like, "No, I'm not dealing with your BS."

That's why I think "you look like you love me" is such a cool song, because it is really about women empowerment. My mom's a strong ass female. My grandma was that way. A lot of women in my life are just badasses, and I've seen them go through a lot of s—. I grew up watching them stand up for themselves. 

And the older you get, I guess, the more feminine rage you get. I don't know if that's how it usually goes, but for me personally, yes. You know, like "cowboy friends" — you can do whatever you want. Why does it have to be the guy? We know we want more than men, always! Unless you ask me where I want to eat, I always know what I want! 

So, go walk up to him! Even if it doesn't work out, whatever. One time I did that at the gym and it didn't work out. My photographer watched me do it. It was terrible.

Something tells me that man regrets turning you down.

He had a girlfriend. Or maybe he didn't and he just said that. [Laughs.] Sometimes you just have to laugh at yourself. It's fine — you don't always have to be cool, you know?

Has anyone ever shut you down for being so honest, especially as a female artist?

No, I think it surprises 'em more than anything.

I've been on tour with a lot of outlaws. I started out with Randy Houser, then I went on a Koe Wetzel, and then we did Jamey Johnson, and then Cody Johnson, and now we've got Riley [Green] and HARDY and Morgan [Wallen]. And that's a bunch of outlaws, if you ask me. So you kind of do have to be a badass female around here, you know? 

I'm here to play. I'm here to show everybody what I've been working so hard on, and what my band and my team have been working hard on. And I think they respect that. They respect the honesty and the grind that I have. Real sees real, and I think that's what's happening.

Now that you've checked off the debut album, what else are you working on manifesting?

So many things. I have so many plans. I've always been like this. I have so many things spinning in my brain. I'm already working on the title for the next record. The record's out, so now it's time for the next thing. Everyone can listen to this while I'm working on that!

So you're a big manifester?

Oh, constantly. I write in my journal, I make manifestation boards. Every New Year's for the past two or three years, me and a bunch of my team get together, and we have a big arts and crafts party. We play music and manifest. It's crazy to see the things that I put on my board last year that are coming true this year.

What are some of those things?

[Performing at] Red Rocks, the album coming out, getting on a bus. I made friends with Miranda Lambert this year. She's been on my manifestation board three years in a row, so that was cool.

I think I put a gold record on there, which happened this year. Me and Caylee — my photographer who also helps run my social media — we had a goal for how many followers we wanted to get to, and we've already beat that. It's just nuts to see the things that you really hope for come true.

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