Skip to main content
 
  • Recording Academy
  • GRAMMYs
  • Membership
  • Advocacy
  • MusiCares
  • GRAMMY Museum
  • Latin GRAMMYs
GRAMMYs
  • Advocacy
  • Awards
  • Membership
  • GRAMMYs
  • News
  • Governance
  • Jobs
  • Press Room
  • Events
  • Login
  • MusiCares
  • GRAMMY Museum
  • Latin GRAMMYs
  • More
    • Governance
    • Jobs
    • Press Room
    • Events
    • MusiCares
    • GRAMMY Museum
    • Latin GRAMMYs

The GRAMMYs

  • Awards
  • News
  • Recording Academy
  • More
    • Awards
    • News
    • Recording Academy

Latin GRAMMYs

MusiCares

Advocacy

  • About
  • News
  • Issues & Policy
  • Act
  • Recording Academy
  • More
    • About
    • News
    • Issues & Policy
    • Act
    • Recording Academy

Membership

  • PRODUCERS & ENGINEERS WING
  • SONGWRITERS & COMPOSERS WING
  • GRAMMY U
  • More
    • PRODUCERS & ENGINEERS WING
    • SONGWRITERS & COMPOSERS WING
    • GRAMMY U
Log In Join
  • SUBSCRIBE

See All Results
Modal Open
Subscribe Now

Subscribe to Newsletters

Be the first to find out about GRAMMY nominees, winners, important news, and events. Privacy Policy
GRAMMY Museum
Membership

Join us on Social

  • Recording Academy
    • The Recording Academy: Facebook
    • The Recording Academy: Twitter
    • The Recording Academy: Instagram
    • The Recording Academy: YouTube
  • GRAMMYs
    • GRAMMYs: Facebook
    • GRAMMYs: Twitter
    • GRAMMYs: Instagram
    • GRAMMYs: YouTube
  • Latin GRAMMYs
    • Latin GRAMMYs: Facebook
    • Latin GRAMMYs: Twitter
    • Latin GRAMMYs: Instagram
    • Latin GRAMMYs: YouTube
  • GRAMMY Museum
    • GRAMMY Museum: Facebook
    • GRAMMY Museum: Twitter
    • GRAMMY Museum: Instagram
    • GRAMMY Museum: YouTube
  • MusiCares
    • MusiCares: Facebook
    • MusiCares: Twitter
    • MusiCares: Instagram
  • Advocacy
    • Advocacy: Facebook
    • Advocacy: Twitter
  • Membership
    • Membership: Facebook
    • Membership: Twitter
    • Membership: Instagram
    • Membership: Youtube

GRAMMYs

GRAMMYs

  • Awards
busbee

busbee

Photo: Frazer Harrison/Getty Images

News
Songwriter/Producer Busbee Dies At 43 busbee-grammy-nominated-hit-maker-dies-43

Busbee, GRAMMY-Nominated Hit-Maker, Dies At 43

Facebook Twitter Email
The beloved hit-maker, who worked with Maren Morris, Shakira, Lady Antebellum and many more, passed away this weekend.
Ana Monroy Yglesias
GRAMMYs
Sep 30, 2019 - 2:34 pm

Yesterday, Sept. 29, Warner Chappell broke the sad news, via a heartfelt Instagram post, that GRAMMY-nominated songwriter/producer busbee had passed away at age 43. His label, Altadena, was housed under Warner Records and he had a publishing deal with Warner/Chappell Music. Variety reports that, according to a friend of his, busbee was diagnosed with Glioblastoma, a type of brain cancer, earlier this year and was receiving treatment for it.

He spent the last two decades working with a long list of popular country and pop artists in Los Angeles and Nashville, helping pen and produce infectious hits for Maren Morris, Shakira, Adam Lambert, Lady Antebellum and many more. Clearly beloved by everyone he worked with, many have shared tributes on social media.



View this post on Instagram


Our hearts are broken by the loss of our beautiful friend busbee. He was an extraordinary human being whose generosity, spirituality and humor inspired everyone around him. An amazingly gifted songwriter, he used his talent, his music, and his love to break down boundaries and bring people together. He left us far too soon. Our deepest condolences go to his wonderful family and all his many friends. We love you. - Guy, Carianne, Ben, Ryan, Katy and the Warner Chappell family Today we lost busbee, a dear friend, business partner with his company Altadena, and one of the best and brightest creative minds in music. busbee’s kindness and legacy will never be forgotten and our hearts and prayers go out to his family at this very difficult time. With love & respect, Aaron, Tom and his Warner Records family

A post shared by Warner Music (@warnermusic) on Sep 29, 2019 at 10:12pm PDT

"The Recording Academy is heartbroken over the passing of one of our own—GRAMMY-nominated songwriter and producer, busbee," Deborah Dugan, President/CEO of the Recording Academy said. She continued:

"He was an integral member of our music community, serving as a Recording Academy Los Angeles Chapter Governor and Co-Chair of the Chapter's Advocacy Committee, where he helped advance the rights of artists, songwriters, and studio professionals. busbee was a creative spirit who was unconditionally committed to his craft. This is a devastating loss for the entire music community, and our hearts are with his family, friends, and all of his many musical collaborators."

Born Michael James Ryan, busbee grew up in the San Francisco Bay Area, where his love of music blossomed from a young age through church and both Christian and jazz radio. His natural talents in music began with piano lessons at age seven and trombone in high school. He received a college scholarship to continue his studies of jazz trombone on the East Coast, later returning home and accepting a job as a music pastor at a local church.

"There's so much music at church. You can feel when a song feels like it's inspired," busbee told Ross Golan on the May 6 episode of his podcast "And the Writer Is…," as quoted by Variety. In 2000, busbee relocated to Los Angeles to pursue a deeply inspiring career in the music industry, beginning his songwriting career with notable country and pop artists.

Pop Is Different For Busbee Now That He Does It

In 2009, he saw his first Top 40 hit on Billboard's Hot 100 as a writer on Rascal Flatts' "Summer Nights." As reported by Billboard, his work earned him (and his collaborators, of course) a total of 22 charting songs to date on the Hot 100 alone. Several of his big songs are with GRAMMY-winning country queen Morris, as he worked as a producer and co-writer on both her debut LP, Hero, and her 2019 follow up, Girl. For "My Church," her hit debut single, the pair both earned nominations for Best Country Song at the 59th GRAMMY Awards. Morris also earned a Best New Artist nomination that year, and took home a win for Best Country Solo Performance for "My Church."

She shared a touching message and picture on social media yesterday, writing, "This just doesn't seem fair. I will always love you and the songs and albums I was lucky to make with you, Busbee. Rest well, my sweet friend." Today, she shared another tribute on Twitter, a video from the studio of him working on "My Church."

This just doesn’t seem fair. I will always love you and the songs and albums I was lucky to make with you, Busbee. Rest well, my sweet friend. pic.twitter.com/9DKsU5G77a

— MAREN MORRIS (@MarenMorris) September 30, 2019

Dedicated to the craft of songwriting, he was a true collaborator as well as a mentor. During a songwriting panel hosted by the Recording Academy L.A. Chapter this spring, he discussed his journey that led him to becoming a hit-maker, emphasizing the important roles of faith, hard work and perseverance.

"Nobody else is going to get what's yours," busbee told the group of budding songwriters and artists. "You never know who's going to make the decision that changes the course of your life."

Keep scrolling to get a small taste of the many lives he touched, with moving tributes from more of his collaborators and friends; Shakira, Lady Antebellum, Golan, Lambert, Blake Shelton and Carly Pearce.

Today an uncanny talent and unique soul has departed.
Busbee you left us so early, but your music and your passion will be among us and forever cherished.
My condolences to his family and the music community in Nashville. pic.twitter.com/g9ya0eeNav

— Shakira (@shakira) September 30, 2019

 

Over a decade of life and music together. We shared some of our favorite memories with you. You were more than a co-writer, producer, or friend. You were family. We love you. pic.twitter.com/3nDgQimGKp

— Lady Antebellum (@ladyantebellum) September 30, 2019

 

I love you, Busbee. We texted every day since the diagnosis. I didn’t understand why you didn’t respond today. I’m so sad. Thank you for being there for me and Jac when we were hurting. I tried to be there for you but no one’s heart is bigger than yours. Love you, brother.

— Ross Golan (@rossgolan) September 30, 2019

 

Shocked and saddened by the news today that we have lost Busbee. I am so grateful I was able to have collaborated with him. He was brilliant and warm, with palpable joy for his craft. RIP Sir.

— ADAM LAMBERT (@adamlambert) September 30, 2019

 

Thinking about this dude today... Gonna miss you Busbee. pic.twitter.com/TIC3zw0gGr

— Blake Shelton (@blakeshelton) September 30, 2019

 

No words. Rest easy my sweet, sweet friend. @busbee pic.twitter.com/EKA1FVoaIU

— Carly Pearce (@carlypearce) September 30, 2019

Hit-Makers Share The Specialized, Intuitive Art Of Crafting The Perfect Song

Oak Felder

Oak Felder

Photo: Krystyna Felder

News
Oak Felder Supports Creativity, Not Just Hits producersongwriter-oak-felder-wants-music-industry-support-creativity-not-just-hits

Producer/Songwriter Oak Felder Wants The Music Industry To Support Creativity, Not Just Hits

Facebook Twitter Email
"The model needs to change to reflect that writers get paid for records that, even if they aren't big smashes, [earn them income] at a level that they will be allowed to live," the producer/songwriter recently told the Recording Academy.
Ana Monroy Yglesias
GRAMMYs
Jul 12, 2019 - 10:20 am

GRAMMY-nominated producer/songwriter Warren "Oak" Felder knows how to craft Top 10 hits—including Alessia Cara's "Here" and "Scars To Your Beautiful" and Demi Lovato's "Sorry Not Sorry," to name just a few. Though he has the skills and experience to craft top-charting songs, he passionately believes that the music industry should foster an environment that ensures all creatives get paid—not just the ones dominating the airwaves.  

.@Oakwud's songwriting & production credits are legendary!! Follow-up yesterday's episode with his very own playlist, available now. https://t.co/JLwYyLXVw4 pic.twitter.com/TSV4cFiIda

— and the writer is (@AndTheWriterIs) June 11, 2019

"I think it's important for creators of music to be able to create music and make a living off of it. Because right now, the only way that you are going to be able to do your job and make money to live off of is if you're getting hits," Felder recently told the Recording Academy. "How many records do you have in your life that you listened to that weren't singles, but are just as meaningful to you?"

The Los Angeles-based, Istanbul-born alt-rock lover is also dedicated to the art of mentorship and paving the way for younger creatives. Last month, he led one of the GRAMMY Museum's Summer Sessions, speaking to a theater full of high school students hopeful to pursue songwriting careers. We sat down with Felder to find out what he learned from the students, why he believes in music education and his biggest piece of advice for aspiring musicians and songwriters/producers.

You just wrapped up the GRAMMY Summer Session program. How'd it go?

Fantastic. I was sort of awed by just the concept of it. Those kids are awesome. And the program is fantastic.

Had a blast @GRAMMYMuseum for #summersession #grammymuseum #DTLA met so many talented songwriters and musicians pic.twitter.com/WPbSAtZVas

— Ava August (@avaaugustmusic) June 30, 2019

Were there any good questions from the kids, or something else that stood out to you from it?

Yeah. So one of the questions really focused on working in the studio with an artist, on bringing an artist story to the forefront and how to do that.

I feel like people forget that production and music is so psychological and they say, "Oh, well you just go in the studio, you make a beat, you write a song and you record." People forget there's a psychology to it. So that awareness surprised me. I don't think I was aware of that until I was older and much less dumb than I was when I was a kid.

Music education is SO important, but often ignored or defunded in public schools. Why do you think music education is important?

I think the kids that learn how to play the piano and play some sort of instrument when they're younger develop and demonstrate better cognitive abilities as an adult. And I think it's something that serves you, even if you're not a musician afterwards. If you've learned how to play the piano and you forgot, you still created the pathways in your brain that allow you to solve different problems, probably more efficiently than other people would.

Creativity is very important for coping with life in general. If you have an early relationship with music, it makes music as a coping mechanism a little better for you. So, education and music would apply to society as a whole. Being born and raised in another country where music is a focus educationally, I definitely see a difference between a place that doesn't focus on it as much from an educational standpoint, and a place that does.

How do you integrate teaching and mentorship into your work in the music industry?

I consider myself a natural teacher because I like to talk a lot. You kind of have to show people the ropes. I have a guy assigned to me that I consider it my responsibility to teach him. Even beyond that, after I'm done with production, I think I would continue to teach it afterwards. I definitely have the gray hairs to match with professorship, so I'm definitely going to try for that. I think teaching is important, otherwise, we'd all be sort of aimlessly walking around figuring things out by trial and error.

Did you have any mentors when you were first starting out in the industry?

The first one that comes to mind is my oldest brother Dennis. He's an amazing musician and a great guy. He definitely was an inspiration to me. I feel like I've been following him my whole life, trying to be as good as he is. I'm still not, but I'm getting there.

Another early mentor for me was an R&B producer, guy named Teddy Bishop. He gave me my initial view of what being a record producer is like, the template for what it's supposed to look like. I've been applying that to what I've been doing since.

How do you think people within the music industry can foster a more collaborative, inclusive environment?

I think there is still the perception of corruption in the music industry. I think that the day that I am not surprised when a woman walks up to me and says, "I am a producer." That shouldn't be a surprise. The moment we can get ourselves to that point as creatives, we will diversify and mutate the state of music to a point of amazingness. Because for every idea that comes from a stereotypical producer, there's an idea that wasn't heard from someone who's not a typical producer. That's going to add to the culture when we finally get to that point. I think that should be everybody's focus.

Do you have a vision to help ensure more diverse groups are working in the studio?

Absolutely. I needed somebody for my team who did pop music very well as a producer. So I asked a friend of mine if he knew anybody and he pointed me to this producer named Zaire [Koalo] Simmons from South L.A. You wouldn't typically associate a young black producer as being somebody who is immediately capable of doing pop music at a high level. You do have black producers who are capable of doing pop music. This kid floored me. And then I was like, "Well, do you do urban tracks?" And he blew me away again.

So the rule is, give everyone a shot. Because the real thing is talent, it doesn't really matter who it comes from. It's almost like a cheat because you get to look in places that other people might not be looking. And you'll find gems that exist there.

Zaire Koalo, Oak Felder & Nelly

L-R: Zaire, Oak & Nelly | Photo: Courtesy of artist

So, being conscious about when you're opening the door and that you're not just looking to the usual suspects.

Yeah. That's really important. Plus, it's our responsibility to mutate the culture. And the only way to do it is if people who typically don't have a voice are given one. That's our responsibility. I take that seriously.

You've worked with a pretty major, diverse group of artists. What's the biggest thing you've learned so far in your time collaborating as a songwriter/producer?

What I've learned is that the lack of an ego is a superpower. I'm a believer that anybody at any moment could have a better idea than you will ever have.

So I think humility is what gives you the ears to hear that idea. There have been times where I had a clear concept, direction and vision for what I want it to be. And I walked in the room and somebody says, "We should do this." My immediate reaction is no, that's not what I wanted.

[But you have to] put down your ego. That's the biggest thing that I've learned. Your ego has no space in a room of collaborators. You leave that mother***er at the door.

So, if you have 10 people in a room, and everyone has an idea, how do you foster an environment where everybody is listening, is collaborating, and isn't getting upset when their idea moves to the side?

First of all, if there's 10 people in the room, some of them are going to leave. It's easier to manage smaller groups of people. And then splits end up a little bit better if there's less people in the room. But yeah, if somebody has an idea, it gets out there.

You know what's funny, everybody has developed the concept of, "let me throw an idea out and if the room responds, then it sticks. If the room doesn't respond, no one says anything." You're in the room and people are writing songs and somebody goes, "Wearing leather pants." And it's silence, that idea was not a good idea.

So a room full of people who've figured that out, have learned how to regulate themselves, as a collective, works. That's what music is, a collective of creation. We're learning how to function as one unit, especially people you have good chemistry with.

What's your favorite part then about the collaborative process?

Self-discovery. And allowing the music that you make to do the same thing for yourself that it does for other people, through realizing other people's perspectives.

The story behind that is, I was in Jamaica working with Alicia Keys, she had invited a lot of us to come out and work for her project. I'm in a room with one of my producers and Miguel, who was there as a songwriter. He and I hadn't worked together up until that point. We're at this beautiful location, sitting at a table, just me, Miguel, Alicia and a couple other people. We're having a conversation about our biggest fears, going around the table.

Death is one of my biggest fears, beyond a person's rational fear of death. It gives me anxiety to even think about. I had no way of controlling that anxiety until I said "I'm scared of death." And Miguel goes, "You're scared of death? So you would want to live forever?" And I say, "Of course I would."

He was like, "Why? Where's the rush to do anything meaningful if you lived forever? If you were going to live forever, you'd probably have the most boring, unfulfilled existence."

He adds, "There's no fun in forever." And Alicia said, "That's a song." We ended up doing a song called "Where's the Fun in Forever" [by Miguel featuring Keys]. To this day, there's three songs I've produced that are my favorite and that's one of them. Because after we did the record, that anxiety lessened every time I thought about or listened to that song.

I can mark that as the first time that my own music has done for me, what other people's music, or my music, has done for other people. It's the collaboration with other people and learning their perspectives that I'm so grateful for because now I have a tool that allows me to deal with a difficult thought.

How do you foster that kind of collaborative space where everyone feels safe to share their ideas? And to talk about the things that are raw and kind of scary but can really get those amazing songs and emotions?

I think it's about trust. When a person comes to my studio, especially if it's somebody that I've never met before, I have to expose my own vulnerabilities first. To give them the signal, look this a safe space. What that ends up doing is it gives the artist an opportunity to tell me things about their personal life they would never in a million years want anyone else to know. So that we can then take those stories and turn them into music, because that's the process.

But it starts with you being comfortable enough to expose your own vulnerabilities and hoping not to be judged for whatever they are. And like I said, having no ego is a superpower, because the ego is what gets in the way of being able to do that initially.

And then you have a session where people sit in a room and it's kind of awkward, nobody's saying anything. Where it's, "So what are you working on?" "Same sh*t you're working on." As opposed to, "I woke up this morning and I was feeling like crap because my dad called me," etc. You're having this kind of conversation with somebody that you've just met. It's a disarming thing to be that vulnerable with somebody else. And when they see that they open up as well.

That's the key, vulnerability, because it creates trust. And puts them in a position where they're able to say, "You know what, let's write a song about this thing that I experienced, that I would never in a million years tell anyone, but let's write a song with that energy in it." A lot of my biggest records are records that have been written that way.

That's really cool; leading by example and setting the tone.

Absolutely. I think the best kind of leader is the one that leads from the front.

So what's your biggest piece of advice for young, aspiring artists? What about for young songwriters and/or producers, those who are more behind the scenes?

I say this to everyone: Know your history. Current music is the tip of the iceberg, it's being supported by a large group of music that proceeded it. If you are a rapper, then you should know why Tupac is important, why disco is important, and why a break beat is important and how it contributed to the culture.

Actually, my partner (Andrew "Pop" Wansel) just produced a song for Nicki Minaj that samples a classic dancehall record (called "Filthy Riddim"). This record is historically and traditionally a song that will always get the club popping, but the newer audiences haven't been exposed to it yet.

What do you want your legacy to be?

I want people to remember that he was a nice guy. And I want people who are successful in the industry to be able to turn around and say, Oak helped me do this. That's my biggest dream, wish, goal. Because I want, in 20 or 15 years, to be able to be the person who gave a shot to someone who made a difference. And in so doing that, make a difference myself.

What's your biggest hope for the trajectory of the music industry, the biggest thing that you wish to see that isn't happening yet or is just starting to happen?

I want us to get paid. I'm part of the MLC [the Music Licensing Collective], and I think it's important for creators of music to be able to create music and make a living off of it. Because right now, the only way that you are going to be able to do your job and make money to live off of is if you're getting hits. That wasn't the case in the '80s or in the '90s; you could've produced three records on an album that weren't necessarily singles. How many records do you have in your life that you listened to that weren't singles, but are just as meaningful to you?

In today's cultural climate, that is starting to become a thing of the past. Because the economic structure of the music industry only rewards people who have big singles, which means the big singles are the only ones that influence culture, i.e., there's no album record that really speaks to people.

And think about this: From a creative standpoint, when I get in the studio and I know the only thing that's going to make money is a big hit smash, that's all I'm focused on making. I'm not gonna make the "Where's The Fun In Forever" record, which wasn't a single, it was an album cut on that album. But it's a record that affected me and it probably affected other people in the same way. Those don't exist with the current model anymore.

The model needs to change to reflect that writers get paid for records that, even if they aren't big smashes, we get back to getting paid at a level that they will be allowed to live. That is my single biggest wish for the music industry right now.

Meet Ericka Coulter, The Inspirational Music Exec Amplifying Rising Talent With TheBasement

GRAMMYs

(L-R) Sarah Hudson, Rodney Jerkins, MarcLo, Shane Stevens & busbee
Photo: Antonio Espino

News
Hit-Makers Talk Crafting The Perfect Song hit-makers-share-specialized-intuitive-art-crafting-perfect-song

Hit-Makers Share The Specialized, Intuitive Art Of Crafting The Perfect Song

Facebook Twitter Email
"No one knows what a hit is until it happens," GRAMMY-winning songwriter/producer Rodney Jerkins, aka Darkchild, explained during a highly informative industry event hosted by our Los Angeles Chapter
Ana Monroy Yglesias
GRAMMYs
Apr 13, 2019 - 1:17 pm

Yesterday, April 12, a large, diverse group of musicians, artists and music lovers began the annual trek to the desert for weekend one of Coachella. Working with this creative, inspired energy, the Los Angeles Chapter of the Recording Academy brought together songwriters with an impressive roster of hits to share their wisdom with aspiring songwriters and artists for a hands-on Craft Session at a beautiful house in Palm Springs.

During the first half of the intimate event, songwriters busbee, Rodney Jerkins aka Darkchild, MarcLo of Monsters & Strangerz (part of team behind Zedd's GRAMMY-nominated "The Middle"), Sarah Hudson (who has written for Camila Cabello, Katy Perry and others) and Shane Stevens went deep into the art of crafting the perfect track and the things they've learned along the way in their quest to navigate and excel in the music industry. They discussed the weaving journeys each took that led them to their first hit and eventually to where they are today, as successful songwriters and producers.

GRAMMYs

Photo: Antonio Espino

Their stories all underscored the importance of perseverance, believing in yourself and really putting your work out there, as you never know when the right person will be in the right place to hear or share your song. "You start with nothing, then all of a sudden, there it is," Stevens underscored. all of them have a "song mountain," as busbee, who received a GRAMMY nomination for co-writing with Maren Morris on "My Church," put it, of tracks that may never see the light of day, but helped them learn, make mistakes, improve and grow as creatives.

The insights made clear that not only is there not one path or five hard-set rules to becoming a hit songwriter, there is also no formula to making great songs. Even GRAMMY winner Jerkins, who began making his mark in the late '90s with his work with Whitney Houston, Jennifer Lopez, Destiny's Child (with "Say My Name in 1999 and "Lose My Breath" in 2004, among others), agreed that each session is different.

They all agree that building good rapport and understanding with each artist you work with is vital to the process. For example, when Jerkins met with a then-up-and-coming Lopez in the 1999, while they had just met for the first time in the studio, and she had yet to release music, he asked himself what might she want to say to a man that he could express for her in the track. He wanted to express vulnerability in a way that felt real to her experience, and her debut hit single, "If You Had My Love," was born.

"No one knows what a hit is until it happens...I truly believe that if is meant to be, its meant to be," -Rodney Jerkins

"No one knows what a hit is until it happens," Jerkins said. "I truly believe that if is meant to be, its meant to be."

"We couldn't be doing anything else. It's passion, passion meets you at the door," added Stevens, who began as an aspiring singer/songwriter in Nashville and at one point switched to his "back-up career" of hair styling, until, as he puts it, fate had other ideas, and now he's become an in-demand songwriter in both pop and country, working with the likes of Lady Antebellum to Selena Gomez.

His comment, and similar ones from the other mentors, all underscored the importance of not giving up on your dreams, and not letting your fears get in the way of using the skills and passion you were meant to share with the world.

"Nobody else is going to get what's yours," busbee said. He added, "You never know who's going to make the decision that changes the course of your life."

After the discussion, which left the audience visibly inspired and excited to create, the group broke out into work sessions led by each mentor; who gave individual guidance to demo songs presented by each participant, allowing them the space to ask more specific questions to their work and aspirations.

GRAMMYs

Photo: Antonio Espino

In busbee's breakout session, he made sure he had context for each group member's aspirations and personal background, so that his advice would be as tailored as possible. Even then, he reminded the group that at the end of the day, everyone's feedback is based on their opinions, so it's important to know your north, and put yourself in the other person's shoes to best understand where they are coming from and how to move forward, which is sound advice for any professional relationship.

Mon Laferte Talks First Coachella Performance, 'Norma' & More

Miranda Lambert

Miranda Lambert

Photo: Kevin Winter/ACMA2019/Getty Images

News
Miranda Lambert To Tour With Maren Morris, More miranda-lambert-reveals-fall-tour-maren-morris-elle-king-more

Miranda Lambert Reveals Fall Tour With Maren Morris, Elle King, More

Facebook Twitter Email
The GRAMMY winner has recruited an impressive crew of country performers to support her upcoming fall tour
Ana Monroy Yglesias
GRAMMYs
Apr 5, 2019 - 3:20 pm

GRAMMY-winning country artist Miranda Lambert has announced The Roadside Bars & Pink Guitars Tour 2019, featuring a star-studded, all-female support cast, including GRAMMY winner Maren Morris and GRAMMY nominee Elle King.

https://twitter.com/mirandalambert/status/1114150960136323072

The #RoadsideBarsandPinkGuitars Tour is back! I’m so excited and honored to be on a tour with some of my favorite artists who each inspire me in a different way.
Fan club presales begin April 9. Visit https://t.co/1giKxQFter for info. pic.twitter.com/8UQiRSJSM7

— Miranda Lambert (@mirandalambert) April 5, 2019

The tour will also feature GRAMMY nominee Ashley McBryde, rising country stars Caylee Hammack and Tenille Townes, along with Lambert's country supergroup, Pistol Annies, which is made up of Ashley Monroe and Angaleena Presley. The support crew will alternate across regions. The jaunt kicks off in Uncasville, Conn. on Sept. 13, with dates in other small towns—and some big ones, like New Orleans on Oct. 4—and wraps up on Nov. 23 in Greensboro, N.C.

Along with the announcement, Lambert tweeted, "The #RoadsideBarsandPinkGuitars Tour is back! I'm so excited and honored to be on a tour with some of my favorite artists who each inspire me in a different way."

Related: Miranda Lambert Named Country Music HOF And Museum's Artist-In-Residence

Lambert's tourmates shared in her excitement, with Hammack tweeting, "I wish I could go back in time and tell the little girl singing along to 'Kerosene' on the radio that this would happen. But she probably wouldn't believe it." Morris added, "Texas just got bigger because I'm joining Miranda Lambert out on the road this Fall!"

Tickets goes on sale April 12, with pre-sales beginning April 9; more info here.

Maren Morris & Brandi Carlile Talk Empowering Women In Music & Collaborating Together

Kacey Musgraves

Kacey Musgraves

Photo: Manny Carabel/WireImage/Getty Images

News
New Holiday Music: Kacey Musgraves, Jacquees, More 13-new-songs-add-your-holiday-playlist-kacey-musgraves-jacquees-flaming-lips-more

13 New Songs To Add To Your Holiday Playlist From Kacey Musgraves, Jacquees, The Flaming Lips & More

Facebook Twitter Email
Based on the sheer amount of new holiday music released this year, apparently we all really need a big dose of festive cheer—Los Lobos, Macklemore, blink-182 and more are also here to help
Ana Monroy Yglesias
GRAMMYs
Dec 24, 2019 - 8:30 am

Before we enter into the next decade, we have to get through the holidays. Whether you're one of the many people responsible for streaming Mariah Carey's 1994 classic "All I Want For Christmas Is You" to the top of the charts this month or you've trying your best to avoid the sound of jingle bells at all costs, the holiday season can create a whirlwind of emotions.

But one thing's clear: we can all use a big dose of festive cheer. Thanks to a rich, diverse selection of new holiday songs and albums from Kacey Musgraves, Taylor Swift, Jacquees, The Flaming Lips, Los Lobos, Macklemore and many others, it's the perfect time to get cozy and pump up the sounds of peace and joy.

2018 Holiday Jams: Don't Sleep On These Brand-New Holiday Songs From RuPaul, Lil Jon & More

"Glittery," Kacey Musgraves ft. Troye Sivan

If Mariah Carey is the reigning queen of Christmas music, Kacey Musgraves is definitely the princess. Back in 2016, the GRAMMY-winning alt-country star released A Very Kacey Christmas, featuring both original and classic tracks and toured with it. This year, she added brand-new shimmer to the album with an Amazon Prime special, "The Kacey Musgraves Christmas Show."

The show was filled with special guests, including Aussie pop star Troye Sivan, who joined her to sing "Glittery," a new, original holiday song about a lover that makes you feel like a beautiful snow globe. The special also spawned a live album, meaning you can tune into this track and the rest of the fun moments anytime. Musgraves is truly a better-dressed, modern Santa.

"Christmas Tree Farm," Taylor Swift

The Swifties had a great year, as GRAMMY winner Taylor Swift released her currently GRAMMY-nominated seventh studio album, Lover. As if the LP and the singles and videos that led up to it weren't enough, the pop star gave her fans another gift just in time for the holidays, a new song called "Christmas Tree Farm."

Her lyrics are filled with nostalgia for the farm she grew up on and the simpler times of childhood, as they dance over the classic, bright holiday song melodies. The music video even features cute footage from the Swift family's home videos.

"It's Christmas Time," Macklemore Ft. Dan Caplen 

Like Swift, GRAMMY-winning rapper Macklemore is also feeling a similar childhood nostalgia on his new track, "It's Christmas Time," featuring rising U.K. soul singer Dan Caplen. The cheerful song is paired with a cute, festive music video, in which the kids drink eggnog out of one of the Seattle artist's golden gramophones (which he won three of with Ryan Lewis back at the 56th GRAMMY Awards).

"Every year around Christmas time I think to myself 'Just do it Ben. Make the song. You can be the new Mariah Carey.' Well, this year I finally am," Macklemore joked on Twitter.

Watch: Mariah Carey Releases A New Video For "All I Want For Christmas Is You"

"7 O'Clock News / Silent Night," Phoebe Bridgers Ft. Fiona Apple and Matt Berninger

Tuning into the news in 2019 can be surreal and overwhelming. Apparently this was not so different in 1966, when GRAMMY-winning folk heroes Simon And Garfunkel released "7 O'Clock News / Silent Night," featuring a recording of the current news over their singing of the Christmas classic.

While technically not an original song like the rest on this list, Phoebe Bridgers, Fiona Apple and The National's Matt Beringer update the heart-wrenching song for our current reality, offering 100 percent of its proceeds to Planned Parenthood. Berninger plays the newscaster in this version, reading headlines about gun violence and anti-abortion legislation. The important, haunting song is part on the compilation album co-created by Berninger, 7-Inches for Planned Parenthood, which, of course, benefits the nonprofit organization.

"Miss You This Christmas," Letters to Cleo

"The days get short, the nights are really cold. / This year Christmas ain't the same / I'm not used to stringing lights alone, I miss you this Christmas," Kay Hanley of Letters to Cleo sings on "Miss You This Christmas," from their new EP, OK Christmas. It is one of the two original songs on the Boston alt-rockers guitar-slicked holiday album, which also features two fun covers.

"Hanukkah in '96," Alex Frankel

In addition to all the new Christmas-themed music that dropped this season, Hanukkah+, a fun, star-studded compilation album, brought—finally!—a whole new batch of Hanukkah-themed bops. Frankel, a "Hebrew school dropout" and half of New York electro duo Holy Ghost!, contributes the synth-y, nostalgic "Hanukkah in '96." He says the fun new song is "the greatest Jewish song ever written (in a major key)."

Read: Holy Ghost! On What "Do This" Is Really About & Why They Feel So Good About 'Work'

"Sing It Now, Sing It Somehow," The Flaming Lips

Also a new track featured on Hanukkah+, The Flaming Lips' "Sing It Now, Sing It Somehow," is gorgeous, haunting and ecstatic, all at once. The producer of the album, GRAMMY-winning music supervisor Randall Poster said, "Seeing the Flaming Lips is like going to temple—if they had unicorns and body glitter as sacraments. So, I thought their spiritual connection would be relevant to celebration, contemplation and the spirit of the holiday." Amen.

"Christmas and You," Los Lobos

Read: Los Lobos' Louie Perez & David Hidalgo Working On A Ritchie Valens Musical

GRAMMY-winning Los Angeles rock greats Los Lobos recently released their first holiday album, Llegó Navidad, four decades into their illustrious musical career. Along with reimaginings of under-sung holiday classics "Feliz Navidad," "Dónde Está Santa Claus," "It's Christmas Time In Texas" and more, the album also offers a heartfelt original song, "Christmas and You."

As NPR's Michael Martin explained, "It is a classic Los Lobos operation—a lovingly curated collection of songs from across North, Central and South America with, of course, an original song that makes you want to cry."  

"Alabaster," Andrew Bird

Like Los Lobos, current GRAMMY nominee Andrew Bird has dropped his first holiday album several decades into his career (his first album came out in 1996). The indie folk-rock violinist's new EP, Hark!, follows his aptly-titled, GRAMMY nominated LP, My Finest Work Yet. The six-track surprise project is very much an Andrew Bird Christmas album, filled with his trademark whistling, melancholic lyrics and a mellow, lo-fi "White Christmas" cover. One of the original tracks, "Alabaster," feels both like a church hymn and a local pub's winter closing song, in the best way possible.

Of the project, the "Olympians" singer said, "A lot of folks have a hard time with the holidays but they serve a purpose to us as a people—to create comfort, warmth and atmosphere within the darkness and the cold that can crush one's spirit. There are a couple originals in here that address this idea of light and warmth in the darkness as well as some classics that have some nostalgic resonance with me. Hark! What sounds come flowing alabaster?"

Watch: Andrew Bird Covers Neil Young's "Harvest Moon" For ReImagined

"Christmas Party," Jacquees

The self-appointed "King Of R&B" Jacquees serves up a sexy dose of holiday spirit with his latest project and sophomore studio album, Christmas In Decatur. The nine-track LP of original holiday music, labeled as "HOTTTTT" by Hot New Hip Hop, arrived just one month after King Of R&B. The new album, whose title is a nod to his Georgia hometown, opens with the bubbling "Christmas Party," and also includes the amazingly NSFW "Like Santa Claus," ending on a celebratory high note with "Happy Holidays."

"Tell your people Happy Holidays (Happy Holidays). / We're so blessed to see these better days. / Oh, what a year it's been / All the up's and down's … / It's a New Year, baby, so glad that we made it out / all drinks on me, uh (all drinks on me)," Jacquees soulfully sings on the last track.

"Jolly Liver," Beach Slang

"I want beer!" James Alex of Philly rock outfit Beach Slang repeatedly growls over the chorus of their new rock 'n roll bah-humbug track, "Jolly Liver." Alex, who penned the song, closes it out with the amazing lines: "A-well-a-well-a, ho, ho, ho / and a-all that junk. / There ain't no halo hangin' 'round this dump. / I meant to be a saint. I ended up a drunk."

The new, rocking holiday-inspired song, released earlier this month, came along with the news that the band's next album, The Deadbeat Bang of Heartbreak City, is due out Jan. 10.

"Not Another Christmas Song," blink-182

Apparently not one to follow their own advice, pop-punk group blink-182 follows 2001's "Won't Be Home For Christmas" with 2019's "Not Another Christmas Song." The new Christmas song has Mark Hoppus singing, "I'm burned out like lights on a tree. / Old songs, can't listen to these. / Fake a smile but all I can see is empty boxes and trees. / Another year not a coffin / Growing up or whatever you call it."

"Christmas Techno Dance," Klaus Blatter

This year, Santa was generous, as there are actually more new holiday songs than we can include on this list. We'll go out with the bizarre, hilarious holiday club track, "Christmas Techno Dance" by German comedic dance outfit act Klaus Blatter. It's paired with an equally wacky music video, for which the YouTube description explains, "The Christmas Techno Dance video is basically a summarized updating of the Bible with all the boring elements of the story removed… If you wish to enter the kingdom of god all you are for needing is this video and single of Klaus Blatter. The story is told!"

From the Recording Academy family to you and yours, please have a safe, joyful, music-filled holiday!

Mariah Carey's "All I Want For Christmas Is You" Hits No. 1 25 Years After Its Initial Releas

Top
Logo
  • Recording Academy
    • About
    • DEI
    • Governance
    • Press Room
    • Jobs
  • GRAMMYs
    • Awards
    • News
    • Videos
    • Events
    • Store
  • Latin GRAMMYs
    • Awards
    • News
    • Photos
    • Videos
    • Cultural Foundation
    • Members
    • Press
  • GRAMMY Museum
    • COLLECTION:live
    • Museum Tickets
    • Exhibits
    • Education
    • Support
    • Programs
    • Donate
  • MusiCares
    • About
    • Get Help
    • Support
    • News
    • Events
  • Advocacy
    • About
    • News
    • Issues & Policy
    • Act
  • Membership
    • Chapters
    • Producers & Engineers Wing
    • Songwriters & Composers Wing
    • GRAMMY U
    • Events
    • Join
Logo

© 2022 - Recording Academy. All rights reserved.

  • Terms of Service
  • Privacy Policy
  • Cookie Policy
  • Copyright Notice
  • Contact Us

Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy and its Affiliates. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy and its Affiliates lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy and its Affiliates.