“It’s crazy to think about, the fact that the fans have stuck with me through a decade in this business is overwhelming. I am so thankful for their support as well as Country radio’s. Let’s do this again in 10 more years” said seven-time chart-topping singer/songwriter Justin Moore, as he joined industry friends and family at an event in Nashville to celebrate multiple career milestones.
An inaugural artist signed to The Valory Music Co. in 2007, under the Big Machine Label Group umbrella, the Arkansas native has sustained a hearty run of hits across four studio albums. The event honored PLATINUM certifications for JUSTIN MOORE and OUTLAWS LIKE ME as well as the GOLD certification of OFF THE BEATEN PATH. Additionally, the catchy “Bait a Hook” achieved PLATINUM sales status for the Big Machine Music writer, who penned the track alongside Jeremy Stover and Rhett Akins.
The title to country-radio hitmaker Justin Moore’s latest studio album may suggest he doesn’t give a damn, but when it comes to the music, nothing could be further from the truth. On Kinda Don’t Care (The Valory Music Co.) the outdoorsman and family man reaffirms his commitment to recording honest, entertaining country songs. Sure, they may be unapologetic at times, but that’s Moore, an artist who refuses to ever project anything he’s not. “The title refers to how uptight our society has become. It’s in a place right now where we are consumed with being politically correct. Sometimes you just have to worry about being correct and telling it like it is,” says Moore.
His seven Number Ones include “Small Town USA”, “If Heaven Wasn’t So Far Away,” the gold-certified single”Backwoods”. All of those songs, as well as chart-topping singles “Point at You” and “You Look Like I Need a Drink,” possess an undeniable confidence and attitude that distinguishes Moore from the crowded Nashville pack.
Moore recently scored a No. 1 on both the Mediabase and Billboard Country Airplay charts with “Somebody Else Will.” This is the second single from KINDA DON’T CARE to summit following the rise of “You Look Like I Need a Drink.”
The accolades culminated with the announcement that Moore’s songs – “Backwoods,” “Lettin’ the Night Roll” and “Till My Last Day” – have each reached 1 million broadcast performances while “Small Town USA” exceeds 2 million, earning him four BMI Millionaire Awards.
“One of the things I hear most often after shows is, ‘Man, you’re so normal.’ I guess people have this idea that, if you have any small amount of fame or success, you’re supposed to be some kind of freak show or superhero. But I’m the same guy I was before I signed a record deal. When I look in the mirror,” says Moore, the 2014 ACM Awards’ New Artist of the Year winner., “I still see Justin.”
Justin Moore, a guy who, despite what is emblazoned on his strongest album yet, really does care. About his fans, his family and, especially, country music. “Everyone growing up has dreams,” says Moore. “Mine just happened to come true.”
Moore just released the first single, “The Ones That Didn’t Make It Back Home” from his forthcoming 5th studio album titled “LATE NIGHTS AND LONGNECKS” set for national release on April 26. He is a touring force who is currently on the road and soon will be announcing his 5th headlining tour for the fall of 2019 and spring of 2020.
“I hear the crowd, I look around, and I can’t find one empty chair. Not bad for a girl going nowhere” sings Ashley McBryde on “Girl Goin’ Nowhere,” the seminal title track from her forthcoming LP. They’re words built from experience: over the course of her life, McBryde’s been finding her own way to fill those seats and sway those hearts since the very first time her teacher told her that her dreams of writing songs in Nashville would never see the light of day. Every time she was brought down, she persevered; trusting her timeless tone and keen, unwavering eye for the truth. It paid off. In April, Eric Church brought her on stage and called her a “whiskey-drinking badass,” confessing that he’s a massive fan. The rest of the world is quickly catching on, too.
Dubbed as one of Rolling Stone’s “Artists You Need To Know,” citing she’s “an Arkansas red-clay badass, with the swagger of Hank Jr. and the songwriting of Miranda Lambert,” McBryde fearlessly lays it all on the line, and it’s that honest all-in approach that has led to NPR critic Ann Powers to ask if McBryde could be “among the first post-Stapleton country stars?” McBryde’s album will showcase an artistic vision that will prove her to be one of the genre’s keenest working storytellers, bringing unwavering honesty back into a pop-preoccupied genre. Pulling tales from every corner of her human experience, McBryde sings with fire and fury, laughing and swigging that brown stuff along the way.
McBryde was raised in Mammoth Spring, Arkansas. At three, she’d secretly pluck her father’s guitar like an upright bass, and after about the 17th time being caught, her father bought her a guitar of her own. When she was twelve, she played her parents and grandparents her very first composition. It was at Arkansas State when, while a member of the marching band, McBryde finally started sharing her voice with others, and finally moved to Nashville in 2007 where steadily worked a circuit of dive bars, biker hangouts, and colorful joints fighting to have her songs heard.
Her first EP, the self-released 2016 Jalopies and Expensive Guitars was just a taste of what McBryde can do, and, on her full-length debut, she will meld her songwriting chops with the vision of producer Jay Joyce, peppering her tales with a touch of guitar-driven rock fury. McBryde isn’t afraid to tell the truth, get raw and real and use the spirits of country, folk and rock when it serves her greater purpose. And that’s to tell the stories that shake us, make us and tell us a little more about what it’s like to be human.