Tag: Trisha Yearwood

Hailey Whitters Honors Perseverance With Deluxe Album Living the Dream

Photo Credit: Harper Smith

When Hailey Whitters wrote “Ten Year Town,” she was starting to lose faith in her dreams of making it big in country music. She’d written songs for Alan Jackson, Martina McBride and Little Big Town, but was still waiting for her own star to rise. “I’m 12 years in to a 10 year town,” she confesses in the heart-opening track, which kicks off her self-funded 2020 album The Dream. She didn’t know it then, but the unflinchingly honest song – about surpassing the time limit to “make it” in the competitive Nashville music industry – is also the one that catapulted Whitters from waiting tables to establishing herself as an artist. “Ten Year Town” helped her achieve many of the goals that come along with country music stardom, from going on the road full time opening for the likes of Maren Morris and Little Big Town to making her Grand Ole Opry debut.

“I really felt like I was living the dream,” Whitters tells Audiofemme of the her “career changing record” and the success that followed. “I was getting to see all these bucket list moments happen and these dreams that prior to this record I had really questioned – ‘Am I going to get to do this?’ ‘Am I going to get to see some of these dreams come true?’ I feel like that record really changed that for me and made that possible.”

Watching the way in which her life was transformed as a result of The Dream, producer Jake Gear (then Whitters’ boyfriend and now her fiancé) suggested making a deluxe edition, appropriately titled Living the Dream, set for release on February 26. The project features five new songs in the form of collaborations with Trisha Yearwood, Little Big Town, Jordan Davis and singer-songwriters Lori McKenna, Hillary Lindsey and Brent Cobb, each of whom Whitters attributes to playing a distinct role in her career.

The new collection begins with “Fillin’ My Cup,” a jovial take on the highs and lows of life and the people who make it all worth it, elevated by Little Big Town’s spirited harmonies. The Grammy-winning group played a significant part in The Dream, as Whitters used the royalty checks she earned from the band’s 2017 single “Happy People,” which she co-wrote with McKenna, to fund the album. On “Fillin’ My Cup,” their voices support potent truisms, like “You can’t appreciate the sugar if you never had the salt.” “It’s one of those lines that reminds me that this is all part of it. Take the good, take the bad, keep going, it’s going to swing back your way,” Whitters says. “All those saltier moments are the ones that come out and make life sweet.”

The native Iowan also called upon one of her childhood idols, Trisha Yearwood, to duet with her on the witty “How Far Can It Go?” an observational look at young love that would fit seamlessly on any ’90s country playlist. “Trisha’s a hero,” Whitters professes, saying she grew up “studying her records.” “She really inspired me to want to do this in the first place, so to have her on it is a huge dream come true.”

Meanwhile, Cobb, who has also taken Whitters out on tour as a supporting act, appears on the bluegrass-influenced “Glad to Be Here,” which finds the two singers on the grateful side of life, while the songwriting dream team of McKenna and Lindsey lend their talents to “How to Break a Heart.” Davis brought Whitters along as an opening act on his Trouble Town Tour in early 2020; here, he helps bring Living The Dream to a free-spirited close through “The Ride,” a tribute to the “burned out believers” and dream chasers. “It’s about moments. It’s about having some of those goals and dreams and getting to see them and appreciate the ride that gets you there,” Whitters notes. 

The young visionary has been intentional about honoring the journey throughout her career – because it’s those honest glimpses into her resiliency that helped her finally reach her goals. “Ten Year Town” showcases her determination (“I didn’t come this far to only go this far”) as well as her hopes (“This next song could turn it all around”) via defining lyrics that can apply to anyone still waiting on their big break – and for Whitters, eventually proved to be prophetic. “That language is very candid. It feels like a page out of a diary,” Whitters says. “Those are lines of persevering and continuing to keep going.”

Perseverance is an integral element of Whitters’ journey and subsequent success. The bright-eyed singer has begun to realize how even the simplest of life’s moments are complexly connected. She’s got some permanent symbols on her skin to remind her of that – visible in the video for “Fillin’ My Cup,” as she sticks out a thumb to hitchhike in a pageant-esque wedding dress. She sticks her thumb in the air, revealing a small tattoo of the letter “D” (honoring her late brother Drake) on her wrist and a delicate prairie rose in the crook of her arm, both symbolizing the deep connection she has to her hometown roots. The prairie rose is Iowa’s state flower, Whitters explains; Gear and her creative director Harper Smith, who sketched the design as a logo for The Dream – are also from the Hawkeye State. “I jog back at my parents’ house on the highway and I see the prairie roses in the ditch, and it always makes me happy,” Whitters says. “It makes me think of Iowa and makes me think of heartland.”

She and Gear had decided to get matching prairie rose tattoos after the album that ultimately changed the trajectory of Whitters’ career was complete. “It makes me think of that record that Jake and I built from scratch. It’s become a very meaningful symbol to me,” Whitters reflects, identifying how her roots are connected to her creative ambitions. “The more I’m forced to create, the more I’m forced to think about some of that stuff. I feel like I’m unraveling these layers that are freaky almost, how much they are intertwined.” 

The newest tracks on Living the Dream are Whitters’ way of expressing gratitude for her time here on earth, the people who’ve shaped her experience, and the dreams she’s carried in her heart that continue to unfold before her — passing that feeling of hope onto each person she reaches through her music. “I think in the most simple sense, living the dream to me is realizing how lucky we are to be alive,” she says. “I was looking at the people in my life who have died and who’ve died young. It was a big lesson in perspective to be able to look at that and think ‘How lucky am I to get to be a human being in this world and live and hurt and cry and laugh and love?’ It’s about feeling vulnerable in all those areas and in all those things.”

“My hope is [that] it shows those dreamers: this is what can happen when you don’t give up and keep going, keep chasing the dream,” she adds. “I hope it’s a story of inspiration.” 

Follow Hailey Whitters on Instagram, Twitter and Facebook for ongoing updates. 

AF 2019 IN REVIEW: A Year in Country Music

With the end of the year comes a time of reflection. Looking back on this year in country music, the firestorm of conversation about the lack of women on country radio spilled into 2019, while new artists like Lil Nas X and Blanco Brown broke down barriers, and names including Billy Ray Cyrus and Tanya Tucker saw a resurgence in their careers.

Renaissance Moment

 In 2019, country fans saw two legends experience an unexpected, but celebrated resurgence in Billy Ray Cyrus and Tanya Tucker.

Though known as ’90s country star with the breakthrough hit “Achy Breaky Heart” and as the father of Miley Cyrus, his name is now synonymous with the global hit that is “Old Town Road.” While the Nine Inch Nails-sampling Lil Nas X penned rap gained traction as a viral favorite on Tik Tok, it was a remix version featuring Billy Ray Cyrus that came to define the newish genre of “country rap.” Kicked off the Billboard Hot Country Songs chart based on the claim that it “does not embrace enough elements of today’s country music to chart in its current version,” “Old Town Road” quickly grew into a smash hit that broke the record as the longest running No. 1 Billboard Hot 100 – and Cyrus was a significant part of this. Though the song was already a jam in its original state, the unlikely pairing of the millennial rapper and baby boomer country star made for an important moment in pop culture. The song feels complete with both on the track, and Cyrus’ affinity for the song and ability to see how it connects to the history of country music is part of what gave him a second life in the genre.

Billy Ray Cyrus and Lil Nas X. Photo by Derrek Kupish/ dkupish productions

Tucker enjoyed her own renaissance moment in 2019; the 61-year-old icon, who had her first hit single at age 13 with “Delta Dawn,” released her first album in 10 years, While I’m Livin,’ produced by Brandi Carlile and Shooter Jennings. Partnering with a new generation of talent gave Tucker an edge and refreshed identity while still delivering a strong body of work, and earned her four 2020 Grammy nominations. It was gratifying to see two iconic stars rise like phoenixes for a new phase in their lives.

Diversity

 It’s disappointing to think that even in 2019, you can count the number of mainstream African American country artists on one hand. Over the past few years, we’ve seen acts like Kane Brown become rising superstars, while Jimmie Allen reached No. 1 with his debut single “Best Shot” last year. But with Lil Nas X breaking down the walls for artists creating country trap, it feels like the beginning of a tidal wave of diverse artists who we’ll see breaking through in the next few years.

Yola is one of the many artists blazing this path. The elegant British country singer had a banner year with her debut record Walk Through Fire. Her spell-binding voice and awe-inspiring songwriting solidified her as a major breakthrough act this year, so much so that Kacey Musgraves invited her to be one of the opening acts at her first arena headlining show in Nashville and Elton John declared himself a fan after hearing her cover of “Goodbye Yellow Brick Road.” She’ll embark on her own headlining Walk Through Fire Tour in 2020.

Blanco Brown also took country by storm with his original “Cotton Eyed Joe” style dance song, “The Git Up,” which was the longest running No. 1 on the Billboard Hot Country Songs chart and spent 13 weeks as the top selling country single in the U.S. Meanwhile, former X Factor contestant Willie Jones spent the year building momentum with songs that range from the sweet (“Down For It”) to playfully observing the influx of bachelorette parties in downtown Nashville with “Bachelorettes on Broadway,” while up-and-coming singer-songwriter Tiera was named to CMT’s Next Women of Country class of 2020.

Jimmie Allen also joined forces with dynamic duo Louis York for a poetic number titled “Teach Me a Song” on the twosome’s American Griots album, and when they all performed on the Grand Ole Opry, it marked the first time three African American artists have appeared on the Opry stage at one time. With Louis York set to make their own Opry debut in February, it feels like we’re at the start of a revolution of multi-racial artists finally becoming a mainstay in a genre that has been sorely lacking in diversity.

Women in country

 The conversation surrounding the lack of women on country radio was a dominant theme in 2018, with the likes of Carrie Underwood, Kacey Musgraves, Maren Morris, Miranda Lambert and countless others speaking out. At 2018’s end, there were no women in the top 20 on the Billboard Country Airplay chart for the first time in the chart’s near 30-year history, and they didn’t fare too much better in 2019, as there are no solo female artists on the year-end list of Billboard Country Airplay songs. With the conversation being so loud, it instilled a false sense of hope that radio would take action and begin to move toward more balanced playlist.

But where radio faltered, women united in the form of all-female tours in 2019. Underwood set this precedent by inviting duo Maddie & Tae and trio Runaway June as her opening acts on the Cry Pretty 360 Tour, proving that a troupe of half a dozen women can sell out arenas across the country. Lambert followed suit, as her Roadside Bars & Pink Guitars Tour featured a massive all-female bill with openers including Maren Morris and CMA New Artist of the Year Ashley McBryde, along with newcomers like Tenille Townes, Kassi Ashton and many more.

https://youtu.be/zPacGAykVQg

Morris also set a standard by joining forces with Carlile, Amanda Shires and Natalie Hemby to form The Highwomen, whose debut album serves as one of the year’s best (and their surprise performance with Dolly Parton at 2019 Newport Folk Festival is arguably one of the highlights of the year in music). Morris continued with her support for women by bringing a mix of five female friends and rising artists in country on her aptly titled Girl: The World Tour named after her CMA Album of the Year. Even legends like Trisha Yearwood stepped up, taking an all-female bill out on the road with her for the Every Girl on Tour.

In addition, several new female artists not only made an impact on fans and the industry alike, but brought a distinct element with them: empathy. It’s the foundation of Townes’ “Somebody’s Daughter,” a compelling narrative inspired by a woman she saw on the side of the road who was homeless that should have been a No. 1 hit, but just barely made the top 30 on the country charts. Meanwhile, Ingrid Andress broke hearts in the best way with her powerful debut single “More Hearts Than Mine” that made her the only female artist to have a debut single reach the top 20 in 2019.

Though the fact that Carrie Underwood lost Entertainer of the Year to seven-time winner Garth Brooks during a year where she put on an impeccable production that led to growth as an artist while supporting deserving young women felt like another major blow to the cause, it was inspiring to see so many women uniting in the face of adversity – there is something truly special about seeing a group of gifted women lifting one another up in a bold way.

But in order to see real change, there needs to be integration, and there seems to be signs of that going into the new year. Dan + Shay, the country duo behind the wildly successful, Grammy winning crossover hit “Tequila,” recently announced that Andress will be joining them as an opening act on their 2020 Arena Tour. Jordan Davis, who has two country hits to his name, is bringing a pair of compelling singer-songwriters, Ashton and Hailey Whitters, as his openers on the 2020 Trouble Town Tour. I hope this is a trend that turns into a movement in 2020.

5 Christmas Songs by the Women of Country Music You Need to Hear

Katie Pruitt, YouTube

Year after year, the same holiday standards come pouring through our speakers when the calendar flips to December (or before Halloween in recent years). While these often become ubiquitous, there are several artists who deliver original renditions of these holiday standards, in addition to offering new classics of their own.

The women featured below deliver a mix of original songs and covers that uniquely shine, whether it’s three superstars uniting for an iconic holiday number or a burgeoning superstar penning one of the saddest Christmas songs you’ve ever heard. Check out Audiofemme’s pick of five Christmas songs by the women of country music.

Kelly Clarkson, Trisha Yearwood and Reba McEntire – “Silent Night”

When Clarkson, Yearwood and McEntire took the stage during Clarkson’s 2013 special, Kelly Clarkson’s Cautionary Christmas Music Tale, they delivered one of the most beautiful renditions of the holiday standard regarded as “the most beautiful song ever written.” The trio defines the word “perfection” with their performance, as Yearwood’s powerful voice reaches new heights, while Clarkson provides enchanting harmonies. And when McEntire joins in, her voice adds even more magical layers. When they end the performance a capella, their harmonies knock the wind right out of you.

Kacey Musgraves – “Christmas Makes Me Cry”

Challenge: Try not to tear up when listening to “Christmas Makes Me Cry.” Between singing about broken hearts and those who couldn’t make it home for the holidays, Musgraves doesn’t try to disguise the fact that there’s a somber side to Christmas that’s often forgotten. “I wonder if I’m the only one/Whose broken heart still has broken parts/Just wrapped in pretty paper/And it’s always sad/Seeing mom and dad getting a little grayer,” she sings. What I appreciate most about the track is how Musgraves extends a hand to those experiencing grief during the Christmas season, and this compelling country queen recognizes them with this gem. “Christmas Makes Me Cry” is poignant, emotional and beautiful, reflecting the intense emotions of the Christmas season and the foundation that Musgraves builds her artistry on.

Loretta Lynn – “It Won’t Seem Like Christmas”

Before Musgraves, Loretta Lynn set the precedent for melancholy Christmas tunes, and “It Won’t Seem Like Christmas” has all the makings of a Christmas classic. Penned solely by the country icon, Lynn turns tear-in-my-beer mainstay country lyrics into her own Christmas original. Between the twinkling of the piano keys and her timeless voice, she paints a peaceful scene of decorative Christmas trees and flying snowflakes. But the pain inside her is anything but peaceful as she sings of missing the person she loves. “It Won’t Seem Like Christmas” is a highlight on her 1966 Country Christmas album that features six original numbers, including heartbreaker “Gift of the Blues” and sassy “To Heck With Ole Santa Claus.”

Cam – “I’ll Be Home For Christmas”

Get ready to be stunned when you press “play” on Cam’s cover of this holiday classic. With a voice that’s timeless and modern at the same time, Cam truly captures the sadness and longing expressed in the song in a way that resonates. While I’ve heard the track countless times during the holiday season, Cam’s version made me realize how heartbreaking this standard is, written from the perspective of a solider who hopes, but ultimately doesn’t make it home for the holiday, making for one of the most powerful renditions of the popular hit I’ve heard.

Katie Pruitt – “Merry Christmas, Mary Jane”

If you want a Christmas song that’s original and modern with a dash of humor, then look no further than Katie Pruitt’s “Merry Christtmas, Mary Jane.” With a soulful voice that cuts like a knife, Pruitt tips a cheetah-print Santa hat to the one thing that’ll take her spirits high: marijuana. Her voice is so striking you almost miss the humorous little gems she sprinkles in (“All these Christmas lights would look twice as good/As we hotbox around your neighborhood”), all of which she expresses in the midst of bluesy guitar riffs. This unique holiday tribute demands a spot on your playlist.