Author: Meghan Reich

CONGRATULATIONS TO SMN’S ARTISTS & PROJECTS ON THEIR 58^th ACADEMY OF COUNTRY MUSIC AWARDS NOMINATIONS! 21 NOMINATIONS!!!

Fun Stats:

Luke Combs and Chris Stapleton are nominees for Entertainer of the Year. A win for either artist in this category will also clinch the coveted Triple Crown Award, which consists of an Entertainer of the Year win, plus wins in an act’s respective New Artist (male, female, or duo or group) and Artist (Male, female, duo or group) categories.

This is the fourth year in a row that Luke Combs is nominated for both Male Artist and Entertainer of the Year.

Kane Brown receives his first ever nominations for Entertainer of the Year and Male Artist of the Year.

Old Dominion receives a nomination for Group of the Year, making this the eighth consecutive year the group has been nominated in the category. The group has taken home the title every year for the last five years.

KANE BROWN

ENTERTAINER OF THE YEAR
ALSO NOMINATED:
Jason Aldean

Luke Combs

Miranda Lambert

Chris Stapleton

Carrie Underwood

Morgan Wallen

MALE ARTIST OF THE YEAR
ALSO NOMINATED:

Luke Combs

Jordan Davis

Chris Stapleton

Morgan Wallen

SINGLE OF THE YEAR
“Thank God” with Katelyn Brown
ALSO NOMINATED:
“Heart Like A Truck” – Lainey Wilson

“Never Wanted To Be That Girl” – Carly Pearce & Ashley McBryde

“She Had Me At Heads Carolina” – Cole Swindell

“’Til You Can’t” – Cody Johnson

VISUAL MEDIA OF THE YEAR
“Thank God” with Katelyn Brown
ALSO NOMINATED:
“HEARTFIRST” – KELSEA BALLERINI

“She Had Me At Heads Carolina” – Cole Swindell

“’Til You Can’t” – Cody Johnson

“wait in the truck”- HARDY feat. Lainey Wilson

“What He Didn’t Do”- Carly Pearce

MUSIC EVENT OF THE YEAR
“Thank God” with Katelyn Brown
ALSO NOMINATED:
“At the End of a Bar” – Chris Young with Mitchell Tenpenny

“She Had Me At Heads Carolina [Remix]” – Cole Swindell & Jo Dee Messina

“Thinking ‘Bout You” – Dustin Lynch feat. Mackenzie Porter

“wait in the truck” – HARDY feat. Lainey Wilson

LUKE COMBS

ENTERTAINER OF THE YEAR
ALSO NOMINATED:
Jason Aldean

Kane Brown

Miranda Lambert

Chris Stapleton

Carrie Underwood

Morgan Wallen

MALE ARTIST OF THE YEAR
ALSO NOMINATED:
Kane Brown

Jordan Davis

Chris Stapleton

Morgan Wallen

ALBUM OF THE YEAR

Growin’ Up
ALSO NOMINATED:

Ashley McBryde Presents: Lindeville – Ashley McBryde

Bell Bottom Country – Lainey Wilson

Mr. Saturday Night – Jon Pardi

Palomino – Miranda Lambert

**Luke is nominated twice in this category as an artist and producer**

ARTIST-SONGWRITER OF THE YEAR
ALSO NOMINATED:

ERNEST

HARDY

Miranda Lambert

Morgan Wallen

BROOKS & DUNN

DUO OF THE YEAR
ALSO NOMINATED:

Brothers Osborne

Dan + Shay

Maddie & Tae

The War and Treaty

CHRIS YOUNG

MUSIC EVENT OF THE YEAR

“At the End of the Bar” with Mitchell Tenpenny
ALSO NOMINATED:
“Thank God” – Kane and Katelyn Brown

“She Had Me At Heads Carolina [Remix]” – Cole Swindell & Jo Dee Messina

“Thinking ‘Bout You” – Dustin Lynch feat. Mackenzie Porter

“wait in the truck” – HARDY feat. Lainey Wilson

MEGAN MORONEY

NEW FEMALE ARTIST OF THE YEAR
ALSO NOMINATED:

Priscilla Block

Caitlyn Smith

Morgan Wade

Hailey Whitters

MITCHELL TENPENNY

MUSIC EVENT OF THE YEAR

“At the End of the Bar” with Chris Young
ALSO NOMINATED:
“Thank God” – Kane and Katelyn Brown

“She Had Me At Heads Carolina [Remix]” – Cole Swindell & Jo Dee Messina

“Thinking ‘Bout You” – Dustin Lynch feat. Mackenzie Porter

“wait in the truck” – HARDY feat. Lainey Wilson

MORGAN WADE

NEW FEMALE ARTIST OF THE YEAR:
ALSO NOMINATED:

Priscilla Block

Megan Moroney

Caitlyn Smith

Hailey Whitters

NATE SMITH

NEW MALE ARTIST OF THE YEAR:
ALSO NOMINATED:

Zach Bryan

Jackson Dean

ERNEST

Dylan Scott

Bailey Zimmerman

OLD DOMINION

GROUP OF THE YEAR:
ALSO NOMINATED:

LADY A

LITTLE BIG TOWN

MIDLAND

ZACH BROWN BAND

MIRANDA LAMBERT

ENTERTAINER OF THE YEAR
ALSO NOMINATED:
Jason Aldean

Kane Brown

Luke Combs

Chris Stapleton

Carrie Underwood

Morgan Wallen

FEMALE ARTIST OF THE YEAR:
ALSO NOMINATED:
Kelsea Ballerini

Ashley McBryde

Carly Pearce

Lainey Wilson

ALBUM OF THE YEAR:

Palomino
ALSO NOMINATED:

Ashley McBryde Presents: Lindeville- Ashley McBryde

Bell Bottom Country- Lainey Wilson

Mr. Saturday Night – Jon Pardi

Growin’ Up– Luke Combs

ARTIST-SONGWRITER OF THE YEAR:
ALSO NOMINATED:

ERNEST

HARDY

Luke Combs

Morgan Wallen

The 58^th ACM Awards hosted by global superstars Dolly Parton and Garth Brooks will stream live exclusively on Prime Video on Thursday, May 11 at 8 p.m. EDT/7 p.m. CDT/5 p.m. PDT from the Ford Center at The Star in Frisco, Texas. The Emmy-nominated, star-powered experience will celebrate country music’s biggest stars and emerging talent, and feature unforgettable performances, exclusive collaborations, and unexpected moments that will captivate fans worldwide.

For a full list of nominees, please visit: https://www.acmcountry.com/noms.

The rising songstress also announces her debut EP Hands On The Wheel slated for release on May 5

Sony Music Nashville artist Karley Scott Collins shares the next piece of her artistry with “Brain On Love” available everywhere now. A bluesy, moody vocal laced over shimmering electric guitar riffs, “Brain on Love” creates a juxtaposition that goes hand in hand with the elements of a true fixation during a new relationship. Whether it’s healthy or not – the dependency and cravings for most are real. The emotive and vintage track was written by Collins with Summer Overstreet, Cameron Bartolini, and Liam Kevany and produced by Dann Huff.

LISTEN TO “BRAIN ON LOVE”

“I got the idea for this song after reading an article about how scientists had proven that the chemical reactions your brain has when you’re falling in love are virtually identical to the ones people have on drugs,” shares Collins about the song’s inspiration. “Being in love completely rewires your brain to the point where everything reminds you of that person and it’s all you can think about. It keeps you up at night, you can’t eat, all you wanna do is see that person again. We had a lot of fun writing this one. I love the colorful imagery and the rock edge this song has.”

Collins also announces her major label debut project, Hands On The Wheel, which will be out everywhere on Friday, May 5. Backed by Sony Music Nashville, CAA and Warner Chappell Music – Collins is prepared to share her heart, her unique talent and five songs that she knows her growing fanbase will adore. Already hailed “a star in the making” by Country Swag, this 23-year-old channels a unique vintage vibe while engaging a fresh, younger fanbase. Keep up with Collins on Instagram, TikTok, Facebook, YouTube, and her website.

ABOUT KARLEY SCOTT COLLINS:

When Karley Scott Collins moved to Nashville from her hometown of Lake City, Fla., she arrived armed with her words – turns of phrase she’d fallen in love with, stories told to her by friends and family, and lyrics she’d jotted down in notebooks since she was 12.  It’s Karley’s rich and emotionally soulful voice – an instrument that toes the line between wide-eyed wonder and world-weary knowledge – that anchors their messages. At their focal points, her songs are wrapped in lush instrumentation, neatly folding in her myriad musical influences like The Eagles, Stevie Nicks, Leonard Cohen, and Willie Nelson.  Backed by Warner Chappell Publishing and Sony Nashville, her debut releases, “Heavenly” and “Tattoos,” struck a chord with critics upon release, and her latest offerings “Brain on Love” and “Petty in the 80s” are available now.  With her debut EP Hands on the Wheel set for release May 5, the 23-year-old upstart is all but assured to land with a seismic impact in the months ahead.

WATCH THE FULL SHOW HERE! (MUST LOG INTO PARAMOUNT PLUS)

KANE BROWN TOOK OVER THE NIGHT WITH HOSTING DUTIES, A PERFORMANCE OF “THANK GOD” WITH KATELYN BROWN, AND WAS AWARDED THE BIGGEST AWARD OF THE NIGHT – VIDEO OF THE YEAR FOR “THANK GOD”

MEGAN MORONEY PERFORMS “TENNESSEE ORANGE” AND WINS BREAKTHROUGH FEMALE VIDEO OF THE YEAR

MORGAN WADE PERFORMS WITH ALANIS MORRISETTE

NATE SMITH PERFORMS “WHISKEY ON YOU”

COREY KENT MAKES HIS RED CARPET DEBUT

HOW LUKE COMBS IS TAKING COUNTRY MUSIC TO NEW GLOBAL FRONTIERS

https://www.billboard.com/music/features/luke-combs-tour-global-strategy-interview-billboard-cover-story-1235295362/

By Natalie Weiner

As Luke Combs’ booking agent, WME partner Aaron Tannenbaum, began plotting the European leg of the country star’s massive 2023 world tour, he encountered some promoters, in places like Hamburg, Germany, and Zurich, who were skeptical that a country act would sell tickets in Europe. So he repeated a kind of mantra to them: “You can always count on Luke Combs.”

He was right: Combs sold out all nine European dates he booked (and in substantially larger venues than initially planned). But the mantra — a testament not only to Combs’ dependability as a global touring act but to his rock-solid character — has plenty of less glamorous applications, too. Today, Combs, 33, is sitting in his manager’s Nashville office (a memento-filled monument to, well, him) at the beginning of our interview when a staffer pops her head in. “Nicole [Combs’ wife] needs your keys,” she says. The base of his 9-month-old son Tex’s car seat is in Combs’ truck, and Nicole needs to take the little guy to daycare.

“Do you know how to get it out?” Combs asks hesitantly. He starts to explain, then jumps up. “I’ll just do it, it takes literally one second.” He turns to me. “Baby stuff!”

You can always count on Luke Combs, and that is basically his brand. Without a shtick beyond “everyman,” Combs now fills stadiums nationwide as the Country Music Association’s reigning entertainer of the year, hot off his 15th No. 1 single on Billboard’s Country Airplay chart. Just your neighborhood consistent, reliable global sensation, on the cusp of bringing country to one of the widest non-pop crossover audiences it has ever had, signature red Solo cups in hand and fishing shirt on as he constructs a kind of fame that’s built to last.

“He’s just Luke, our friend, you know?” says his longtime tour manager, Ethan Strunk, who has been with Combs since he pitched himself to the singer when Combs walked into the Opry Mills Boot Barn in Nashville, where Strunk was working in 2016. “How little Luke has changed is baffling to me. There’s no way I could do it. He’s the same funny, funny guy. People say that all the time, but it’s just the truth.”

With his fourth studio album, Gettin’ Old (which arrived March 24 on River House Artists/Columbia Nashville), and an ongoing 16-country international tour, which kicked off at AT&T Stadium in Arlington, Texas, on March 25, Combs not only wants to cement his place at the top of the country heap but prove that he can transcend it — without changing anything about himself or his music. As Combs puts it, “The music has the ability to reach a lot more people than the marketing behind it does. We have a little bit of something for everybody, and that’s the way I want it to be.”

The North Carolina native has colored outside of country’s lines from the start. He built buzz on social media and through local live shows before signing with Lynn Oliver-Cline of River House Artists, and though he did eventually do some conventional radio circuits and a little time in the opening-slot trenches, it only took him two years to go from playing 250-capacity clubs to headlining his first arena tour.

His team, which has remained more or less the same since he started touring heavily in 2015, attributes his massive and rapid success in part to the unorthodox approach it has taken from the beginning. “The strategy was, ‘Let’s play the rooms that a rock act would play,’ ” says his manager, Chris Kappy, of the early days. “We didn’t play all the honky-tonks like everybody else did.”

“We had the mentality that we needed to push the limits of what you would think a country artist can and would do,” adds Tannenbaum. He booked Combs outside the genre at festivals like Lollapalooza (2018), Bonnaroo (2017) and Austin City Limits (2017) — and out of the country (in the United Kingdom and Australia), building a foundation for the international draw he has now. “Everything we’re doing as far as expanding globally, it’s not really off-script,” Tannenbaum says. “It’s just a different iteration of the same thing we’ve been doing since the beginning.”

That thing is an ever-growing iteration of Combs, the singer-songwriter, which, to the outsider, hasn’t changed all that much from his 250-person club dates. “Even when we started out in arenas, we didn’t want any fire or any crazy stunts,” says Combs. “You just come out and do the show, right? I think sometimes that can be so powerful in and of itself.” (He adds with jovial self-deprecation: “I’m not running around like Kenny Chesney.”)

Combs started sprinkling in stadium dates when he resumed touring following the pandemic pause in 2021, starting with Kidd Brewer Stadium at Appalachian State University in Boone, N.C., his would-be alma mater had music not come calling. Some initial trial and error was necessary because no one on his team had ever been part of a stadium tour.

“We always wanted the show to be about the music and to feel intimate somehow — which is a mega challenge in a stadium,” says Combs. “How do you entertain that many people? How do you make it an experience worth coming back to? There are people traveling a long way to come to this.”

Yet so far he has resisted the temptation to entice return customers by adding more eye-popping elements to his set. The show is Combs and seven band members, with strategically positioned video monitors to make everyone in the stadium feel as close to Combs as possible — and that’s basically it.

“I’m not flying in on a motorcycle,” he quips. “Live band, no tracks. Everything going out of the speakers, we’re f–king playing it when you hear it.”

That’s not to say Combs doesn’t see the value in elaborate stadium production — it’s just not for him. “Taylor Swift is like going to see Ringling Bros., and my show is like going to a demolition derby,” he jokes. “You’re coming to drink beer and be like, ‘Hell yeah.’ ”

There has been something of a learning curve as Luke Combs Inc. has adjusted to a stadium-size setup. For example, the thrust stage used at Combs’ first stadium shows — Kidd Brewer in 2021 and Atlanta, Denver and Seattle in 2022 — was 8 feet tall, making it nearly impossible for Combs to see, much less connect with fans in the pit.

“Especially coming off doing the 360 arena thing, where you’re right in the middle and everybody feels pretty close, you go out in the stadiums and man, once the spots hit you out there, you almost can’t see anything,” says Combs. “You can see two rows of people, and then there’s just like infinite blackness.”

This time, the thrust will be both larger and at a lower level than the main stage. “You’re more in the crowd,” Combs adds. “I really wanted to feel that. I love playing small clubs, and feeling like people are right there is really nice.”

“Fans first” is the slogan of Kappy’s Make Wake management company, and one that permeates its decisions. Combs’ fans, called the Bootleggers, are so named for one of his early “hits” (his scare quotes), “Let the Moonshine,” and its ties to his Appalachian upbringing. He and Kappy started a private Facebook group for Bootleggers in 2015, the same year Kappy began managing a then-unsigned Combs; today, it has over 175,000 members, despite being entirely separate from the official Bootleggers club that fans can now sign up for on Combs’ own site to access perks and presales. One of those perks is the VIB (Very Important Bootlegger) meet-and-greet giveaway — which is the only VIP offering on Combs’ tours and completely free.

“I’ve always just felt really weird about, like, charging people to meet me,” he says. “Maybe that’s just me feeling like, ‘Well, it’s not worth it.’ ” By making meet-and-greets almost completely random (25 fans are chosen per show through a lottery on Combs’ site), Combs gets to see “a real representation of who’s there,” as he puts it. “I just want to meet people who came to the show, whether it’s their first show or their 50th show. It’s like people who would have never gotten the chance to meet me or could never have afforded it. Because I couldn’t have afforded that growing up.”

His manager is willing to put it more bluntly. “That’s not the type of people we want,” Kappy recalls telling a banker when turning down a $5,000 offer to meet Combs at the AT&T Stadium show. “I’d rather have the guy who can barely afford to come to the show because that’s more of a real fan than you wanting a picture with Luke for your Instagram.”

“I always want my fans to understand that I’ve never made any decisions based off how much money I can get out of them,” Combs says. “It already costs so much to do anything, right? I want them to love the music and feel like they saw a great show that someone put a lot of f–king thought into and did it at a price that was affordable to them.”

That’s why he has kept ticket prices at pre-pandemic levels (an average of $88) and has a section of $25 tickets at every show; why he has free preparties and tailgates attached to most of his stadium dates; why he refunded fans after a set in Maine last year because he felt like his voice wasn’t up to snuff (despite the fact that he did perform a shortened set); why he doesn’t only tour in the places where it’s most straightforward and lucrative. Combs is playing the long game.

“We’re trying to build a career so people can meet at a Luke Combs show and then eventually bring their kids to it and be like, ‘This is how it all happened,’ ” Kappy explains.

“Could I have gone out and done super-mega platinum tickets at even more stadiums and made an assload of money? Probably so,” Combs adds. “But I think eventually the fans will be like, ‘I’m not doing that again.’ ”

And it’s still more efficient for him: nearly 1 million tickets sold for 2023, for the fewest dates (39) he has worked in years. For 16 weeks, he’ll bus into North American cities on Thursday night, rehearse Friday, play Saturday and return to his home outside Nashville on Sunday. Then, after three weeks in Australia and three weeks in Europe and the United Kingdom (with a sizable break in between), he’s done for the year, without needing to bring Nicole and baby Tex along for the ride. “One show a week is like … dude!” he says. “People dream about doing one show a week.”

Combs’ international appeal is rooted in that same fans-first ethos. He went to play in Australia when it wasn’t profitable; now, the only reason he’s not booking multiple nights at stadiums there is because his trip coincides with the Women’s World Cup and all such venues are booked.

“There was a trust factor between he and I,” Kappy explains. “I said, ‘Look, I need you to do this, and you’re going to lose money. But instead of going and playing Raleigh every July at the amphitheater, you’re going to build markets.” Now Sydney, Melbourne and Brisbane, Australia, are among Combs’ top 10 streaming cities worldwide; some of the cities in Oceania where Combs is selling out arenas on this year’s tour, he has never even played before.

“People in our genre have always been so content with just doing [the] lower 48 because that has been good, that has been great. That has been safe. That’s where the money is,” says Combs. “But I feel like country music has such a place in the world outside of just the States.”

There is no template for what Combs has been able to accomplish internationally, and the biggest hurdle, according to his management team, has been getting promoters on board without any comparable artists to reference — mostly by insisting repeatedly that the demand is nearly insatiable. “We didn’t come here to punt,” Kappy says. “So the goal is like, ‘Let’s throw a Hail Mary.’ And a lot of our Hail Marys are getting caught.”

A favorite anecdote among Team Combs is about when the singer played Quebec City’s multigenre Festival d’Été last summer — a booking that apparently made some of the event’s organizers nervous.

“I had personally been aggressively pursuing that opportunity for Luke for five years, and I kept getting back, ‘No, country doesn’t really work up here. He’s not a headliner,’ ” says Tannenbaum. Combs drew upwards of 70,000 people.

“Everybody was singing every word to every song — even the deep cuts — but then he would stop and everyone was speaking French,” Kappy recalls.

“He’s a unicorn,” says Tannenbaum. “I don’t really know how else to say it.”

That Quebec City date helped raise their expectations for this international tour. “We believed we had something really big with this,” Tannenbaum explains. “However, there wasn’t much precedent for the promoters to calibrate their expectations on, and the comps the promoters did have didn’t perform very well.”

So Tannenbaum and his colleagues at WME agreed to book European venues they felt confident Combs could fill several times over, because those were the ones they could get promoters to sign on with, and were prepared with options to upgrade all of them to larger rooms if tickets sold well enough. Every single European date got upgraded. Combs’ Copenhagen show in October, for example, was initially booked in a 1,500-capacity club; due to demand, it was upgraded to a 12,000-seat arena. “We’re not stopping there — South America is our next big, big goal,” says Tannenbaum. “By and large, this is virgin territory for artists coming from the world Luke has established himself in. But we’ve overcome similar barriers and precedents elsewhere in the world, and we expect to achieve the same success in these markets.”

And incredibly, Combs has been able to reach pop star levels of global success with nary a whiff of pop crossover, aside from a CMT Crossroads special with Leon Bridges and a cover of Ed Sheeran’s “Dive.” (He does cover Tracy Chapman on his new record, a decision made partly out of his personal fear that some people today might not know “Fast Car.”)

“Luke Combs is a country artist, and Luke is very happy being just a country artist,” says Kappy. “If the opportunity presented itself to do something in that world, sure, but we’re not looking to take a song to [adult top 40] or something like that when we’re still reaching new ears. Three chords and the truth work everywhere.”

Though he might make it look easy, taking over the world as Luke Combs, regular guy, has its challenges. “I think what has been one of my biggest assets has also been one of the things that was the hardest for me,” Combs says. “I am just me. There’s not, like, an act. My driver license says ‘Luke Combs’ on it. I’m 300 pounds with a neck beard. I can’t go out and not wear a hat and people don’t know who I am.

“I struggled with that a lot because I almost felt trapped, like a zoo animal or something,” he continues. “Now I don’t even think about it anymore.”

So Combs signs the autographs and takes the pictures, accepting them as a sometimes invasive part of the job he signed up for, and reminding himself that he would much rather people hate his music and think he’s a “pretty sick dude” than the opposite. He would prefer to insulate his son (and, soon, Tex’s little brother: Combs and Nicole just announced they’re expecting) from the craziness that comes with superstardom but knows that it’s only a matter of time before he has to explain why people come up to them in the grocery store.

“I don’t want him to be like, ‘My dad’s so great because he’s a country singer,’ ” he says. “I want him to be like, ‘My dad’s so great because he gives a f–k about me and goes fishing with me and listens to my problems and helps me when I’m scared.’ ”

It’s hard to find a chink in Combs’ grounded armor, a reason not to buy in the way that hundreds of thousands of fans now have — trusting that whether or not they speak his language, or relate to his songs’ Southern touchstones, or also wear hunting gear and cowboy boots and Crocs (with whom he has collaborated on a comfy clog), they can count on him to make them feel something. They can do that without spending their savings because accessibility is a top priority for Combs and his team, right after the music. “Look at how much money we’re making,” he says. “Does it really even matter if we make double? What’s the difference between having $5 million and $500 million? How much happier are you? Is it that much? Or is it like 1% happier?”

Instead, he wants to chart a career, and a life, that’s extraordinary in its very ordinariness.

“I didn’t get into music to be famous or rich,” Combs concludes. “I got into music because I love singing. I love singing for big crowds of people, and I feel like I’m good at it. People like to hear me do it. And I want to continue to do that as long as possible.”

Luke Combs Isn’t Like the Rest

The best country singer of his generation, the 33-year-old has broken out—big—with a surprising tactic: leaning into old-school, traditional country sounds.

In a nice touch at last month’s Grammy Awards, several of the night’s performers were introduced by friends and family. Brandi Carlile was brought to the stage by her wife and daughters, Lizzo by one of the contestants on her show Watch Out for the Big Grrrls. The introduction for country singer Luke Combs, a powerhouse both vocally and commercially who has exploded in popularity in recent years, came from Justin Davis, the owner of Town Tavern Blowing Rock in Boone, North Carolina, where Combs once worked as a bouncer. But with his round physique and ginger beard, Combs exudes nice-guy energy, so just how good was he at guarding the door?

“Luckily, there was two of us,” he said on a recent Zoom call from his manager’s office in Nashville. “I didn’t particularly love that job—I was more of a people pleaser than the ‘you’re not allowed in’ guy. I got it done, but I’m definitely not gonna be in the Bouncer Hall of Fame.”

As for the Country Music Hall of Fame? Well, it’s a little early, but Combs—whose fourth album, Gettin’ Old, is out today—has been on a sustained, record-breaking tear; other than Morgan Wallen, who operates in an entirely different stratosphere from the rest of the genre at this point, 33-year-old Combs is Music City’s biggest star to emerge in the last decade. He is also, out of his set of peers, the best pure singer.

This sounds impossible, but since the 2016 release of “Hurricane” from his debut album This One’s For You, each of his fifteen singles have hit Number One on the country charts—the longest consecutive streak for an artist straight out of the gate. (“Hurricane,” by the way, was certified eight-times-platinum, as was “When It Rains It Pours,” while 2018’s “Beautiful Crazy” reached the nine-times-platinum mark).

Luke Combs – Love You Anyway (Official Studio Video)

Watch Here

All of which led to a skyrocketing touring base for the dressed-down, big-voiced Combs, earning him the coveted CMA Entertainer of the Year award the past two years. It’s especially impressive since Combs occupies a traditional spot in country music—singing solidly constructed, old-school songs about love and booze with hints of Southern Rock and soul, and not a trace of the pop or hip-hop influence that defines most of the genre’s young artists working today.

“A guy like Luke comes along every now and then and becomes a phenom,” says Kix Brooks of Country Music Hall of Fame duo Brooks & Dunn, who have recorded with Combs several times. “He’s selling honesty, ground up integrity, and he sings hard, like he’s gonna hurt you with his passion. He freaking means it! You’ve got to be really good, and he is, but you’ve got to mean it every time, and it sure sounds like he does.”

So who gets the credit for this unprecedented sprint to the top of the charts? Well, that takes us back to Justin Davis and his bar, because Combs may have been a lousy bouncer, but taking that job led to other opportunities. “I played a million shows in his bars,” he says. “I lived upstairs and worked downstairs and played downstairs and ate and drank downstairs. You don’t even realize how important it is until later—with the rise of the Internet, if you have a song or a video that does well, all of a sudden, you can be playing shows for thousands of people, and sometimes those people struggle when they get out on stage. People go see them and they’re like, ‘This isn’t what I paid to come see.’

“Playing all those shows was a huge benefit,” he continues, “because you figure out what works, what doesn’t work—I mean, how do you even know if the crowd likes your song or not? I would encourage anybody to just play and play, in places where nobody’s coming to buy a ticket to see you. It may not be as fast as a [social media] video, but once you get to the point you want to be at, you’ll be glad that you did it.”

Gettin’ Old comes out just nine months after Combs’ last album, which turns out to be part of a master plan. That last record was called Growin’ Up, and he actually wrote and recorded most of the two albums simultaneously (the opening track on the new one, which he describes as “the overarching theme of the album,” is titled “Growin’ Up and Gettin’ Old,” connecting the dots for any of us who aren’t paying attention).

“It became apparent that there were two markedly different groups of songs that were showing up,” he says. “Growin’ Up leaned more towards my first two albums and Gettin’ Old is a shift towards a more mature sound, with being married and having a kid and things that were happening at the time I was writing the songs. It felt like there was this big juxtaposition in my life—you’re out on the road playing shows and drinking with your buddies, and then you’re home and your wife’s pregnant, and then you got a kid, and then you’re back on the road, playing shows and riding on the bus. There’s things I really love about both of those, so that juxtaposition is kind of where the songs came from.”

Most of the album is meat-and-two-sides, plant-your-feet-and-sing country, exploring themes familiar from the format’s tradition—family, first loves and lasting loves, the power of song—but there are a few selections that take unexpected turns. There’s a cover of Tracy Chapman’s 1988 hit “Fast Car” (one of the first songs Combs remembers hearing, on cassette in his dad’s “1980-something, brown F-150 with a camper top”). “Joe” is the story of a sobriety journey, which is a bit of a surprise coming from the guy with alcohol-fueled hits like “Beer Never Broke My Heart” and “1, 2 Many” (“There’s no stopping me once I get goin’/Put a can in my hand, man, I’m wide-ass open”).

“I had some people in my family struggle with that, and some friends that live that lifestyle,” Combs explains. “And I think about how much we talk about getting drunk and stuff—and hey, I love it as much as the next guy, but I wonder, what are those people thinking? Especially if it was my friend or my dad, I want them to at least have a moment in the show that spoke to them a little bit, too.”

Luke Combs was written about frequently as an overnight sensation, but ask the singer how he feels about that classification. “I put in my 10,000 hours,” he tells Esquire.

His expression of empathy for listeners beyond the stereotype sounds like a lot of the conversation in Nashville these days, which is taking a hard look at country music’s diversity and who does and doesn’t feel welcome as part of the audience. Combs says he’s supportive of and enthusiastic about efforts to include more and different voices.

“I think it’s great—any opportunity that our genre has to broaden its listenership or its base is so cool,” he says. “Bringing in people who have different outlooks and different perspectives on life is what keeps music interesting. I don’t want to hear the same version of the same song from the same person every day. I think having those different viewpoints, whether it’s from a Black artist or a woman or a guy like myself or whoever, everybody has different views and different takes, and that’s what makes music awesome.

Luke Combs started singing early. “As soon as I could talk, I was singing,” he says. He didn’t even know if he was any good at it—as an only child, he had no siblings to offer opinions, and his parents loved it but, as he says, “everybody’s parents love when they do anything.”

He started chorus class in sixth grade, then started singing in the church choir, and performed in all the school musicals. “Singing was second nature to me,” he says. “I put a lot of hard work into it, but I always just enjoyed the heck out of it.” The choir even sang at Carnegie Hall, and Combs was chosen for a solo. “It was fun, a confidence builder for sure,” he says, adding of the fabled Manhattan venue, “but I haven’t played there since.”

Still, he had no thoughts of making music a career. He went to Appalachian State University to get a business degree, then switched to criminal justice with thoughts of becoming a homicide detective. He also took the gig as a bouncer. After his junior year, he was back home for the summer, bored, working at a go-kart track. His mother reminded him that he had a guitar sitting in his bedroom closet that his parents bought him when he was in seventh grade; he had taken one lesson and bailed. Maybe he wanted to give it a try? He started to teach himself how to play.

And then there was no looking back. Playing at the Town Tavern turned into four or five shows a week, then putting a band together, “booking our own shows and driving the truck and pulling the trailer and unloading gear and loading it in and setting up speakers.” With one month left before graduation, Combs left school and headed to Nashville. So when he got signed and the hits and headlining dates started coming, he may have seemed like an overnight sensation, but he knew he was prepared.

“By the time I got my deal, I had been playing shows full-time for five years,” he says. “It does seem like it came out of nowhere, but I’d done my 10,000 hours of singing before I ever even learned how to play guitar. So I did feel ready. I never walked out and wondered, ‘Is someone going to think I’m good?’ I just went out and did it. I believed that I was doing something that was different, and something that was going to work.”

Harder for Combs, though, was adjusting to celebrity. He tries to keep his life as close as possible to what it was before all the Number One hits, and that yearning for simpler days still comes through on songs like “Back 40 Back” on Gettin’ Old. “I think I’m finally at peace with it now,” he says. “It was tough for a few years—feeling like you couldn’t go anywhere, like you couldn’t do anything. That’s kind of going away. I just live my life, I go to the grocery store and go out to eat and whatever. I used to not even do that stuff, because it was overwhelming—it always felt like somebody was looking at you or watching you or something. But now I honestly forget about that whole part of it.”

Luke Combs – Going, Going, Gone (Official Video)

Watch Here

Emphasizing that “I’ve never tried to be something I’m not” (and pointing to his baseball caps-and-camo clothing choices as proof), maintaining a life outside the spotlight is especially important to Combs since the birth of his son, Tex Lawrence Combs, last June. “I want my son—and eventually my children—to have as normal of a life as they deserve to have,” he says, “to ride bikes, to have privacy, to go fishing. I don’t want them to be on jets all the time going all around the world—not that we wouldn’t go on vacation together. I want them to have the things that I didn’t have. But I also want them to have the things that I did have, which was a really fun, normal feeling childhood.”

Luke Combs knows that eventually, someday, his streak of Number One singles has to end. Maybe it will even be a relief. Anyway, figuring out those priorities is all part of growin’ up and gettin’ old.

“You obviously would love for it to keep going,” he says. “But chasing records or streaks, I don’t benefit from it as a human being. It’s great to have the most weeks at Number One or whatever; that stuff’s amazing. Nobody wouldn’t want those things. But I don’t ever think about that when I go in to write a song or produce a record, because then you’ve lost the whole art and the joy of it. I’m not going to sacrifice the integrity of what I love to do just for that.

“I’d be bummed to see it end,” he adds, “but my son would still smile when I got home, so it’s fine.”

https://www.esquire.com/entertainment/music/a43398297/luke-combs-interview/

Today, buzzworthy Sony Music Nashville singer-songwriter Dylan Marlowe dropped two new tracks, “Grew Up Country” and “Empty Shotgun (Mr. Mechanic).” Listen here.

This morning, Dylan shared his new track “Grew Up Country” on the Kelleigh Bannen show. Penned by Dylan, Zach Abend, and Jeb Gibson, the singer said, “‘Grew Up Country’ is about growing up like I did in a small town in Georgia. It was a simple way to live but I wouldn’t change a thing.”

Written by Dylan, Seth Ennis, and Joe Fox, fan-favorite “Empty Shotgun (Mr. Mechanic)” first garnered attention during his live shows for the hooky lyrics and wordplay. “Both ‘Empty Shotgun’ and ‘Grew Up Country’ are a lot of fun to play live,” Dylan added.

Earlier this year, Dylan made waves with the release of his latest track, “Record High,” which Outsider called “arguably his best work yet,” noting that “very few country singers have seen their musical stock rise as quickly as Marlowe’s has in the last few years.” Additionally, MusicRow praised the track, calling it “Moody and haunting. The soundscape ripples with dobro, muted percussion and chimed electronics. His broken-hearted delivery aches with sincerity. Excellent work.”

Named one of Spotify’s 2023 Hot Country Artists to Watch, Dylan will be heading out on HARDY’s the mockingbird & THE CROW FALL TOUR this fall. For tour dates and tickets, visit DylanMarloweMusic.com.

About Dylan Marlowe

Statesboro, Georgia native Dylan Marlowe is Nashville’s newest rising star on the country music scene, where he comes likely wearing camouflage and an audible smile, equipped with a sound that blends traditional country themes with a touch of rock. Dylan found his way to Nashville just before the start of the pandemic but made lemonade from lemons, filling his days with songwriting, networking, and finetuning his craft. After Dylan shared a performance of his countrified rewrite of the Olivia Rodrigo hit “Driver’s License” to social media, people really started paying attention. The clip immediately quadrupled his TikTok following and has racked up over a million views on YouTube to date. The enthusiasm surrounding the track prompted him to release it to streaming services, followed by his own infectious tunes like “All About It,” “I’ll Keep The Country,” and “Why’d We Break Up Again.” Now, with his first No. 1 as a songwriter for Jon Pardi’s “Last Night Lonely” under his belt, his explosive new single, “Record High,” and his opening slot on HARDY’s tour this fall, Dylan has set the scene for a monumental takeoff in 2023. Drawing from influences like Kenny Chesney, Eric Church and Cody Johnson, Dylan is carving out his own creative niche that he’s filling with music that fans will readily identify with the name Dylan Marlowe.

DylanMarloweMusic.com | Instagram | Facebook | TikTok | YouTube

PUBLIC ONSALE FRIDAY (3/24) AT 10 A.M. (LOCAL) FOR THE LUCKY TOUR

HOTLY ANTICIPATED DEBUT ALBUM, LUCKY, OUT MAY 5

Readying to launch her first headline run with the SOLD-OUT PISTOL MADE OF ROSES TOUR next month, Sony Music Nashville/Columbia Records’ rising star Megan Moroney is today (3/20) announcing THE LUCKY TOUR this fall. The 22-city run’s tickets + VIP packages will go on sale Friday (3/24) at 10 a.m. (local) at meganmoroney.com. In select cities, Moroney’s fan club also has access to an exclusive presale on Wednesday (3/22) at 10 a.m. (local) with code JACKPOT.

She first broke the news of her tour on social media this morning saying “THE LUCKY TOUR!?!? well this is gonna be fuunnnnn 😆☘️✨”

Launching with her New York City debut at The Bowery Ballroom on September 20, THE LUCKY TOUR brings Moroney to major cities and iconic venues coast-to-coast including first-time stops as an in-demand headliner in Chicago (Joe’s on Weed St.), Los Angeles (Troubadour), New Braunfels, TX (Gruene Hall), and more, before topping it off in Atlanta at Buckhead Theatre on November 10.

Announced dates, cities, and venues of Megan Moroney’s THE LUCKY TOUR: 

SEPTEMBER

20 | New York City, NY – The Bowery Ballroom

21 | West Springfield, MA – The Big E

22 | Philadelphia, PA – Theatre of Living Arts

23 | Washington, D.C. – The Hamilton

28 | Saint Louis, MO – Delmar Hall

29 | Indianapolis, IN – 8 Seconds Saloon

30 | Chicago, IL – Joe’s on Weed St.

OCTOBER

13 | Los Angeles, CA – Troubadour

14 | Bakersfield, CA – Buck Owens’ Crystal Palace

19 | Denver, CO – Bluebird Theater

20 | Salt Lake City, UT – The Grand at The Complex

21 | Grand Junction, CO – Warehouse 25 Sixty-Five 

25 | Phoenix, AZ – Crescent Ballroom

26 | San Diego, CA – Moonshine Beach

27 | Las Vegas, NV – Stoney’s Rockin’ Country

NOVEMBER

2 | New Braunfels, TX – Gruene Hall

3 | Houston, TX – Warehouse Live Ballroom

4 | Dallas, TX – The Studio at The Factory

DECEMBER

7 | Nashville, TN – Brooklyn Bowl

8 | ⭐️⭐️⭐️⭐️⭐️⭐️ –⭐️⭐️⭐️⭐️⭐️⭐️

9 | Charlotte, NC – Coyote Joe’s

10 | Atlanta, GA – Buckhead Theatre

Buzzing off high-profile media attention with the recent release of the title track off her forthcoming debut album, LUCKY, Billboard raves, “The opening guitar riff has shades of the opening to Alan Jackson’s ‘Chattahoochee,’ while the song overall feels a little bit Shania and full-on honkytonk, in a manner that would have sounded right at home on ‘90s country radio.” Calling the Moroney, Casey Smith, Ben Williams, and David “Messy” Mescon-penned tune a “sprightly, barroom romp,” MusicRow further hails, “It’s a two-stepper with a clever countrified take on loose morals.” Read her multi-page Profile with The Tennessean here.Produced by Kristian Bush, fans canpre-save/pre-add the hotly anticipated full-length project out May 5 and watch the visualizer for “Lucky”here. 

Catapulting onto the Country music scene with “Tennessee Orange,” the viral breakout hit is verging on Top 15 at Country radio, and has secured Moroney’s first CMT MUSIC AWARDS nominations – as she’s vying for BREAKTHROUGH FEMALE VIDEO OF THE YEARfor her Jason Lester-directed clip (view here)andCMT DIGITAL-FIRST PERFORMANCE OF THE YEAR  for her CMT Viral To Verifiedperformance (view here). The 2023 CMT MUSIC AWARDS airs live on April 2 from the Moody Center in Austin, TX, at 8:00-11:00 PM ET/PT on CBSand will be available to stream live and on demand on Paramount+. Fan-voting is open atvote.cmt.com.

KEEP UP WITH MEGAN MORONEY

WEBSITE |  YOUTUBE | INSTAGRAM | FACEBOOK | TWITTER  | TIKTOK

ABOUT MEGAN MORONEY:

Born and raised in Georgia, Megan Moroney grew up in a musical household heavily influenced by legendary songwriters in Classic Country, Southern Rock, and Americana. During her freshman year at the University of Georgia, an opportunity to open for an established Country artist at the iconic Georgia Theatre prompted Moroney to write her very first original song. From there, she developed a love for storytelling and has become known for her distinctive voice and honest, conversational lyrics. 2022 brought the singer a breakout year with the release of her debut EP, Pistol Made of Roses, followed by her single “Tennessee Orange,” which put her on the map as Nashville’s most compelling new artist. The colossal buzz surrounding the track prompted her to perform it on ESPN’s College GameDay, while racking up 156 MILLION global streams to date. The viral hit is also nominated for BREAKTHROUGH FEMALE VIDEO OF THE YEAR (“Tennessee Orange”) andCMT DIGITAL-FIRST PERFORMANCE OF THE YEAR (“Tennessee Orange” from CMT Viral To Verified) at the 2023 CMT MUSIC AWARDS. After opening stints on tours with Larry Fleet, Chase Matthews, Jamey Johnson, and Warren Zeiders last year, she is kicking off her first headline run with the SOLD-OUT PISTOL MADE OF ROSES TOUR this spring and continuing with THE LUCKY TOUR in the fall. In between, fans can catch her out with Brooks & Dunn this summer. Dubbed a “2023 Artist to Watch” by Amazon Music, Pandora, and Spotify, as well as one of CMT’s Next Women of Country for 2023, the “musical risktaker with powerhouse pipes” (CMT) is slated to become a household name in the years to come. 

PERFORMS MASHUP OF “WHERE YOU ARE” AND “THE SOUND OF BEING ALONE”

SIDE A + B TOUR RESUMES APRIL 19

Tenille Townes won her second JUNO Award for Country Album of the Year with her 2022 project Masquerades.

A previous winner for Country Album of the Year in 2021 for her debut album The Lemonade Stand, Townes also performed during the broadcast, starting with an acoustic rendition of “Where You Are” and transitioning into “The Sound of Being Alone” from her latest Award-winning collection. Watch the performance HERE.

The reigning CCMA Entertainer of the Year continues her SIDE A + B TOUR on April 19 in Newport, KY, an expansion of her successful Canadian run earlier this year. Tickets for all dates are available now.

TENILLE TOWNES SIDE A + B TOUR U.S. DATES

April 19 / Newport, KY / The Southgate House Revival

April 20 / Indianapolis, IN / A&R Hi-Fi

April 21 / Columbus, OH / A&R Music Bar

April 22 / Evanston, IL / SPACE

April 23 / Grand Rapids, MI / The Stache

April 27 / Washington, D.C. / Union Stage

April 28 / Winchester, VA / The Monument

April 29 / Cleveland, OH / House of Blues – Cambridge

April 30 / Richmond, VA / Richmond Music Hall

TenilleTownes.com | Facebook | Twitter | Instagram | YouTube | TikTok

NEW ALBUM “GETTIN’ OLD” OUT NEXT FRIDAY

RECORD-BREAKING WORLD TOUR BEGINS MARCH 25

“one of music’s mightiest voices and a hitmaking force arguably unlike any seen out Nashville this century”—USA Today

“a superstar who is shaping the future of the genre while also serving as one of its fiercest defenders”
—The Washington Post

Country superstar and reigning CMA Entertainer of the Year Luke Combs has earned 26 new RIAA certifications for his songs “Beautiful Crazy” (9x Platinum), “Hurricane” (8x Platinum), “When It Rains It Pours” (8x Platinum), “Forever After All” (4x Platinum), “One Number Away” (4x Platinum), “Better Together” (4x Platinum), “Lovin’ On You” (2x Platinum), “Must’ve Never Met You” (2x Platinum), “Does To Me” feat. Eric Church (2x Platinum) and “Refrigerator Door” (Platinum) as well as “A Long Way,” “All Over Again,” “Be Careful What You Wish For,” “Beer Can,” “Blue Collar Boys,” “Memories Are Made Of,” “Don’t Tempt Me,” “Lonely One,” “I Got Away With You,” “Nothing Like You,” “Out There,” “Reasons,” “Tomorrow Me,” “Used To You,” “What You See Is What You Get” and “Without You” feat. Amanda Shires, which have all been certified Gold. 

The certifications add to another historic week for Combs, who extended his record-breaking run at country radio as his single, “Going, Going, Gone,” is currently #1. This is Combs’ 15th consecutive #1 single—the longest consecutive streak for an artist since their debut—and makes Combs one of the fastest to accumulate 15 #1s, joining the ranks of Garth Brooks, Alan Jackson and Alabama.

Furthermore, Combs will release his new album, Gettin’ Old—a companion to his acclaimed 2022 record, Growin’ Up—next Friday, March 24 via River House Artists/Columbia Nashville (pre-order here). Produced by Combs, Chip Matthews and Jonathan Singleton, Gettin’ Old is Combs’ fourth full-length album following Growin’ Up, 2019’s 3x Platinum What You See is What You Get and his 4x Platinum debut, This One’s For You. Across these eighteen tracks, including a rendition of Tracy Chapman’s “Fast Car,” Combs continues to establish himself as one of music’s most authentic and powerful voices, as he explores themes of family, legacy, love and personal growth.

Ahead of the release, Combs has unveiled three additional album tracks: “Joe,” “Growin’ Up and Gettin’ Old” and “Love You Anyway,” of which The New York Times praises, “His bellow is more stable, his emotional presence more dignified. But there’s still something of a purring engine inside songs like ‘Love You Anyway,’” while Billboard declares, “it immediately sounds like one of his strongest to date.”

Reflecting on the album, Combs shares, “This album is about the stage of life I’m in right now. One that I’m sure a lot of us are in, have been through, or will go through. It’s about coming of age, loving where life is now but at the same time missing how it used to be, continuing to fall for the one you love and loving them no matter what, living in the moment but still wondering how much time you have left, family, friends, being thankful, and leaving a legacy. Me and so many others have poured their hearts and souls into this record, and I hope you love it as much as we do.”           

Known for his electric live shows, Combs will kick off his massive World Tour next weekend with sixteen North American stadium shows, all of which sold out immediately. With 39 shows across 3 continents and 16 countries, the record-breaking run is the largest tour ever for a country artist. The upcoming trek includes shows at Arlington, TX’s AT&T Stadium, Nashville’s Nissan Stadium and Foxborough’s Gillette Stadium, as well as stops in Australia, New Zealand, U.K., Ireland, Germany, Netherlands, Norway, Sweden, Denmark, Switzerland, France and Belgium. See below for complete tour itinerary.

A member of the Grand Ole Opry and an 8x CMA, 3x ACM, 3x Billboard Music Award-winner, Combs is in the midst of a historic series of years. Most recently, he was named CMA Entertainer of the Year for the second-consecutive year this past November. Additionally, with his 2019 release, What You See Ain’t Always What You Get, Combs reached #1 on Rolling Stone’s Top 200 Albums chart, Top 100 Songs chart and Artists 500 chart—the first country artist ever to lead all three charts in the same week and first to top the Artists 500.

GETTIN’ OLD TRACK LIST

1. Growin’ Up and Gettin’ Old

2. Hannah Ford Road

3. Back 40 Back

4. You Found Yours

5. The Beer, The Band and The Barstool

6. Still

7. See Me Now

8. Joe

9. A Song Was Born

10. My Song Will Never Die

11. Where the Wild Things Are

12. Love You Anyway

13. Take You With Me

14. Fast Car

15. Tattoo on a Sunburn

16. 5 Leaf Clover

17. Fox in the Henhouse

18. The Part

LUKE COMBS WORLD TOUR 2023

March 25—Arlington, TX—AT&T Stadium* (SOLD OUT)

April 1—Indianapolis, IN—Lucas Oil Stadium* (SOLD OUT)

April 15—Nashville, TN—Nissan Stadium* (SOLD OUT)

April 22—Detroit, MI—Ford Field* (SOLD OUT)

April 29—Pittsburgh, PA—Acrisure Stadium* (SOLD OUT)

May 6—Chicago, IL—Soldier Field* (SOLD OUT)

May 13—Minneapolis, MN—U.S. Bank Stadium* (SOLD OUT)

May 20—Boise, ID—Albertsons Stadium* (SOLD OUT)

May 27—Vancouver, BC—BC Place* (SOLD OUT)

June 3—Edmonton, AB—Commonwealth Stadium* (SOLD OUT)

June 10—Kansas City, MO—GEHA Field at Arrowhead Stadium* (SOLD OUT)

June 17—St. Louis, MO—Busch Stadium* (SOLD OUT)

July 8—Tampa, FL—Raymond James Stadium* (SOLD OUT)

July 15—Charlotte, NC—Bank of America Stadium* (SOLD OUT)

July 22—Foxborough, MA—Gillette Stadium* (SOLD OUT)

July 29—Philadelphia, PA—Lincoln Financial Field* (SOLD OUT)

August 9—Auckland, New Zealand—Spark Arena+ (SOLD OUT)

August 11—Brisbane, Australia—Brisbane Entertainment Centre+ (SOLD OUT)

August 12—Brisbane, Australia—Brisbane Entertainment Centre+ (SOLD OUT)

August 16—Sydney, Australia—Qudos Bank Arena+ (SOLD OUT)

August 17—Sydney, Australia—Qudos Bank Arena+ (SOLD OUT)

August 19—Melbourne, Australia—Rod Laver Arena+ (SOLD OUT)

August 20—Melbourne, Australia—Rod Laver Arena+ (SOLD OUT)

August 23—Adelaide, Australia—Adelaide Entertainment Centre+ (SOLD OUT)

August 26—Perth, Australia—RAC Arena+ (SOLD OUT)

September 30—Oslo, Norway—Spektrum Arena (SOLD OUT)

October 1—Stockholm, Sweden—Avicii Arena (SOLD OUT)

October 4—Copenhagen, Denmark—Forum Black Box (SOLD OUT)

October 6—Hamburg, Germany—Barclays Arena

October 7—Amsterdam, Netherlands—AFAS Live (SOLD OUT)

October 8—Paris, France—La Cigale (SOLD OUT)

October 10—Zurich, Switzerland—The Hall

October 11—Brussels, Belgium—Ancienne Belgique (SOLD OUT)

October 13—Dublin, Ireland—3Arena (SOLD OUT)

October 14—Belfast, N. Ireland—SSE Arena (SOLD OUT)

October 16—Glasgow, Scotland—OVO Hydro Arena (SOLD OUT)

October 17—Manchester, England—AO Arena (SOLD OUT)

October 19—London, England—The O2 Arena (SOLD OUT)

October 20—London, England—The O2 Arena (SOLD OUT)

*with special guests Riley Green, Lainey Wilson, Flatland Cavalry and Brent Cobb
+with special guests Cody Johnson and Lane Pittman

www.LukeCombs.com