B104.7 Manhattan's Hometown Country Station

Midland
2025-12-18 19:00 - 23:00 (America/Chicago) | Kansas Star Casino, 777 Kansas Star Dr., Mulvane, KS, 67110, United States
GRAMMY-nominated country trio Midland will bring their signature sound and style to Kansas Star Arena on Thursday, December 18.
Based in Dripping Springs, Texas, the trio first made waves playing local clubs, quickly earning critical attention and landing a number one spot on Billboard’s Top Country Album Sales chart with their sophomore release, “Let it Roll.” Consisting of lead singer Mark Wystrach, bassist/vocalist Cameron Duddy and guitarist/vocalist Jess Carson, Midland is best known for their chart-topping hits like the 5X Platinum “Drinkin’ Problem,” “Burn Out” and “Mr. Lonely.”
Bringing listeners a resurgence of their thick harmonies, sad melodies, tart lyrics and steel guitar with the their critically-acclaimed Dave Cobb-produced album Barley Blue (released last fall via Big Machine Records), the retro-Nuevo trio of songwriters has grown from bar band to an in-demand headliner. After their standout “top-notch performance (Billboard) in front of tens of thousands of fans at Stagecoach Festival last month, it’s clear that Midland’s live shows are bigger and better than ever.
Doors open at 7:00pm, with Midland taking the stage at 8:00pm. Tickets go on-sale Saturday, May 10 at 10:00am. Tickets are available for purchased online or by visiting Boyd Rewards at the Kansas Star Casino.

Rodney Carrington
2025-12-13 20:00 - 23:00 | Kansas Star Casino, 777 Kansas Star Dr., Mulvane, KS, 67110, United States
Iconic comedian, singer and actor Rodney Carrington will bring his dynamic act to the Kansas Star Arena on Saturday, December 13.
A platinum-selling recording artist, Rodney has released eight acclaimed comedy albums under major labels, followed by three more on his own imprint, Laughter’s Good Records. He burst onto the national comedy stage with his breakout debut “Hangin’ With Rodney” in 1998—an album that cemented his place as a comedic force and launched a career marked by sharp wit and enduring appeal.
Rodney continues to expand his creative footprint, recently adding “author” to his list of accomplishments with the release of his book “Rodney Carrington, Coming Clean,” published by Hachette Books.
A true entertainment powerhouse, Rodney has made his mark across television, film, music and comedy. He starred in his own sitcom “Rodney,” which aired for two seasons on ABC, and co-wrote and co-starred alongside Toby Keith in the feature film “Beer for My Horses” — a project that earned the Tex Ritter Award from the Academy of Country Music.
Rodney’s stand-up comedy has reached millions, including through his Netflix special “Here Comes the Truth.” He’s also a familiar face on television, having appeared on numerous shows such as the American Country Awards and FOX’s “American Country New Year’s Eve Live.” His comedic talents even earned him “Supporting Character of the Year” at the CMT Music Video Awards for his role in Trace Adkins’ hit video “I Got My Game On.”
Showtime is 8:00pm Doors open at 7:00 pm Tickets go on sale at 10:00am. Friday, August 15. Tickets are available for purchased online or by visiting Boyd Rewards at the Kansas Star Casino.

Aaron Lewis and The Stateliners
2025-12-06 20:30 - 23:00, 2025-12-05 20:30 - 23:00 | Ameristar Kansas Ciy, 3200 N. Ameristar Dr., Kansas City, MO, 64161, United States
Embracing his roots to earn a rare second round of success, a series of solo Country projects have led to two No. 1 Billboard Country Album debuts – TOWN LINE (2011) and SINNER (2016) – plus a PLATINUM collab with heroes George Jones and Charlie Daniels (“Country Boy”), and a GOLD-certified Billboard No. 1 with “Am I The Only One” in 2021. Lewis’ 2022 solo album followed suit, with FRAYED AT BOTH ENDS emerging as the best-selling Country album in America, but he never wrote songs for the stats. No matter the setting, Lewis writes and sings to get his truth out.

Casey Donahew
2025-11-21 20:00 - 23:00 | The Cotillion, 11120 W. Kellogg St., Wichita, KS, 67209, United States

Southall
2025-11-21 20:00 - 23:00 | Knuckleheads, 2715 Rochester Ave., Kansas City, MO, 64120, United States
Under 21 with Guardian
VIP Tickets avaialable now!
Description of package:
One (1) GA Ticket
Meet & Greet and Photo Opportunity with Southall
Access to a Private Acoustic Performance with Southall
One (1) VIP Exclusive Poster
One (1) Commemorative VIP Laminate
Early Merch Shopping Access
Venue First Entry

Read Southall can sure turn a phrase. “This record is the gasoline for the love machine,” he says of his band’s new album, the exhilarating and self-titled Southall. The proud Oklahoma workingman isn’t exaggerating. The record sparks and burns with 11 crank-it-up songs that expertly combine country, rock & roll, and the dust and grit of the band’s native Red Dirt scene.
But there are also glimpses of hard rock and metal, along with easygoing back-porch vibes, the result of a drastic change in the way the group formerly known as the Read Southall Band now makes music: Every member of Southall brings lyrics, melodies, and even full songs to the table. “It’s the colors of different people with different influences making music,” Southall says. “I’ve always been confident in the talents and abilities of the guys onstage with me, and I want our fans to see and hear that too. That’s why we changed our name to Southall.”
Produced by Eddie Spear (Zach Bryan’s American Heartbreak) and recorded at Leon Russell’s iconic Church Studio in Tulsa, Southall manifests the true band album that singer Read Southall first envisioned when he released his debut, Six String Sorrow, in 2015. That was a mostly acoustic record, but Southall, the band’s fourth album, roars with raw and loud collaborative power. Reid Barber, the group’s resident metalhead, hammers his drums. Bassist Jeremee Knipp provides a brooding low end. Keys player Braxton Curliss adds both tasteful accents and off-the rails barroom piano. And guitarists John Tyler Perry and Ryan Wellman wring wild sounds from their instruments. All of it is tied together by Southall’s scrappy, yearning voice.
First single “Scared Money” is a slice of Rolling Stones country-rock straight off of Sticky Fingers. Opening with a stabbing guitar lick and written by Barber, it’s an acknowledgment of hard work and a dogged determination to pay the bills. “That was inspired by my father, who always told me it’s not about figuring out what you want to do, it’s about figuring out what you don’t want to do,” Barber says. “It was written as a country song, but when we got in the studio it turned into more of a Stonesy jam.”
“Reid wrote ‘Scared Money,’ but the lyrics are me to a T: I walked out of class, straight to the patch, because no one ever paid me to read,” says Southall, who dropped out of school to get a job. “I feel like that’s an Oklahoman mindset, in the sense that people down here get to work. They get up every morning and do things they don’t want to do to make money and try to get ahead in this crazy life. And it doesn’t matter if you’re going to school, working in the oil patch, or farming. It’s all work.”
“Out Alive,” meanwhile, taps into Southall’s harder and more experimental sound and is about the fear of saying, or posting, the wrong thing in today’s quick-to-crucify society, and instead saying nothing at all — “That’s hardly a better option,” says Barber, who wrote it. “Out Alive” is a monster and features a squawky guitar solo reminiscent of Jack White or Rage Against the Machine’s Tom Morello played by Wellman using a pen as a slide. “It sounds like air-raid sirens,” raves Southall.
“By Surprise,” meanwhile, is a study in contradictions, a song that’s musically simple but probes complex mysteries. “Too many questions too little time/heat of the moment passing you by,”Southall sings. “Heart of the matter, hard to define/the universe divine.” “We started playing some basic straightforward rock to make the soul of the song stick out,” says Barber, who brought five songs to the recording sessions, including “By Surprise.” “That’s the song I’m most stoked about. Lyrically, it’s so big, in the whole scope of what is being talked about — this life and how we get through it.”
While Southall released three other studio albums, including their 2017 breakout Borrowed Time, the band’s namesake regards the records as just the building blocks of Southall’s future. He wrote all of those songs, including the fan favorite “Why,” just to get the train moving. Today, they’re charging ahead.
“That was my contribution: our back catalog,” Southall says. “Now, we have this steam built up and we’re rolling down the tracks, and I want the guys to all grab a shovel, load some coal, and keep us rolling.”
The six-piece has been up to the challenge. Their song “Stickin’ n Movin’,” off 2021’s For the Birds, appeared on the CBS series Fire Country, and they’ve established themselves as a band you need-to-playlist on the streaming services: Southall have more than 133 million streams on Spotify and more than 101 million on Apple Music, with nearly 1 million monthly listeners across all platforms.
It’s not only the success story of a band, but of a region, according to Southall, who was first inspired to write and sing country songs after having a revelation while working on a farm. “I grew up at a really cool time when country music was good in the Nineties, and I spent a lot of radio time on the tractor. So whatever was happening in country music then was in my ears,” he says. “But then country started to change and became more about partying. That’s when I thought, ‘I could represent my people better than this.’”
To Southall, that meant writing about work, and he sells that message hard in the rambunctious “Get Busy (Till It’s Done),” a centerpiece of the album and one of its most ferocious tracks. “They say anything worth having is worth fighting for/and I know that is true,” he howls. “It’s gonna take a little time, a little grind, to get what’s coming to you.” “My dad always said to me, ‘You’re not just going to sit there on your pockets and do nothing. That still rings true to me,” Southall says. “Work is what makes you who you are.” For Southall the band, that work began a long time ago — and it’s about to pay off in a big way.
https://www.officialsouthall.com/
Vip Fine Print
All package elements will be rendered invalid if resold. Name changes will be issued at the sole discretion of 237 Global. VIP instructions will be sent via email no later than three days (3) prior to the concert. If you do not receive this email three days (3) prior please email info@237global.com. All packages and contents are non-transferable; no refunds or exchanges; all sales are final. All VIP package items and experiences are subject to change. Please note that the information provided at the time of purchase (e-mail and mailing address) is the same information that will be utilized for individual contact requirements where applicable. 237 Global, the artist, tour, promoter, ticketing company, venue or any other affiliated parties are not responsible for outdated or inaccurate information provided by the consumer at the time of purchase. If you have any questions regarding your VIP package elements, or have not received your package information within three days (3) of the concert date, please email info@237global.com.

Randy Rogers Band
2025-11-15 19:30 - 22:30 | The Stiefel Theatre, 151 S. Santa Fe, Salina, KS, 67401, United States
Few relationships in life are more complicated than those among band members. Music history is filled with stories of the rise and fall of creative personalities, but the Randy Rogers Band is a unique brotherhood fueled by a shared passion for making great music and a strong commitment to each other. That bond forms the foundation for the new music on their latest album Hellbent, a high-octane collection of songs buoyed by the same fearless spirit and sense of camaraderie that has made them one of country’s most compelling bands.
In a business where bands come and go and membership is often a revolving door, the Randy Rogers Band has been together for more than 17 years. “Just like any other relationship, you have to pick your battles and have respect for each other,” Rogers says. “None of us know how to do anything else. This is our livelihood. It’s how we take care of our families. Years ago when we were really struggling and wondering how we were going to make it, there were some deep and emotional conversations that we all had with each other about if this is really what we all wanted and the decision was made a long time ago. The answer was yes then and the answer is still yes now. It’s something we all believe in. This is our life’s work.”
The culmination of their musical journey thus far can be heard on Hellbent.
“Creatively we all bring something different to the table and you can hear it in the records,” Rogers says. “You can hear people’s personalities in the records.”
It’s that blend of unique personalities that have fueled the Randy Rogers Band’s success for nearly two decades.
“Our bass player, Johnny Chops, has this way of writing. It’s a little old school, a little Waylon-esque if you will. His lyrics aren’t necessarily anything like mine. They are a little bit more vague and more interpretive,” Rogers says, bragging on his bandmate. “What Brady Black adds to our makeup is his sensibility on stage, his appearance, his energy, his unique way that he plays the fiddle. He’s a crowd pleaser.”
“Les Lawless, our drummer, has played on hundreds of albums with many different artists. He’s kind of the human metronome. He’s a solid drummer. I can’t recall a mistake he’s ever made on stage. He’s just a rock. Geoffrey Hill [guitar, vocals] is a very talented musician. He’s a great singer, a great harmony singer. Most of our sound as a band is because of Geoffrey and his unique vocals and the way he blends his vocals with my vocals.”
Of course, the lineup wouldn’t be complete without longtime member Todd Stewart. “There isn’t an instrument that Todd can’t play and he sings well,” Rogers enthuses. “Onstage he’s playing guitar on one song, mandolin on the next one, fiddle on the next one and a piano on the next one and a B3 on the next one. He’s a key part of our band because he fills up all those spots musically that no one else can do like him. It’s fascinating to watch him switch between every song.”
That dynamic musical chemistry has taken the Randy Rogers Band beyond the competitive music scene in their native Texas to build a national fan base with sold out shows across the country. The band has become skilled at capturing that live energy and passion on their albums and Hellbent is a perfect example. “We’ve been through this process long enough to know that we wanted this record to be perfect and complete so we kept writing and went back in and we recorded again,” Rogers reveals.
“It is important, especially in today’s day and age, not to put out content just for the sake of content. People see through that and it’s a big mistake young artists make just to put a video or a new song out just to have something to talk about. There is a lost art to making an entire album, being a cohesive unit and have it be something that you can stand up and play. We have to record songs we can play live. Ninety nine percent of the income we share is because we’re playing a show, so those songs can’t be throwaway songs.”
The first single, “Crazy People,” is a relatable tune that paints a picture of strict parents that weren’t always so straight-laced. “I did not write that song, however, I did live that song, and that’s why I cut it,” Rogers says with a chuckle.
“When I heard it, I could imagine that my parents weren’t always fanatically religious. As a young kid, I definitely wasn’t comfortable around neon signs or around restaurants where they were serving alcohol. I just thought that was something very, very bad and that’s what was instilled in my head. It was very, very much a sin, so I was a little freaked out when I was a kid. It’s nothing against my parents. Both me and my brother turned out just fine, but I just think there was this sense of over protection and security and a lot of that was based around the church. So the first thing I did when I turned 16 was tried everything.”
Another highlight on the album is “You, Me and a Bottle,” penned by Rogers. ‘I love love songs, and that song is a carefree kind of love song about kind of getting lost with your significant other,” Rogers says.
“The troubles of the world and stresses of the week fade when you are with that one special person. That all disappears. That’s kind of the feel-good song on the album I think and the prettiest love song on the record.”
On the other end of the emotional spectrum, “Anchors Away” is about a man who can’t commit and keeps running from love. “‘Anchors Away’ is a very sad song,” Rogers admits. “The chorus says, ‘Anchors away, works like a charm, first sign of danger, I pull the alarm,’ and the lyrics that really get to me are, ‘I don’t want to leave, I don’t know how to stay.’ That lyric to me really paints the picture of somebody who doesn’t know how to love and doesn’t know how to love someone back. Out of all the lyrics on the album, that lyric might be the most poignant lyric because a lot of times people sabotage themselves and relationships they are in because they don’t know any better because they’ve seen their parents do it or they are just in a cycle repeating the same mistakes. I think that’s a lot of people.”
“Wine in a Coffee Cup” paints an interesting portrait of a high-powered career woman. “Women have roles in the workplace that are very different than they were maybe 50 years ago,” Rogers says. “There are a lot of CEOs, CFOs, a lot of presidents and vice presidents. Huge companies are run by women. It’s an interesting fact that nobody is perfect and my idea of that song was a CEO of a company walking in every day and everybody thinks she has everything together and her life is perfect, but in all actuality she is like everybody else. She’s struggling with something. It could be her relationship, home life or family, but even the most successful people have flaws, so that was my take on it. It’s a nod to women and the fact that they are, in this day in age, hopefully treated as equals in the workplace but here’s this girl that’s running the company and she’s coming in buzzed every day. That song isn’t about someone I know personally. It’s about the culture and the environment we live in now. I guarantee that that song is happening somewhere.”
“Hell Bent on a Heartache” is a song Rogers first heard and fell in love with on Guy Clark’s album My Favorite Picture of You. “I love that album start to finish and that song was my favorite song. Chris Stapleton and his wife, Morgane, wrote that with Guy Clark and I had no clue,” he says. “We were in the studio the week Tom Petty died and on that track especially there is this kind of Heartbreaker kind of feel to that song. It’s produced in a way that Tom Petty and the Heartbreakers would have done it. The influence definitely shines through on this album, especially on that track.”
In recording Hellbent, the Randy Rogers Band worked with producer Dave Cobb (Chris Stapleton, The Oak Ridge Boys, Sturgill Simpson, Jason Isbell) and recorded at the legendary RCA Studio A. “A large part of the country really enjoys the records that he’s made over the last 10 years and obviously I was paying attention to that,” Rogers says.
“I was noticing the albums I was listening to, and they were produced by him, so I called him up and asked if we could meet for lunch. I’d never worked with him before, so it was a very exciting going into RCA and meeting him and the team. We’re very thankful for that opportunity and getting to record in Studio A. So many people whether it be Dolly Parton or George Strait have recorded in that room, so it was a bit of hallowed ground. It was a little overwhelming as well. There’s pictures all over the walls there of people who recorded. It’s amazing.”
Recording Hellbent is just the latest chapter in the Randy Rogers Band’s thriving career. In addition to being a gifted vocalist, insightful songwriter and talented musician, the band’s founding member is also well known in music industry circles for his business savvy. He graduated from college with a degree in PR and is one of those rare musicians who has great executive skills too.
Rogers is co-owner of several Texas venues including Cheatham Street Warehouse in San Marcos, Texas where George Strait began building a fan base in his early career. Rogers is also a partner in Big Blind Management with Robin Schoepf and steers the careers of Red Shahan and Parker McCollum.
Rogers seems to have a unique talent for seeing around corners. It’s what drove him to take his band outside of Texas and develop fans on both coasts, even when the initial investment was risky. “I’m left brain and right brain,” the Cleburne, Texas native says. “I’m a very organized person and I can also see six months from now. I’m always thinking a step ahead and it wears my wife out because I’m talking about booking my life months from now. My brain is always spinning and thinking about what is coming next instead of really sitting in a moment. That’s a good thing and sometimes it’s a bad thing that I can never really turn my brain off.”
Rogers is also a big fan of collaboration and has partnered with friend Wade Bowen on the infectious Hold My Beer projects and joined forces with Lone Star legend Robert Earl Keen as the Stryker Brothers. He recently joined Lyle Lovett, Willie Nelson and Jerry Jeff Walker to sing on Michael Martin Murphey’s Austinology album.
Though Rogers is prone to eagerly explore other musical avenues, the core of his creative adventure continues to be the Randy Rogers Band. For Rogers, Hellbent was the perfect name for the album, and not just because it comes from one of his favorite songs.
“The album is named Hellbent and isn’t necessarily for ‘Hell Bent On a Heartache.’ We’re in it for the long haul. We’re lifers,” he says with a grin.
“This is obviously our way of life. This isn’t some Johnny-come-lately group of guys. We’re like an oak tree. We’re not going anywhere. We’re not hinged on whether our next single will be a No.1. We’re not hinged on an album topping the charts. We have a great and loyal fan base and we do things right. When we play our shows, people expect to have a great night and to go home satisfied. As long as we keep doing that, no change in the industry, no record deal or anything like that can make or break this band.”

Midland
2025-11-14 20:30 - 23:00 | Ameristar Kansas Ciy, 3200 N. Ameristar Dr., Kansas City, MO, 64161, United States
Double Grammy® nominees Midland have sought to reintroduce the Western plains, Laurel Canyon-cum-Bakersfield and Lone Star juke joints to Country music since coming together at a friend’s wedding over common influences and the need for a return to this sort of post-Urban Cowboy Country.

Alexandra Kay
2025-11-13 20:00 - 23:00 | The Cotillion, 11120 W. Kellogg St., Wichita, KS, 67209, United States
ALEXANDRA KAY – Second Wind: The Tour
All Ages
Support acts subject to change.
Wear your Cotillion merch and jump to the front of the GA line. A limited number of table reservations are available by calling 316-722-4201 or in person at The Cotillion. Coat check is open during events to check your coats, hats, merch and more. Coat check is located next to merch by the front doors. All sales are final. No exchanges or refunds unless a show is cancelled or postponed.
With over 8.6 MILLION social media followers, Alexandra Kay, who starred on Netflix’s series Westside, holds the rare and extraordinary ability to genuinely connect with audiences by just being her authentic true self via heartfelt melodies, her “refreshing brand of storytelling…custom-made for the country music genre” (People), and her “angelic, yet soaring vocals” (American Songwriter). Cementing herself as a force to be reckoned with in the industry, the bright and tenacious rising star that Billboard acclaimed as “an adept, propitious singer-songwriter,” dropped her debut album – All I’ve Ever Known – in 2023. The project reached #1 on the iTunes All Genre and Country charts globally and earned her a spot in the Top 10 on Billboard’s Country Album, Emerging Artist and HeatSeeker charts, independently.
Now, signed to BBR Music Group/BMG Nashville and named to Pandora’s “2025 Artist to Watch: Country” list and CMT’s “Next Women of Country: Class of 2025,” Alexandra wrapped a milestone 2024 – in which she headlined her own tour, joined Jelly Roll on his Beautifully Broken Arena Tour where she was taken under his wing and was featured on the GRAMMY-nominated Twisters movie soundtrack. Taking 2025 to the next level, the captivating songstress is giving a glimpse into her sophomore album, releasing the sultry, magnetic anthem “Feminine Energy,” the starry-eyed romance of “The Last” and the contagiously catchy sing-along “Cupid’s A Cowgirl.” Currently commanding stages worldwide, she joins Brad Paisley on tour this summer and just opened her own coffee shop, The Coffee Girl, in her hometown of Waterloo, Ill.

The War and Treaty
2025-11-11 19:00 - 22:00 | Knuckleheads, 2715 Rochester Ave., Kansas City, MO, 64120, United States
Under 21 with Guardian

Founded in 2014 by the husband-and-wife duo Michael Trotter Jr. and Tanya Trotter, The War And Treaty has emerged as one of the most electrifying new acts in American music. Recently earning their first ever GRAMMY nominations for Best New Artist and Best American Roots Song for “Blank Page,” they also received this year their first ever Duo of the Year nomination from the Country Music Association, Vocal Duo nomination from the Academy of Country Music, plus recognition by the Country Music Hall of Fame, the Rock & Roll Hall of Fame, the Grand Ole Opry, and the Americana Music Association including earning AMA Duo/Group of the Year for the second straight year.
With a lionhearted sonic blend, both roaring with passion and tender to the touch, The Tennessean notes, “they are unlike any other act in music.” The War And Treaty’s major label debut album Lover’s Game (Mercury Nashville), was met with critical praise with Associated Press claiming, “The colossally talented pair continue their commando, no-limits journey to the top of the music world.” Drawing respect across the board, they have gone on to appear as top-flight collaborators including the latest “Hey Driver” with Zach Bryan.
The War And Treaty has captivated audiences across the globe from North America to Europe, Australia and beyond, while headlining their own shows and opening for a diverse group of living legends: Al Green, Brandi Carlile, Chris Stapleton, Jason Isbell, John Legend, Lauren Daigle, and Van Morrison among them.
https://www.thewarandtreaty.com/

Riley Green
2025-11-08 18:45 - 23:00 | T-Mobile Center, 1407 Grand Blvd, Kansas City, MO, 64106, United States
Multi-platinum, multi-award-winning singer-songwriter Riley Green announced the addition of eight new dates to his highly successful Damn Country Music Tour, including a stop at T-Mobile Center on Nov. 8.
Known for his rugged charm and down-to-earth stage presence, the newly added dates further underscore the overwhelming demand and continued momentum behind Green’s 2024 tour, as he brings his signature sound and chart-topping hits to fans across North America.

The Ozark Mountain Daredevils
2025-11-07 20:30 - 23:00 | Ameristar Kansas Ciy, 3200 N. Ameristar Dr., Kansas City, MO, 64161, United States
You do not want to miss this opportunity to see The Ozark Mountain Daredevils, performing live at the Star Pavilion. With hits like “If You Wanna Get To Heaven” and “Jackie Blue,” this appropriately dubbed “ragtag collection of hippies, bohemians, and musicians of no fixed ambition” will certainly be a night to remember.

Kip Moore
2025-11-07 20:00 - 23:00 | The Cotillion, 11120 W. Kellogg St., Wichita, KS, 67209, United States
KIP MOORE
Solitary Tracks Fall Tour

All Ages
Support acts subject to change.
Wear your Cotillion merch and jump to the front of the GA line. A limited number of table reservations are available by calling 316-722-4201 or in person at The Cotillion. Coat check is open during events to check your coats, hats, merch and more. Coat check is located next to merch by the front doors. All sales are final. No exchanges or refunds unless a show is cancelled or postponed.
KIP MOORE ULTIMATE VIP Q&A EXPERIENCE
One premium reserved ticket – OR – One GA standing ticket*
Private pre-show Q&A with Kip Moore**
Group photo with Kip Moore
Celebratory pre-show toast with Kip Moore (where permitted)***
LIMITED! Custom Kip Moore Solitary Tracks Tour gift, only available to Ultimate VIPs
Autographed handwritten printed lyric sheet, featuring a special interactive message from Kip Moore
VIP-exclusive Kip Moore gift item
Official VIP laminate
Tour merchandise shopping opportunity before doors (where available)
Early entry to the venue
Designated check-in and on-site VIP event staff
*Location may vary. See specific date for details.
**All questions may not be answered during Q&A.
***Local liquor laws apply.

KIP MOORE VIP Q&A EXPERIENCE
One premium reserved ticket – OR – One GA standing ticket*
Private pre-show Q&A with Kip Moore**
Group photo with Kip Moore
Celebratory pre-show toast with Kip Moore (where permitted)***
Handwritten printed lyric sheet, featuring a special interactive message from Kip Moore
VIP-exclusive Kip Moore gift item
Official VIP laminate
Tour merchandise shopping opportunity before doors (where available)
Early entry to the venue
Designated check-in and on-site VIP event staff
*Location may vary. See specific date for details.
**All questions may not be answered during Q&A.
***Local liquor laws apply.

KIP MOORE EARLY ENTRY VIP PACKAGE
One GA standing ticket
Official VIP laminate
Early entry to the venue*
Designated check-in and on-site VIP event staff
*GA early entry will be AFTER Ultimate VIP Q&A and VIP Q&A Experience package holders

Margo Price
2025-10-24 20:00 - 23:00 | Knuckleheads, 2715 Rochester Ave., Kansas City, MO, 64120, United States
Under 21 with Guardian

**VIP Ticket Option available for a limited time! Info below**
FIRST – Select your ticket type – GA or Reserved seat. THEN – on the checkout screen use the drop down menu to change to the VIP package upgrade. Call the Knuckleheads Box Office @ 816-483-1456 if you have any questions about the upgrade

One General Admission Ticket
Intimate Pre-Show Acoustic Performance by Margo Price
Q&A With Margo Price
Group Photo With Margo Price
Exclusive Limited-Edition Tour Poster, Signed By Margo Price (Exclusive To VIP Guests)
One (1) Specially Designed Margo Price Tote Bag
One (1) Commemorative VIP Laminate
Pre-Show Merchandise Shopping Opportunity
Venue First Entry (where applicable)

Nearly a decade ago, Margo Price turned Nashville on its head with her breakthrough, beloved debut solo album, Midwest Farmer’s Daughter. Released in the throes of bro-country and before pop stars were crossing over into the genre left and right, it showcased an artist completely unafraid to double down not only on herself, but what she’d always loved: classic country songs written from the intellect and the gut, hell-bent on truth-telling and both timeless and urgent all at once. Respected by her peers, praised by critics and beloved by her fans, Price created a lane where independent-minded, insurgent country music can exist and thrive alongside the mainstream, and became an ardent fighter for her beliefs in a genre where the norm is to shut up and sing. A trailblazer and a champion for the craft, Price redefined what it meant to be a modern country artist.
And now she’s back with an exquisite, truly timeless album that reconnects with her roots and pays tribute to the art of the country song, inspired in part by the legends whom she now calls colleagues and friends. Hard Headed Woman is both a look forward and a look back: a way to march forward while staying true to yourself when the path of less resistance is right there in front of us, and short cuts are around every corner. And a way to look back when we need to trim what is no longer working, and to stay connected with where we’re from. It is a promise and a manifesto, a love song to both a city and a genre, and a defiant cry for individuality.
In creating Hard Headed Woman, Price brought all of her power as one of our most beloved and respected songwriters to craft a deep exploration of love and America in a time of unprecedented uncertainty. Featuring appearances from Tyler Childers, co-writes with Rodney Crowell and a Waylon Jennings song that his widow, Jessi Colter, urged her to sing, it is country music as only Price can make it: free of rules, cherishing tradition, hard headed to the core but with a delicate, beating heart.
Since releasing Midwest Farmer’s Daughter, Price has barely slowed down. She’s made four records, played Saturday Night Live, been nominated for a Grammy, toured the world alongside artists like Chris Stapleton and Willie Nelson, released a lauded memoir (Maybe We’ll Make It, due on paperback September 2nd), became an in-demand producer and was appointed as the first female board member of Nelson’s Farm Aid. And she’s been fearless when it came to genre, venturing into psychedelic rock on her most recent, Jonathan Wilson-produced record, Strays. It would have been easiest to just stay that course, and keep running. But Price doesn’t follow success or comfort. She follows the art.
It took a whole lot of hard work and honesty with herself and others to get there, but that’s never stopped Price before. “I made the decision that I had to rebuild everything from the ground up,” Price says. “There’s all this pressure to be pumping out content, and I felt the opposite in the way I wanted to approach this record and my life in general.”
Price had also established herself as one of the most passionate, vocal artists in country music and beyond when it came to standing up for political and personal causes, from the presidential election, to abortion to gun control: happily hard headed when it came to the fight for equality and justice, especially for the working class and underserved in our society. Price has always brilliantly woven her activism into her songs, but her role as a spokesperson had started to overtake, on occasion, her role as a songwriter. She wanted to focus on using her written word to deliver the most potent punch of all.
“I always hope to do like Johnny Cash did,” Price says, “which is speak up for the common man and woman. But there have been so many threats and anger and vitriol over the years, when I am only coming from a place of love.”
Price realized she just needed a break from everything outside of the bubble of family life and her art. She started spending more time at home, writing songs alone and with her husband, Jeremey Ivey. She started popping up in the dive bars and tiny venues around Nashville where she got her start, sometimes just to play a country cover or two or dance with the crowd. She refused guidance to write for pop stars or compromise her values for a quick buck. Most of all, she turned the emphasis in her music back to songwriting, exactly where she began.
“So much of Strays was leaning into this psychedelic, textural territory,” says Price. The music lent itself to vibrant, heavy stage jams, with Price often hopping behind the drumkit and bruising her thigh from a tambourine beat. She found herself longing for the days when it was just her and her guitar, playing at an East Nashville dive bar. “I always knew,” she adds, “I would come back to this more rooted sound.”
Hard Headed Woman is rooted to its core. Rooted in Price’s history and struggle to make it as a musician for so many years in a town that prizes uniformity and the bottom line, rooted in the country and folk sounds that have become her signature, rooted in the simplicity of a few key collaborators instead of songs-by-committee. At the heart of Price’s work is her creative partnership with Ivey, with whom she describes as having a “soul connection.” “I’m a songwriter,” Price says. “I’m not somebody who goes out and needs five people to craft a song, and then tack my name on it. That’s never been my style. I have something to say.”
Something to say, nothing to prove. The first song they wrote for the album that would become Hard Headed Woman was “Close to You,” a simple, pining call for a lover that is infused with the sounds of the desert. It’s unfettered and truth-telling, accented by some flamenco guitar and Price’s gorgeous, urgent vocals. “We played the jukebox while democracy fell,” Price sings, never letting her songs fall out of the context in which they exist. It’s the kind of thing that only she could write, carrying both love and fear in one single line.
As more songs started to form, an early boost of confidence came from her friends Rodney Crowell and Emmylou Harris, who heard some of the work at a political fundraiser and encouraged Price to keep going. “I have both of them to thank for building me up and making me believe in the songs I am writing in this season of my life,” Price says. Crowell remained not only an inspiration and supporter of the album but a contributor: he co-wrote two songs with Price and Ivey.
The album that unfolded from there is drenched in Price’s unique story and unshakeable instincts: while Midwest Farmer’s Daughter was about her journey from childhood to Nashville, Hard Headed Woman is very much her battle since from dive bars to tour buses, through parenthood and marriage, through scrutiny and sacrifice all while fighting constantly for what she believes in, and the music she loves. It begins with a proclamation on the prelude, which serves as the album’s mission statement: or, Price puts it, “a disclaimer and reminder that I don’t owe you fucking shit.”
Songs like the album’s lead single, “Don’t Let the Bastards Get you Down,” speak for the downtrodden and the forgotten, an “anthem for people who are being overlooked in society and need to be lifted up,” Price says, “because we are up against so much right now.” As so many of Price’s songs do, it speaks both for the personal and the political all at once. Price was inspired by the message Kris Kristofferson whispered to Sinead O’Connor when she was booed on stage at a Bob Dylan 30th Anniversary show, and even got Kristofferson’s widow’s blessing to include his name on the credits. “I always admired Kris for how he stood by her in that moment, instead of pulling her off the stage like they told him,” Price says. It serves as a reminder to anyone who encounters resistance in the face of fighting for justice to keep going, especially when it would be so much easier to capitulate and cower.
“The song was originally written for a movie that never happened, but it feels so timely with everything that’s going on in the world,” Price explains. “The phrase, ‘Don’t Let The Bastards Get You Down’ originates from Margaret Atwood’s brilliant 1985 piece of literature, The Handmaid’s Tale. It’s referred to in Latin and used as a rallying cry for resistance against the oppressive regime that symbolizes resilience and hope in the face of adversity. Nolite te Bastardes Caborundorum.”
That spirit resonates all across the songs of Hard Headed Woman. The blistering “Don’t Wake Me Up” was based around some writings that Ivey stumbled upon in one of Price’s notebooks, inspired in part by her deep readings of Frank Stanford, one of her favorite poets due to his freewheeling work free of boundaries. They spun it all into song in minutes that chugs with the essence of Dylan’s “Subterranean Homesick Blues”: “The way this world is going, ain’t where I’m at,” Price howls in her powerful, unmistakable voice. “Nowhere is Where,” turns slow and contemplative, road-worn but never broken, the call of someone who has been to the mountain but never forgets the prairie below. And “Losing Streak” whirls in with an organ and out with a weary, world-worn defiance: our worst times don’t define us, but they’re always part of who we are.
There are songs that go back to the beginning of Price’s early grind, like the western-tinged “Wild at Heart,” reflecting on how much her life and the city of Nashville has changed over the years – and how important it is to stay true to exactly who you are despite it all. Another, called “Red Eye Flight,” is about both leaving a lover and also leaving her longtime band the Pricetags. “I’ve been with those players for ten, thirteen years,” she says. “But I could feel that I needed to make a change, and to change texturally what’s going on with the band. But it’s a familial bond, different than a friendship.”
There are a few choice covers and cuts, too: “Love Me Like You Used To Do” is by Price’s friend Steven Knudson, an unsung Nashville writer on whom she hopes to shine a spotlight (helping to elevate the town’s incredibly talented but buried voices is one of Price’s favorite pastimes). Friend Tyler Childers joins Price on that waltzing country ballad, while “I Just Don’t Give a Damn” is Price’s “Jolene goes to Memphis” take on the Jimmy Peppers and George Jones classic. And showcasing how Price has been trusted by the greats to lead the next generation of country music renegades, “Kissin You Goodbye” was given to Price by Jessi Colter, Waylon Jennings’ widow, when Price was producing her record. They’re songs chosen to appreciate the past and the present as she sees it – not as Music Row or the algorithm might dictate – and place Price squarely amongst her heroes as a living and breathing part of the new country tradition.
When it came time to record Hard Headed Woman, it was important for Price to keep that ethos alive, decamping to Nashville’s RCA Studio A and reuniting with producer Matt Ross-Spang, with whom she made her first two solo albums. Though she has worked with everyone from Sturgill Simpson to Jonathan Wilson since, it was Spang’s vocal rebuke of easy studio shortcuts that made her eager to reunite again. “He’s so unpretentious,” Price says. “He fully believes in me, he fully believes in my songs. He got us back to feeling it in your gut and not needing everything to be so perfect.”
It felt truly significant for Price to make the album in Nashville, a city where she’s lived for over two decades and played a seminal role in its transformation, yet somehow never recorded an album in the place she’s called home. The historic RCA Studio A helped connect Price even closer to the legacy of songwriting she holds so dear, a place where everyone from Dolly Parton to John Prine to Loretta Lynn have made albums. “It felt like there were ghosts and spirits just hanging out,” Price says. In perfect kismet, she also launched her own signature Gibson J-45 guitar, inspired by her 1960’s Gibson she’s had by her side for years as her career took off. It’s all part of the continuity that she wishes to create with her art, not just with timeless songs but inspiring future generations of women, mothers and artists in general who don’t want to sacrifice their vision, moral compass or family life in favor of mainstream success.
At its core, Hard Headed Woman is about that furious instinct to never waver, especially when ourselves, our values and our future is so clearly on the line. As she sings on the title track, “I ain’t ashamed, I just am what I am.”
“I hope this album inspires people to be fearless and take chances and just be unabashedly themselves,” Price says, “in a culture that tries as hard as it can to beat us into all being the same.”
Vip Package fine print
All package elements will be rendered invalid if resold. Name changes will be issued at the sole discretion of 237 Global. VIP instructions will be sent via email no later than three days (3) prior to the concert. If you do not receive this email three days (3) prior please email info@237global.com. All packages and contents are non-transferable; no refunds or exchanges; all sales are final. All VIP package items and experiences are subject to change. Please note that the information provided at the time of purchase (e-mail and mailing address) is the same information that will be utilized for individual contact requirements where applicable. 237 Global, the artist, tour, promoter, ticketing company, venue or any other affiliated parties are not responsible for outdated or inaccurate information provided by the consumer at the time of purchase. If you have any questions regarding your VIP package elements, or have not received your package information within three days (3) of the concert date, please email info@237global.com.
https://www.margoprice.net/

Warren Zeiders
2025-10-24 19:30 - 23:00 | Cable Dahmer Arena, 19100 E. Valley View Parkway, Independence, KS, 640555, United States
We are a cashless venue.
No oversized bags/backpacks permitted. (With the exception of Medical and Diaper Bags). https://cdarena.info/a-zguide
Pre Party Destination at Carmen’s Cantina and Mexican Grill
CDA Loyalty Members can pick up a concert poster through the App starting 24 hours before the show!
Download our Mobile App for all up to date information and real time updates!

Gary Allan
2025-10-24 19:30 - 22:30 | The Stiefel Theatre, 151 S. Santa Fe, Salina, KS, 67401, United States
With the allure of a modern day outlaw, Gary Allan has won over fans, peers, and critics with his signature blend of smoldering vocals, rebellious lyrics, and raucous live performances. While becoming a force on the country music scene, Allan has remained true to his artistic voice each step of the way. The California native has released nine studio albums selling over 8 million albums, been certified platinum on three back-to-back albums, and been certified gold five times. Allan has five #1 hits on country radio and fourteen Top 10 hits to his credit. He has amassed over 2.8 billion total streams and has debuted at #1 on the Billboard Country Album chart four times, along with his SET YOU FREE album debuting at the top of the Billboard 200 (Pop Chart). He is described as “dark and dreamy” in Entertainment Weekly, “soulful and rough around the edges” in Playboy, and deemed a “maverick” by Rolling Stone. He sells out venues as a headliner from NY to LA and has appeared on The Tonight Show with Jay Leno, Late Show with David Letterman, Late Night with Jimmy Fallon, Live with Kelly and Michael, and Jimmy Kimmel Live. He has also landed on the covers of Country Weekly, Pollstar, and People magazine.

Tyler Halverson
2025-10-23 20:00 - 23:00 | The Bottleneck, 737 New Hampshire St., Lawrence, KS, 66044, United States
More Hearts Than Horses Tour

Tracy Byrd
2025-10-23 19:00 - 22:00 | Prairie Band Casino & Resort, 12305 150th Rd., Mayetta, KS, 66509, United States
Tracy Byrd became a household name on the Country Music Scene in 1993 when his third single, called “Holdin’ Heaven”, off of his MCA Records, self-titled debut album, hit #1 on the Billboard Country Charts. Since that day Byrd has had 18 top ten hots, including songs like Don’t take Her She’s All I Got, Watermelon Crawl, I’m From the Country, Ten Rounds with Jose Cuervo, and of course Academy of Country Music Song if the Year Keeper of the Stars, sold over 7 Million records, 4 Gold and a Double Platinum album, and played over 4000 shows.

Travis Tritt
2025-10-18 20:30 - 23:00 | Ameristar Kansas Ciy, 3200 N. Ameristar Dr., Kansas City, MO, 64161, United States
More than thirty-five years after Travis Tritt launched his music career, the Southern rock-influenced artist continues to sell-out shows and stay true and relevant to country music fans across the globe, live in the Star Pavilion at Ameristar Kansas City.

Marcus King Band
2025-10-14 20:00 - 23:00 | Liberty Hall, 644 Massachusetts St., Lawrence, KS, 66049, United States
With special guest Angel White

Molly Tuttle
2025-10-11 20:00 - 23:00 | Liberty Hall, 644 Massachusetts St., Lawrence, KS, 66049, United States
With support from Joshua Ray Walker

Deana Carter
2025-10-05 18:00 - 21:00 | Knuckleheads, 2715 Rochester Ave., Kansas City, MO, 64120, United States
Under 21 with Guardian

25th Anniversary Edition of the Groundbreaking 5X Platinum Debut Album
Did I Shave My Legs for This?
How many years has it been since you had your first taste of love? And how many years have you spent cherishing that love? It’s funny how those memories, they last.
For Deana Carter, who brought that very special kind of love to life in her debut single “Strawberry Wine,” it’s been 25 years. And now, she’s celebrating her 5X Platinum debut album from 1996 — Did I Shave My Legs for This? — with an anniversary reissue of remastered songs, plus two new tracks which Carter produced herself that feature country music’s brightest stars from several eras.
But before you can even think about that new release, you have to throw yourself back to the original one in the 90s, when women were all over the top of the charts, and newcomer Carter was able to waltz right in and reach No. 1 with “Strawberry Wine.” Her very first single off of her very first album went on to be named the Country Music Association’s Single of the Year and Song of the Year in 1997, as well as nominated for a GRAMMY and an Academy of Country Music award.
https://deana.com/

Keith Urban
2025-09-27 19:00 - 23:00 | CHI Health Center, 455 N. 10th St., Omaha, 68102, United States
The High and Alive World Tour With Special Guests Chase Matthew, Alana Springsteen and Karley Scott Collins.

Charles Wesley Godwin
2025-09-27 19:00 - 22:30 | Grinders KC, 1826 Locust St., Kansas City, MO, 64108, United States
The Lonely Mountain Town Tour
w/ Kolton Moore & Clever Few
Doors 7pm / Show 8pm
All-ages show

Shenandoah
2025-09-26 20:30 - 23:00 | Ameristar Kansas Ciy, 3200 N. Ameristar Dr., Kansas City, MO, 64161, United States
Shenandoah became known for delivering songs that celebrated the importance of faith and family while reveling in the joys of small town life. “Next to You, Next to Me” topped the charts for three weeks and “Somewhere in the Vicinity of the Heart,” a beautiful duet with Alison Krauss, won a Country Music Association Award for Vocal Event of the year and a GRAMMY® for Best Country Performance by a Duo or Group with Vocal. Shenandoah also won the Academy of Country Music’s Vocal Group of the Year in 1991.

Jordan Davis
2025-09-26 19:00 - 23:00 | Cable Dahmer Arena, 19100 E. Valley View Parkway, Independence, KS, 640555, United States
With Special Guests Mitchell Tenpenny and Vincent Mason
We are a cashless venue.
No oversized bags/backpacks permitted. (With the exception of Medical and Diaper Bags). https://cdarena.info/a-zguide
Pre Party Destination at Carmen’s Cantina and Mexican Grill
CDA Loyalty Members can pick up a concert poster through the App starting 24 hours before the show!
Download our Mobile App for all up to date information and real time updates!

Charles Wesley Godwin
2025-09-25 20:00 - 23:00 | The Cotillion, 11120 W. Kellogg St., Wichita, KS, 67209, United States
The Lonely Mountain Town Tour
With Special Guest Kolton Moore and the Clever Few
All Ages
Support acts subject to change.
Wear your Cotillion merch and jump to the front of the GA line. Coat check is open during events to check your coats, hats, merch and more. Coat check is located next to merch by the front doors. All sales are final. No exchanges or refunds unless a show is cancelled or postponed.
Following Charles Wesley Godwin’s 2023 critically acclaimed Family Ties — a highly personal, 17-song diary-like LP that was both universally praised and catapulted the West Virginian singer-songwriter to new heights in his career — the rising musician now returns with a stunning 7-track EP, Lonely Mountain Town, due out February 28, via Big Loud. A quieter, more contemplative affair than Family Ties, Lonely Mountain Town contains some of the most thrilling songs of Godwin’s career. Written principally on the road, Lonely Mountain Town is at its heart a collection of on-the-move snapshots and quiet moments in life set to tune: these are tales of a traditional country-songwriting mindset. Godwin worked on the EP with key collaborators, from his longtime producer, guitarist and bandmate, Al Torrence, to his Big Loud labelmate ERNEST (“Dead To Rights”), and even one of his musical heroes, Scott Avett (a cover of Jason Molina’s “Hammer Down”).
Godwin has been on a steady upward climb following his beloved debut album, 2019’s Seneca. Alongside his longtime band, the Allegheny High, the musician has developed a reputation as a thrilling and beautifully raucous live performer. In 2024, Godwin appeared on ESPN’s Sportscenter, performed on The Late Show with Stephen Colbert, Jimmy Kimmel Live! and CBS Saturday Sessions. He also made his Stagecoach and Bonnaroo debuts. This year, Godwin returns to the road for a slew of sold-out shows in conjunction with the release of Lonely Mountain Town.

Hailey Whitters with Special Guest Emily Nenni
2025-09-25 19:00 - 23:00 | Knuckleheads, 2715 Rochester Ave., Kansas City, MO, 64120, United States
Under 21 with guardian
Hailey Whitters has an endearing habit of suggesting she’s perennially late to the party. “I’ve always just felt like a late bloomer,” she says, with a sigh that turns into a laugh.
With the release of her debut album Black Sheep (October 2, 2015 via Carnival Music), Whitters proves she was well worth the wait. Produced by ace session guitarist Derek Wells, Black Sheep is a soulful collection that turns sad stories into bold celebrations of people society often shames, layered over honky tonk and rootsy rock.
“It’s been really therapeutic for me to put it out,” Whitters says of the album. “Just being able to know what I want to say and get that out to people has been cool on my end.”
Whitters grew up in Shueyville, Iowa, population just shy of 600. “It’s such a little town. It’s getting bigger, but we don’t even have a post office,” she says. “We have two bars, a wine cellar, and a church.”
The oldest of six children born to a large Catholic family, Whitters grew up a determined but unexpected artist, drawn to songs and singers but unsure why. “I didn’t grow up in a super musical family,” she says. “I just had a weird inkling to do music.” The Dixie Chicks, Trisha Yearwood, Patty Loveless, and other women who drove 90s country radio were her gateway heroines, which led to a deep dive into classic country, and ultimately, Americana storytellers such as Patty Griffin, John Prine, and Gillian Welch.
“I took my first trip to Nashville when I was 16 and fell in love,” Whitters says. “I immediately knew I wanted to move here.” A year later, she did. She also enrolled in college, and paid her proverbial dues as a nanny, waitress, and salon receptionist before signing with left-of-center lighthouse Carnival Music in 2012.
“When I was younger, I just mimicked people that I admired,” Whitters says. “I learned how to tell a story.” With an arresting voice effortlessly rooted in honky tonk’s long tradition of angelic sopranos who are equally comfortable mourning and raising hell, she has spent the last several years discovering that she has something of her own to say––along with a unique way to say it.
Whitters often writes and sings songs that detail the search for acceptance––of self or of others––sometimes dreamily, other times with rollicking irreverence. Features in No Depression and The Bluegrass Situation, a Daytrotter Session, several nods on 2016 artists-to-watch lists, and other praise have introduced her to a larger audience, who has responded with open arms. “I love to hear from people about how one of my songs has touched them. It just makes me feel like I’m doing something bigger than myself,” she says.
Black Sheep’s title track, written with the Wrights’ Adam Wright, moodily canvasses the rewards and frustrations of sticking out, and ultimately offers a defiant resolution keep going her own way. “I feel that way a lot, especially in this town,” she says. “To do what nobody’s doing…it’s kind of cool, fuel for the fire. It’s invigorating to be different.”
The guitar-soaked stroll “Late Bloomer” is an autobiographical ode to lollygagging in a variety of situations. “I was the oldest of six, so I was very naïve, I felt like,” she says. “But I finally came to accept that it’s actually okay to figure out who you are and what you want later in life.”
Whitters penned live-show standout “One More Hell” alone after her little brother was killed in a car accident. “He was 19. It was awful,” she says. “I went home to be with my family, and we went out West that summer. We had no plan, just got in the car and drove. It was really good being all together––we all just kind of disappeared for a month.” She sat down to write when she got back to Nashville, and “One More Hell” came quickly. “The first time I ever played it live, this stranger in the front row was bawling,” she says. “It’s a sad song, but it’s kind of a happy song, I always say––people just feel it.”
Whitters takes the only two songs on the album she didn’t write––“City Girl” and “Pocket Change”––and owns them confidently. Her blithe version of “City Girl,” written by the Wrights, was featured in the 2015 season ofNashville, while her interpretation of Mando Saenz’s indignant “Pocket Change” gives the song a droll feminine spin.
Written by Whitters alone, stunner “Low All Afternoon” takes pity on a jilted other woman. Forlorn but commiserative, the song tells a true story Whitters witnessed a friend endure. “I like to write without a hook in mind sometimes––to just let the song move toward what it’s trying to say,” she says. “That’s how I approached this one. For about three months, I’d work on it, leave it, and then come back to it. That was a luxury.”
Martina McBride heard “Low All Afternoon” and recorded the song for her upcoming album, gifting Whitters with the first cut of her career. When asked about song’s journey, Whitters is grateful and amazed. “They say this doesn’t happen much anymore––a song written alone, a waltz, a ballad––being cut,” she says. “I feel like I created something real and honest, and it’s been so rewarding.”
Lately, Whitters has taken to gigging all over the country. She joined the lineup at the 30A Songwriters Festival for the first time and makes her SXSW debut this spring. She’s opened shows for acts ranging from Randy Houser to Chris Knight, and is sincerely grateful for every opportunity. “I will play just about anywhere,” she says with a laugh. “There’s something about getting out on the road and traveling that I just love.”
Winning over a crowd delivers an inimitable high for Whitters, who relishes connecting live. “I love performing ‘One More Hell,’” she says. “You think no one’s listening, and then the middle of that song, you see them raise their beer glasses in the air and know that they’re listening and that you’re all on the same page.”
“I’m a risk taker,” Whitters says. “My friends always laugh because I’m kind of one extreme or the other. I’m not really a middle ground kind of person. You take these risks, and then the reward is just…” She trails off for a moment. “I feel like the part that feels so awesome about it afterwards is knowing that you were scared to do it, but then you did — and it paid off.”
https://haileywhitters.com/
Emily Nenni

Emily Nenni has a confession: she didn’t always plan on being a performing artist. “I thought I was just going to be a songwriter,” she admits. Clearly, life had something else in store. The singer and guitarist has emerged as one of the freshest and most electrifying voices in Nashville, with a sound rooted in classic honky-tonk and spiked with serious country, soul and rock ‘n’ roll fire, and sweet-and-sassy lyrics that chronicle hard living, hot nights, heartbreak and other universal truths about the human condition. Over the past several years she’s enraptured audiences across Music City with sizzling sets in smoky bars and clubs, honing her command of the stage, perfecting her skills as a band leader and sharpening an already astute world view, all of which are on full display on her newest studio album, Drive & Cry.The record is a marked departure from her previous full-length, 2022’s celebrated On the Ranch. Whereas that effort saw Nenni uproot herself to lend a hand – and write – while assisting at a ranch in southern Colorado, Drive & Cry drops the listener smack in the middle of her boisterous and bustling Nashville world. The album kicks off with “Get to Know Ya,” a honky-tonk rave-up that celebrates the end of the work day and the beginning of a music-filled, come-what-may night. Nenni busts out her biggest hoops, jumps into the jeans she can “really only stand up in,” and heads to the local bar. “Play ‘til the sun’ll come / when the daylight’s done,” she sings as the instrumental accompaniment races in step behind her.
From there, Nenni leads into “Greatest Hits,” a pedal-steel-inflected Dolly Parton-style number in which she tips her hat to underground honky-tonk venue Santa’s Pub, a dive bar squeezed inside a double-wide trailer that has become her home-away-from-home in Nashville. “When I first came to town, I was 21 and singing at clubs with folks who were twice my age,” Nenni recalls of moving to Music City from her native California. “Then a buddy of mine said, ‘There’s a place where people are making this music that are actually your age, and where you’d really fit in.’ And that was Santa’s Pub. It’s where I learned that music doesn’t have to be perfect – everybody is just having fun and there’s no judgment. You can show up however you’re feeling that night, have a good time and be surrounded by friends.”
A stellar cast of those friends stepped up to assist Nenni on Drive & Cry, beginning with producer John James Tourville of New West labelmates the Deslondes. “He brought in half the musicians and I brought in half,” Nenni says. “And he gave me so much space to make the record that I wanted to make.”
It’s a record that is her most personal to date. Save for an album-closing cover of Terry Allen’s classic “Amarillo Highway” (a staple of her Sunday-night sets at Santa’s), Nenni penned the remainder of the dozen tracks entirely on her own. “It’s the first time I’ve done that,” she says. “I had a few weeks alone at my house in Nashville, and I just sat with all my thoughts and feelings from the last couple years and put it all down. So this is an album that’s truly ‘me.’ ”
The results put the full range of Nenni’s singular musical voice on display, from the soaring “Changes,” influenced by her love of Sixties girl groups, to the swampy, strutting empowerment anthem “I Don’t Have to Like You,” in which she declares “I’m a grown-ass woman and I don’t trust a word you coo.” There’s also the Tina Turner homage “I Don’t Need You” (“Got my own boots to fill and you know I will,” Nenni assures), the wistful, late-night honky-tonk ode “We Sure Could Two Step,” and the playful title track, in which, over a tight country-funk groove, Nenni jokes, “Don’t you worry ‘bout me / I’m gonna have a bawl.” It’s a lighthearted lyric, but one that is, like everything on the album, true to Nenni’s life. “I do actually cry a fair bit, and I love to do it while I’m driving,” she admits.
Nenni will have plenty of opportunities for that in the near future, as she plans to take Drive & Cry on tour, far and wide. “I love to be on the road,” she says. “I love to be with my buds, I love to play shows, and I love to make people happy and make people cry with my music. That’s what truly makes me happy, too.”
Nenni laughs. “So I maybe never thought I’d be a performer, but I sure am glad that I am.
https://www.emilynenni.com/

Nittty Gritty Dirt Band's John McEuen & co-founder Les Thompson and friends "The Life I've Picked!"
2025-09-24 19:30 - 23:00 | Knuckleheads, 2715 Rochester Ave., Kansas City, MO, 64120, United States
Under 21 with Guardian

John McEuen, a Southern California Orange County high school student, he thought his teenage dream job in Disneyland’s Magic Shop (at 16 years old) was “as good as it gets”. He and lifelong high-school friend both got that 1963 job (magic shop co-worker, Steve Martin) and at 18 music came along. After seeing Missouri bluegrass group The Dillards, John headed towards his new dream: make magic with music, and get on the radio. Leaving Garden Grove for Hollywood, dream became a reality more than imagined it could be!
Continually performing since 1964, he joined Les Thompson in 1966 as they put together the Nitty Gritty Dirt Band, a relationship that would last 50 years – over 11,000 concerts, 300 television shows, 10,000 interviews.
In 1971, John initiated the landmark Will the Circle be Unbroken* album by asking musical mentors Earl Scruggs and Doc Watson to record with NGDB; then, his brother Bill (manager, record producer) invited Merle Travis. It grew, with Earl’s help, to inviting Mother Maybelle Carter, Jimmy Martin, Roy Acuff, ‘Bashful’ Brother Oswald, Vassar Clements, and Norman Blake to a Nashville studio, hooking them up with Nitty Gritty Dirt Band, for 5 magic hot August days of recording. (John is featured in episode 6 of Ken Burns – Country Music). The now multi-platinum “Circle” is honored both by Library of Congress and the Grammy Hall of Fame. * “One of the most important records to come out of Nashville…” Chet Flippo, Rolling Stone
In 2010, Folk Alliance Organization presented McEuen the Best in the West Award solo performer; hia rich history preserving original and traditional folk music earned the 2013 Charlie Poole Lifetime Achievement Award.
NGDB was inducted in to Colorado Music Hall of Fame 2015. In addition to John’s numerous solo accolades, Multi-instrumentalist McEuen (banjo, guitar, mandolin, fiddle, dobro, piano, dulcimer), recognized as a founding member and outstanding performer, departed the end of the 50th year anniversary tour Oct. 22, 2017. He covers it all in his highly praised book The Life I’ve Picked on Chicago Review Press, published April, 2018.
McEuen has made over 46 albums (7 solo) that have earned CMA and ACM awards, an Emmy film score nomination, IBMA record of the year award, five platinum and six gold records, multiple Grammy Awards and nominations, and performed on another 25 albums as guest artist. John’s production of Steve Martin – The Crow won the 2010 Best Bluegrass Album Grammy.
https://www.johnmceuen.com/

Marty Stuart & His Fabulous Superlatives
2025-09-19 20:30 - 23:00 | Ameristar Kansas Ciy, 3200 N. Ameristar Dr., Kansas City, MO, 64161, United States
Country Music Hall of Famer, five-time Grammy-winner, and AMA Lifetime Achievement honoree Marty Stuart picks up where he left off on Altitude, his first new album in five years, exploring a cosmic country landscape populated by dreamers and drifters, misfits and angels, honky-tonk heroes and lonesome lovers. While it would be easy for an artist as accomplished as Stuart to rest on his laurels, Altitude instead showcases the work of a searcher with an insatiable appetite for growth and reflection, one whose ambition, much like his keen wit and rich imagination, only seems to grow with each and every release.
