Category: The Breaker

Miranda Lambert, Keith Urban & Little Big Town Lead the List of Nominees for the 51st CMA Awards

LBT is nominated for 4 awards, at the 51st CMA Awards.

SINGLE OF THE YEAR (Award goes to the artist, producer, and mix engineer) – “Better Man” – Little Big Town.
ALBUM OF THE YEAR (Award goes to the artist and producer) – “The Breaker” – Little Big Town
VOCAL GROUP OF THE YEAR (Award goes to the group)
MUSIC VIDEO OF THE YEAR (Award goes to the artist and director) – “Better Man” – Little Big Town

Carrie Underwood and Brad Paisley will team up for the 10th time to co-host the upcoming CMA Awards, which will air live from Bridgestone Arena in Nashville on Wednesday, Nov. 8, 8-11 p.m. ET, on ABC.

Performance: ‘When Someone Stops Loving You’ on Seth Meyers

Source: Late Night with Set Meyers on YouTube

2017 Billboard Music Awards – Top Country Song

The 2017 Billboard Music Awards nominations have been announced.

Drake and The Chainsmokers lead the pack with 22 nods. Among those, Drake will compete for Top Artist, Top Male Artist and Top Billboard 200 Artist. The Chainsmokers will also vie for Top Artist, as well as Top Duo/Group and Top 100 Artist.

Twenty One Pilots follows with 17 nominations, then Rihanna with 14, The Weeknd with 13 and Beyonce with 8.

The first five categories were announced by Pete Wentz and Julia Michaels earlier Monday on Good Morning America.

The Billboard Music Awards will air on May 21 at 8PM on ABC.


Top Country Song:
Kenny Chesney Featuring Pink, “Setting The World On Fire”
Florida Georgia Line, “H.O.L.Y.”
Florida Georgia Line Featuring Tim McGraw, “May We All”
Little Big Town, “Better Man”
Keith Urban, “Blue Ain’t Your Color”

New Single: ‘Happy People’

Reigning ACM Vocal Group of the Year Little Big Town hit the stage last night at the 52nd Annual Academy of Country Music Awards for an uplifting performance of “Happy People,” the new single off their chart-topping latest album, The Breaker. Following “one of the most memorable performances of the 2017 ACM Awards” (Billboard), the “fearless foursome” (HITS Magazine) earned their fourth ACM for Vocal Group of the Year. This year’s nomination for ACM Vocal Group of the Year marked the Platinum-selling artists’ 23rd career Academy of Country Music award nomination.

Written by Lori McKenna and Hailey Whitters, “Happy People” has already earned critical acclaim and early radio support as one of the most-added songs this week at country radio, and is the follow up single to Little Big Town’s multi-week No. 1 at Country radio, “Better Man.”

Tim Roberts, VP of Country Programming for CBS Radio calls the song “sunshine on the speakers with a positive message and LBT summertime fun…it all adds up to another big hit!” and Taste of Country notes, “more than anything, ‘Happy People’ just feels good.”

Buy the song on iTunes or listen to it on Spotify

Philip and Kimberly Talk New Track “Happy People”

Kimberly and Phillip of Little Big Town discuss why the track “Happy People” kicks off their new album ‘The Breaker.’

Source: Music Choice

Think Country reviews ‘The Breaker’

Little Big Town welcome their eight studio album. The new album is called The Breaker and includes 12 tracks one of which, already radio released and one other due for release.

Kicking off the album is, ‘Happy People’ a light yet catching song, with a subtle beat that is accompanied by soft vocals, when we are led in to the chorus it makes you want to sing and clap along to the song, therefore its title being successful indeed a highlight of the album and at only 2:47 in total, it does well to create such impact, thumbs up!

Night on our side, is straight in their with punching harmonies, something this band are the award winning at! The tempo is turned up slightly and includes a bit more depth in sound, which comes well in choice from previous song and is a welcome addition in track listing.

Another feel good addition is ‘Driving Around’, a sharp introduction and flawless harmony by the Little Big town girls, has you feeling the lyrics and structure immediately. The hook that is the chorus, and the extended emphasis on ‘Cruise’ and ‘Sky’ works well and personally echo’s back to the feel of their song ‘Pontoon’ it has the ability to have you instantly drawn in and it leaves an impression on you. A possible, track to be added to a summer playlist.

‘Better Man’ is their most recently released single and was written by Taylor Swift and has topped US hot country songs and US country airplay #1, it is a powerful song, a song of which people will relate too, it has a really well filmed music video for it which features the band playing different roles. This is certainly another top track for me on the album.

Throughout this album what is evident is what good pace and flow and consideration they have taken to track listing, when a slower tempo track is in place it is followed by a punchier number and that is apparent that straight after ‘Better Man’ comes ‘Rollin’ it has a edgy rocking guitar riff and sits well within this album.

‘When Someone Stops Loving You’ is a beautifully written song, it captures the essence of what everyone goes through, in break ups and relationships, I really enjoyed listening to this song and I feel it was creatively written and it empowers emotions retains your attention throughout.

Featured last on the album is the title track, it is a perfect ending to a great album and includes a playful melody, a perfect way to end.



Another perfectly delivered album by the group, it includes a variety in style and tempo and did not loose my attention in any way, I thoroughly enjoyed listening to it and would certainly keep it within easy reach and would highly recommend it.


1. “Happy People”
2. “Night on Our Side”
3. “Lost in California”
4. “Free”
5. “Drivin’ Around”
6. “We Went to the Beach”
7. “Better Man”
8. “Rollin’”
9. “Don’t Die Young, Don’t Get Old”
10. “Beat Up Bible”
11. “When Someone Stops Loving You”
12. “The Breaker”

Fearless Foursome


KAREN FAIRCHILD, KIMBERLY SCHLAPMAN, PHILLIP SWEET AND JIMI WESTBROOK may well be the nicest people in country music. And that’s magnified by the fact that as Little Big Town, the foursome also makes some of the genre’s smartest and most progressive music. Always willing, always seeking, it’s given the band—which was equal parts Fleetwood Mac, dream syndicate and The Oak Ridge Boys before Jimmy Buffett tapped them to sing background vocals on his early albums—a career that’s manifested everything they’d ever wanted. Since the two women met at summer choir camp, LBT has weathered labels closing, the death of a spouse, a slow climb and a bit of controversy, while consistently making fearless choices.

As the hits accumulated—“Boondocks,” “Girl Crush,” “Pontoon,” “Tornado,” “Day Drinking” and now “Better Man”—artists from John Mellencamp to Pharrell Williams reached out to collaborate, Lindsey Buckingham shared an episode of CMT’s Crossroads, and Miranda Lambert tapped them for her yearning (and Vocal Event-winning) “Smoking and Drinking.” LBT have won a pair of Grammys and own the Vocal Group categories at the various country music awards shows—as well as regularly populating the Album, Song and Single categories.

Their latest LP, The Breaker, is easily their strongest work in a career of genre-pushing songs and singles. Since signing with Sandbox Entertainment’s Jason Owen, the group has been turning up in fascinating places—cooking shows, clothing lines and books—but it always remains about the music. With a first-ever residency at the Ryman Auditorium underway, Little Big Town took time out of a busy schedule to assess the strengths, faith, hope and music that have brought them here.

There is no act in modern country music that has your against-all-odds, nine-lives ability for survival. It’s uncanny.
Jimi Westbrook: I would say we are definitely scrappers and fighters and strivers.
Phillip Sweet: Early on, we all looked at each other and said, “We aren’t going to let somebody be the boss of this. We are going to—no matter what—make sure it comes down to us. And we are going to keep it alive.”
Karen Fairchild: No matter what happened, we never talked about quitting. I remember one truck stop, 16 years ago, driving all night to get to Boston. It was 2am, and Kimberly said, “What are we doing?” It was crazy—not in a bad way, but more of a “How are we going to do this?” Because it’s hard, and we ran into a lot of stuff. But there was never an option to quit.

Was there ever a moment when it felt like it wasn’t going to happen for you?
KF: There were maybe moments. Early on, when I’d left a party in town or a show, and success was so close but so far away, I cried a lot of quiet tears in private. I think we all did at different times.

What did success look like to you back then?
KF: I remember thinking, “If I could only have health insurance and a car that started in the rain.” The bus used to drop me off, the short time we had one before we lost our record deal; if it was raining, the van or the bus would have to take me to my apartment. I’d have to leave my car in the Kroger parking lot and come back when it was dry.
Kimberly Schlapman: From the first time we struck a chord in my living room in the fall of 1998, there was a bond between us. The way our voices sounded together was something else, and we were all addicted to the chemistry of it.
KF: We were just four young kids, with dreams and very lofty goals and expectations, trying to figure it out. But we loved listening to each other sing. From the very first chord, there was this buzz you get from hearing those harmonies.
JW: We knew—at all those times—we had so much to offer, and we felt we’d never had our chance, so we would become more determined. And we were also protectors of the music. Six months into your career, to make the decision to ask out of a record deal? That’s crazy—but that was our confidence and belief in what we had to offer.

Ultimately, it turned out more than all right. And what’s most heartening is that it seems like it was the music that pushed you guys forward.
JW: That’s where our belief came from—our love of music. We wanted to make great music, music that matters.
PS: We push ourselves, or try to. We’ve had people come up to us and say, “You could sing the phonebook and make it sound pretty,” but that wouldn’t feel good to us. We don’t wanna go somewhere obvious.
Schlapman: That’s been intentional. [laughs]. There are songs on the radio that have been huge hits, but they just didn’t say as much as we wanted, or they didn’t go somewhere musically. Because that’s important to us.

It shows. You guys draw people to you—from Pharrell Williams to John Mellencamp, David Nail to Miranda Lambert. As different as those artists are, you wear them like all like a second skin.
JW: You brought up John Mellencamp. When we came out of those sessions, we were changed. That was a marked moment. We were on a couch in a studio, being challenged by him to be a better group, better artists.
PS: He was railing at us: “You don’t need to be cutting that fluffy shit. You need to be cutting ‘Blue Eyes Crying in the Rain,’ songs that matter.” His pushing us really did make us stronger.

One of the things that stuck out: “Boondocks” was a call to pride, a real statement of being Southern and down with it.
KF: If you’d asked us what kind of music we made 18 years ago, we’d have said, “We do Southern American music—driven by an acoustic guitar.” That was who we were. And we wrote “Boondocks” almost out of spite. When we first started, people would look at us, and say, “They look like some band a producer put together. Let’s dress them like the cast of Friends—it’ll be huge.” And we wrote that song to really tell people who we were.
Schlapman: “Boondocks” always has been and always will be that song that gets people really excited. It’s the most prideful for sure, because for everyone, where you come from, you’re really proud of it. With a few exceptions, I know. But for us, when we wrote that, we were out to prove who we were. People had so many questions because of how we looked, and that song answered them all [laughs].

You all look very fashion-forward, yet you’re really the embodiment of the modern South. Beyond the clichés, you bring this fresh face to what it is to be Southern.
KS: I think it comes from our bones—we were all raised by Southern people, with those roots and those values. That informs everything we do, and there’s not any way around that. It wouldn’t be authentic.
PS: I feel like that came through even more on this record. That’s who we are; that’s our heart. And it comes out in the songs. We grew up as conservative as you can imagine, as small-town and religious, as you’d think—although one of us didn’t. But those values? It’s everything to us.

On the heels of a pretty freewheeling project with Pharrell, The Breaker returns you to Jay Joyce. It’s more focused, and yet it’s arguably your broadest record to date.
JW: We love working with Jay, because he believes in music and it’s where he comes from too. With this record, all the good and bad, we’re more comfortable in our skin—and what we have to offer—and I think you hear it.
KF: Every record is a photo book of our lives, and a time capsule. Maybe because of the Pharrell record, which was so free and different from the way we’d made records, we came back. With Jay, all things are possible, and there are all these layers and effects, and why not?
Schlapman: He was so free and open in the studio, just throwing out ideas and trying things. He chased any idea. It really gave us a whole new freshness in the studio with Jay. We were inspired in a new way, had a different kind of confidence—and he captured that, really put it to good use.

KF: Take “Happy People.” We always thought that song was really profound—especially with what’s going on in the world. It’s very simple when you listen, but Jay had a vision. There’s that train groove underneath; the linear loopiness of the drum beat. It was so many different things and ideas. Jay’s a master of taking all those ideas and all this music that seeps in, and creating something unlike anything else.
PS: I love “Don’t Die Young, Don’t Get Old.” It was written around the time my sister passed away, and the bridge reminds me of my family and all the pieces of going through it together. But there’s so much hope to it, so much light.
JW: And the cousin to that feeling is “Night on Our Side,” the living in that moment. Maybe you’re going to live forever for just a moment, just for tonight. There’s such a feeling of freedom and happiness, to be so in the moment. And the harmonies and the track just hold that. I love the bridge: “Who says we can’t defy gravity? Let’s start a revolution.”

Songs have always been really important for you. Whether it was “Pontoon” really pushing you to the next level, or “Girl Crush” creating…I don’t even know what.
KF: When you connect on a real level, like “Girl Crush” did, or “Boondocks,” which made people feel pride. You might be someone’s theme song, or the only way they can access their heartbreak.
PS: And with “Girl Crush,” I think saying it in those ways makes people reconsider.
JW: It wasn’t hard to understand the metaphor.
PS: I remember thinking, “Wow! Really?! This proves people aren’t really listening to the songs.”
Schlapman: Honestly, it hurt my feelings. We don’t care to push any agenda on people. We were trying to identify with people who were deeply hurt—and we’ve all been there—and show that pain.
JW: It’s also us wanting to push other people to be more accepting, to push their boundaries a little and how they see the world. We all have our darker sides, that’s life in general, but you realize you can look at everything with love and see that instead.
Schlapman: And then, as light as “Pontoon” is, I was at the FedEx place and this mother came up to me. She told me how much the song means to their family, because it’s about a boat, but it’s about their family and roots and making memories. Those things in the world are precious to people—and it reminds you.

And then there’s the song from Taylor Swift. What’s it like to get a song from Taylor?
PS: We couldn’t get enough of that melody; it just entranced us all. While we were out on the road with Luke Bryan, we were playing it all the time in our dressing room. He was like, “You better get back home and cut that.”
JW: What a great country chorus. It proves she can do anything. And she’s never done that, never sent another artist a song. I wanna think she had a vision.
PS: Yeah, it was an email, just like it would be from any songwriter friend. “Hey, I know you’re in the process of making a record; I’ve got this song I’d like you to consider. I can hear your harmonies all over it.”
JW: She knew she wasn’t gonna cut it. She’s such a musical person, so creative and always inside the music. So she had a vision.

It’s been a massive #1, but it was decided not to reveal her identity.
JW: The reason we were quiet is simple. She’s the biggest pop star in the world, and there are certain things that come with that. It’s a beautiful song, the record is beautiful—especially with Karen’s rich, lush vocal—and we wanted people to hear that. But when Taylor writes a song called “Better Man,” everybody wants to know who it is. So for her, and for the record, we thought we’d wait to tell people who it was. Taylor thought it was a great idea too. She wanted to know how the song would be taken.

It’s fascinating that Taylor even wrote a paper on you guys for school. Do you know what grade she got on it?
PS: She’s such an overachiever, I’m sure she got an A+++.
JW: I’m inclined to wonder what the teacher thought, if he even knew who we were. It was about perseverance, and I wonder what he made of that—a group he’d never heard of.

LBT are the first artists doing a residency at the Ryman. We talked about how you represent the modern South, but you’re also lifting up its past.
KF: We take being Opry members very seriously, and doing this residency is part of it. Handing off the tradition to the next generation: you look at Bill Anderson, Vince Gill, Patty Loveless and you think you’re part of that. Brad Paisley called us “the Guardians of the Opry,” and that was maybe the ultimate compliment. The traditions of it, like sitting around the dressing rooms singing. We do that a lot [with] Luke Bryan, Dustin Lynch, even Blake Shelton, just sitting around singing old country songs.

At the end of the day, it’s the chemistry, isn’t it?
Schlapman: We’ve always given each other hope. When it was flailing for so many years, and nobody really cared what we were doing, we had each other. We had nothing else, but so many times, we’d find ourselves looking at each other, going, “How’d we get here?” And we’d laugh.
KF: And when one of us was struggling, there were three other people to carry the load. It helps.
PS: Music, too. It’s beyond anything else out there. It touches people’s lives, lifts them up, motivates them like nothing else. It’s not easy. If you don’t love it, you won’t last. But us? It’s why we’re still climbing on buses and getting up early and making it the energy that our lives run on.
Schlapman: We believe in that, also. If we have a mantra or philosophy, it’s that there’s always hope. Maybe we were forced to be all heart because there was no sensation. But if it had been a faster journey, maybe some of the heart might’ve fallen off. After everything, we are who we are. We’re OK with it. Hopefully, the people are too.

Source: Hits Daily Double

CBS This Morning: LBT on struggles and finding success

Little Big Town is nominated for vocal group of the year at Sunday’s Academy of Country Music Awards. The group’s latest album, “The Breaker,” topped the country charts. Jan Crawford spoke with the musicians about their tough climb toward success and the special bond they share.

Source: CBS This Morning

LBT open up about their new album (Video)

Some of the biggest names in country music made an appearance at the CMC Rocks QLD festival over the weekend.

The Dixie Chicks, Lee Kernaghan, The Mcclymonts, Adam Harvey and Little Big Town all performed in front of a sell-out crowd of 15,000 people.

This year marks the 10-year anniversary of the event and Grammy award-winning band Little Big Town hit the stage on Saturday night.

It’s the bands first time in Australia and the Emmy award-winning group sat down with Sky News to discuss their new album, The Breaker.


Live videos from Sydney concert

Thanx to Belinda Meek on YouTube, who let me share her videos, of the LBT concert in Sydney on March 21st 2017.

Beat Up Bible

Better Man


Girl Crush

Happy People

Lost in California




Turn the Lights On

Night on Our Side

We Went to the Beach

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