Jewly Hight
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A contemporary brass band that grew out of one of Nashville's historically Black universities is helping to expand the lost musical identity of the country capital.
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Black women leveraged the power of streaming platforms and social media to bridge the chasms previously carved by labels, publishers and radio.
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The mostly white country and folk music industries remain frustratingly difficult for Black musicians to enter. During one of Nashville's biggest events, one group envisioned a new pathway in.
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Madi Diaz had much to process leading up to her new album, History of a Feeling: moving home to Nashville from L.A., reestablishing herself as a solo artist and splitting from her partner.
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Allisson Russell has spent her career collaborating – but for Outside Child, her first solo record, she is stepping boldly out in front, sharing her tales of healing.
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This fall, the bluegrass supergroup Sister Sadie became the first all-female band ever to win the top prize at the International Bluegrass Music Association awards.
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Rap from Nashville isn't new, nor is the city's tendency to overlook the creators and entrepreneurs behind that music – despite country artists borrowing liberally from the genre over the past decade.
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Nashville has rigid hierarchy of success — particularly when it comes to artists promoting themselves and ascending the city's ladder. And then came a virus.
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Fiddler Jenee Fleenor is the first woman ever to win the Country Music Association's Musician of the Year Award. Her work is partly responsible for the instrument's resurgence.
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Lambert, who just put out her seventh album, Wildcard, has closed the gap between serious singer-songwriter and arena-rocking entertainer to become the most riveting country star of her generation.