Jewly Hight
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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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Tom T. Hall developed the singer-songwriter as a trustworthy observer, a persona who could supply all the detail we needed to get the sense of the situation in three minutes flat.
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On Torres' Thirstier, Mackenzie Scott contends with pop music's tropes and techniques to wrestle with the high stakes of a long-term relationship: "This is about the love of my life."
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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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Marks' catalog — especially her latest album — deserves a close listen, revealing a history lesson not just about her own experiences and repertoire but the entire last century of Black roots music.
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The Nashville-based, Nigerian-American artist writes songs that offer trustworthy empathy, delivered without romanticism — a tone that has connected with listeners during the tumultuous pandemic era.
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Country music's race problem became a hot topic in early February, but the roots of racial injustice in the industry go much deeper. Two Nashville writers unpack the history and recent responses.
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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.