Chris Willman-Senior: Last News

Chris Willman Senior Music Writer and Chief Music Critic The verdicts on the new Broadway musical-comedy “Shucked” are in, and the critics have asked you to lend them your ears — so to speak — as they’ve cobbled together their reactions to the possible sleeper hit. (Sorry, but once you’ve seen the production, it may take you six months or longer to stop speaking in puns.) Variety’s critic wrote that “with its exuberance, heart and non-stop yucks, ‘Shucked’ is the surprise delight of the Broadway season.” The New York Post’s notice trumpeted it as “Broadways’s best and funniest new musical.” Time Out said the show leaves theatergoers “gorged to satisfaction on a big, tasty bag of Broadway puff.” Entertainment Weekly wrote that “its refreshing embrace of diversity and unapologetically corny sincerity can definitely put a smile on your face.” Even one of the minority that was harder on it, the New York Times’ Jesse Green, begrudgingly admitted of the parade of laughs: “forced into submission,,” he wrote, “you eventually give in.”

Chris Willman Senior Music Writer and Chief Music Critic Tanya Tucker did not let much time slip away after the Country Music Hall of Fame announced her impending induction this week before coming out with an announcement of her own: She has a second album produced by the team of Brandi Carlile and Shooter Jennings coming soon, following up on a celebrated previous effort that earned Tucker her first two Grammy Awards. The album “Sweet Western Sound” will be out June 2 on Fantasy. A teaser track from the record, “Kindness” is out now. The song was written by Carlile’s bandmates Phil and Tim Hanseroth. The collection reunites the team that made Tucker’s comeback album, “While I’m Livin’,” a 2019 set that got the singer a Grammys for best country album, and its closing track, “Bring My Flowers Now,” which won best country song.

Chris Willman Senior Music Writer and Chief Music Critic Renée Zellweger has her first co-starring role in a music video, appearing in “Two Steps,” the visual accompaniment for a new song by C M Talkington, a singer-songwriter who is only on his second album. At first glance, at least for those who don’t know their movie credits too avidly, this might seem like a case of a well-known actor doing a favor to help gain some visibility for an up-and-comer making his baby steps into a musical career. And that part is not untrue, exactly. But the backstory to their jointly making this video actually goes back three decades, and involves both parties possibly owing each other one. Because before he started making records, Talkington was (and still is) known as a filmmaker — and it was him that gave Zellweger her first big break, by going to the wall with a production company to cast her in the 1994 feature “Love and a .45,” where the indie film world first met and fell in love with her.

Chris Willman Senior Music Writer and Chief Music Critic Phoebe Bridgers, Julien Baker and Lucy Dacus spent the last few years of interviews generally demurring on when their group, Boygenius, would ever be collectively super again. There’s been a little bit of a Boygenius time-out, of course, since the trio’s fairly spontaneous debut EP came out in 2018 and the release of their first full album as a collective, “The Record,” on March 31. But it hasn’t been for a lack of thought and effort going on behind the scenes, as the waiting world has now learned. As Bridgers says in an interview with Variety, “We realized the other day that we’ve been making this record for longer than we haven’t been, as friends,” since she dates its origin point to the week after she issued her “Punisher” album in 2020.

Chris Willman Senior Music Writer and Chief Music Critic Tanya Tucker, Patty Loveless and Bob McDill will be the Country Music Hall of Fame’s three 2023 inductees, it was announced in a news conference at the hall’s museum in Nashville Monday morning. Tucker will be inducted into the hall in the “Veterans Era Artist” category, while Loveless will get her entree in the “Modern Era Artist” category. McDill is to be inducted in the “Songwriter” category, which is in rotation with the “Recording and/or Touring Musician” and “Songwriter” categories, each coming up every three years. Cheers went up at the announcement ceremony as well as around Nashville, as all three have long been favored for induction, and Tucker and Loveless particularly talked up as should-be shoo-ins for their historical importance as leading women in the genre.

Chris Willman Senior Music Writer and Chief Music Critic The wheels are not close to coming off the “Carpool Karaoke” franchise, as a series of new episodes was announced Monday morning for Apple TV+, featuring stars ranging from pop singer Avril Lavigne to TV star Sheryl Lee Ralph to current Broadway queen Lea Michele. The eight new “Carpool Karaoke: The Series” episodes will bow globally on the platform June 23. While most of the installments pair up two stars, three of the episodes promise to incorporate the cast of a series: Netflix’s “Girls5eva,” CBS’ “Ghosts” and Apple TV+’s “The Afterparty.” Some of the partners in carpooling have a joint project to promote. Alison Brie and Danny Pudi, for instance, are not only mutual “Community” alumni but recently reunited for the rom-com “Somebody That I Used to Know.” Not coincidentally, a teaser that was already posted for their “Karaoke” episode has them singing the Gotye song of that same name.

Chris Willman Senior Music Writer and Chief Music Critic During the opening monolog at Sunday night’s CMT Music Awards, broadcast from Austin on CBS, there was a comedic bit in which Kelsea Ballerini and Kane Brown exchanged anniversary presents to celebrate their cohosting of the show for the third consecutive time. Brown gave Ballerini a cowboy hat, and she reciprocated by giving him a pink hat to put on in return. At least a few audience members shared a joke about the exchange: By wearing pink, would Brown be breaking Tennessee’s recently passed law that some believe would ban most drag performances in the state, if they were back home? Viewers whose minds went there during that silly opening were just kidding — but Ballerini really went there later in the three-hour telecast, when she chose four “RuPaul’s Drag Race” queens to perform with her as she sang “If You Go Down (I’m Goin’ Down Too).” That song, off her 2022 album “Subject to Change,” is Ballerini’s anthem of female friendship — and, with the way the CMT Awards routine played out, she very much seemed to be counting drag performers as among those friends. The performance was playful and ostensibly non-political, and in a different year might not have raised very many shaved or unshaved eyebrows. In spring 2023, it was hard to read it as anything other than a statement of: If drag queens are brought down, the rest of us will be dragged down with them.

Chris Willman Senior Music Writer and Chief Music Critic A couple of members of a fresh generation of country music — Jelly Roll and Lainey Wilson — came away as the top victors at Sunday night’s CMT Music Awards, broadcast live from Austin for the first time. But the biggest winners may have been CMT and CBS, putting the three-hour telecast on the map as a show packed with enough performance firepower that it does merit having made the move from a cable platform to major broadcast premiere as of last year. However much the official winners may delight a core country crowd happy to see young radio and streaming favorites get rewarded, the big draw for the CBS audience was likely a series of collaborations between country stars and their pop or rock counterparts, as has been the custom for years on the rival CMA Awards. Most notable were the all-female collabs that had Carly Pearce dueting with Gwen Stefani on No Doubt’s “Just a Girl,” or Alanis Morissette trading lines with a slate of young female artists that included Lainey Wilson, Ingrid Andress, Morgan Wade and Madeline Edwards. The all-star teamings spread to those who presented, too, with Megan Thee Stallion providing the most enthusiastic introduction imaginable for “my new besty,” Shania Twain.

Chris Willman Senior Music Writer and Chief Music Critic The vibe surrounding Joni Mitchell being bestowed with the Gershwin Prize in Washington, D.C. earlier this month — as seen in a new PBS special — couldn’t have been more harmonious, from all accounts. And that’s a good thing, because under less loving circumstances, there could have been a turf war over who would get to sing “Both Sides Now,” the song that was Mitchell’s first hit in 1967 and might still stand as her signature song, if someone had to pick one with a gun to their head. The victor, in this quiet, bloodless battle: the inimitable Annie Lennox, who performed at the tribute to Mitchell just months after being inducted into the Rock and Roll Hall of Fame as a member of Eurythmics.

Chris Willman Senior Music Writer and Chief Music Critic When an all-star cast of musicians came together to rehearse their salute to Joni Mitchell for a Washington, D.C. tribute concert in February, in honor of her being the latest annual recipient of the Gershwin Prize for songwriting, executive producer Ken Ehrlich had an early epiphany about where Marcus Mumford’s cover of “Carey” should go. “During the rehearsal, it was obvious to me: that was the opening number.” As you watch the remainder of “Joni Mitchell: The Library of Congress Gershwin Prize for Popular Song,” though — as it premieres on PBS tonight, and is available thereafter for streaming on PBS.org and the PBS app — you won’t see Mumford disappearing from the stage for very many extended periods. Mumford has been part of the parties at Mitchell’s home the last couple of years, and participated in the “Joni jam” at the Newport Folk Festival last summer, so he is well familiar with her and her catalog at this point. And so, as Ehrlich explains it, “When I reached out to him, it probably wasn’t a half hour before he got back to me and said, ‘Of course I’d love to do this.’ And then he quickly followed with: ‘Can I play with the band?’ And he became the resident percussionist, which I didn’t have.

Chris Willman Senior Music Writer and Chief Music Critic A short film that actor-turned-director Kristen Stewart made with the group Boygenius got an official Hollywood sendoff Thursday night at the El Rey Theatre, with a film premiere that also doubled as a launch party for the indie-rock trio’s new album, “The Record.” Stewart did not participate in the Q&A that Phoebe Bridgers, Julien Baker and Lucy Dacus did with members of the press and public after the screening, but she stepped out to introduce the short film, which is essentially an interlocking combination of music videos for three songs from the new album: “$20,” “Emily I’m Sorry” and “True Blue.” The imagery is sometimes sentimental, sometimes bracing and vivid. Bridgers sings “Emily I’m Sorry” in front of a monster truck rally. Palms are cut for a blood oath. And there is some lip-locking through copious blue paint. The framing device is sweet, though, beginning with one band member sleeping fitfully in bed and waking up at the end embraced in a group cuddle.

Chris Willman Senior Music Writer and Chief Music Critic The three women of Boygenius — Phoebe Bridgers, Lucy Dacus and Julien Baker — have made alluding to their forebears a hallmark of their band. Witness the cover of their first EP in 2018, when they re-created the casual iconography of the debut album sleeve of a prior supergroup — Crosby, Stills & Nash — or when they posed as Nirvana on a recent Rolling Stone cover. On their first full-length album, prosaically titled “The Record,” the references come fast and furious, in song titles or random lines: the Beatles with “Revolution 0,” Sheryl Crow with “Not Strong Enough,” Virginia Woolf with “Letters to an Old Poet,” Joan Didion and the Cure with scattered borrowings or citations, and last but not least, Leonard Cohen with, um, “Leonard Cohen.”

Chris Willman Senior Music Writer and Chief Music Critic BMI has prevailed in a New York court in a dispute with Live Nation and AEG over collections of songwriting revenue from live concerts, earning a judgment the performing rights organization said would earn its affiliates 138% higher than the historical rate. Louis L. Stanton of the Southern District of New York issued the ruling giving songwriters and publishers the raise on live revenue. BMI said that as a result of the judgment, that extra money will also come from tickets sold on the secondary market, service fees and VIP packages. BMI president-CEO Mike O’Neill expressed the org’s delight with the court victory, while still throwing shade at the two concert promoters and the North American Concert Promoters Association (NACPA) for years of opposition to carving out a boost in songwriter revenue.

Chris Willman Senior Music Writer and Chief Music Critic The CMT Music Awards telecast has added some star power to this coming Sunday’s CBS telecast, with a couple of pairings that match famous female pop stars with women artists in the country world, plus a lifetime honor for crossover queen Shania Twain. On the collaborative front, Gwen Stefani will join recent No. 1 country hitmaker Carly Pearce for a duet of a yet-unannounced song. And Alanis Morissette will be joined on her original signature number, “You Oughta Know,” by four of country’s most compelling young artists — Morgan Wade, Madeline Edwards and chart-toppers Lainey Wilson and Ingrid Andress (plus guitarist Jackie Venson) — as part of a salute to the 10th anniversary of CMT’s Next Women of Country initiative. All four of Morissette’s singing counterparts on this collab came up being featured as part of the annual Next Women lineups.

Chris Willman Senior Music Writer and Chief Music Critic The all-star trio Boygenius has set 14 headlining dates for this summer, on top of festival gigs that include Coachella appearances and concerts under the Re:SET banner that’d previously been announced for the group. Opening acts for the 14 newly set dates include Carly Rae Jepsen, Broken Social Scene, Illuminati Hotties, Bartees Strange and Claud. The shows include gigs at two of the nation’s most iconic outdoor venues — Red Rocks Amphitheater in Colorado, on Aug. 5, and the Gorge in Washington state, on July 29 — along with al fresco appearances in Phoenix, Houston, Pittsburgh, Salt Lake City, Toronto, Vancouver, Asheville, Wilmington, Bend, Bonner and Boise.

Chris Willman Senior Music Writer and Chief Music Critic Tom Leadon, a singer and guitarist best known for co-founding the band Mudcrutch with Tom Petty in the early ’70s and participating in a high-profile reunion beginning in 2008, died March 22 at age 71. The death was publicly revealed Monday. No cause of death was given but a post from Petty’s official fan club attributed it to “natural causes.” “Tom Leadon was my deepest guitar soul brother,” wrote Mike Campbell, a fellow member of Mudcrutch across the decades, on Twitter. “We spent countless hours playing acoustic guitars and teaching each other things. A kinder soul never walked the earth. I will always miss his spirit and generosity. Sleep peacefully my old friend.”

Chris Willman Senior Music Writer and Chief Music Critic While most contemporary music documentaries fall into the realm of self-produced hagiography, no one will be making that charge about “Jason Isbell: Running With Our Eyes Closed,” a clear-eyes/hearts-full documentary coming from HBO Max documentary that had its world premiere at the Grammy Museum. At a Q&A with Isbell and director Sam Jones following the screening of the film, which begins streaming April 7, moderator Colin Hanks, a big Isbell fan, asked the doc’s star: “What was it about this that made you go, ‘Yeah, I’m gonna do a doc,’ and really make yourself a little bit more raw than maybe you had even in your songs?”

Chris Willman Senior Music Writer and Chief Music Critic Madonna is adding eight extra dates to the second leg of her U.S. tour this coming winter. The additional shows were revealed in an announcement that put a special emphasis on a show she’s added for Nashville on Dec. 22, where she plans to put the spotlight on the state of Tennessee’s recent wave of LGBTQ+-targeted bills. The additional dates announced for this coming December and January represent a mixture of Madonna returning to cities where she already is playing concerts earlier in 2023, like New York City and Los Angeles, along with a few cities that are completely fresh additions to the “Celebration Tour” routing, like Nashville, Philadelphia, Palm Springs and Sacramento.

Chris Willman Senior Music Writer and Chief Music Critic When it comes to the surprise-songs portion of each night’s show on the Eras Tour, Taylor Swift fans probably should have seen one of Friday night’s two picks coming. Of course she was going to honor the opening day of release for her friend Lana Del Rey’s new album by performing the song that the two of them wrote together for Swift’s most recent album. But before she did that, Swift gave Del Rey’s Friday release, “Did You Know That There’s a Tunnel Under Ocean Blvd,” all the “promo” that a fellow artist could ask for, calling it “brilliant” and urging the approximately 60,000 fans gathered at Las Vegas’ Allegiant Stadium to stream or buy the new album.

Chris Willman Senior Music Writer and Chief Music Critic Your eyes have deceived you if you ever took too quick a look at a passing reference to one of the great singer-songwriters of our day and mistook Brandy Clark for Brandi Carlile or vice versa. But those same eyes will not be seeing double if, in the very near future, you end up seeing both those names in close conjunction, a lot. Clark recently completed her fourth album — a self-titled one — for Warner Records, and the just-announced May 19 release is produced by possibly her biggest fan: Carlile. Their occasionally confused monograms are among the least of the things the two have in common, since both have enjoyed years of mutual acclaim among music fans who are partial to top-flight Americana or country sounds, or simply the classic singer-songwriter style. Beyond that, there are even more borderline-spooky commonalities that make it seem like they were both born under a good sign. “We’re both from Washington State; we’re both gay — we have a lot in common,” says Clark, picking out some of the obvious shared bio points. “And then a lot not in common. But Brandi is amazing, is how much she wants to prop other artists up. It’s a pretty big, generous gift.”

Chris Willman Senior Music Writer and Chief Music Critic Before anything else is said about Lana Del Rey’s new album, let it be noted that however well the record came out, it was foreordained to come in second among her artistic works of the past year. Because absolutely nothing could surpass the mic drop of her placing the sole billboard announcing the new project in Tulsa, Oklahoma, the hometown of a fairly recent ex-boyfriend, in what could only be seen as a clever combination of extreme advertising narrowcasting and baller performance art. But if “Did You Know That There’s a Tunnel Under Ocean Blvd.” had to come in as a runner-up to that, it’s a very, very, very close second. It might even count as her masterpiece to date, among her non-billboard-related work. The word “might” is advisable because claims to that kind of superiority can only be made after a lot of time and repeat listens have passed, of course, and “Ocean Blvd.” is such a dense set of songs to take in that your immediate response to its 16 songs might be to rise for a standing ovation… and then think that maybe you’ll need a week to rest before you settle in for a second and third listen, this time with a whole Internet’s worth of Cliff Notes. The album is likely to wear you out — at least it will if you’re consuming it as confessional songwriting, in bulk, and not just aural wallpaper — but it’s a happy exhaustion.