When Texas-raised singer/songwriter Kacey Musgraves released her debut single in 2013, country music was a man’s man’s man’s world. “Cruise” by Florida Georgia Line was the major hit the year before, bringing a wave of bro-country copy-cats along with it. All of country music radio was a cliché: trucks, boots, girls, beer, anything kind of stereotype you can associate with country music had become fully embraces by both the business of country music and its fans. These kind of songs were going No.1, winning awards and being pushed as the representation of the genre to the rest of the music world.

Fifteen years old and having just released her debut album, new singer/songwriter Queeva took the time to chat to us about her new record and her career.

Hannah May Allison has been in Nashville for six years. Six years consisting of attending classes at Belmont University where she earned her degree in songwriting and music business, and of writing countless songs for other people. But she's recently turned more of her focus onto being an artist in her own right.

Lacy Cavalier's been in Nashville for years and has always existed within the country music scene. She opened for Chase Rice and others, always putting out music that could be pretty easily classified as country music. But recently, there's been a marked shift in her musical style, building up to her first official pop release, an EP entitled 'k i'm done.'

In the blistering heat of July, South Florida-raised Ashley Briggs just dropped her new single "Summer Heat."

Before Maren Morris was taking over both country and pop radio, she was a songwriter. She had a couple major cuts before she focused on her artist career, but so many of the songs she's written will never be officially released. Lucky for us, some of them live on Soundcloud. Here are 8 of Morris's best unreleased songs.

Songwriters in Nashville scene often write a variety of music — not just country music. Take a look at Natalie Hemby. She’s written some of Miranda Lambert and Little Big Town’s biggest hits, but she’s also written songs that have been cut by Kelly Clarkson and Labrinth. Songwriters are songwriters first, and genres don’t matter when you’re in the writing groove.

Country-pop singer/songwriter Taylor Acorn has just released her new single, “Red White,” her first solo release since her debut EP, Put It In A Song in 2017.

Kelsea Ballerini just got invited to be a member of the Grand Ole Opry. For those of you outside of the country music bubble that I seem to constantly inhabit, the general consensus is that this is the biggest honour in the genre. Becoming a member of the Opry means that this artist has the opportunity to play the Opry whenever they want, as well as being on a list of Opry Members that includes greats such as Alan Jackson and Reba McEntire. Many deserving artists have yet to receive this honour. But last month, the Opry chose to grant membership to a pretty new artist in country music, one that has constantly received criticism for not being a truly country artist. But in a twist that few people saw coming, she’s now been accepted by the pinnacle of the country music community. The only way to come to terms with this, and to figure out why an artist so constantly criticized has been deemed legitimate by such an honour is to delve into her most recent record, Unapologetically, Ballerini’s sophomore record that came out in 2017.

As a country music fan, the only way to listen to the new Maren Morris album and actually enjoy it is to pretend that she didn’t release this album under the genre label ‘country.’ Genres are so old-school at this point, but there is no possible way that this album could ever be classified as country music. Morris didn’t even try. But honestly, that’s what’s so cool about her. She could have thrown some fiddles and banjo in there and gone to the traditional country community, shouting, “Look! I’m country!” But she didn’t. She just went ahead and released a pop album. Half of me thinks that’s the most badass move in the world, and half of me wants to get really angry about the fact that she’s literally dancing on Merle Haggard and George Jones’ graves by trying to market this album in a genre where it clearly doesn’t belong. It’s a fine line. But that’s it, that’s all I’m going to say about genre because if I say any more about how this record isn’t country, you’ll think I’m a fifty-five-year-old man living in his parents basement ranting about the “good ol’ days” of country music. And I like to think that I’m a progressive young woman, so I’ll cut myself off.