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Patty Griffin Returns With North American Tour In Support Of Upcoming Self-Titled Album

The GRAMMY-winning folk singer/songwriter will unveil her tenth studio album on March 8, her first since battling—and beating—breast cancer

GRAMMY-winning folk artist Patty Griffin has faced some major challenges since she put out her last GRAMMY-nominated album, 2015’s Servant Of Love , including a breast cancer diagnosis in 2017.

After taking some time off to recover she released a new single, "River," in Jan. and announced plans to release a self-titled album, due out March 8. Today, Griffin revealed the dates for her North American tour in support of the new album, beginning on Feb. 28 in Los Angeles.

The tour dates will take Griffin across the U.S. and to Toronto on April 11. Her stops include historic music venues such as The Town Hall in New York on April 6 and the Ryman Auditorium in Nashville, Tenn. on April 17. A press release notes that more North American shows, along with European dates, will be added soon, and tickets for most of the already-announced performances will go live on Friday, Jan. 18.

In a recent interview with People , where she debuted "River," Griffin shared the story behind the song and how it was inspired by GRAMMY-winning soul singer Donny Hathaway 's "A Song For You."

"It's one of the last songs I wrote for this record. We recorded it over about a year's time. I had been spending a lot of time with this song that Leon Russell wrote and Donny Hathaway recorded in the '70s called 'A Song For You,'" Griffin said. "I actually covered that song at a show, and I thought it would be great to have my own—which is kind of a high order. There's something about that particular song that made me feel like it's an aerial view of a moment in life. The emotion of that song inspired me."

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You can listen to the powerful "River" above, or on your favorite music platform now. Patty Griffin will be available to hear in its entirety on March 8 and will be released on the artist's own PGM Recordings, on which she also released Servant Of Love .

More info and tickets for her tour are available on her website .

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Photo: Jeff Kravitz/FilmMagic

GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016

Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly . Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly .

"Hip-hop. Ice Cube . This is for hip-hop," he said. "This is for Snoop Dogg , Doggystyle . This is for Illmatic , this is for Nas . We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal , Anna Wise and Thundercat ). He also won Best Music Video for the remix of Taylor Swift 's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN ., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers .

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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Photo:  Rachel Kupfer  

A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea

James Brown changed the sound of popular music when he found the power of the one and unleashed the funk with "Papa's Got a Brand New Bag." Today, funk lives on in many forms, including these exciting bands from across the world.

It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown . The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton , who created P-funk, an expansive, Afrofuturistic , psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic . Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis , Silk Sonic , and Omar Apollo; and Kendrick Lamar , Flying Lotus , and Thundercat , respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels , while its sparkly sprinklings can be heard in pop from Dua Lipa , Doja Cat , and, in full "Soul Train" character, Silk Sonic . There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin ’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music , Amazon Music and Pandora .

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism . Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and " Norma " is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers , from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea 's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’ s "Get It Right" and Gladys Knight ’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat .

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo , is a sunny, playful French disco journey.

Franc Moody

Franc Moody 's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether .

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Photo: Steven Sebring

Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage

"One foot in the past and one foot into the future," Billy Idol says, describing his decade-spanning career in rock. "We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol."

Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP,   Cage , and continuing to rock through decades of changing tastes.

Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.  

Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face." 

But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life. 

His latest release is Cage , the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves. 

Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself , details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside , reflects on surviving the accident.)

Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") —  their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of " VH1 Storytellers " and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.

While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens. 

Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.

Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [ Laughs ]. We did always mix things up. 

Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically. 

"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?

We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds. 

We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside . We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick. 

I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?

Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol. 

You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way. 

** Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about  freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore ? **

I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier. 

I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff. 

So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.

[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.

I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.

Did you watch Danny Boyle's recent Sex Pistols mini-series?

I did, yes.

You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?

I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.

It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.

But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go . If ["Pistol" is]  informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.

Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.

We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.

It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].

We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.

You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.

It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.

When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.

You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?

Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."

We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.

You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.

With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.

Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.

You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?

I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts , and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.

But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.

I remember when you went on " Viva La Bam "  back in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?

I think it was his car.

Did he get over it later on?

He loved it. [ Laughs ] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.

Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?

In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.

We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.

The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [ Laughs ] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.

There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.

It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.

It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.

Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?

Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.

The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.

The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?

Yeah.  Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].

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Graphic: The Recording Academy

Hear All Of The Best Country Solo Performance Nominees For The 2023 GRAMMY Awards

The 2023 GRAMMY Award nominees for Best Country Solo Performance highlight country music's newcomers and veterans, featuring hits from Kelsea Ballerini, Zach Bryan, Miranda Lambert, Maren Morris and Willie Nelson.

Country music's evolution is well represented in the 2023 GRAMMY nominees for Best Country Solo Performance. From crossover pop hooks to red-dirt outlaw roots, the genre's most celebrated elements are on full display — thanks to rising stars, leading ladies and country icons.

Longtime hitmaker Miranda Lambert delivered a soulful performance on the rootsy ballad "In His Arms," an arrangement as sparing as the windswept west Texas highlands where she co-wrote the song. Viral newcomer Zach Bryan dug into similar organic territory on the Oklahoma side of the Red River for "Something in the Orange," his voice accompanied with little more than an acoustic guitar.

Two of country's 2010s breakout stars are clearly still shining, too, as Maren Morris and Kelsea Ballerini both received Best Country Solo Performance GRAMMY nods. Morris channeled the determination that drove her leap-of-faith move from Texas to Nashville for the playful clap-along "Circles Around This Town," while Ballerini brought poppy hooks with a country edge on the infectiously upbeat "HEARTFIRST."

Rounding out the category is the one and only Willie Nelson, who paid tribute to his late friend Billy Joe Shaver with a cover of "Live Forever" — a fitting sentiment for the 89-year-old legend, who is approaching his eighth decade in the business. 

As the excitement builds for the 2023 GRAMMYs on Feb. 5, 2023, let's take a closer look at this year's nominees for Best Country Solo Performance.

Kelsea Ballerini — "HEARTFIRST"

In the tradition of Shania Twain , Faith Hill and Carrie Underwood , Kelsea Ballerini represents Nashville's sunnier side — and her single "HEARTFIRST" is a slice of bright, uptempo, confectionary country-pop for the ages.

Ballerini sings about leaning into a carefree crush with her heart on her sleeve, pushing aside her reservations and taking a risk on love at first sight. The scene plays out in a bar room and a back seat, as she sweeps nimbly through the verses and into a shimmering chorus, when the narrator decides she's ready to "wake up in your T-shirt." 

There are enough steel guitar licks to let you know you're listening to a country song, but the story and melody are universal. "HEARTFIRST" is Ballerini's third GRAMMY nod, but first in the Best Country Solo Performance category.

Zach Bryan — "Something In The Orange"

Zach Bryan blew into Music City seemingly from nowhere in 2017, when his original song "Heading South" — recorded on an iPhone — went viral. Then an active officer in the U.S. Navy, the Oklahoma native chased his muse through music during his downtime, striking a chord with country music fans on stark songs led by his acoustic guitar and affecting vocals.

After his honorable discharge in 2021, Bryan began his music career in earnest, and in 2022 released "Something in the Orange," a haunting ballad that stakes a convincing claim to the territory between Tyler Childers and Jason Isbell in both sonics and songwriting. Slashing slide guitar drives home the song's heartbreak, as Bryan pines for a lover whose tail lights have long since vanished over the horizon. 

"Something In The Orange" marks Bryan's first-ever GRAMMY nomination.

Miranda Lambert — "In His Arms"

Miranda Lambert is the rare, chart-topping contemporary country artist who does more than pay lip service to the genre's rural American roots. "In His Arms" originally surfaced on 2021's The Marfa Tapes , a casual recording Lambert made with Jack Ingram and Jon Randall in Marfa, Texas — a tiny arts enclave in the middle of the west Texas high desert.

In this proper studio version — recorded for her 2022 album, Palomino — Lambert retains the structure and organic feel of the mostly acoustic song; light percussion and soothing atmospherics keep her emotive vocals front and center. A native Texan herself, Lambert sounds fully at home on "In His Arms."

Lambert is the only Best Country Solo Performance nominee who is nominated in all four Country Field categories in 2023. To date, Miranda Lambert has won 3 GRAMMYs and received 27 nominations overall. 

Maren Morris — "Circles Around This Town"

When Maren Morris found herself uninspired and dealing with writer's block, she went back to what inspired her to move to Nashville nearly a decade ago — and out came "Circles Around This Town," the lead single from her 2022 album Humble Quest .

Written in one of her first in-person songwriting sessions since the pandemic, Morris has called "Circles Around This Town" her "most autobiographical song" to date; she even recreated her own teenage bedroom for the song's video. As she looks back to her Texas beginnings and the life she left for Nashville, Morris' voice soars over anthemic, yet easygoing production. 

Morris last won a GRAMMY for Best Country Solo Performance in 2017, when her song "My Church" earned the singer her first GRAMMY. To date, Maren Morris has won one GRAMMY and received 17 nominations overall.

Willie Nelson — "Live Forever"

Country music icon Willie Nelson is no stranger to the GRAMMYs, and this year he aims to add to his collection of 10 gramophones. He earned another three nominations for 2023 — bringing his career total to 56 — including a Best Country Solo Performance nod for "Live Forever."

Nelson's performance of "Live Forever," the lead track of the 2022 tribute album Live Forever: A Tribute to Billy Joe Shaver , is a faithful rendition of Shaver's signature song. Still, Nelson puts his own twist on the tune, recruiting Lucinda Williams for backing vocals and echoing the melody with the inimitable tone of his nylon-string Martin guitar. 

Shaver, an outlaw country pioneer who passed in 2020 at 81 years old, never had any hits of his own during his lifetime. But plenty of his songs were still heard, thanks to stars like Elvis Presley , Kris Kristofferson and Waylon Jennings . Nelson was a longtime friend and frequent collaborator of Shaver's — and now has a GRAMMY nom to show for it.

2023 GRAMMY Nominations: See The Complete Nominees List

• 1 Patty Griffin Returns With North American Tour In Support Of Upcoming Self-Titled Album
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• 4 Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage
• 5 Hear All Of The Best Country Solo Performance Nominees For The 2023 GRAMMY Awards

The Chicks Book Their First Post-Dixie Tour, With Patty Griffin and Jenny Lewis as Guests

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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The Chicks will finally get to take their new and improved moniker on the road this summer, as the trio finally will have the opportunity to tour behind their 2020 “Gaslighter” album, as they’d planned to that year before the pandemic intervened. Patty Griffin and Jenny Lewis have been announced as opening acts for different legs of the outing.

The two-month, 27-city tour will begin June 14 in St. Louis and wrap up Aug. 13 with a show at the legendary Gorge in Washington state. The’ll make a visit to the equally scenic Red Rocks Amphitheatre in Colorado Aug. 2, with east coast dates including back-to-back visits to New Jersey July 6 and 8, at the P.N.C. Bank Arts Center and Waterfront Music Pavilion.

The only two-night stand on the tour is at L.A.’s Greek Theatre on July 25-26. (Unfortunately, by not appearing at the Hollywood Bowl, this will deprive fans of a meta moment if the group chooses to perform the “Gaslighter” song “Sleep at Night,” which seemed to reference singer Natalie Maines’ domestic history with the immortal lyrical anecdote, “Remember you brought her to our show at the Hollywood Bowl ‘ She said, ‘I love you, I’m such a fan’ / I joked that you can love me as long as you don’t love my man / There’s nothin’ funny about that.”)

Tickets go on sale for all dates Friday at 10 a.m. local time via Ticketmaster .

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Griffin will open the shows on June 14 through July 16, and she rejoins the last tour for its final swing Aug. 5-13. It will be a reunion of sorts, as the Chicks covered several Griffin songs on their first three albums, including “Top of the World,” which a previous tour was named after. Lewis takes on opening duties for a six-show stretch in the middle of the tour, from July 23 through Aug. 2, including the L.A. Greek dates and a detour to the nearby Santa Barbara Bowl.

A tour had been planned for 2020 behind the “Gaslighter” album but no itinerary was ever released before the pandemic drew all worldwide tour plans to a halt. That album was originally scheduled for May 2020, then delayed to July, by which point the former Dixie Chicks had made the decision to eliminate the word “Dixie” from their name amid heightened attention to historically, racially charged names like Lady Antebellum’s. Copies of the album ended up in stores with both the old name and the new one.

The summer 2022 tour itinerary:

June 14 – St Louis, MO @ Hollywood Casino Amphitheatre June 15 – Chicago, IL @ Hollywood Casino Amphitheatre June 19 – Noblesville, IN @ Ruoff Music Center June 21 – Cincinnati, OH @ Riverbend Music Center June 22 – Detroit, MI @ Pine Knob Music Theatre June 24 – Toronto, ON @ Budweiser Stage June 27 – Cleveland, OH @ Blossom Music Center June 29 – Syracuse, NY @ St. Joseph’s Health Amphitheater at Lakeview June 30 – Hartford, CT @ Xfinity Theatre July 2 – Wantagh, NY @ Northwell Health at Jones Beach Theatre July 5 – Boston, MA @ Xfinity Center July 6 – Holmdel, NJ @ P.N.C. Bank Arts Center July 8 – Camden, NJ @ Waterfront Music Pavilion July 9 – Bristow, VA @ Jiffy Lube Live July 12 – Raleigh, NC @ Coastal Credit Union Music Park at Walnut Creek July 14 – Charlotte, NC @ PNC Music Pavilion July 16 – Alpharetta, GA @ Ameris Bank Amphitheatre July 23 – San Diego, CA @ North Island Credit Union Amphitheatre July 25 – Los Angeles, CA @ The Greek Theatre July 26 – Los Angeles, CA @ The Greek Theatre July 29 – Santa Barbara, CA @ Santa Barbara Bowl July 30 – Mountain View, CA @Shoreline Amphitheatre Aug. 2 – Denver, CO @ Red Rocks Amphitheatre Aug. 5 – Salt Lake City, UT @ USANA Amphitheatre Aug. 6 – Boise, ID @ Ford Idaho Center Amphitheatre Aug. 9 – Bend, OR @ Hayden Homes Amphitheater Aug. 13 – George, WA @ The Gorge Amphitheatre

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Patty Griffin on First Solo Tour in 12 Years: ‘The Idea Is to Go Back to an Old, Beaten Path’

By Greg Prato

2010 and 2011 were very busy years for singer-songwriter Patty Griffin: she released a solo effort (the Grammy-winning Downtown Church ), guested on the self-titled release by Robert Plant’s Band of Joy and also performed live. This fall, however, Griffin is planning on getting “back to basics” with two months of solo live dates.

“I’m going to be doing solo stuff,” Griffin tells Rolling Stone . “The idea is to do ‘small’ and ‘off my beaten path,’ or go back to an old, beaten path – do some smaller things that I haven’t done in 15 or 20 years. Just to sort of get my feet wet, because I haven’t done my own material for a couple of years – I’ve been doing a lot of other things.”

The tour is set to begin on October 18th, and Griffin is looking forward to absolute freedom with the show’s setlists. “One of the great things that I loved about doing solo – which I ended up doing because I was too shy to ever try out for bands back in the day – I could sit there with a list of songs and ‘paint away’ for the show. And that’s what I hope to do this time around.”

Griffin’s seventh studio album, American Kid , will also arrive at some point following the tour . “There’s a record finished, and I’m just figuring out when to put it out. It’s in the can – I’ve just got to work out the details of getting it out there. I decided to ‘folk out’ this time around, and intentionally so. I was on tour for a couple of years with Robert Plant, and he had the North Mississippi All Stars opening – the two brothers [Luther and Cody Dickinson]. I would hang out in the dressing room with them and they would show me stuff on the guitar, so I got to hear them play acoustic.”

“They just have this great, soulful way of playing everything. I thought if you took them away from the amps and put them with some untraditional kind of things, it would be great to sit and make a folk record with these two guys, because they have such a great Memphis kind of feel. It was produced by Craig Ross – we did one of my records, Impossible Dream , together. It’s got a specific, cool sound to it but it’s very small and a little darker than I’ve done for a few years.”

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While the public appears to have recently recognized Griffin’s talents (her last two albums cracked the Billboard Top 40), fellow musicians have been aware of her songwriting gifts for some time; Linda Ronstadt, the Dixie Chicks, Bette Midler and Kelly Clarkson have all played Griffin’s tunes. In return, Griffin is a fan of many of her peers’ covers. “I think Solomon Burke doing ‘Up to the Mountain’ was maybe my favorite of all. It was pretty cool to meet him, and I got to go in there while he was doing it. He hadn’t heard the song. I think he was supposed to learn it, but he didn’t – he’s Solomon Burke, he can do what he wants to do!” she exclaims with a laugh. “He was so charming and I got to hear him nail it. When he nailed it, he really nailed it. That was pretty special.”

Griffin is unsure of the Band of Joy’s future plans right now. “That’s all up in the air at the moment – you’ve got to talk to Robert’s camp about that,” she demurs. However, she was willing to clear up a recent rumor: whether or not she and Plant wed recently. “I can tell you that we didn’t!” she says, chuckling. “He’s a great embellisher. But no, we did not get married.”

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Patty Griffin Solo Tour Dates:

10/18 New Orleans, LA – Tipitina’s 10/19 Baton Rouge, LA – Manship 10/21 Duluth, GA – Red Clay 10/22 Athens, GA – Melting Point 10/25 Norman, OK – Sooner Theater

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The Chicks are headed back on tour this summer in first major outing since 2017

NASHVILLE, Tenn. — Twelve-time Grammy winners The Chicks are heading back on tour, their first major outing since 2017 and first shows since releasing their 2020 studio album "Gaslighter."

The multi-platinum female trio behind hits like "Wide Open Spaces" announced on Monday that The Chicks Tour will hit 27 North American cities starting in June and running through August. 

"While we were recording the 'Gaslighter' album, I was constantly picturing performing all of those songs on tour," said Martie Maguire, who together with her sister Emily Strayer and Natalie Maines make up The Chicks, in a statement to the AP. "The ultimate payoff is always the live show for us."

The Chicks released "Gaslighter" in 2020, their first studio album in 14 years, but the pandemic derailed plans for a tour. This summer tour will start in St. Louis on June 14, with stops in Chicago, Toronto, Boston, Charlotte, two nights in Los Angeles and the Red Rocks Amphitheatre in Denver. 

More Chicks: When changing their name, The Chicks almost called themselves 'MEN,' 'Puss 'n Boots'

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"What I have missed the most about touring is the first couple minutes of every show," said Strayer. "The house lights going dark, the roar of the crowd and the opening song pumping through the PA. I think we've all missed being connected through live music!"

Tour openers include Grammy winner singer-songwriter Patty Griffin and indie rocker Jenny Lewis. 

"Most of our fans know that we are die hard Patty fans," said Maines in a statement. "The three of us saw her at The Ryman back in 1998 and we haven't left her alone since! She opened for us on our first headlining tour in 2000, and we have covered more of her songs than anybody else."

Tickets go on sale on Friday. 

More tours: Il Divo grieves Carlos Marín as they prepare first tour since his death: 'He never will be there again'

The Chicks were formerly known as The Dixie Chicks, but changed their name in June 2020 as the country sought racial justice and awareness.

"We want to meet this moment," read a message posted on the country group's site at the time, signed by all members. The name change was accompanied by a song, "March March," with a video filled with footage of protests through the ages, and listing the names of George Floyd, Breonna Taylor and dozens more.

The use of "Dixie" — and its association with the Confederate states — came under scrutiny during that time. The Chicks' former name is a play on “Dixie Chicken,” a song and album by rock group Little Feat. 

Contributing: Dave Paulson, Nashville Tennessean

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The Chicks Announce 2022 North American Tour

By Allison Hussey

The Chicks have announced a North American tour that’s set to start in June. Patty Griffin will support most dates, with Jenny Lewis taking a handful of opening slots in July. See the full itinerary below.

The tour is the Chicks’ first since they released Gaslighter , their eighth album, in July 2020. Gaslighter arrived nearly 15 years after 2006’s Taking the Long Way , along with a name change for the group. The Chicks are also set to appear at Bonnaroo alongside J. Cole, Tool, Stevie Nicks, and more in June.

Revisit Pitchfork’s Sunday Review of the Chicks’ 2002 album Home .

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The Chicks:

06-14 St Louis, MO - Hollywood Casino Amphitheatre * 06-15 Chicago, IL - Hollywood Casino Amphitheatre * 06-17 Manchester, TN - Bonnaroo Music & Arts Festival 06-19 Noblesville, IN - Ruoff Music Center * 06-21 Cincinnati, OH - Riverbend Music Center * 06-22 Detroit, MI - Pine Knob Music Theatre * 06-24 Toronto, Ontario - Budweiser Stage * 06-27 Cleveland, OH - Blossom Music Center * 06-29 Syracuse, NY - St. Joseph’s Health Amphitheater at Lakeview * 06-30 Hartford, CT - Xfinity Theatre * 07-02 Wantagh, NY - Northwell Health at Jones Beach Theatre * 07-05 Boston, MA - Xfinity Center * 07-06 Holmdel, NJ - P.N.C. Bank Arts Center * 07-08 Camden, NJ - Waterfront Music Pavilion * 07-09 Bristow, VA - Jiffy Lube Live * 07-12 Raleigh, NC - Coastal Credit Union Music Park at Walnut Creek * 07-14 Charlotte, NC - PNC Music Pavilion * 07-16 Alpharetta, GA - Ameris Bank Amphitheatre * 07-23 San Diego, CA - North Island Credit Union Amphitheatre ^ 07-25 Los Angeles, CA - The Greek Theatre ^ 07-26 Los Angeles, CA - The Greek Theatre ^ 07-29 Santa Barbara, CA - Santa Barbara Bowl ^ 07-30 Mountain View, CA - Shoreline Amphitheatre ^ 08-02 Morrison, CO - Red Rocks Amphitheatre ^ 08-05 Salt Lake City, UT - USANA Amphitheatre * 08-06 Boise, ID - Ford Idaho Center Amphitheatre * 08-09 Bend, OR - Hayden Homes Amphitheater * 08-13 George, WA - The Gorge Amphitheatre *

* with Patty Griffin ^ with Jenny Lewis

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• July 11, 2023

Patty Griffin & Todd Snider Announce Co-Headlining Tour

• No Comments

2x GRAMMY® Award-winning artist  Patty Griffin  and acclaimed singer-songwriter-raconteur  Todd Snider  have announced plans for a co-headline tour. “ An Evening with Patty Griffin + Todd Snider ” will see the two beloved American troubadours and longtime friends performing their own individual sets. The 12-date run gets underway October 10 at Solana Beach, CA’s world-famous Belly Up, and then continues through the month. In addition, Griffin will bookend the tour with a series of individual live dates set through early November. Tickets for all announced dates go on sale this Friday, July 14 at 10:00 am (local). For complete details and ticket information, please visit  pattygriffin.com/tour  and  toddsnider.net/tour .

“I’m really looking forward to this tour with Todd,” says Patty Griffin “He’s got that thing I have only seen a few people be able to do well. He has you laughing one minute and crying the next…like John Prine did. He’s a wonder.”

“Patty is our generation’s top troubadour,” says Todd Snider. “She’s an artistic inspiration to all of her peers and a first-class poet. I’m honored to be invited on this tour. I feel like I learn a lot every time I am around Patty.”

PATTY GRIFFIN / TODD SNIDER

“AN EVENING WITH PATTY GRIFFIN + TODD SNIDER”

13 – Santa Fe, NM – Lensic Performing Arts Center *

14 – Phoenix, AZ – Musical Instrument Museum (MIM) *

16 – Solana Beach, CA – Belly Up

17 – Los Angeles, CA – Teregram

18 – Los Angeles, CA – Troubadour

20 – Santa Barbara, CA – Lobero Theatre

21 – San Luis Obispo, CA – Fremont Theatre

22 – Santa Cruz, CA – Rio Theatre

24 – San Francisco, CA – Palace of Fine Arts

26 – Portland, OR – Revolution Hall

27 – Portland, OR – Revolution Hall

28 – Olympia, WA – Washington Center for the Performing Arts (WCPAC)

29  – Seattle, WA – Moore Theater

1 – Bellingham, WA – Mt. Baker Theatre

2 – Boise, ID – The Egyptian Theatre *

4 – Missoula, MT – The Wilma *

5 – Bozeman, MT – The Elm *

7 – Boulder, CO – Boulder Theatre *

8 – Basalt, CO – Basalt Performing Arts Center (TACAW) *

* Patty Griffin Solo

Related Content

Todd Snider Gets Back to Work, Shares Big Stories and Succinct Songs in Portland, OR (SHOW REVIEW/PHOTOS)

Todd Snider Showcases Eminent Story-Telling Chops On Colorful ‘Live: Return Of The Storyteller’ (ALBUM REVIEW)

Patty Griffin Shares New Collection of Previously Unreleased Demos & Home Recordings On ‘Tape’ (ALBUM REVIEW)

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Hodgson Concert Hall, University of Georgia Performing Arts Center

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Patty Griffin (Born 16 March 1964) is a singer-songwriter from Old Town, Maine, US that is known for her stripped down presentations of folk and Americana music. She has received many awards for her music and her songs have been covered by multiple artists.

Patty Griffin grew up as the youngest child with six older siblings. When she turned 16 she bought her first guitar with the intentions to pursue music as a hobby rather than a profession. After her first marriage ended in 1992 she began performing at local coffee houses in Boston and quickly caught the attention of A&M Records, who later signed her to the label.

By 1996 Griffin released her debut album through A&M called “Living with Ghosts”. The album has been one of Griffin’s most successful releases with her selling over 222,000 copies in the US. The album featured the raw approach of Griffin performing only with her voice and acoustic guitar. She avoided the commercial approach of recording with a backing band and opted to produce an album that could be taken as more sincere and direct. The music on the album is very minimalistic and has strong emotional undertones. The album featured the songs “Moses” and “Let Him Fly”.

In 1998 Griffin released her second album “Flaming Red”, which conveyed her switching directions from a minimalistic acoustic guitar approach to a more elaborate approach with a wider range of instrumentation. “Flaming Red” covered genres ranging from folk to rock to country to pop to trip-hop. The album reached the No. 12 spot on the Top Heatseekers chart and was considered more accessible than her debut album.

After “Flaming Red” Griffin was dropped from A&M records and was picked up by Dave Matthews Band’s label ATO Records. Griffin released her third album “1000 Kisses” in 2002, which peaked at No. 101 on the Billboard 200 chart and No. 1 on the Heatseekers chart. Although the album was recorded with a band, the album mostly contained acoustic instrumentation and conveyed an intimate sound. The album contained several popular original songs as well as a cover of Bruce Springsteen’s “Stolen Car”.

Griffin continued to release albums through ATO Records. In 2003 she released “A Kiss in Time”, which was recorded at the Ryman Auditorium in Nashville, Tennessee. In 2004 she released “Impossible Dream”, which contained the popular song “Top of the World”, which was made famous when the Dixie Chicks covered the song. In 2007 she released “Children Running Through”, which included a collaboration with Emmylou Harris on the song “Trapeze”. The album received critical praise and was nominated for a Grammy Award for Best Contemporary Folk/Americana Album. Griffin released the album “Downtown Church” in 2010, which won a Dove Award for Inspirational Album of the Year. In 2013 Griffin released “American Kid”, which was released to critical acclaim and included a songwriting duet with Robert Plant on the song “Highway Song”.

Griffin is also respected by her fellow musicians and has had the opportunity to tour with the likes of Buddy Miller, Gillian Welch, Robert Plant, and David Rawlings. Her music has also been covered by many artists such as Lind Ronstadt, Bette Midler, Mary Chapin Carpenter, and Miranda Lambert.

Live reviews

As a Grammy award winning singer/songwriter Patty Griffin made her mark in the music industry with her minimalistic and original folk/rock sound way back in 1996 with her smash hit debut album, Living with Ghosts. Since then, Griffin has worked alongside a whole host of prestigious musicians. When another artist makes the decision and takes the time to cover your songs, you know you’ve really made it, and Griffin has had that occur countless times.

I’ve seen Griffin live a few times, but the most recent concert was definitely the most memorable. Her band (who were incredible) walked on stage, set up their instruments, and began playing the opening introduction of Carry Me as the audience began cheering in anticipation. Griffin slowly walked on stage and gave a small wave and a smile before beginning the song. It was one of the best renditions of her song that I’d heard her do, and she put a different spin on it from the recording, which was extremely refreshing.

The set journeyed through her hits, a couple of covers, and some new tracks that I actually hadn’t heard before. It was amazing to hear new music from Patty. The way that she interacts with her audience is wonderful, as she made the intimate venue seem like a living room. I’ll definitely be going back to see another concert as she just gets better and better.

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It was my fifth time to see Patty and she was it was by far the best - a combination of her talent, her band and the wonderful concert venue.

Her accompanying duo was fantastic and the three managed to weave a magical atmosphere throughout the historic Auditorium at the Douglas.

The sound in the venue was amazing and the performance was spellbinding, mixing old favorites with selections from her newest release.

The highlight of the night was the reappearance of opening act John Fullbright for the encore, and he and Patty delivered a spirited cover of Dylan's "I Shall be Released".

Both Patty and John sounded the best I had ever heard and I have also seen Fullbright at least a half dozen times.

Fantastic evening and one you would not want to miss.

Love me some Patty! She was wonderful! I only wish she would've sang a lot more of her older stuff :( And the drunk people in front of us were a distraction the whole time. WHY do people spend big bucks on a concert ticket then go to the show and talk the whole time? So annoying for the rest of us who came for the artist! Regardless, Patty looked amazing with her red boots and wild hair and that raspy voice to match. This is not the first time I've seen her, nor the last.

Patty Griffin's voice never ceases to amaze me, not to mention she was incredibly kind to the men and women who were signing her lyrics. Someone in the crowd remembered it was her birthday so we all sang happy birthday to her. To be honest, watching Patty's reaction to the song made my day. All and all, it was an outstanding show and I'm glad I got to experience it.

Show was way too short! Played for just over an hour, with no opening act. With Patty only playing every 3rd song it felt very underwhelming and not worthy of the price of admission. More Patty please!

A phenomenal performer backed up by incredibly talented musicians that make the musical experience pure magic. I am so glad she came to our town to share her awe inspiring talent. Love you Patty!

Posters (11)

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The Arts Campus at Willits (TACAW)

Boulder Theater

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Patty Griffin tour dates and tickets 2024-2025 near you

Want to see Patty Griffin in concert? Find information on all of Patty Griffin’s upcoming concerts, tour dates and ticket information for 2024-2025.

Patty Griffin is not due to play near your location currently - but they are scheduled to play 17 concerts across 1 country in 2024-2025. View all concerts.

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• Shawn Colvin (66)
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Logjam Presents

Patty griffin, ben goldsmith.

Logjam Presents is pleased to welcome Patty Griffin for a live in concert performance at the The ELM on Sunday, November 5, 2023. Tickets go on sale Friday, July 14, 2023 at 10:00AM at The ELM Box Office, online, or by phone at 1 (800) 514-3849. Reserved balcony loge seating, reserved premium balcony seating, reserved balcony… Continue Reading

Logjam Presents is pleased to welcome Patty Griffin for a live in concert performance at the The ELM on Sunday, November 5, 2023 .

Tickets go on sale Friday, July 14, 2023 at 10:00AM  at The ELM Box Office , online , or by phone at 1 (800) 514-3849. Reserved balcony loge seating, reserved premium balcony seating, reserved balcony wing seating, and general admission seated tickets are available. All ages are welcome.

Additional ticketing and venue information can be found here .

About Patty Griffin

Patty Griffin is among the most consequential singer-songwriters of her generation, a quintessentially American artist whose wide-ranging canon incisively explores the intimate moments and universal emotions that bind us together. Over the course of two decades, the 2x GRAMMY® Award winner – and 7x nominee – has crafted a remarkable body of work in progress that prompted the New York Times to hail her for “writing cameo- carved songs that create complete emotional portraits of specific people…her songs have independent lives that continue in your head when the music ends.”

2019 saw the acclaimed release of the renowned artist’s 10th studio recording and first-ever eponymous LP, PATTY GRIFFIN, on her own PGM Recordings label via Thirty Tigers, which won a GRAMMY® for Best Folk Album . As always, Griffin’s power lies in how, as writer Holly Gleason observed in Martha’s Vineyard Gazette, “her songs seem to freeze life and truth in amber.”

About Ben Goldsmith

Singer-songwriter and multidimensional artist Ben Goldsmith would like to tell you he “never could’ve imagined” this for himself, but he’s quick to note that – call it confidence or a preternatural headstrongness years in the making – it’d just not be true. “In a way, I’ve been working towards this since I was 3 or 4,” he says on a Zoom call from his Long Island bedroom. “I’ve never strayed. It’s the only thing I’ve ever wanted to do.”

That “thing” Ben’s referring to is making music – more than music, really, it’s lyrically-driven art free from genre, with a sharp point of view and melodies as strong as some of the teen’s many influences. Ben was born and bred on acts like Aerosmith, Dave Mathews Band, Elton John, Queen, Stevie Wonder, John Mayer, and Bob Dylan. Modern artists like Zach Bryan, Maggie Rogers, Steve Lacy, and Sam Fender helped round out his style and his sonic influences, drawing inspiration from the sort of iconoclasts who – like Ben – float between worlds, genres, and sounds, a jack and master of all trades.

The singer (who started playing instruments at 4) wrote his first song after accompanying his father, a criminal defense attorney, to court at age 6. “It was called ‘Criminal Disguise,’ and I made it on GarageBand by just strumming my guitar into my iPad’s microphone,” he says. The guitar he used was the one he’d asked for Hanukkah after Hanukkah after spotting the model in a catalogue sent to his doorstep; he’d been taking lessons by that point, dedicating himself to the craft; eventually, he took up jazz guitar, studying every Sunday at the Manhattan School of Music, where his mother had taken violin instruction. After a year, he moved on to Mannes Prep at The New School where he studied jazz guitar with teacher Joe Ravo, who encouraged him to trust his ear and listen so he could play solos melodically.

As he grew, more musical opportunities began to unfold before him: a summer camp at Berklee, bands he formed with hometown friends, and a cross-country tour with the School of Rock all-stars program. The latter included a stop at Lollapalooza, where he met a guitarist who worked with famed and acclaimed instructor Tomo Fujita (who taught John Mayer and has performed with many of music’s greatest, including Susan Tedeschi and Phil Collins). Three years of lessons with Tomo followed. All the while, Ben says, “I was playing with friends, gigging around the South, learning about rock, soul, jazz, blues –expanding my palate and just growing and growing every day.”

At age 12 Ben was introduced to industry veteran Mike Crowley, whose early career involved names such as Elvis Presley, Bob Dylan, The Beach Boys and Tom Petty. Later He worked with many Texas songwriters including Hayes Carll and Bob Schneider. He recognized extraordinary talent in the young artist and decided to help Ben find his musical path.

As it did for so many, 2020 shifted young Ben’s focus; quite literally no longer able to play in ensembles the way he’d grown accustomed to, what followed was solo bedroom songwriting and jam sessions. He learned how to properly record himself on his computer in between classes and homework assignments; on a parallel track, without other singers to rely on, Ben began sharpening his vocals, training himself to take the spotlight while concurrently learning to tell his own stories. “Things were happening so fast that I almost looked at school like, ‘this is taking time away from music,’” he says with a laugh.

What followed was a jump into the deep end. Mike introduced Ben’s music to producer Brad Jones, who, immediately hooked by his melodies, traveled up to New York to see the budding star in person. Ben’s parents would soon be making regular road trips between Long Island and Nashville so Brad could spend time with Ben in the studio exploring ideas and concepts. Jones then started to introduce the budding artist to a carefully curated group of songwriters. Bobby Bare Jr., Olivia Wolf, Hayes Carll, and Aaron Raitiere. Brad became Ben’s Nashville shepherd, a producer, engineer, mixer, and musical visionary who brought him to the city and introduced him to his network, helping the artist stitch together the patchwork quilt of collaborators and confidantes he now calls his creative team. That chosen family, at Brad’s behest (“Let me be a teacher,” Ben remembers him saying as he helped open the new chapter to Ben’s career), took the teen’s vision seriously and started cutting tracks with him to help Ben grow and learn. “The energy is always there,” Ben says. “We were never working towards any goal other than making the best music we knew how to.”

Calling his process “the least prescriptive you could imagine,” Ben says his inspiration is omnipresent and never dictated. “For me, it’s about melody first,” he says. “What I write flows afterward with the incredible family of cowriters I’ve surrounded myself with. They understand me, and I trust them – it’s been amazing to build these songs from the ground up together.”

Speaking of songs: “One Day Believer,” his first official track, dropped in the summer of 2022, the culmination of two full years of work and dedication – “that’s the one that flipped the switch for us,” Ben says. Next up are soon-to-be earworms that transcend time, place, and genre – like “It’ll All Be Alright,” “Wolves,” “Glorious,” “Flowers In Your Hair,” and the utterly classic “Adios, Gracias, Goodnight.” Written and produced with close collaborators like poet Catie Trainor, who Ben met at a Nashville Songwriters Association International (NSAI) writers’ camp in Nashville and now calls “my Bernie Taupin,” the songs brim with promise, Ben’s powerful and emotionally resonant voice and lush, fully realized melodies on total display. Onfirst listen, they’ll feel immediately familiar and totally singular in the same breath. That’s Ben’s gift at work – the ability to supersede any one genre or sound while incorporating elements from across the musical spectrum in one fell swoop.

Because at the end of the day, Ben is the anchor that grounds and centers his music. There’s vision and direction behind every choice; there’s passion and motivation in every note he sings. Armed with a talent beyond measure and a dream of sharing it with the world, Ben Goldsmith is an artist whose journey you won’t want to be late for.

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