By 1995, Emmylou Harris was already a certified star, with 10 Top 10 albums and five No. 1 hits on country charts. But after releasing several underperforming albums in the late '80s and early '90s, she set out to reinvent herself with Wrecking Ball.

The 12-track LP incorporated electric mandolin, electric guitar and synthesizers to create a modernized Appalachian sound, pushing the boundaries of Harris' established acoustic country aesthetic. The musical shift was a bold one for the then 48-year-old upon its September 1995 release, especially at a time when pop-leaning, stadium-ready country was mainstream. Yet Harris' willingness to experiment and take a risk — particularly later in her career — became influential for other artists, even Harris herself.

"I knew that I was no longer invited to the party on country radio, so why not just try something?" the 13-time GRAMMY winner and Recording Academy Lifetime Achievement Award honoree tells GRAMMY.com of her sonic pivot. "It was a huge turning point, because it was a sea of change that inspired me in a lot of ways that I still feel I'm carrying on from it 30 years later."

To help guide her sound into atmospheric Americana, Harris recruited Daniel Lanois, who had helmed Bob Dylan's career-revitalizing set, 1989's Oh Mercy — a precursor for what Wrecking Ball would do for Harris. Lanois also aided the country singer/songwriter in delivering some of the most unexpected covers of her career, from takes on Dylan's "Every Grain Of Sand" and the Jimi Hendrix Experience's "May This Be Love" to a reimagined version of Neil Young's "Wrecking Ball" for the title track. Whether covers or originals, all of the songs were unified by Harris' signature howl and a fearless conviction that made the album feel true to her artistry.

While Wrecking Ball wasn't initially embraced by diehard country fans, it helped reignite both Americana's popularity and Harris' career in the mid-'90s. The album earned the singer her seventh GRAMMY win in 1996, which marked her first for Best Contemporary Folk Recording, and has since become one of her most essential works to date. And now, three decades later, it's being inducted into the GRAMMY Hall Of Fame. 

Wrecking Ball is one of 13 recordings that will be celebrated at the May 16 gala, which will also honor Big Star's #1 Record, Santana's Supernatural, J.D. Crowe & The New South's self-titled LP, Jay-Z's Reasonable Doubt, and Cat Stevens' Tea For The Tillerman, among others. Making the night even more special for Harris, she will reunite with Lanois and fellow Wrecking Ball collaborator Brian Blade for a rare performance.

Read More: 2025 GRAMMY Hall Of Fame Gala Performers Announced: Brian Blade, Cindy Blackman, Daniel Lanois, Eddie Floyd, Emmylou Harris, Jody Stephens, Jon Batiste, Ledisi, Leslie Odom Jr. & Orianthi

Ahead of the gala, Harris spoke about the leap of faith the album embodies, how it helped revitalize her career, and what it means to her 30 years on.

What inspired Wrecking Ball's sonic shift?

It was all Daniel. I knew he had something to do with U2 [Lanois produced the band's GRAMMY-winning sets The Joshua Tree and Achtung Baby]. But it was his solo record Acadie [that really got my attention]. 

Around the same time, I rediscovered Dylan — not that I ever stopped listening to him — through the album of his that Daniel produced, Oh Mercy. Those were the two records that I just listened to all the time. When I was given the go-ahead [to record another album for Elektra Records], they asked me who I wanted to work with and I immediately said "Daniel Lanois." I had no idea at that point what the record was going to be like, but I really loved what he did so I thought, "Why not?"

Sounds like you already had your mind made up on making a change prior to picking Lanois, it was just up to him to guide the ship once he was aboard? 

I've always been one to put a lot of trust in my producers, so I didn't really know what kind of record it was going to be until we were in the studio making it. I've always basically been an interpreter, so I figured I'd get a bunch of songs and see what we could come up with together. 

I knew that I was no longer invited to the party on country radio so why not just try something? I was mostly just excited to work with someone whose work inspired me so much.

I love how you called yourself an interpreter of songs — it reminds me of a recent interview we did with Alison Krauss where she referred to herself as a "song finder." How did you go about finding these songs for Wrecking Ball?

Like Alison, I really love finding good songs that I can try to make my own. That being said, there is one song [I co-wrote], "Waltz Across Texas Tonight," that was a little country before Daniel and Malcolm Burn Wrecking Ball'd it up. Then with "Deeper In The Well" by David Olney, Daniel and I added a couple verses to because we felt it needed to be a little bit longer.

Of course, I loved Daniel's writing too. [He wrote] "Where Will I Be" and "Blackhawk," but overall it was very collaborative when it came to finding the material. Daniel was really adamant about doing a Dylan song, so he came up with "Every Grain Of Sand" and turned it into a waltz in 6/8 time compared to the 3/4 when Dylan first wrote it. In a similar fashion, it was Malcolm who suggested we cover "Wrecking Ball."

Speaking of the song "Wrecking Ball," was it always the intention for it to be the album's title track? 

I don't think so. In a band you're always around different songs, so coming up with an album name can sometimes be elusive. At one point we thought about calling it Deeper Well, but then you start thinking about how it's gonna read, and that's where Wrecking Ball came in. I don't remember why we picked it, but it did sort of take a wrecking ball to my career in a really good way.

Going back to what you said about being an interpreter of songs, I can't think of a better example on Wrecking Ball of taking a song outside your realm and making it your own than your cover of the Jimi Hendrix Experience's "May This Be Love." Mind telling us how it came to be? 

Well, I have to again give credit to Daniel there, because he could always find the country element in a song. He could see into it — almost like X-ray vision — and noticed that doing it as a duet like that would bring out a romantic side of the song by further emphasizing the lyrics. 

The production was beautiful as well; we basically recorded it live right off the floor. We didn't even cut it with a bass, as far as I can remember. In a sense, the production was really simple, but the sound that Daniel got always gave so many layers to what we were doing.

While a lot of the artists you collaborated with and covered on Wrecking Ball — Bob Dylan, Neil Young, Steve Earle, Lucinda Williams, et cetera — were mostly established names by the '90s, Gillian Welch was just bursting onto the scene. Do you remember how her song "Orphan Girl" first got on your radar?

I recall her giving me a cassette of that song early on, probably at Telluride [Bluegrass Festival] in the early '90s. I loved it then, but I really loved what Daniel wound up doing with it on Wrecking Ball. He was able to turn it into something else while holding onto what made it so special to begin with — he took it to another place.

Your entire career has been massively influential to women in country and Americana, especially your fearlessness on Wrecking Ball. What does it mean to you seeing so many other creatives inspired by what you made? 

It's very hard [to quantify] because you're very close to the work that you do yourself, which makes it tough to not just be subjective. Anything that you do, you hope touches people in some way — not just other musicians, but anyone who makes music a part of their lives. The fact that what that record did for me musically — not even in the context of my career — during a time where I felt stuck and was wondering what I'd do next has carried over into everything that I've done since. If it inspires other people too, then all the better.

What does the Wrecking Ball era of your career mean to you, both then and now? 

It was a huge turning point, because it was a sea of change that inspired me in a lot of ways that I still feel I'm carrying on from it 30 years later. My next album after it was Red Dirt Girl, and even though I wrote most of the songs on it, I still wanted it to have that sort of Wrecking Ball sound. I worked with Malcolm on that too. 

I just feel like it gave me another few decades of doing something I really, really love, which is making music. It doesn't get much better than that.

No, it doesn't — except for an induction into the GRAMMY Hall of Fame, perhaps. What is the significance of that honor? 

It's very sweet and wonderful to be recognized, especially among these other incredible artists. It's a nice way to go back and celebrate the record and be grateful again for the chance to work with Daniel and come up with something that has inspired me, and apparently a lot of other people, too. I'm just a lucky gal.

Read More: 2025 GRAMMY Hall Of Fame Inducted Recordings Announced: Jay-Z, Santana, Gloria Estefan, Cat Stevens, Emmylou Harris, Luther Vandross & More

Do you have any other plans to celebrate the GRAMMY nod or 30 years of Wrecking Ball? I recall a run of shows a decade or so ago to commemorate 20 years — there's nothing like that on the horizon, is there? 

Daniel put together those shows, which were a lot of fun. I still do several songs from the album in my live shows depending on what musicians I'm working with, which helps to keep things fresh, too. 

I don't have a favorite from the record, but I will say that it's very rare that I do a show without "Orphan Girl." It's a good one to get the juices going early in the set.

What has your time with Wrecking Ball taught you about yourself? 

I've never been afraid to take a chance. I always did what I wanted to do and never felt like I was competing with myself. I never wanted to repeat myself and always tried to do something different [with each record], which may not seem obvious earlier in my career. 

It's so important to keep yourself excited about the music. Don't worry about sales or if you're being played on the radio, worry about what excites you. You can't excite an audience if you aren't into what you're doing — I just don't think that's something you can fake.

See the full list of winners and nominees from the 2026 Grammys.

Watch highlights and exclusive Grammys content from the 2026 Grammys all year long.

At the 2026 Grammys, winning artists took to the stage with much more than gratitude on their minds. Grammy winners such as Lady Gaga and Recording Academy Lifetime Achievement Award honoree Cher supported rising artists, particularly women in the music industry. Kendrick Lamar deflected from his own victories to pay tribute to Luther Vandross, namesake of his Record-Of-The-Year-winning tune, and the hip-hop community at large.

In particular, many artists reacted to the ongoing campaign of deportations and anti-immigrant violence happening across the U.S. Bad Bunny, Billie Eilish and Olivia Dean all spoke movingly in support of immigrants, while many other artists wore "ICE OUT" pins.

Below, revisit some of the most moving acceptance speeches from the 2026 Grammys.

Watch all the 2026 Grammys acceptance speeches in full.

Kendrick Lamar Makes Rap History & Shouts Out The Hip-Hop Community

After dominating the 2025 Grammys with "Not Like Us," Kendrick Lamar took home five Grammys this year and became the rapper with the most Grammy wins ever. After winning three Grammys earlier in the day during the 2026 Grammy Awards Premiere Ceremony, the Los Angeles artist won the first Grammy Award of the telecast for Best Rap Album for GNX. With this Grammy win, he topped JAY-Z's 25 wins to snatch the record for most Grammys won by a rapper.

"Every time I tell you this: Hip-hop is gonna always be right here," Lamar said in his Grammy acceptance speech, dedicating his win to the hip-hop movement. "We gonna be in these suits, we gonna be looking good, we gonna be having our folks with us, we're gonna be having the culture with us."

Kendrick also shouted out Clipse, with whom he won Best Rap Performance earlier in the day for their track "Chains & Whips." He would return to the stage once more before the end of the night to take home the Grammy for Record of the Year for his song "luther" with SZA, bringing his career total to 27 Grammy wins.

Bad Bunny Stands Up For Immigrants

Of the many statements made in support of immigrants at the 2026 Grammys, few felt more powerful and resonant than Bad Bunny's, who twice spoke on the issue on the Grammy stage. Accepting the Grammy for Best Música Urbana Album for DeBÍ TiRAR MáS FOToS, the Puerto Rican superstar front-loaded his acceptance speech with a rebuke of the dehumanizing rhetoric faced by immigrants, especially Latin Americans such as himself.

"Before I say thanks to God, I'm gonna say: ICE out," he declared. "We're not savage, we're not animals, we're not aliens. We are humans and we are Americans."

Later that night, after winning the Grammy for Album of the Year, a visibly shocked and overwhelmed Bad Bunny returned to the stage to deliver another Grammy acceptance speech, though this time mostly in Spanish. It was an appropriate move considering the history-making album is the first non-English-language album to ever win the Grammy for Album Of The Year. But given his stunned reaction, Bad Bunny may have just been too emotional to so quickly translate most of his thoughts. But in a fitting move, he dedicated his Grammy win to "all the people who had to leave their homeland, their country, to follow their dreams."

Olivia Dean Tearfully Takes Best New Artist

"I never imagined I'd be up here, let alone nominated," Olivia Dean said as she tearfully accepted the Grammy for Best New Artist. Having just performed her U.K. chart-topping single "Man I Need" on the Grammy stage, the British singer used her platform to speak out in support of immigrants, including her own grandmother, who immigrated to the U.K. from Guyana as part of the Windrush generation.

"I'm up here as a granddaughter of an immigrant," Dean said. "I'm a product of bravery, and I think those people deserve to be celebrated."

Lady Gaga Supports Women In Music

As well-known as she is for awards-show spectacles – Remember the meat dress? – Lady Gaga kept things (mostly) low-key and earnest. Following a dynamic performance of "Abracadabra," she returned to the stage to accept the Grammy for Best Pop Vocal Album for MAYHEM.

Thanking her fiancé, Michael Polansky, and her collaborators, including Cirkut, who won the Grammy for Producer Of The Year, Non-Classical winner, and Gessaffelstein, the latter of whom won the Grammy for Best Remixed Recording for his remix of "Abracadabra," Lady Gaga offered some encouraging words for women in the music industry.

"When you're in the studio with a bunch of guys, it can be hard," she said. "Always listen to yourself and always fight for your ideas, fight for your songs, fight for yourself as a producer."

"Abracadabra" also won the Grammy for Best Dance Pop Recording, bringing her total career Grammy wins to 16.

Lola Young Swears She Didn't Expect Grammy Win

Though Lola Young certainly had stiff competition in the Best Pop Solo Performance Category, including veterans such as Justin Bieber and Lady Gaga, nobody was more shocked at her Grammy win in than Young herself. The singer, also nominated for Best New Artist, had just wrapped an emotional piano rendition of her track "Messy" earlier in the evening, one of her first live performances in four months following a health scare.

"I don't have any speech prepared," a visibly shocked Young said. "I don't know what to say. Thank you so much!" Utterly overwhelmed and searching for words, Young dropped a few less-than-TV-appropriate words before thanking her friends and mother and fleeing the stage while in a state of pure ecstasy.

Billie Eilish Gets Serious During Song Of The Year Speech

Winning the Grammy for Song of the Year for "WILDFLOWER," her 10th Grammy, didn't seem to weigh heavily on Billie Eilish's mind as she took the stage to accept the award. Flanked by her brother and creative partner FINNEAS, both wearing "ICE OUT" pins, as were many of the other attendees, the pop star weighed in on the current anti-immigration policies being carried out in the U.S.

"No one is illegal on stolen land," Eilish said. "It's just really hard to know what to say and what to do right now … I feel really hopeful in this room, and I feel like we just need to keep fighting and speaking up and protesting, and our voices really do matter, and the people matter."

The more serious tone of the speech contrasted with Eilish's previous wins, but it felt more than appropriate given the current climate.

Cher's Audacious Return To The Grammy Stage

Cher is always a class act. With dozens of hits across a decades-spanning career, she earned the Recording Academy Lifetime Achievement Award deservedly. Her acceptance speech on the Grammy stage quickly became one of the most talked-about moments of the night.

First, she gave a stirring speech reflecting on her storied yet tumultuous time in show business. "I was famous at 19 and had a top-rated show in my 20s, actually, but it didn't occur to me how rough my career was going to be," she said. "I was either a loser or winning an Oscar. I'm sure a lot of you in the audience know what I'm talking about."

Cher also reflected on her stint in the "elephant graveyard" of Las Vegas in the '80s and her pioneering use of AutoTune on her Grammy-winning hit single "Believe." She closed out her speech by encouraging the audience: "Never give up on your dream, no matter what happens. Live it, be it, and if it's not happening now, it will happen soon."

Then things got a little bit … whacky. Apparently unclear that she would be presenting the Grammy for Record of the Year, the singer nearly walked off the stage before the crowd and host Trevor Noah coaxed her back. Then she mistakenly declared the late Luther Vandross the winner, in reference to the winning song, "luther" by Kendrick Lamar and SZA. Oh Cher, don't you ever change!

Jelly Roll Goes Full Country Music

Jelly Roll had already won two Grammys earlier in the day for collaborations with Brandon Lake and Shaboozey, but it wasn't until the evening that he got to ascend the Grammy stage solo. Winning the Grammy for Best Contemporary Country Album for Beautifully Broken, he made his acceptance speech into a sort of country song in its own right, thanking his wife, referencing his Christian faith, and describing the troubles that led him to turn to music.

"I didn't think I had a chance, y'all," he said. "There were days that I thought the darkest things. I was a horrible human … There was a moment in my life that all I had was a Bible this big and a radio the same size and a six-by-eight-foot cell. And I believed that those two things could change my life."

The singer wrapped his speech by once again invoking religion: "Jesus is for everybody. Jesus is not owned by one political party. Jesus is not owned by no music label."

"luther" Wins Record of the Year

Cher may have been a bit off when she confidently misread that the Grammy for Record of the Year was going to "Luther Vandross." But the actual winners, Kendrick Lamar and SZA, made it clear that their chart-topping tune "luther" was a spiritual victory for the legendary R&B star who inspired the song, which prominently samples Vandross' and Cheryl Lynn's 1982 cover of "If This World Were Mine."

"First and foremost, let's give a shout-out to the late, great Luther Vandross," co-producer Sounwave began. "It was very, very, very important to keep the integrity of his record."

Lamar echoed the sentiment. "It's one of my favorite artists of all time, and they granted us the privilege to do our version of it. When we got that clearance, I promise you we damn near all dropped a tear.

"Being able to put our vocals on it, it proves that we were somewhat worthy to be just as great as them individuals," he continued. "They granted us that. They said, 'No cursing,' though."

Finally, SZA struck a note of hopefulness at the end of the speeches. "I know that right now is a scary time. I know the algorithms tell us that it's so scary, and all is lost," she said. "We can go on. We need each other. We need to trust each other and trust ourselves, trust your heart. We're not governed by the government, we're governed by God."

This Grammy win for "luther" puts Lamar in elite territory as a back-to-back Record Of The Year Grammy winner, joining fellow winners like Billie Eilish, U2, and the late Roberta Flack, the latter of whom was tributed in the annual In Memoriam celebration led by Ms. Lauryn Hill earlier in the ceremony.

Imagine cementing your place among icons before releasing your debut project. Ink doesn't have to.

Born Atia Boggs, the Atlanta-raised singer/songwriter has become a go-to collaborator for the likes of Beyoncé, Kendrick Lamar, Childish Gambino, Justin Bieber, Kacey Musgraves, Lil Nas X, and Jennifer Lopez. And now, she's stepping into the spotlight with BIG BUSKIN'. Out Oct. 3, the new EP will see Ink display her own star power, blending elements of country with hip-hop to create her unique genre-blending sound. 

BIG BUSKIN' — the title a tribute to her early days busking around her hometown — comes on the heels of a remarkable couple of years for Ink. After writing on Beyoncé's GRAMMY-nominated RENAISSANCE, Ink returned for Bey's Album Of The Year-winning COWBOY CARTER, co-writing its historic crossover hit "TEXAS HOLD 'EM." While that marked her first No. 1 on the Billboard Hot 100, Ink soon landed another thanks to "Luther," Lamar's latest smash with SZA that stayed at the top for a whopping 13 weeks.

"It's just a different level of craftsmanship that they have," Ink told Rolling Stone of Lamar and Beyoncé. "It alters my process and how I look at music."

When it comes to her own project, Ink declares that it's "definitely something special." "[BIG BUSKIN'] showcases a lot of different parts of myself," the three-time GRAMMY nominee shared in a statement. "Each chapter you're going to get something new, and each story you're going to get something true."

As Ink releases her debut EP with Big Loud Records, learn more about the inspiration behind her genre-defying sound and why she's earned Beyoncé's praise as an "artist's artist."

She Has Always Known She'd Be A Star

Ink's musical journey began when she taught herself guitar at a young age. Soon after, she began hitting the streets of Georgia to perform for anyone who'd be willing to listen. "I was playing for change, selling CDs, going straight to the people," she shared in press materials for BIG BUSKIN'.

As she recalled to Rolling Stone, Ink busked outside of Jay-Z and Beyoncé's show at the Georgia Dome in 2014 — not only a fateful situation, but one that displayed her confidence. "I wanted to go in there so bad, but [I thought,] 'I hope they have fun, because when I go in there, it's going to be my time.'"

Five years later, Ink doubled down on that manifestation upon seeing Beyoncé at the Roc Nation GRAMMY Week brunch in 2019. "I went up to her and said, 'Hey, I just wanted to let you know, I'm going to be writing your next album,'" she told Billboard, "And she giggled and said, 'What's your name?' We just hit it off."

Her Genre-Blending Sound Is No Coincidence

Ink's musical style is a melting pot shaped by her upbringing, deeply rooted in both her ethnic and social background. On BIG BUSKIN', she weaves together elements of country, rock and hip-hop — genres that can be described as the soundtracks of her life.

The Germany-born, Georgia-raised artist is influenced by singer/songwriters like Babyface, Tony Henry, Creedence Clearwater Revival, Lauryn Hill, and Sister Rosetta Tharpe. And with roots in the Cherokee and Blackfoot indigenous tribes, Ink's diverse background has helped a unique identity all her own.

It was her deep connection to the South — specifically, through Houston rapper Trae Tha Truth — that truly shaped her musical identity. "He's one of the reasons that I'm how I am today," she shared in a press statement.

She also counts GRAMMY-winning singer/songwriter/producer James Fauntleroy — who has worked with the likes of Bruno Mars, Justin Timberlake, and Rihanna — as a mentor, noting that he's shown support since they became Facebook friends in the late 2000s. "[He gave me the confidence to say, 'I can do this,'" she said to Billboard.

Now in her stride, Ink has even managed to blow Beyoncé's mind with her wide-spanning talent. "[Beyoncé] told me that she didn't understand how I was so consistent, because I'd always make different genres of music," Ink recalled in a press statement. "She said, 'You're an artist's artist,' and that gave me a boost of confidence to stay on my path and stay true to my authentic self."

This Isn't Her First Rodeo

BIG BUSKIN' will mark Ink's official debut with Big Loud Records, but it won't be the first time she's released a project. The singer/songwriter previously released three albums independently: 2018's Highlight Real, 2019's Backstreets and 2021's Imagine Not Knowing.

On Highlight Real, Ink tapped into more of her R&B sensibilities. With Backstreets, she incorporated her rock influences with acoustic and electric guitars. And on Imagine Not Knowing, she intertwined R&B stylings with hip-hop beats. Though none of the projects explored her country side, they each helped mold the innovative sound that has pushed her to the forefront today.

She's Become A Secret Weapon For Superstars…

Ink has become one of the music industry's trusty wordsmiths, co-writing songs for some of today's leading artists. Things first took off for her in 2015, landing credits on tracks by Monica, Tamar Braxton, Rick Ross and Mary J. Blige, and Plies and Jacquees. From there, she scored cuts with several more R&B and rap stars, including Yo Gotti, Remy Ma, Chris Brown, Leon Bridges, and Paloma Mami.

While her biggest moments as a songwriter have come with Beyoncé's "TEXAS HOLD 'EM" and Kendrick Lamar's "Luther," she landed more cuts with each of them, including Beyoncé's "16 CARRIAGES" and Lamar's other SZA collab on GNX, "Gloria." But those two are far from the only major stars she's written for in recent years: along with tracks by Lil Nas X, 21 Savage and Mariah the Scientist, Lay Bankz, and Latto, Ink co-wrote over 80 percent of Jennifer Lopez's ninth studio album, This Is Me…Now.

…And A Sought-After Collaborator

As Ink became more renowned as a songwriter, more and more artists recognized her talents as a singer. Her first big feature came in 2019 with Chris Brown and Justin Bieber's "Don't Check on Me," a song she co-wrote and co-produced; as she asserts, being asked to join as a featured artist was a major turning point in her career.

"It gave me so much exposure and another boost of confidence to have a superstar say, 'Hey, we're going to introduce you to the world,'" she told Billboard, adding, "that was one of the moments that led to the unstoppable train I'm on now."

She's also noted that her feature on Childish Gambino's funky 2020 single "Psilocybae (Millennial Love)" was another moment that transcended her artistry in another light. And since then, she's offered her vocal chops to NLE Choppa's "Hear Me," Leon Bridges' "Don't Worry," Zerb and The Chainsmokers' "Addicted," Lamar's "Dodger Blue," and BigXthaPlug's "24/7," among several others.

She's Ready To Get The Party Started

As Ink began her countrified new chapter earlier this year, the multi-faceted artist released "Turquoise Cowboy." While she has dubbed the anthemic track "a theme song for myself," the singer/songwriter sees its toe-tapping follow-up, "Hoedown," as a perfect depiction of the vibe she's channeling with this new music.

"[Hoedown is] a good way to introduce me to the world," she said in a press statement. "I like to dance, I like to get the party going, I like to keep the energy up."

With a desire to make timeless music and a larger-than-life personality, Ink is ready to show the world her true self with BIG BUSKIN' — and she's excited to take listeners along for the ride. "I do music so that I can interact with humans and turn up the frequency of the universe," she explains in a statement, "while showing people that this classic American music never left."

Although country music is devoted to its traditions, new artists are its lifeblood — and right now, circulation is good.

As the genre continues to grow toward the mainstream and build its audience, its young guns are making some of the biggest waves. Ella Langley, Tucker Wetmore and Zach Top all scored No. 1 hits at country radio within a year of releasing their debut albums; Megan Moroney was crowned "Gen Z's Country Queen" in her Rolling Stone cover story; and Tanner Adell and Reyna Roberts were featured on Beyoncé's GRAMMY-winning COWBOY CARTER.  Plus, Ty Myers, Lanie Gardner and Kashus Culpepper have continued gaining momentum since being named to GRAMMY.com's "Artists To Watch In 2025" list. Each of these acts have added to country's stylistic diversity — either tapping into its roots, or pointing fearlessly forward.

Meanwhile, a whole new crop of newcomers released their debut projects in 2025, adding their own first chapter to the ever-growing country story. Those include artists like Preston Cooper with his Rust-Belt blowtorch of a vocal, and Dylan Gossett, whose songs of the highway lead a new generation of fans toward Texas country. Others like Zandi Holup make eccentric songwriter folk, opening up their uniquely creative soul, while INK draws a line from her work with Beyoncé, The Chainsmokers and Kendrick Lamar straight back to her Atlanta street-busking roots. And for the darkly delicate Karley Scott Collins, tenacious authenticity means playing almost every instrument on her just-released debut album, Flight Risk, which she co-produced.

Those head-turning fresh faces aren't the only artists on country music's cutting edge. Below, check out 14 buzzy startups who have had a promising 2025 — and hint where the genre may be going in the years ahead.

Cooper Alan

Thriving on a contemporary country mix of high-energy heart and magnetic personality (plus a little homespun humor), Cooper Alan has emerged as a pure entertainer in the classic sense — whether it's on stage, in the studio, or on social media. A self-made star with an early reputation for country remixes and clever covers, he's built a massive following of over 13 million through engaging online content, and is now in the process of translating that to an IRL crowd.

With a slew of scope-broadening singles and his debut album, Winston-Salem, slated for Nov. 7 — plus the launch of the Cooper Alan Foundation, which raised over $400,000 for mental health organizations in February, and the impending arrival of his first child — the past year has been all about growth.

"I hope this debut album speaks to the fans like it does to me. I think it covers a lot of life, love, family, and celebration," Alan says. "It also hits on some tougher issues. All in all, it's 100 percent me and as authentic as I can get. I already can't wait to see more people at shows singing these songs next year."

The Castellows

Echoing across time while still feeling fresh and forward-looking, The Castellows are often described as a "neo-traditional country music sister trio." But that hefty descriptor complicates a sound that feels instinctual. Backed by a soft-yet-sturdy fusion of '90s country and easygoing Americana — plus a touch of 1960s Laurel Canyon folk rock — their shimmering vocal blend features tight harmonies and a golden shine.

A homeschooled family who grew up on a farm, the singer/songwriters shared early tracks in 2023, broke through in 2024 with the Wyatt Flores collab "Sober Sundays," and stepped to the next level in 2025. Matching their Stagecoach debut with an opening slot on tour with Thomas Rhett, their seven-track Homecoming EP staked out a rich and rooted sonic territory. Featuring an acoustic front-porch sound, baritone guitars, and melodies that flow like wind through hometown Georgia pines, the set matched delicate tales of growing up with the romance of the open road, which they took on their headlining The Homecoming Tour this fall.

"We really feel connected to those songs and we feel they speak to who we are," the trio says of the Homecoming project. "Some of our favorite moments this year have been playing Fenway Park with Thomas Rhett, selling out the Georgia Theatre in Athens, playing some incredible festivals like Jazz Fest, Railbird and Stagecoach, kicking off our headlining tour with a sold-out show in the iconic Antone's, and even putting on a charity show for our EP release party to raise money for the 4H organization. We still have so much more to do this fall and can't wait to see what the rest of the year brings!"

Mae Estes

With a throwback style rooted in organic twang, Mae Estes is proudly inspired by the decades before country's crossover expansion, making her a new-school torchbearer for Nashville tradition. Blessed with a dynamic down-home vocal and insisting on classic instruments — that iconic combo of acoustic guitars, pedal steel, fiddle, and dobro — her songs capture the easy authenticity of real-deal country, with a fiery flare for honky-tonk heartbreak.

Moving from Hope, Ark. to Nashville in 2015, native has lived Music City's "10-year town" metaphor. First garnering buzz for her 2022 single "Thinkin' 'Bout Cheatin'," Estes signed with Big Machine Records in 2023 and has only continued gaining speed. Her self-titled debut EP with the label arrives Oct. 10, on the heels of a milestone year that saw her open for Luke Bryan, Carly Pearce and Brad Paisley; release a song with the late Jeannie Seely and Glen Campbell; and perform at the Grand Ole Opry multiple times, including a duet with Vince Gill.

"It's so exciting to be in country music during such an expansive time for the genre!" Estes says. "I'm partial to today's neo-traditional sounds, melding inspiration from the '70s, '80s and '90s with a modern flair. It's been so special to share stages and become friends with some of the pioneers of my favorite music this year."

Carter Faith

Heavily influenced by old-school icons like Tammy Wynette, Carter Faith brings the magical mystique of a down-home dream girl back to country music. Wielding a breathy Blue-Ridge vocal and a throwback sound, her work keeps one foot in the backwoods of her native North Carolina, while the other hits the proverbial red carpet.

Faith broke out with the silky smooth "Greener Pastures" in 2022 and drew acclaim with her 2024 EP, The Aftermath, which featured a collaboration with fellow vocal siren Alison Krauss. On Oct. 3, her debut album, Cherry Valley, will sweeten the story. Conceived as a step-by-step walk through her time in Nashville, old-school tendencies tap classic country, pop and even surf rock, as she struts through breakups, family drama and the long road to success. 

In addition to her musical releases — which also included singing on Bon Iver's SABLE, fable track "AWARDS SEASON" — Faith also landed her first acting role with the forthcoming Netflix mystery thriller Heartland, in which she'll play a missing musician. And following tour dates with Ella Langley, Carly Pearce and others, Faith joins Noah Cyrus on the road this fall, finishing 2025 strong with Marcus King and Kelsea Ballerini.

"I definitely feel like 2025 has been a breakthrough year for me. I have had so many pinch-me, full-circle moments, and I'm so grateful for that feeling," Faith shares. "I got to sing at the Ryman [Auditorium], Nissan Stadium and in Australia. I feel like I've reached more people this year than ever before, and that means a lot to me … This year has definitely been life-changing, to say the least."

Vincent Mason

Hailing from suburban Atlanta and tapping influences that range from Parker McCollum to John Mayer, Vincent Mason mixes gritty and slick with the best of them. His 2024 breakout single "Hell Is a Dance Floor" was a low-down banger racking up 160 million streams and an RIAA Gold certification, and he's spent the last year on the gas — both headlining cross-country, and opening shows for his heroes.

All that and more drives his upcoming debut album, There I Go; out Nov. 7, the set captures the relentless, restless change of coming of age. Led by a brooding Southern drawl, his laid-back fusion of roots country and jangling Americana lands on the dark-and-vulnerable side, but comes with plenty of bright spots — like on the grooving "Painkiller," and with the catchy vocal flow of "Wish You Well."

"Selling out my first headline tour and being on the road with artists I've looked up to, like Parker McCollum, Riley Green and Jordan Davis, has made 2025 feel like a breakthrough year in becoming a legitimate touring act," Mason says. "Life on the road also inspired the writing and recording of my debut album, There I Go. It feels like the success this year has been the result of a lot of little things we've been doing day in and day out over the last three years. Hopefully, we'll be saying the same thing in a couple more years as things continue to grow."

Chase McDaniel

With a dusky, modern-Nashville mix of shadowy sonics and country songcraft, Kentucky native Chase McDaniel wears a bleeding heart on his leather jacket. Courageously open about his gut-wrenching life story — which included a father struggling with addiction, devoted grandparents, a life-changing weightlifting accident, and plenty of inner demons — the singer/songwriter now makes music designed to break through emotional armor, and let healing begin.

After surviving his starving-artist years, he's now hit #1 on Billboard's Country Digital Song Sales and iTunes' Country Single charts with the introspective "Project," and dropped the autobiographical debut album Lost Ones on Sept. 19, in the middle of Suicide Prevention Month. The fiery ache of "Burned Down Heaven" — a power ballad all about a good thing turned to ash — has been heating up at country radio, and he continues turning searing inner pain into sonic beams of hope.

"I kept imagining myself at my lowest moments and asked myself what music and what words did I need to hear then?" McDaniel says. "What kind of song would have saved me if it had started playing? What would I put on repeat while I dug myself out of Hell? That's Lost Ones — and I hope it finds who it needs to. You're not alone."

Hannah McFarland

There's a serene comfort that comes from Hannah McFarland's voice. With a soft-and-sweet, girl-next-door vibe, plus an effervescent personality honed on the honky-tonk scene, she's made a fast rise from doing cover gigs on Nashville's Broadway to on-the-brink status — all while reviving the golden warmth of '90s country.

A songwriter since her teens, the Mobile, Ala., native has seen some of her biggest success to date as a guest on tracks by other artists. But while recent duets have seen her team up with Brett Young, Riley Green and Austin Snell, McFarland stepped into her own this year, too. 

With February's Broken Hearts EP, she placed her satin-smooth vocal alongside an instant-classic contemporary approach, complete with confessional tunes of romance and regret (especially on "The Bed I Made," an aching ballad about watching someone else reap the rewards of your hard work). Meanwhile, her new collaboration with Chase Rice on "Foolin'" pairs a feel-good two-step sway with some epic barstool flirtation. Rice is one of her many notable tourmates of late, which also includes Riley Green, Tucker Wetmore, Kip Moore, Drake White, and more.

"I felt my career shift in so many ways in 2025," McFarland says. "The support from other artists and industry veterans gave me more confidence in myself, and the friendships I've built led to some incredible collab and tour opportunities … What continues to drive me and my success is my passion to be vulnerable and let the fans know who I really am. I want to connect with people through the heartbreak, healing and happiness that we all inevitably go through in different ways."

Elizabeth Nichols

Elizabeth Nichols dropped out of law school to pursue her country dreams at the start of 2025 — and so far, there are no objections from country fans. A globe-trotting 23-year-old with the sharp, witty instincts and homespun twang of a modern Dolly or Loretta, her bright vocal and spicy songcraft made her EP debut, Tough Love, an easy addition to playlists.

It all started with Kelly Clarkson, who covered Nichols' plucky "I Got a New One" on the Kellyoke segment of her syndicated TV show, sending the track to No. 1 on the iTunes Country singles chart, where it stayed for multiple weeks. All about trading in her zero boyfriend for a new hero, the tune foreshadowed cheeky follow-ups like the gleeful gossip anthem "Little Birds." Nichols spent the summer opening for Little Big Town and Russell Dickerson, shining upbeat positivity through her music and persona.

"2025 has changed my life in ways I never expected," Nichols says. "It's certainly been a year of many firsts — I've played my first show, had my first tour run, released my first EP, had my first No. 1 on iTunes, signed my first recording contract and so many cool moments, but I still have so much I want to do. I'm so glad I committed to the dream full-time because I feel like it really has made all the difference."

Adrien Nunez

"Multi-talented" barely scratches the surface when describing Adrien Nunez. A Brooklyn-born social-media influencer, singer/songwriter, and former college basketball player, he's taken a massive online presence (over 6 million TikTok followers) and turned it into a full-scale country career — with a real-deal creative vision to boot.

Pairing a vulnerable vocal flow with anthemic mixes of country, folk and pop, the Gen-Z songsmith's breakout single "LOW ROAD" was too personal to be ignored, all about a cheater who hooked up with one of Nunez's teammates. He went from amateur status to the pros by remixing the track with Avery Anna, and has now marked out a game plan for the years to come. Fresh singles like "ALL I EVER DO," "WILD," and "808s & 6 STRINGS" fuse rootsy writing with propulsive rhythm, and he's been scoring headline shows all across the country this fall.

"I'm really loving the expansion of country music. Genres are crossing over into the space and I think it's bringing a greater awareness for the artists, songwriters and foundational people that built country music to what it is today," Nunez says. "I've fallen in love with the songwriting and producing process. Every day that I'm not on the road I'm writing a new song or finishing out another. 

"Over the course of the past year, I've really been able to get a better sense of my sound and what I like vs what I don't like," he adds. "One of my favorite moments this year was the first show of the Don't Wanna Go Home Tour. I've been opening for Luke Bryan and doing festivals all summer, so it was insane to feel the energy of the room when everyone is there for you."

Ole 60

A scruffy six-piece band from Hancock County, Ky., Ole 60 has exploded onto the scene with a gritty mix of country, grunge and indie-rock influence — plus a mercurial charm, as strong and deep as the Ohio River. Landing somewhere between Tyler Childers, Zach Bryan, Crazy Horse, and So-Cal punk, the band topped Spotify's U.S. Viral Top 50 chart with the blindsided hit "smoke and a light" in 2023 and hasn't looked back.

Led by frontman and lyricist Jacob Ty Young, they spent the summer of '25 opening for Bryan across two nights at London's Hyde Park, scoring a Grand Ole Opry debut, playing Lollapalooza, and more, with a nearly sold-out headline tour underway. Combining the edgy instincts of rock with a born-country package, their debut album Smokestack Town arrives Oct. 3 — 11 tracks full of interconnecting stories and vivid characters, plus the confessions of a small-town band on the road.

"I think this debut album is the most Ole 60 we've ever been," says Young. "We're very proud of it, from top to bottom. We think it's the best music and overall sound from us yet."

RVSHVD

Mixing soulful vocal twang, chest-thumping rock aggression, and bold hip-hop swagger, South Georgia native RVSHVD has been breaking molds and sparking curiosity since his pre-pandemic beginnings. First with his name (it's pronounced RA-SHAD), and then with his unique creative direction. Turned on to country by Keith Urban's "Sweet Thing," there's a bit of Boyz II Men and a touch of Blake Shelton in his sound — and a whole lot of Hank Jr. attitude, which fits in nicely with the omnivorous habits of the streaming generation.

RVSHVD scored a novelty hit with Cooper Alan on their "Colt 45" remix in 2021, but the story since then is no joke. Boasting over over 1.6 million TikTok followers (and over 400,000 on Instagram), he dropped a sonic calling card with his IT'S RASHAD album debut in 2024, and then followed up on a deluxe edition in February. 

As his latest single, "DOWN BAD," shows, RVSHVD has a knack for testosterone-fueled lyrics and thundering twang, with a dark vocal rumble that resonates. And as he told CMT in 2024, he's eager to keep pushing the boundaries of what country music can be: "I always wanted to find my own lane in country music … I might not be the face you see when you think of country music, but it's in my soul."

Thelma & James

With a creative chemistry so potent you can almost see sparks, Thelma & James are a much needed new duo in country music — and an accidental, only-in-Nashville anomaly.

Made up of MacKenzie Porter (who scored a massive double-platinum No. 1 alongside Dustin Lynch on 2021's "Thinking 'Bout You") and her multi-talented actor/singer/songwriter husband Jake Etheridge, the duo started on a lark after their rich-in-love co-write "Happy Ever After You" went viral earlier this year. Putting their sweet-and-sandy harmony blend alongside a tender, unadorned country folk sound, fans basically demanded the couple get serious (about their newfound music career, of course), and they happily obliged. 

Steeped in romantic serenity — but balanced with a touch of sepia-toned sonic grit — their aptly titled debut EP, Starting Over, arrived on Sept. 19, full of deep-in-love lyrics written with GRAMMY-winning A-listers like Natalie Hemby, Lori McKenna and Josh Osborne.

"Releasing our first song together changed the trajectory of our lives in ways we couldn't have imagined. For the first time, we stopped worrying about what kind of songs people might want to hear, and just started writing what was honest to us," the couple say. "The genre feels like it's leaning into authentic voices and stories that are real, vulnerable and unpolished in the best way. That shift toward raw creativity is what inspires us, and it's what makes us proud to be part of this moment in country music."

Hudson Westbrook

The spirit of Texas country is in good hands with Hudson Westbrook, a swiftly rising singer/songwriter matching the Lone Star tradition with unlimited mainstream appeal. Rising from ranch work and breaking bulls to the top of the viral charts, nationwide touring and a 2025 debut album in record time, pure-country charm seems to be his signature — with a classic Red Dirt vocal to match.

Making his official debut with "Take It Slow" in April 2024, Westbrook has amassed more than 700 million streams in his first 17 months as an artist. That's thanks in part to his 17-track debut album, Texas Forever, which arrived in July; the set features the vivid, stuck-on-you ballad "House Again," which is now inside country radio's Top 20 and spawned a duet version with Miranda Lambert in May. 

Landing on multiple ones-to-watch lists, Westbrook also earned a standing ovation at his Grand Ole Opry debut this year, toured with next-gen Texas superstar Parker McCollum, and became Marshmello's latest recruit for a country-dance crossover with "Better Than Me." But he hasn't forgotten his roots amid all the success — he'll headline the Texas Forever Fall Tour through December, and has been raising money for hometown FFA and 4-H chapters.

"I think what's driven me to the next level has just been staying authentic to who I am," Westbrook explains. "I hope that people feel something when they listen to my music. Feelings are so universal, which is why I love writing songs. I hope that people take the words I sing and apply them to their daily lives to help them in some way or another."

Waylon Wyatt

He might be barely out of high school, but Waylon Wyatt sings like he carries the weight of the world on his shoulders. And somehow, hearing someone else bear that heavy load makes your own baggage seem a little lighter.

Featuring raw vocals and stripped-down sound fusing gritty Red Dirt roots and barstool folk, the young native of Hackett, Ark., has amassed a strong following and big-time believers, built on a sturdy blue-collar style. With confessional tunes that come across like an anguished midnight prayer, he scored a 2024 breakout on the self-written and self-produced EP, Til the Sun Goes Down, then followed up with a series of streaming hits and the 2025 EP, Out of the Blue. 

He's played some big shows in the U.S. this year (including Red Rocks with Red Dirt icons Turnpike Troubadours) and even bigger ones in the U.K., recently opening for his hero Zach Bryan at London's famous Hyde Park. Wyatt's 35+ date fall headline tour is selling out fast, and his writing continues to progress.

"Man, there've been some moments this year I'll never forget," Wyatt says. "Headlining my first show back home in Arkansas was huge for me — it felt like everything kind of came full circle, getting to play my own set in front of people who've known me since I was a kid. 

"On the complete other side of the spectrum, opening for Turnpike Troubadours at Red Rocks… I still don't really have words for that," he continues. "That was a dream I didn't think would come true this soon, and to actually be up there on that stage, looking out at that view, it just didn't feel real. From here, I just hope I can keep building, keep playing shows, and keep putting out songs that connect with people. I don't need it to happen all at once — I just want to keep climbing step by step."

HARDY has rightfully become one of the most recognized names in country music. However, before he was an artist in his own right, he was known as Michael Hardy, a songwriter in Nashville penning songs for some of the genre's top artists.

He's remained loyal to his songwriting roots, continuing to write for both himself and other country stars — often spawning a hit single. First establishing his chops as a primary co-writer for Morgan Wallen (with over 15 cuts across Wallen's albums), HARDY has amassed 16 No. 1 songs throughout his career, including four as an artist.

HARDY's work has also earned multiple industry accolades, with five Academy of Country Music Awards and two Country Music Association Awards as of press time; he took home both Songwriter of the Year and Artist-Songwriter of the Year at the former in 2022 and 2023, respectively. He's also won three CMA Triple Play awards, which goes to writers who penned three No. 1 songs in a 12-month period.

Even those who haven't worked with HARDY recognize his talents, including his musical hero, Eric Church. "In my opinion, he's one of the greatest songwriters Nashville has, that's ever held a pen," Church said at the 2025 ACM Honors, where HARDY presented him with the Icon Award.

Perhaps the Mississippi native's secret to success is his humility. "I'm relieved because I've always wanted to do it and go for it," he once told The Boot of balancing a career as an artist and a songwriter. "I just found the right opportunity and was lucky and had Big Loud [Records] on my side."

The country star may add more stats to his resume with the release of his fourth studio LP, COUNTRY! COUNTRY!, out now. In honor of the new album, take a look at some country hits you may not have known were co-written by HARDY.

"Up Down" — Morgan Wallen feat. Florida Georgia Line

Now known for co-writing some of Morgan Wallen's biggest hits including "Sand In My Boots" and "More Than My Hometown," HARDY first formed his relationship with Wallen when the Tennessee-born star was still an up-and-coming artist. He secured multiple cuts on Wallen's debut album, 2018's If I Know Me, including the Florida Georgia Line collab "Up Down."

Marking both Wallen and HARDY's first No. 1s on Billboard's Country Airplay chart, the  success of "Up Down" helped catapult both Wallen's career as an artist and HARDY's as a songwriter. And while HARDY's seven contributions to If I Know Me cemented his songwriting partnership with Wallen, "Up Down" helped kickstart HARDY's relationship with Florida Georgia Line, too.

"Simple" — Florida Georgia Line

Just before "Up Down" reached the top spot at country radio in June 2018, Florida Georgia Line released "Simple" as the lead single from their fourth studio album, Can't Say I Ain't Country. The duo co-wrote the track alongside HARDY and Mark Holman, and as HARDY told The Boot at the time, the session was as simple as the song's title (and spelled-out hook) suggests: "It's fun to just dial back and think, 'Okay, how simple can we make this lyric?'"

While "Simple" was the album's biggest hit — also reaching No. 1 on both the Country Airplay and Mediabase charts — HARDY co-wrote eight songs on Can't Say I Ain't Country. With Florida Georgia Line being one of the top country acts at the time, "Simple" was further proof that HARDY's career had only just begun.

"God's Country" — Blake Shelton

In the fall of 2018, HARDY released THIS OLE BOY, his debut EP as an artist, which featured his first single, "REDNECKER." Just a few months later, Blake Shelton delivered "God's Country" — and took HARDY's career as a songwriter to the next level.

Along with topping Billboard's Country Airplay and Hot Country Songs charts (the latter of which for seven weeks), "God's Country" marked HARDY's first song to receive major award recognition. The gritty track earned HARDY Song of the Year nominations at the 2019 CMAs and the 2020 ACMs; it was named Single of the Year at both shows.

"God's Country" opened doors for HARDY's artist career, too. The single's success helped his 2019 collaborative mixtape, HIXTAPE VOL. 1, go from a four-song EP to a 10-song project featuring 17 country superstars including Keith Urban, Thomas Rhett and Joe Diffie.

"Single Saturday Night" — Cole Swindell

By May of 2020, HARDY was on his way to his first country No. 1 as an artist with his Lauren Alaina and Devin Dawson team-up, "One Beer." And thanks to Cole Swindell, another track soon joined the climb: "Single Saturday Night."

The lead single to Swindell's fourth studio album, STEREOTYPE, was one of five that HARDY co-wrote on the LP (including their duet "Down to the Bar"). Along with notching another co-written No. 1 for HARDY, "Single Saturday Night" was one of the songs that helped him earn the honor of Songwriter of the Year at the 2022 BMI Country Awards.

"Praise The Lord" — BRELAND feat. Thomas Rhett

With several No. 1s under his belt by 2022, it's no surprise that HARDY was one of several chart-topping songwriters for BRELAND's debut album, Cross Country. Alongside BRELAND and Thomas Rhett, HARDY penned "Praise The Lord" with GRAMMY winners and nominees David Garcia, Jessie Jo Dillon and Julian Bunetta, as well as other key country writers Rocky Block, Jacob Durrett and Kyle Fishman. The high energy, gospel-tinged song was a different sound than a majority of the music HARDY had previously written for other artists at that point, showcasing his proficiency and versatility. 

"Hate My Heart" — Carrie Underwood

While HARDY's songwriting cuts have been primarily recorded by male artists, he had back-to-back singles with two of country's biggest female artists. Two months after HARDY released "wait in the truck" with Lainey Wilson, Carrie Underwood unveiled "Hate My Heart" as the second single from her ninth album, Denim & Rhinestones.

In addition to Garcia and Underwood, his co-writers included another powerhouse female, three-time GRAMMY-winning songwriter Hillary Lindsey. "Hate My Heart" scored Underwood another Top 20 hit at country radio; she said in a statement that HARDY "brought a cool vibe and an energy to the track."

"Church" — Jelly Roll

Continuing his streak of successful writes with David Garcia, HARDY joined forces with him for another first-time collaboration, this time with Jelly Roll. The trio wrote "Church," a cut from Jelly Roll's debut album, 2023's Whitsitt Chapel. While it didn't become a single, the poignant track shows another side of HARDY's songwriting and storytelling talents, helping Jelly Roll share his personal testimony of redemption.

"Take Her Home" — Kenny Chesney

After landing No. 1 songs for country vets like Blake Shelton and Dierks Bentley, HARDY set his sights on a Kenny Chesney cut with 2023's "Take Her Home." And upon writing the song with Zach Abend and Hunter Phelps, all HARDY had to do was text the six-time GRAMMY-nominated superstar.

"I knew it was a song that I had been looking for for a while, and that was obviously very well done," Chesney told Taste of Country, recalling HARDY's text about "Take Her Home." "I knew that it had a really good chance of resonating with my audience."

It did indeed. With its deep sense of nostalgia and storytelling reminiscent of 2000s country, "Take Her Home" landed Chesney his record-extending 33rd No. 1 on the Billboard Country Airplay chart — and scored HARDY yet another No. 1 as a songwriter.

"Missin' You Like This" — Post Malone feat. Luke Combs

Post Malone's first album in the country genre included collaborations from a long list of country hitmakers, which of course included HARDY. And along with co-writing and featuring on "Hide My Gun," HARDY also brought his songwriting chops to one of Malone's two team-ups with Luke Combs, "Missin' You Like This."

The yearning breakup song saw HARDY collaborate with more all-star songwriters, Louis Bell, Ashley Gorley, Ryan Vojtesak, and James McNair (as well as Combs and Malone). While it may not have been a single on the album, "Missin' You Like This" showed a more vulnerable side of HARDY's writing abilities.

"Jesus Loves You" — Cody Johnson

A deep cut on Cody's Johnson's Leather album, HARDY helped pen "Jesus Loves You" with Mark Holman and Chase McGill. The song's title is reminiscent of the children's church song, but it's actually about a man visiting jail to see a robber that broke into his house; the surprise twist offered another display of HARDY's trademark ingenuity.

Just weeks before Leather won Album of the Year at the 2024 CMA Awards, Johnson delivered a deluxe version of the LP. Featuring another HARDY co-write, "How Do You Sleep At Night?," Leather Deluxe Edition hinted that HARDY continues to impress country's biggest names — and he's not slowing down anytime soon.