NEWS APRIL 2017 - PAGE 2




[PIX] Associated Press - Album Poster

 


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[ARTICLE] Sheryl Crow argues for return to empathy on her new album

By Kristin M. Hall | AP April 11 at 8:41 AM

NASHVILLE, Tenn. — Last year, Sheryl Crow started a petition on Change.org to shorten the U.S. presidential election cycle. The Grammy-winning singer-songwriter said she was exhausted by the mudslinging and divisive language that had dominated the discussion about the candidates.

“I felt like it was becoming so hateful that I had to watch to make sure my kids didn’t pick up the remote and turn the TV on,” she said during a recent interview at her home in Nashville.


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[NEWS] Outlaw Music Festival - Dates and Lineups

 

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TICKETS ON SALE FRIDAY, APRIL 21, 2017 AT 10AM

 



[NEWS] Summerfest 50 is ending with Bob Dylan, Willie Nelson & Sheryl Crow



Summerfest 50 is closing with a festival within the festival.


The American Family Insurance Amphitheater, formerly the Marcus Amphitheater, will close with the Outlaw Music Festival on July 9. The eye-popping lineup of legendary, acclaimed and up-and-coming Americana acts includes Willie Nelson & Family; recent Nobel Prize recipient Bob Dylan & His Band; Sheryl Crow; Jason Isbell & the 400 Unit; Nathaniel Rateliff & the Night Sweats; Margo Price; and Willie Nelson's son Lukas Nelson's band Promise of the Real.

The Outlaw Music Festival featuring Willie Nelson began as a one-off event in Scranton, Pa. last September. It's returning as a six-date tour this July, with additional stops in New Orleans; Dallas; Rogers, Ark.; Detroit; and Syracuse, NY. The Summerfest lineup is the fullest, one of only two shows featuring Dylan, and the only tour stop with rollicking live act Rateliff.

Tickets are available beginning at 10 a.m. April 21 at the Summerfest box office (200 N. Harbor Drive); Ticketmaster retail outlets; Wal-Mart stores in southeastern Wisconsin; at ticketmaster.com; or by calling (800) 745-3000, (866) 448-7849 or (414) 273-2600. Prices have yet to be announced but will include Summerfest general admission on July 9.

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[MAGAZINE] Sheryl interviewed by Event magazine (UK) 9 April 2017

By Craig McLean
Event magazine
9 April 2017

All I Wanna Do ...is be your average 50 million-selling rock star single mum who still dreams about former lover Eric Clapton, doesn’t waste a waking moment on cycle cheat Lance Armstrong – and thinks it’s a nightmare what women do to their faces to stay young. Sheryl Crow lets fly...

Here comes Mum, home from the school run. It’s a beautiful spring morning and this single parent to two adopted sons has her family routine down pat. She hasn’t travelled for work in two years ‘just so the boys can stay home and be normal. I take ’em to school every day and pick ’em up. I’m at every-thing, and I go to the Boy Scout meetings. It’s seriously normal round here.’

Here in the wealthy suburbs of Nashville, this is a typically domestic scene. But this mum is Sheryl Crow, a rock star who’s sold 50 million albums, won nine Grammy awards and whose office is a huge barn on her rolling, 50-acre horse ranch.

[ CLICK HERE TO READ THE FULL ARTICLE ]

 



[MAGAZINE] Event cover (The Mail On Sunday) - 9 April 2017

Out on UK newsstands tomorrow.

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[REVIEW] "Natural High" Live (Nashville, 6 April 2017)



Sheryl's version of "Natural High" among the Top 10 Moments From The Merle Haggard ‘Sing Me Back Home’ Tribute Concert according SoundsLikeNashville.com.

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[2017 TOUR] Just Announced!

Just Announced! Wednesday April 19th Sheryl will perform on NBC's Today Show Live on the Plaza in New York City.

More info HERE

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[PIX&VIDS] "Sing Me Back Home: The Music of Merle Haggard" Tribute Concert


Bridgestone Arena
Nashville, Tennessee (USA)
6 April 2017

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Photos: 1 - The Tennessean (red carpet)
Photos 2 - The Tennessean (show)

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Photos: Associated Press

 

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I think as I get older and the more I write, the more I feel extremely precious about the people who paved the way, and I think (Haggard’s) one that really opened a huge entry way for people to write the hard truth … and not be fearful about it,” said Crow, who sang Haggard’s “Natural High.” “I think he was really masterful at doing that. I think Johnny (Cash) was masterful at doing that. I think Willie (Nelson) is still doing that, and I think they have allowed us to try and follow in their footsteps.

Sheryl Crow (The Tennessean)

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Photos: 4 - The Tennessean
5 - Liz (with Dierks Bentley and Kenny Chesney)

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Photos: 6 - Chris Barnes
Photos: 7 - Sheryl with Keith Richards

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Photo: The Tennessean

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VIDEO

 

"Natural High"

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[TWEETS] Weird collateral effects, haha...

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[PIX&VIDS] Hangin' Around in Nashville with Dierks Bentley


Wednesday afternoon, April 5, 2017.

Something is happening in downtown Nashville...

Yes, it's Sheryl with her good friend Dierks Bentley just outside the Ryman Auditorium.



Ummm... looks like they are about to record a carpool karaoke. Yay!

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Eventually they stopped by The Tootsie's and Legends Corner.

You never know who is gonna stop in and sing a song :-)

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First stop: The Tootsie's Orchid Lounge!

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Photo: Ray Rodgers

Photo: Randy Horton

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Photo: Sounds of Acoustic Recovery (SOAR)

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Photos: Blaine Holcomb and Jeb Shelton

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Sheryl and Dierks with singer-songwriter Justin Michael (center), singer Trent Glisson (right) and musician Mark Sellers (left). Photo: Justin Michael.

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Second stop: Legends Corner!

Photo: Legends Corner

Photo: Legends Corner

Sheryl and Dierks shared the stage with singer-songwriter Mike Godwin (left). Here's a nice pic supplied by Mr. Godwin.

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VIDEO

"Jackson", "Picture", "Hey Good Lookin'", Folsom Prison Blues" etc...

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Photo: Sheryl Crow

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[2017 TOUR] London, UK

Sheryl Crow has announced a London (UK) show as part of her 'Be Myself' Tour! Tickets available 9am Tuesday 11th April.

LINK: https://www.academymusicgroup.com/o2shepherdsbushempire/




[INTERVIEW] The Daily Beast - 6 April 2017



Why Sheryl Crow Is Not Ready to Pen an Anti-Trump Tune


The acclaimed singer-songwriter discusses her ninth studio album, ‘Be Myself,’ the women’s rights movement, and much more.

By Craig Modderno
The Daily Beast

One doubts the legendary Oscar Wilde and musical icon Sheryl Crow have ever been mentioned in the same sentence until now. The thin line between the two is that Wilde once said, “Be yourself, everyone else is already taken.” Ms. Crow has taken that advice to heart by naming her new album—her ninth—Be Myself.

Her first record since her 2013 foray into country music, Be Myself finds the singer-songwriter returning to the alt-pop sound she crafted in her debut Tuesday Night Music Club almost twenty-five years ago. And Crow, who is 55, hasn’t lost an ounce of her swagger, which should be evident when she begins a worldwide tour in America this summer.

With 9 Grammy Awards, over 35 million albums sold, a coveted opening act slot for The Rolling Stones, and two high-profile celebrity romances (Owen Wilson and Lance Armstrong), Crow has still found time to be a social activist. In conversation, she comes across as articulate with a personal warmth. Speaking from her home outside Nashville, Crow discusses what it's like to be herself now.

What do you want fans to learn about you after hearing the new album?

Sheryl Crow: Hopefully they’ll find something on it that resonates with them. I feel like all the things I’ve written about on this record are already in the ether. They’re topics and experiences which are already happening, which made my job really easy. Strangely, this is not a record in any shape or form that was difficult to make, because—frankly—if you’re an artist we’re living in a time where it’s seemingly very easy to find things to write about.

Do you consider your first single off the record, “Halfway There,” a personal and/or political tune?


I don’t like to analyze my music too much. I think that song can be interpreted both ways. I think that song suggests everyone should rethink their lives if they want to live in today’s world and try to understand a person’s point of view opposite to their own. There’s another song on the record that has a “Gimme Shelter” feel to it, which means it’s very dark and ominous and sets a mood rather than uses a specific lyric to take you into your own special space.

With Be Myself, do you feel you’re improving at your craft?

I truly hope so. I feel my lyrics are strong and honest, which I’m very proud of. There’s a lot of pressure, it seems, on all artists today to duplicate or replay a formula of success that’s worked in the past. For me to be myself, I feel I always have to challenge myself to improve my craft, which I believe I’ve done with this record.

Are you considering writing a song about how you feel about President Trump?

I suppose I could but then the tune would take a political point of view that I would have to really believe in. I’m not at that point in my music yet. I may never get there at least when it comes to making a political statement at the expense of alienating my audience or placating to them. If every day is truly a winding road that’s a journey, I think you must totally commit to it if you’re going to go there.

Would you perform at the White House if President Trump asked you?

[Laughs] I can’t see me being asked to, end of quote.

What are your thoughts on the future of the women’s rights movement?

It’s going to be a daily struggle as it probably will be for any political movement this decade. But even though one party seems to have all the power in government, women are mobilizing themselves to improve their lot and be politically active.

After you performed the well-received title track for the Bond film Tomorrow Never Dies, why did you decide to not do more soundtrack work?

I’d liked to be asked to do a film score. I’ve had several of my songs be in movies. The James Bond gig was a one shot; I think only Shirley Bassey has done more than one Bond film. For me it was great to be a part of that film history because anyone who watches films the past few decades has probably seen a Bond movie or will someday.

What about acting? Any more interest in that?

I’m not opposed to it, but my music and raising a family are my priorities. The creative challenge of acting in a film and not being myself is, however, appealing to me.

What did you learn from being a backup singer on tour with Michael Jackson?

Never take any audience for granted. Work harder than you did the night before. For that reason, Michael always performed the same show every night, his audience covered such a wide age group. But Michael instinctively knew what they wanted and gave it to them every night. I got a tremendous education watching Michael perform.

What about opening for Don Henley and The Rolling Stones?

Don knows how to mix his political songs with his hits. He has an uncanny ability to read his audience in that respect—when he should sing, what kind of tune. The Stones are consummate pros no matter who is in the band at any time. Mick Jagger knows how to make their hits seem fresh, and like Michael Jackson, he’s not going to take his audience, or their nightly response, for granted. Mick’s enthusiasm for each concert should be the gold standard for any performer.

The Rolling Stones’ legendary guitarist Keith Richards described you in a YouTube video as a “raunchy girl.” What did he mean by that?

[Laughs] You’ll have to ask him. For me, the great thing about touring with The Stones is that they often brought me onstage to perform a song with them. When they did, I felt like I was a part of rock ‘n’ roll royalty. At the point The Stones encouraged me to be myself on stage, their audience accepted me and I realized once again how fortunate I was to be a musician!

SOURCE: The Daily Beast

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[TV] THE BIG INTERVIEW

Don't miss the episode of The Big Interview with the one and only Sheryl Crow premiering Tuesday April 11, at 8pm on AXS TV.

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[2017 TOUR] NEW DATE ADDED!

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[VIDEO] "Halfway There" - Live at the Troubadour

Extended version

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[INTERVIEW] Nylon magazine - April 3

Sheryl Crow Finds Musical Inspiration In Heartbreak And Uber

‘Be Myself’ is a “return to the spark”

By Eve Darlon
Nylon Magazine

It was 1994 when Sheryl Crow burst onto the music scene, and she quickly became known for rewriting the rules of pop radio with her debut album Tuesday Night Music Club; now, 24 years later and at the age of 55, Crow’s gearing up to do it all again by returning to those early pop/rock roots. Due for an April 21 release, Be Myself, her ninth LP, sees Crow reunite with producer Jeff Trott who was by her side during her ’90s successes like “All I Wanna Do,” “If It Makes You Happy,” and “My Favorite Mistake,” which are still stalking radio station set lists.

A lot has happened to Crow since those hit-making days. She’s survived breast cancer, a brain tumor, and a very public separation from former fiancé, Lance Armstrong. On Be Myself, however, she sounds more comfortable in her skin than ever before. And nine Grammys, 35 million U.S. album sales, and five platinum records into her career, why wouldn’t Crow be happy being herself?

Recently, we talked with Crow over the phone from her home in Nashville, where she moved 11 years ago immediately after finding out she had cancer. Following her treatment, she decided to adopt two boys, Wyatt and Levi, who she’s now raising alone. Though her lifestyle hasn’t changed in the last couple of decades—“In the old days, I had the luxury of being creative whenever I wanted. I could be up really late at night; I could spend the morning in bed reading the newspaper, drinking coffee and jotting things down,” she laughs. “Now I’m making records during school hours between 9am and 5:30pm.” This doesn’t mean that the inspiration isn’t still flowing. Crow explains, “Now that I’m a little older, I don’t worry about who my audience is or getting on the radio. It’s liberating.”

Read more about Crow’s new album, where she finds inspiration, and how she prevents herself from falling into social media black holes in the interview, below.

You’ve mentioned that work doesn’t take over your whole life anymore like it once did. So how do you get drawn back into writing mode?

This came about last summer because my old songwriting buddy [Jeff Trott] moved to town. He and I have written off and on through the years, but we haven’t collaborated like we did on the second and third records [Sheryl Crow and The Globe Sessions]. We got back together and were writing really fast, so we said, “Let’s make a record.” It was really effortless because there was so much to write about.

What types of things have inspired your songwriting recently?


There were all types of things floating around in the ether: the chaos of the election season, people’s hate dialogue, and the intrusion of technology. All these big issues have wound up appearing on a fun little pop/rock record.

Your last album Feels Like Home was your first country record. Was that just a one-off experiment?

In Nashville, I was approached to make a country record, and I loved the idea of it. I loved the experience of writing with Nashville writers. It was much more collaborative than I’m used to. But Be Myself was a return to the spark. I wanted to feel that urgency and innocence making music again, that feeling of being kids in a laboratory making concoctions.

How long had it been since you’d actually sat down and listened to your old records to reconnect with that sound?


I never listen to my records. That would be like torture for me! The objective of listening to any of that stuff while making this album was to intrinsically remember what the spirit of making those records was.

You said this record is you at your most authentic again, not appeasing the radio or industry. Was that your approach in the ’90s, too?

Oh yeah, absolutely. Even with Tuesday Night Music Club, I was surprised anybody liked it because it didn’t sound like anything on the radio. By the time I got to record Sheryl Crow, I was fried. I was the most hated person on pop radio. People were sick of me. I went from being the darling to winning Grammys to being the person most targeted. All of that [emotion] is on the second record–that bratty style, [like,] “I don’t give two shits about who hears this, it’s my record, I’m gonna do what I wanna do.” Then The Globe Sessions was steeped in heartbreak. I was going through a sad breakup. All three of those records were selfishly personal for me. With this record, I’m a lot older, but I still feel that wonder now. I feel it more now than ever because I have a different kind of life that’s fully intact. Music is just something that’s a fantastic venture for me, kind of like it was on those records where I went in and let it all hang out.

The track “Alone In The Dark” is about the virtues of solitude after a breakup. In the past, there’s been media focus on your relationships. Does that ever make you reticent to be personal on your records?


I’m not like other artists, where every time I break up with somebody I write a song about it. I’m careful about protecting whoever I’ve been in a relationship with. But I do find that it’s trickier now because media is everywhere, and [it’s] not just paparazzi outside your door; there’s this ability to broadcast somebody’s secrets or laundry. You’re much more vulnerable. I’m lucky that I’m from a different generation where that doesn’t seem to be a part of my reality, but it must be difficult to be young and navigate life, trying to figure out who you are, while you also have the pressure to brand yourself in a certain way. I’d rather be in the dark. There’s a huge part of me that enjoys not knowing what people say about me.

Speaking of that wider noise, “Roller Skate” and the title track both speak to the pitfalls of social media. Do you think there are virtues to social media also?


Oh, yeah. I dragged myself into the world of technology begrudgingly. It’s necessary now. But I struggle with how people use their life as a brand. While all that stuff sells, it also undermines your artistry. I’m a mom raising two boys, trying to figure out how to tell them not to rely on what other people are projecting of you. “Roller Skate” is my kid saying, “Mom, put your phone down.” I don’t want my kids looking back, thinking of their mom as always having her head down looking at the phone.

Are there any particular Twitter or Instagram accounts that you enjoy?

There are a couple of people I follow, but I rarely check that stuff because I find that if I check it, then I look at my watch and 45 minutes has gone by—and I don’t have the luxury of losing 45 minutes!

I made note of the lyric: “Took an Uber to hear a new indie band play/ They got 99 million followers in only one day.” Has Uber arrived in Nashville?

Oh my gosh, Uber totally exists in Nashville—and Lyft. After I wrote this song, I thought, Oh my, I wonder should I do a version that mentions Lyft? My kids have Uber’d all over the world with me. My friends went to SXSW and said there’s no Uber there. I can’t imagine; how do people get around?!

“A Heartbeat Away” contains references to hackers, leaks, vast fortunes, and a “man with the red face/ With his finger on the button as he hums ’Amazing Grace.’” You wrote it before Trump’s election. Was it weird watching events unfold, knowing you had this one in the back pocket?

It felt very eerie. It’s slightly life-affirming that while you know you’re growing as a songwriter, you’re also able to get out of your own way and just be inspired. This was pure inspiration. The first and third verses, I wrote on the mic. It seemed like a very outlandish, espionage kinda lyric, and so that second verse we were like, “Okay, what’s the most outlandish thing you can think of?” Okay, Russia, hacking… and then we turned around and there it was.

You’ve been in the music industry for decades. Do you think there’s a parallel between ageism and sexism whereby older women are discriminated against more than their male counterparts?


Well, there are far more male ”legends” or “rock heroes” than there are women. I’m not exactly sure why. Motherhood tends to get in the way of longevity. I remember having a conversation with Chrissie Hynde, and she he’d taken eight years off to raise her daughters. She said that coming back was like starting all over again. There is something different about men being able to go on the road then come home to something intact. Women don’t have the luxury of that. I don’t know many male husbands who would stay at home while their rockstar wife is out traveling around.

Do you feel any differentiation in treatment?

I don’t know that I get treated differently. I will say that the younger rock and pop stuff is very sexual and in some ways, it’s being used to illustrate having power. For older women, it feels ageist when everything is geared toward 15- to 25-year-olds. But I’ll be honest, in some ways, it’s liberating. I wanna make sure that the young female artists like Lorde, who are creating beautiful artistry, know that there’s power in that. There’s power in what Adele does when she just stands there and sings. There’s as much power in that if not more than there is in projecting sexual images which are fine and all, but not to be misconstrued as being about beauty or power. Women are powerful for many reasons, not just their bodies.

Your music’s endured for so many years. I was talking to British punk band Slaves and they play “All I Wanna Do” before they go on stage every night. Do you listen to younger contemporary artists now?

Oh my god, that’s amazing. Tell them I’m flattered! There’s a radio station here in Nashville who play so much great alternative stuff and we Shazam everything. I’ve been turned onto so many great artists. And, of course, my kids listen to pop music so I know Twenty One Pilots and all the cool groups.

You follow Katy Perry on Twitter. What do you think of her moves to channel her politics into her mainstream pop music right now?

She’s great. I was glad to see someone of her stature put herself out there for a political candidate.

You’ve always used your platform to talk about environmentalism, you took an anti-Iraq War stance in the 2000s. Do you feel it’s more accepted by the industry and necessary now to speak out as a musician?

The day and age of a band like Dixie Chicks speaking out and being blacklisted and having their CDs bulldozed are behind us. As somebody who is high profile, every time you open your mouth, you’re setting yourself up to have arrows slung at you. But I don’t know of anybody who that’s ever stopped. I’ve always been interested in politics, and I’ve always been outspoken, but I try to arm myself with as much truth as possible. Now, truth is strangely up for definition, and that’s where I feel we’re getting into a serious danger zone. There are some things I cannot not say.

Do you think there’s a creeping erosion of women’s rights in America? Are you worried about that?

Yeah, absolutely. I’m worried about everything. I have two kids that are gonna inherit a planet that’s in serious peril, we have a president who appointed somebody to head up the EPA who doesn’t even believe in climate change. That’s just the tip of the iceberg. So I’m very concerned. But I’m more concerned over the fact that the people who are so hurting in this country, who put their faith into this man, are still believing this lie that he cares. That’s what’s devastating. He’s putting us in grave danger as regards our status in the world with other countries. The man is clearly a disturbed, unbalanced human being.

You’re working on a new collaborations record featuring Don Henley, Stevie Nicks, Willie Nelson, Kris Kristofferson, Keith Richards, and more. Which of your guests blows your mind most?

There’s no possibility I could choose just one person, but the one song that is very difficult for me to listen to without becoming emotional is a recording I did with Johnny Cash. His family gave me the blessing to use his demo vocal for a song of mine that he recorded [“Redemption Day”]. I recorded a new track and sang with him. It’s really powerful, especially considering what’s going on in the world today. To hear the weight of his voice singing about redemption.

Would you ever do Carpool Karaoke with James Corden? You’d kill it…

Oh my gosh, I think I’m getting ready to! Yes, hopefully.

What’s the best aspect of your friendship with Stevie Nicks?

Every time I’m around her, she’s completely and totally authentic. She never veers away from who she is. She’s a fully realized artist: She paints, she writes, she draws, she’s constantly looking at the world through those eyes, and I just adore her.

Finally, the song “Grow Up” was inspired by Prince’s death. When was the last time you spoke to him?

I hadn’t spoken to him in 10 years. I’d had a little bit of a falling out, and when he passed I was really sad that I hadn’t reached out to him. But I loved him, and he was so masterful. When he passed we were in the studio, and we went and listened to “Sign O’ The Times.” You can hear his joy and abandon and then he puts the most incredible lyric on top of it, and it’s so deep.

SOURCE: Nylon magazine

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[MAG] Rolling Stone, USA edition, April 6 issue

 



[VIDEO] Music City Nashville | Inspirations Ad

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[VIDEO] HSN Clothing Line Ad (Music City Nashville collection)

Shop the Exclusive Music City Nashville Collection at https://goo.gl/VoTf89

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