UPDATE (Sept. 11): Mandolin maestros Sam Bush and Sierra Hull will co-host and perform at the 37th annual IBMA Bluegrass Music Awards, set for Thursday, Oct. 22 at 7:30 p.m. ET at Soldiers and Sailors Memorial Auditorium in Chattanooga Tenn.

The Del McCoury Band, Sister Sadie, Authentic Unlimited, The Grascals and Michael Cleveland & Flamekeeper are also set to perform.

The 2026 class of inductees into the Bluegrass Music Hall of Fame consists of Byron Berline, Nashville Bluegrass Band, Barry Poss and The Lost & Found. Musical tributes for each inductee are planned.

The IBMA Bluegrass Music Awards will be livestreamed; details coming soon.

UPDATE (July 22): One week after announcing the nominations for the 37th annual IBMA Bluegrass Music Awards, the International Bluegrass Music Association announced the nominees for the 2026 IBMA Industry Awards and the 2026 IBMA Momentum Awards.

The IBMA Industry Awards recognize outstanding work in non-performing industry categories and honor the individuals who help advance bluegrass music and support its artists. The ceremony will take place on Thursday, Oct. 22, at the Chattanooga Convention Center in Chattanooga, Tenn.

The IBMA Momentum Awards recognize artists and industry professionals in the early stages of their bluegrass music careers. In addition to honoring emerging talent, the awards also include recognition for a mentor whose guidance has had a significant and positive impact on upcoming artists and industry professionals. The Momentum Awards ceremony will take place on Wednesday, Oct. 21, also at the Chattanooga Convention Center.

These award ceremonies are part of IBMA World of Bluegrass, which runs Oct. 20-24. The week encompasses four events: the IBMA Business Conference, Oct. 20-22 at the Chattanooga Convention Center; the IBMA Bluegrass Ramble, Oct. 20-21 in downtown Chattanooga venues; the 37th Annual IBMA Bluegrass Music Awards, Oct. 22 at the Soldiers and Sailors Memorial Auditorium; and IBMA Bluegrass Live!, Oct. 23-24, a two-day festival of live performances and fan experiences. Tickets are now on sale for all IBMA World of Bluegrass events; visit their website for details.

PREVIOUSLY (July 15): This year’s nominees for the International Bluegrass Music Association Bluegrass Music Awards were announced on Wednesday (July 15), with Alison Krauss & Union Station, Sister Sadie and East Nash Grass among the year’s top nominees.

All three acts are up for entertainer of the year, alongside Billy Strings and The Del McCoury Band.

The 37th annual IBMA Bluegrass Music Awards will be held Oct. 22 at Soldiers and Sailors Memorial Auditorium in Chattanooga, Tenn., and will be presented by Get It Played. The awards are part of the annual World of Bluegrass, including Bluegrass Live! which runs Oct. 23-24 and will be spearheaded by performances from Sierra Ferrell, Leftover Salmon, Larry Sparks and more.

Last year’s top IBMA Bluegrass Music Awards winners included Billy Strings, Jason Carter & Michael Cleveland, Authentic Unlimited and The Travelin’ McCourys.

In addition to this year’s IBMA Bluegrass Music Awards nominees, the 2026 Bluegrass Music Hall of Fame inductees were revealed, including multi-instrumentalist Byron Berline, The Nashville Bluegrass Band, The Lost and Found, and Sugar Hill cofounder Barry Lyle Poss.

The 2026 IBMA Distinguished Achievement Award recipients are Gallagher Guitars, pioneering fiddle player Matt Glaser, The Marshall Family, Gary Reid, and journalist/editor/biographer Derek Halsey.

See the full list of this year’s IBMA Bluegrass Music Awards nominees, followed by 2026 IBMA Industry Award nominees and 2026 IBMA Momentum Awards nominees.

2026 IBMA Music Award Nominees

Entertainer of the year

Billy Strings

Alison Krauss & Union Station

Sister Sadie

East Nash Grass

The Del McCoury Band

Vocal group of the year

Alison Krauss & Union Station

Authentic Unlimited

Sister Sadie

Blue Highway

Red Camel Collective

Instrumental group of the year

Michael Cleveland & Flamekeeper

Billy Strings

The Travelin’ McCourys

East Nash Grass

Appalachian Road Show

Song of the year

“Broken Angels,” The Grascals and Dolly Parton (songwriters: Dolly Parton/Jamie Johnson, Producer: Kent Wells, Label: Billy Blue Records)

“Can’t Outrun the Blues,” Trey Hensley (songwriters: Trey Hensley/Bobby Starnes, Producer: Brent Maher, Label: Pinecastle Records)

“New Cluck Old Hen,” Steve Martin and Alison Brown (Feat. Della Mae) (Arrangement: Steve Martin/Alison Brown, Producers: Alison Brown/Garry West, Label: Compass Records)

“Cost of Living,” Authentic Unlimited (Songwriter: Jerry Cole, Producer: Authentic Unlimited, Label: Edisonic Records)

“Finding Your Way Home,” Red Camel Collective (Songwriters: Heather Berry Mabe/Joseph Scott Patrick, Producer: Red Camel Collective/Stephen Burwell, Label: Pinecastle Records)

Album of the year

Can’t Outrun the Blues, Trey Hensley (Producer: Brent Maher, Label: Pinecastle Records)

All Will Be Well, Sister Sadie (Producer: Deanie Richardson, Label: Mountain Home Music Company)

All God’s Children, East Nash Grass (Producers: Jake Stargel/East Nash Grass, Label: Mountain Fever Records)

Della Jane’s Heart, Appalachian Road Show (Producer: Appalachian Road Show, Label: Billy Blue Records)

Songs That Sing Me, Becky Buller (Producer: Stephen Mougin, Label: Dark Shadow Recording)

Gospel recording of the year

“I Will Someday,” NewFound Road (Songwriters: Ronnie Bowman/Garnet Bowman/Chris Stapleton/Morgane Stapleton, Producer: Tim Shelton, Label: Billy Blue Records)

“Where the Soul Never Dies,” Bobby Osborne & C.J. Lewandowski (Songwriter: William M. Golden, Producer: C.J. Lewandowski, Label: Turnberry Records)

“Some Day,” Blue Highway (Songwriters: Olive Stockton/Tim Stafford, Producer: Blue Highway/Dan Boner, Label: Rounder Records)

“You Don’t Knock,” Darin & Brooke Aldridge with John Cowan (Songwriters: Cedar Walton/Wesley Westbrooks, Producer: Mark Fain/Darin Aldridge, Label: Billy Blue Records)

“Two Old Church Pews,” Danny Paisley (Songwriters: Mark “Brink” Brinkman/Daryl Mosley, Producer: Greg Cole, Label: Pinecastle Records)

Instrumental recording of the year

“Grandfather’s Clock,” Bryan Sutton and Sierra Hull (Songwriter: Henry Clay Work arr. Bryan Sutton/Sierra Hull, Producer: Bryan Sutton, Label: Mountain Home Music Company)

“Big Daddy Rabbit,” Michael Cleveland & Flamekeeper (feat. Nathan Livers) (Songwriter: Nathan Livers, Producer: Michael Cleveland, Label: Yeah, Man Records

“Cacklin’ Hen,” Deanie Richardson and Kimber Ludiker (Songwriter: Traditional, Producer: Deanie Richardson, Label: Mountain Home Music Company)

“Let’s Get Out of Here,” Steve Martin and Alison Brown (Songwriters: Alison Brown/Steve Martin, Producers: Alison Brown/Garry West, Label: Compass Records)

“Tom & Jerry,” Andy Leftwich (Songwriter: Traditional, Producer: Andy Leftwich, Label: Mountain Home Music Company)

New artist of the year

Jaelee Roberts

Mason Via

Carson Peters & Iron Mountain

Vickie Vaughn

Daniel Grindstaff & The Uptown Troubadours

Collaborative recording of the year

“Broken Angels,” The Grascals and Dolly Parton (Songwriters: Dolly Parton/Jamie Johnson, Producer: Kent Wells, Label: Billy Blue Records)

“Gentle on My Mind,” Tony Trischka and Billy Strings (Songwriter: John Hartford, Producer: Tony Trischka/Lawson White, Label: Down the Road Records)

“New Cluck Old Hen,” Steve Martin and Alison Brown (feat. Della Mae) (Songwriters: Arr. Steve Martin/Alison Brown, Producers: Alison Brown/Garry West, Label: Compass Records)

“The Devil Went Down to Deep Gap,” Bryan Sutton with Billy Strings (Songwriters: Tom Crain/Charlie Daniels/Taz DiGregorio/Fred Edwards/Charlie Hayward/James W. Marshall adapted by Bryan Sutton/Billy Strings, Producer: Bryan Sutton, Label: Mountain Home Music Company)

“Just a Holler Over,” Sister Sadie and The Po’ Ramblin’ Boys (Songwriters: Robin Macy/Deanie Richardson, Producer: Sister Sadie/C.J. Lewandowski, Label: Mountain Home Music Company)

Male vocalist of the year

Dan Tyminski

Russell Moore

Greg Blake

Del McCoury

Trey Hensley

Female vocalist of the year

Alison Krauss

Jaelee Roberts

Heather Berry Mabe

Sierra Hull

AJ Lee

Banjo player of the year

Kristin Scott Benson

Gena Britt

Ron Block

Alison Brown

Tony Trischka

Bass player of the year

Mike Bub

Vickie Vaughn

Missy Raines

Barry Bales

Alan Bartram

Fiddle player of the year

Michael Cleveland

Jason Carter

Bronwyn Keith-Hynes

Deanie Richardson

Andy Leftwich

Resophonic guitar player of the year

Justin Moses

Jerry Douglas

Rob Ickes

Andy Hall

Matt Leadbetter

Guitar player of the year

Trey Hensley

Billy Strings

Bryan Sutton

Cody Kilby

Molly Tuttle

Mandolin player of the year

Sierra Hull

Ronnie McCoury

Jesse Brock

Sam Bush

Alan Bibey

Music video of the year

“Broken Angels,” The Grascals and Dolly Parton (Videographer: Natalie Simmons, Producer: Olly Rowland)

“The Devil Went Down to Deep Gap,” Bryan Sutton with Billy Strings (Animator: Pat Bradley, SpringShoe Animation, Producer: Josh Serrato)

“Ralph’s Banjo Special,” Kristin Scott Benson, Gena Britt, & Alison Brown (Videographer: Joseph Spence, Producer: Alison Brown)

“New Cluck Old Hen,” Steve Martin, Alison Brown (feat. Della Mae) (Videographer: Drew Levin, Producer: Alison Rose Gregory/Scott Roberts)

“Let the Circle Be Broken,” Sister Sadie (Videographer: David Rossow, Producer: Joshua Britt/Neilson Hubbard)

2026 IBMA Industry Award Nominees

Writer of the year

Paul Burch

John Curtis Goad

Derek Halsey

Garret K. Woodward

Gary Reid

Songwriter of the year

Mark “Brink” Brinkman

Chris Jones

Rick Lang

Tim Stafford

Photographer of the year

Ashli Linkous

Laci Mack

Scott Simontacchi

Jay Strausser

Madison Thorn

Broadcaster of the year

Orin Friesen, Truckers Radio USA

Barb Heller, NCPR

Matt Hutchinson, Bluegrass Jam Along podcast

Michelle Lee, Michelle Lee On Air

Peter Thompson, KALW and Bluegrass Country Radio

Graphic designer of the year

Audrey Fletcher

Robert Hakalski

Grace van’t Hof

Carla Wehby

Remy Zimmerman

Sound engineer of the year

Scott Barnett

Elliot Beckley

Key Chang

Matt Coles

Cameron Reichert

Event of the year

Annapolis Baygrass Music Festival, Annapolis, Maryland

Bluegrass in La Roche at 20, La Roche-sur-Foron, France

Bluegrass Spartanburg, Spartanburg, S.C.

CBA 50th Anniversary Father’s Day Bluegrass Festival, Grass Valley, Calif.

Marysville Winter Bluegrass Series, Marysville, Ohio

Liner notes of the year

Safe Sensible & Sane – Alison Brown and Steve Martin; Liner notes by: Alison Brown and Steve Martin

Kentucky Troubadour – The Rebel Collection – Don Rigsby; Liner notes by: Daniel Mullins

Keep On Keepin’ On – Bobby Osborne, C.J. Lewandowski & Friends; Liner notes by: Daniel Mullins and C.J. Lewandowski

The Rich-R-Tone/Folk Star Story – Appalachia on Record 1946-1954; Liner notes by: Ted Olson and Matteo Ringressi

Carroll Best – The Best of the Best – Carroll Best; Liner notes by: Ted Olson

2026 IBMA Momentum Awards Nominees

Band of the year

The Creekers

ShadowGrass

Remedy Tree

The Cody Sisters

Under the Rocks

Industry involvement

Sarah Larsen

Melanie Wilson

Payton Burdette

Helen Ludé

Rebekah Speer

Instrumentalist of the year (2 awards)

Steven Moore

Lilly Anne Svrlinga

G Rockwell

Luciya Sullivan

Jean-Baptiste (JB) Cardineau

Noah Gobel

Nathan Beaumont

Vocalist of the year

Adam Miller

Lydia Hamby

Morgan Brake

Akulina Shamanov

Ellie Hakanson

Mentor of the year

Louisa Branscomb

Becky Buller

Pammy Davis Lassiter

Deanie Richardson

Jim Pankey

1990s Jamaican dancehall star Shabba Ranks has launched a court battle over his publishing rights.

Shabba (born Rexton Gordon) sued the publishing arm of reggae label Greensleeves Records on Friday (Sept. 11). The lawsuit, obtained and first reported by Billboard, aims to reclaim compositions including the Billboard Hot 100 hits “Slow and Sexy”, “Housecall”, “Mr. Loverman” and “Let’s Get It On.” Shabba’s catalog also includes the 1990 song “Dem Bow”, the namesake for reggaetón’s iconic “dembow” rhythm that is currently at the center of a long-running copyright infringement lawsuit entangling the entire genre.

Friday’s lawsuit, meanwhile, centers on copyright termination — the provision of U.S. copyright law that enables authors to claw back their intellectual property decades after signing it away. Labels and publishers have a habit of fighting back when musicians invoke this right, often leading to litigation.

Such is the case here. Shabba first notified Greensleeves in 2023 that he wanted to exercise his termination right, but the publisher said no. According to Greensleeves, Shabba’s 1989 publishing deal stipulated that his compositions were “works made for hire,” which are explicitly excluded from the copyright termination statute.

Shabba, however, is contesting the validity of that work-for-hire provision, and he wants a judge to declare that his copyright termination is effective regardless.

“The compositions are not and could not have been works made for hire under the U.S. Copyright Act, regardless of the language of the assignment,” wrote Shabba’s attorneys at Reitler Kailas & Rosenblatt. “Gordon was never at any time an employee of [Greensleeves], and musical compositions are not recognized in the U.S. Copyright Act as a type of work that can be deemed a work made for hire simply by agreement between the hiring party and a non-employee author.”

Reps for Shabba and Greensleeves did not immediately return requests for comment on the lawsuit Friday.

Copyright termination is a hot topic in music law right now. Salt-N-Pepa is battling Universal Music Group (UMG) over the provision in a case that has caught the industry’s attention. Meanwhile, all three major labels are currently trying to get the Supreme Court to reverse a controversial recent ruling that extended the termination right overseas.

Calgary has its sights set on becoming Canada’s next major music hub.

That’s the ambition Alberta Premier Danielle Smith laid out following a recent trip to Nashville, where she met with Tennessee chamber of commerce and tourism industry leaders to learn more about the growth of Music City. Smith sees Nashville as a model Calgary could follow, arguing that the foundations that helped turn the Tennessee city into a music powerhouse already exist at home.

“There are a number of changes that they made 25 years ago in order to become what they are today,” Smith said in a recent news conference. “I want to find out a little bit about what that is and see if we can develop some excellent partnerships with the music industry so that we can do a transfer of talent and transfer of expertise.”

Calgary’s music industry continues to grow yearly with major events like the Calgary Stampede and Cowboys Music Festival, which draw around 1.4 million and 165,000 fans respectively, and Smith believes that its estimated $2.3 billion value can reach Nashville’s own $28.3 billion impact by taking the right steps.

Calgary is already scaling its musical infrastructure, notably with the addition of Scotia Place, a new arena and home for the Calgary Flames, which is currently being built and set to open in fall 2027, and will also host concerts. The province is also looking to expand on existing infrastructure, with Stampede Park aiming to become a year-round entertainment destination as part of its 20-year plan, which aligns with the premier’s vision for the province.

Read more here. — Stefano Rebuli

The Beaches Score Their First Gold-Certified Single in the U.S. With ‘Blame Brett’: ‘Beyond Humbled’

The Beaches have secured their first-ever gold-certified single in the U.S.

The Toronto rock act’s song “Blame Brett” received a gold certification from the Recording Industry Association of America (RIAA). While the 2023 track officially went gold back in April this year, it wasn’t until over the weekend that the band — comprised of sisters Jordan and Kylie Miller, Leandra Earl and Eliza Enman-McDaniel — shared the news on social media.

“Thank you everyone, we’ll forever be blaming Brett,” read the caption, accompanied by a video of Earl holding up the band’s RIAA plaque.

Released on their sophomore album, 2023’s Blame My Ex, “Blame Brett” has served as a breakthrough moment for the band. The punchy breakup song became a fan favourite and evidently reached listeners beyond their home country.

Much of its success is credited to a viral moment on TikTok, which helped the group land some major radio placements in the U.S.— their first charting song in the country.

On the Rock & Alternative Airplay chart, it reached No. 27, remaining on the ranking for 20 weeks, while it peaked at No. 17 on the Alternative Airplay chart, spending 23 weeks there. On Pop Airplay, “Blame Brett” reached No. 33 with 10 weeks on the chart. Over three years later, the track is reaching another major music industry milestone.

Not to mention, its success brought The Beaches to bigger venues and higher placements on festival lineups.

Read more here. — Stefano Rebuli

Vancouver’s Reliant Music Signs Global Distribution Deal With Warner Music Group’s ADA Benelux

Vancouver-based A&R and song management company Reliant Music has embarked on a global partnership with ADA Benelux, the Western Europe distribution and artist services initiative of Warner Music Group.

Known for producing dance music tracks Reliant’s global distribution deal will focus on expanding its international presence in a region where the genre is quite popular.

ADA Benelux is WMG’s independent distribution division for the Benelux region, including Belgium, the Netherlands and Luxembourg — the major music label expanded into the Western European market in 2020.

Recently, Reliant has worked with major acts like Armin van Buuren, Timmy Trumpet, Hardwell, Nicky Romero and Fedde Le Grand, among others.

Founded in 2012, Reliant creates “fire toplines for global DJs and electronic music artists,” per their website. Headquartered on the Canadian west coast, the company has a second office in Toronto, and A&R is led by John Dexter and Adrian Lock across North America. To foster local growth, the company newly opened a creative hub at Vancouver’s Armoury Studios.

Nearly a decade after its launch, Reliant expanded to Europe in 2021, hiring Mischa Daniëls, who leads A&R in Europe. Currently, they have two Europeans offices in Amsterdam and Berlin.

Read more here. — Heather Taylor-Singh

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

After a very controversial 12-13 win in the very last second of the home opener against the Western Michigan Broncos, Michigan tries to grow in the ranks of NCAA College Football. The team’s new challenge is against a dominate Oklahoma team that completely decimated the University of Texas at El Paso with a final score of 0-51 in the Sooners’ home opening game

For week two of the season, the No. 11-ranked Oklahoma Sooners (1-0) takes on the unranked Michigan Wolverines (1-0) at Michigan Stadium in Ann Arbor, Michigan.

How to Watch Oklahoma Sooners vs. Michigan Wolverine Online, at a Glance:

When Does Oklahoma Sooners vs. Michigan Wolverine Start?

Oklahoma vs. Michigan broadcasts on Saturday (Sept. 12) with kickoff at 12 p.m. ET/9 a.m. PT. The college football game airs live on FOX.

Who Is Performing During Oklahoma Sooners vs. Michigan Wolverine?

Since it’s a college football game, the halftime show won’t feature a popular recording artist. But, it features both schools’ marching bands performing for attendees and viewers watching at home.

However, there may be a few celebrity sightings at the game. Michigan celebrity fans and alumni who attended past games, like Tom Brady, Eminem, Dave Portnoy, Michael Phelps and others.

Where to Watch Oklahoma Sooners vs. Michigan Wolverine Online for Free

For cord-cutters, there are a few ways to watch the college football game, if you don’t have cable, especially if you want to watch for free. DirecTV has a five-day free trial, while other streaming services, such as Fubo and Hulu + Live TV, also offer free trials, so you can watch for free.

For the Oklahoma-Michigan game, a subscription to DirecTV gets you access to live TV, local and cable channels, including FOX, at $59.99 for the first month of service ($89.99 per month afterward). The service even offers a five-day free trial to watch for free, if you sign up now. It comes with access to ESPN Unlimited too for even more access to college football games.

Sling TV offers the Blue plan, which comes with FOX for the Oklahoma-Michigan game. With more than 40 channels, the streaming plan goes for $54.99 per month. For games on ACC Network, Big Ten Network and SEC Network, you’d have to add Sling Sports Extra starting at an additional $11 per month. All plans come with a free cloud DVR and an extra 600 or so free channels too. Please note: Pricing and channel availability vary from market-to-market.

Fubo starts at $63.99 for the first month ($88.99 per month afterward) with more than 230 channels, including local and cable, like FOX for the Oklahoma-Michigan game, that are streamable on smart TVs, smartphones, tablets and on web browsers. And with a five-day free trial, you can watch for free, if you act fast and sign up now.

The broadcast network FOX for the Oklahoma-Michigan game is available to watch with Hulu + Live TV. Prices for the cable alternative start at $89.99 per month for more than 100 live channels, while each plan comes with Hulu, Disney+ and ESPN Unlimited at no additional cost. Hulu + Live TV might be best for those who want all of these streaming services together in one package.

With prices starting at $19.99 per month, FOX One is your one-stop app for everything FOX has to offer, including streaming access to NCAA College Football games on FOX, FS1, FS2 and Big Ten Network. It also includes FOX News, FOX Business, FOX Nation, FOX Weather, FOX Deportes and your local FOX broadcasting affiliate.

Prime Video has a three-day free trial available for Amazon Prime members, so you watch FOX One as an add-on to Amazon’s streaming service. Learn more about Prime Video and FOX One here.

Not a member? Sign up for a 30-day free trial to take advantage of all that Amazon Prime has to offer, including access to Prime Video, Prime Gaming and Amazon Photos; fast free shipping in less than two days with Prime Delivery; in-store discounts at Whole Foods Market; access to exclusive shopping events and deals — such as Black Friday in November — and other perks. Learn more about Amazon Prime and its benefits here.

Starting on Saturday (Sept. 12), the Oklahoma vs. Michigan game broadcasts on FOX. One of the best ways to watch live is with DirecTV.

On Sept. 11, 2001, Darryl Worley drove the backroads in Tennessee on his way home and was impressed at the public outpouring.

Just hours after terrorists flew into the World Trade Center and the Pentagon, a substantial number of flags and other outdoor expressions of patriotism were already on display at numerous houses. America’s unification didn’t last long; fifteen months later, as he returned from performing for American soldiers in the Middle East, he drove the same streets. The flags were mostly gone, and so — he lamented — was the unification. A few weeks later, he co-wrote “Have You Forgotten?” with Wynn Varble (“Waitin’ on a Woman,” “A Little More Country Than That”), crafting one of the handful of country hits that documented the nation’s attitudes about the attack and the wars that were launched in retaliation.

As Americans observe the 25th anniversary of that September day, Worley has released a new recording of the song. It sounds, intentionally, quite similar to the original version, though it has a different feeling, because the nation itself feels different. The central question of “Have You Forgotten?” has an easy answer for anyone who saw the twin towers fall on TV or heard live newscasts about the heroism of the passengers on Flight 93, the plane that crashed in Pennsylvania.

“I don’t think anyone’s forgotten,” says Will Kaufman, author of the forthcoming book American Song and Struggle from World War II to MAGA: A Cultural History (Nov. 19, Cambridge University Press).

True. But a whole generation of emerging creatives and executive staff in the early stages of their careers in music have heard the stories — and many of the songs — but don’t actually remember. They were too young to have experienced it or hadn’t yet been born. Their world is a different place than the one their parents experienced, in part because of 9/11, and adults are left to explain how the wars in the Middle East affected the kids’ lives. It’s the renewal of a regrettable tradition that most age groups unfortunately inherit. Baby boomers, for example, similarly heard tales from their parents about how World War II had shaped the culture into which they were born.

“I think about it all the time,” Worley says. The 9/11 attacks, he notes, “must feel to [kids] like Pearl Harbor did to us.”

One major way in which 9/11 influenced the culture came with country music’s reaction. A bundle of songs reflected the attitudes about war and patriotism that followed the attack. Among them: Toby Keith’s “Courtesy of the Red, White and Blue (The Angry American)” and “American Soldier,” Aaron Tippin’s “Where the Stars and Stripes and the Eagle Fly,” Brooks & Dunn’s “Only in America,” Lonestar’s “I’m Already There,” David Ball’s “Riding with Private Malone,” Lee Greenwood’s “God Bless the U.S.A.,” The Chicks’ “Travelin’ Soldier” and Alan Jackson’s “Where Were You (When the World Stopped Turning).”

That happens with most wars. World War II inspired such country songs as Elton Britt’s “There’s a Star-Spangled Banner Waving Somewhere,” Red Foley’s “Smoke on the Water,” Gene Autry’s “At Mail Call Today,” Bob Wills’ “Stars and Stripes on Iwa Jima” and Carson Robison’s “Mussolini’s Letter to Hitler.”

The genre likewise scored a few successful singles related to the Korean War and cranked out a bundle during the Vietnam War — such as Sgt. Barry Sadler’s “The Ballad of the Green Berets” and Johnny Wright’s “Hello Vietnam” — until the public mood turned sour. At that point, Johnny Cash’s “What is Truth” gave credence to young people’s opposition, and pro-war fare mostly dried up.

The 9/11 songs have inarguably held up better than country’s previous war songs. Some of these songs can still be heard on classic country stations 25 years after the terrorist attacks. By comparison, the World War II titles weren’t in circulation much 25 years after Pearl Harbor.

“There’s a good reason for that,” Kaufman maintains. “World War II eventually ended.”

The wars in Iran and Afghanistan, he explains, dragged on, and they can be considered continuations of the early-90s War in the Gulf, which was built on leftover antagonisms from the Iranian hostage crisis of 1979 and ’80. The president has on numerous occasions connected the current faceoff to 1979, thus many of the war songs that worked in those earlier eras still have similar meanings in 2026. The songs typically convey some level of patriotism, and, Kaufman suggests, that makes them useful to the American psyche. And to forces who might want to influence that psyche.

“I think these songs are so popular,” he says, “because they’re part of the arsenal.”

That’s not necessarily why they’re created. Worley wanted “Have You Forgotten?” to unify people — to make them remember that the country’s enemies are hostile players from other shores, not the members of a rival political party.

Having seen the men and women on the front lines who risk their lives and sacrifice time with their families, he valued the sense of service that motivated them.

“Being in the war zone and spending that time with the troops was very, very motivating as far as coming home, wanting to do something that would honor them,” he says.

Worley maintains his own sense of service with “Have You Forgotten?” He was scheduled to perform it Sept. 10 during a commemorative event at the Pentagon in Washington, D.C., and again on Sept. 11 during a memorial in New York City.

Still, support for the people who do the grunt work of wars doesn’t necessarily equate to support for the war itself. Public support for a war, it could be argued, correlates with the volume of country music’s commercially successful songs about it. If any country songs have been written to back the current campaign in Iran, they haven’t caught on commercially. Polls suggest the public is not behind it. The war certainly hasn’t inspired Worley.

“The whole thing is bothersome,” he says. “It’s bothersome that it can’t be what we thought it was going to be: over and done with. I just feel like it’s taken on the similarities of other conflicts we’ve gotten into, that could drag on for who knows how long.”

Younger creatives may not be writing new material about the Strait of Hormuz, but those who were alive during 9/11, and old enough to be aware of it, have not forgotten that war. They are, in fact, acutely aware of the ways it affected their generation.

“The global war on terror was obviously ongoing for a long time,” says songwriter Andy Sheridan (“Gonna Love You,” “Indigo”), who was in eighth grade in 2001. “I had friends that joined the Army after they graduated high school. They went and served in the military, and then came back and were not the same. So it is personal. This is a dark thing that happened in our history, and obviously the ripples of war stretch out far, far, far beyond the initial event.”

Sheridan, who is a history buff, has a 12-year-old son, and is trying to make him aware of the facts around 9/11, though he is reticent to influence his son’s beliefs.

“He’ll form his own opinions about it at some point when he’s older, when he maybe understands a little bit more of the world,” Sheridan says.

Country’s war-on-terror songs might help that understanding better than some of the genre’s predecessors because of the way that they were written. Focused mostly on loss of life, loss of innocence and family separation, the 9/11-era songs are typically less jingoistic than those from previous eras’ wars. Instead of grabbing their narratives from headlines, even the pro-military titles — including “Courtesy of the Red, White and Blue” and “Have You Forgotten?” — were crafted around first-hand experiences with soldiers.

The songwriters, one might suggest, learned from the earlier battles. Some politicians, unfortunately, have not. The ICE incarcerations and anti-Muslim rhetoric of 2026 are the same sort of atrocities, Kaufman notes, as World War II’s “yellow peril,” in which Asian-Americans were rounded up and incarcerated. Polls show Americans generally agree that that was wrong.

“I don’t think these things can be can be disconnected,” Kaufman says.

“Have You Forgotten?” reminds the nation indirectly that its military should be deployed wisely, risking soldiers’ lives only when the sacrifice makes sense. But a new live version of Jackson’s “Where Were You (When the World Stopped Turning),” re-released in conjunction with the 25th anniversary, addresses all of war’s suffering by referencing a Biblical passage: “Faith, hope and love are some good things He gave us/And the greatest is love.”

That, too, is worth remembering in every generation.

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After earning nine 2026 CMA Awards nominations, including for entertainer of the year, single of the year, album of the year and others, Ella Langley is one of the hottest voices in country music. Right now, the singer/songwriter is on The Dandelion Tour, which heads across the United States with dates in Charleston, Knoxville, Tulsa, Los Angeles and other cities. It ends at Grand Casino Arena in Saint Paul, MN on Saturday, Oct. 31.

Meanwhile, the tour is in support of her latest album, Dandelion, which was released in April. Additionally, there’s a rotating lineup of recording artists who are set to support, including ERNEST, Gabriella Rose, Kameron Marlowe and Laci Kaye Booth.

Tickets to the tour first went on sale through Live Nation and Ticketmaster, while the retailer’s Face Value Exchange program is an option for fans to resell tickets.

However, many of the dates have either sold out, or are very close to selling out, so one of the best ways to find last-minute Ella Langley tickets online is through third-party sites, such as StubHub, Vivid Seats, SeatGeek, TicketNetwork, Gametime, Event Tickets Center and others. All online retailers guarantee authentic tickets in time for your concert. Prices may be above or below face value at times.

Where to Find Ella Langley The Dandelion Tour 2026 Tickets Online

StubHub has all-in pricing, so all fees are listed upfront. The site’s “FanProtect Guarantee” ensures that tickets are valid and delivered in time for the concert. If not, you’ll get your money back. Additionally, if the concert is canceled and not rescheduled, you’ll receive 120% credit, or be offered a full refund without the extra credit. At the time of publishing, Ella Langley tickets start at $98.

Vivid Seats lets you search by type of seat, such as suite, standing room, front of section or the VIP section, while the retailer prioritizes “Super Sellers” who are “experienced, highly-rated sellers.” With Vivid Seats, your purchase is protected with the company’s “100% Buyer Guarantee,” which ensures that you receive legitimate tickets in time for your concert, or your money back.

Meanwhile, you can save an additional 10% off your first purchase when you sign up for the company’s email list. As a bonus, you can use our exclusive promo code BB30 to take $30 off your first purchase. And as of this publication date, tickets start at $95.

Tickets are delivered digitally via email, so they’re available on your phone before you go through security. And prices are surprisingly reasonable, even for the hottest tickets. For example, SeatGeek has cheap Ella Langley tickets online from $97. Use our discount code BILLBOARD10 to save an additional $10 at checkout.

Don’t forget TicketNetwork. The retailer has ticket packages, which include parking passes, VIP access, meet and greets and other great experiences. It has tickets to Ella Langley’s concerts with all-in pricing that lets you see exactly what you’ll pay up front (fees included). Tickets start at $105, as of this writing. You can use our exclusive code BILLBOARD150 to save $150 off purchases over $500, or BILLBOARD300 to save $300 off orders of $1000 and up.

And since TicketNetwork is a resale site, the company says that pricing may sometimes be below face value because tickets aren’t held to a specific price point. It guarantees that the tickets you receive are the ones you purchased, and sometimes, even better than expected.

Gametime is a stellar third-party retailer for fans looking for affordable tickets. Tickets for in-demand concerts like Ella Langley start at $100. It guarantees the lowest prices, event cancellation protection and on-time ticket delivery for a smooth ticket buying experience.

Ella Langley 2026 The Dandelion Tour Dates

UPDATE (Sept. 11): Iconic Vanguard Performances, the first of two primetime specials leading up to the 2026 MTV VMAs, is set to air on Sunday, Sept. 13 (9:30 p.m. ET/9:00 p.m. PT) on CBS, and streaming on Paramount+ (Premium). Hosted by Donnie Wahlberg, the special celebrates the artists who have received the Video Vanguard Award at the VMAs, from David Bowie, The Beatles and film director Richard Lester (the first recipients in 1984) to Mariah Carey (who received the honor in 2025).

Watch the exclusive clip above.

PREVIOUSLY (Sept. 3): CBS will air two new primetime specials to build anticipation for the 2026 MTV Video Music Awards, which the network is carrying for the second year in a row. Donnie Wahlberg will host Best of VMAs: Iconic Vanguard Performances on Sunday, Sept. 13. Former MTV VJ Vanessa Lachey will host Best of VMAs: Unforgettable Moments on Sunday, Sept. 20.

Both specials seem sure to include Madonna, who is the leading nominee for the 2026 VMAs, with 11 nods.

Best of VMAs: Iconic Vanguard Performances airs Sunday, Sept. 13 (9:30 p.m. ET/9 p.m. PT) on CBS, streaming on Paramount+ (Premium). The special celebrates trailblazers who redefined the visual landscape of music. The Video Vanguard honorees’ performances stand as some of the most iconic, career-defining moments in MTV history.

The Vanguard Award, sometimes known as the Michael Jackson Video Vanguard Award, has been presented since 1984, but it has been given more time and attention on the telecast in recent years. Since 2013, recipients have been invited to perform a medley of songs leading up to their acceptance speech. The recipients in time span, who will presumably make up the bulk of the special, are Justin Timberlake, Beyoncé, Ye (formerly Kanye West), Rihanna, Pink, Jennifer Lopez, Missy Elliott, Nicki Minaj, Shakira, Katy Perry and Mariah Carey. 

Best of VMAs: Unforgettable Moments airs Sunday, Sept. 20 (9 p.m. ET/PT) on CBS, streaming on Paramount+ (Premium). This will be a retrospective of the most unpredictable VMAs moments — from bold fashion choices and game-changing collaborations to performances that transformed rising stars to celebrated icons. The best example of that may be Madonna, whose jaw-dropping performance of “Like a Virgin” on the very first VMAs in September 1984 stole the show and set her on her path to becoming an icon.

“VMA Countdown” specials are produced by Gunpowder & Sky. Van Toffler serves as producer. Alex Castino serves as executive producer alongside Barry Barclay and Floris Bauer. Rebecca Terán serves as senior producer.

The 2026 VMAs on Sept. 27 are also produced by Gunpowder & Sky. Toffler serves as producer for the second year in a row. Jesse Ignjatovic of Den of Thieves, Barbara Bialkowski and Bruce Gillmer serve as executive producers, alongside Barry Barclay and Floris Bauer. Melanie Block serves as co-executive producer and Gary Lanvy as co-producer.

The 2026 VMAs air live coast-to-coast from the Peacock Theater at L.A. Live in Los Angeles on Sunday, Sept. 27 (7:30-9:30 p.m., ET/4:30-6:30 p.m., PT) on CBS, simulcast on MTV and streaming on Paramount+ (Premium) in the U.S. The show will also be available globally the next day on Paramount+ and MTV.