In the mid-1700s, Christoph Willibald Gluck overthrew the musical excesses around him. A marathon double bill in France shows the vibrancy of his vision.A young woman is offered as a sacrifice to save her people before being rescued by divine intervention. Then a war is fought. Years pass, and, now living some 2,000 miles away, the same woman receives an agonizing order to perform a sacrifice herself, another bloody gift to the gods.That is a summary of two operas, both by Christoph Willibald Gluck: “Iphigénie en Aulide” and “Iphigénie en Tauride.” They were written five years apart and were never intended to be performed together. Each is a full-length score of about two hours, and while they share a protagonist, the vocal range for the character isn’t quite the same in both.But their plots — which tell the story of Greek myth’s Iphigenia, first in Aulis as a would-be victim, then in Tauris as a would-be murderer — flow together with uncanny ease. And on Wednesday, the Aix-en-Provence Festival in France opened a production that pairs the works in a marathon double bill, directed by Dmitri Tcherniakov as a brooding reflection on the numbness of endless conflict.Tcherniakov sets the two operas in a stage-filling, prisonlike skeleton of a house, with “Aulide” as the last gasp of a frivolous prewar elite. His “Tauride” depicts the somber aftermath of years of brutal battles, and the physical and emotional toll — the paranoia, the twisted fantasies — on those who remain.Today, Gluck suffers a little from a reputation for formality, even stodginess. But with the period instrument ensemble Le Concert d’Astrée conducted gracefully yet energetically by Emmanuelle Haïm, the Aix double bill was a reminder of the vibrancy of his vision, a majestic yet vigorous directness.This rare juxtaposition offers an immersion in Gluck’s revolutionary innovations — what became known as his reform of opera, paving the way for Wagner and modernity. By the middle of the 18th century, bloated extravagance was the mainstream of Italian opera, dominated by singers burbling mindless coloratura in an endless parade of arias that barely held together as narrative.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

For music fans, songwriters’ nights at often unassuming venues provide an inexpensive and illuminating glimpse into Music City’s most celebrated business.On a recent Sunday night in a Holiday Inn lounge on the fringe of Vanderbilt University in Nashville, Paul Jefferson, a local songwriter with spiky hair and skinny jeans, took the stage to sing a couple of his better-known tunes, popularized in recordings by Keith Urban and Aaron Tippin. Between “You’re Not My God” and “That’s as Close as I’ll Get to Loving You,” he talked about crafting a song, finding inspiration and the hustle it takes to make it, including playing a gig at the airport on the same day he would appear on the country’s longest running radio show.“That’s the Nashville story, from baggage claim to the Grand Ole Opry,” he joked.For many songwriters, the road to discovery starts in a Nashville club like this one, hosting free or inexpensive writers’ nights where authors play their originals. In the past, these showcases were a way to secure publishing and recording deals, and though social media channels and televised talent shows have diminished their power as an audition channel, they remain vital forums for many of the artists who provide the words and the melodies to country music and pop stars, or who aim to become stars themselves.“I’m old school,” Mr. Jefferson said, “but this is a great way to hone your skills.”For music fans, songwriters’ nights provide a glimpse into Music City’s most celebrated business, as songwriters share stories about how they managed to get a track to the likes of Tim McGraw, and an opportunity to hear a hit — present or perhaps future — stripped of studio frills and distilled to its essence.Because clubs still reserve prime weekend time for bigger acts, most songwriters’ nights take place early in the week (one exception is the club 3rd and Lindsley, which has a Saturday afternoon showcase). Arriving for a four-day-stay on a Sunday, I checked into a studio with a Murphy bed at the stylish new BentoLiving Chestnut Hill ($125) in the Wedgewood Houston neighborhood, a few miles south of downtown, to attend three shows.Though Nashville is booming — adding a new resident each hour for the past decade, according to its mayor, John Cooper, despite the pandemic — it’s not hard to tap into its frugal side when it comes to music (with the exception of the Country Music Hall of Fame and Museum, where admission starts at nearly $28). Most of the shows were free or cheap ($5 to $10 admission), and budget-friendly dining abounds, from the hearty, cafeteria-style Arnold’s Country Kitchen ($13 for a meat and three side dishes) to the burger joint Joyland from the chef Sean Brock (burgers from about $6).John Sparkman performs during a songwriters’ night at the Commodore Grille in Nashville, Tenn.William DeShazer for The New York TimesFrom novices to prosOn Sundays, Mondays, Wednesdays and Thursdays, the unassuming Commodore Grille in the Holiday Inn, my first stop, hosts Debi Champion’s Songwriters Nights, a starter showcase for budding players, a proving ground for working writers and a warm home for successful veterans.Starting at 6 p.m., the free shows introduce newer talents — sets of three share the stage, each taking turns playing their allotted three songs — and progress to more seasoned songwriters.“The hit writer gives aspiring writers a chance to meet and talk to somebody who’s done real good. It’s motivating and encouraging,” said Ms. Champion, who, over the past 30 years, has hosted showcases in Nashville featuring the likes of Jason Aldean and Chris Young on their way up. Ms. Champion is a low-key, familial host, introducing the musicians in her gravelly drawl from a stool at the soundboard in the back of the darkened room, occasionally providing backup vocals or an accomplished whistling solo over the mic.“We call her the champion of songwriters,” said Karree J. Phillips, a songwriter who runs a farm and raises Australian cattle dogs in Carthage, Tenn., and drives about 50 miles into the city to play the showcase a few times a month.Over more than three hours, roughly 20 writers covered a broad range of styles, including a rousing call-and-response number from Ms. Phillips. In an early round, Alexandra Rose sang movingly about dementia. Among more seasoned writers, Ryan Larkins, who recently co-wrote a song recorded by “Whispering Bill” Anderson and Dolly Parton, strummed out the bluesy “Love Like a Lincoln,” equating the slow roll of a classic Town Car to big-hearted love. Even the novelty tunes — the writer and performer Jerry K. Green sang, “If you think my tractor’s sexy, you oughtta see my plow” — drew hoots from the audience.Sipping a $6 draft beer, I sat between a couple visiting from California and Jerry Foster, a Nashville Songwriters Hall of Fame member, who showed up in Nashville in May of 1967 and had a cut — or recording — with Charlie Pride by that summer. With his partner, Bill Rice, he went on to write thousands of songs. At the showcase, which he calls home, the gregarious showman, 87, played a few, including “Song and Dance Man,” cut by Johnny Paycheck in 1973, and “The Easy Part’s Over,” recorded by Charlie Pride in 1968 and subsequently by a jazz world legend. “Not many hillbillies got a Louis Armstrong cut, but we did,” he winked.Mike Henderson performs at the Bluebird Cafe in Nashville.William DeShazer for The New York Times“A 10-year town”The profession of songwriting is celebrated near downtown on Music Row, where former residential bungalows, amid more recently built office buildings, are deceptively filled with record companies and publishing houses. Here, yard signs often salute the writers of hit songs.“We throw parties for them when they hit No. 1,” said Leslie Roberts, an assistant vice president in the creative division with BMI, a performing rights organization that collects and distributes royalties to its members over coffee at the stylish new Virgin Hotels Nashville on Music Row.“They call Nashville a 10-year town,” she said, referring to the decade usually required before a writer hones their craft and gets established. “You have to have that dedication to just persevere, because it’s not easy.”Nashville’s reverence for music is reflected in its biggest attractions, including downtown’s Country Music Hall of Fame and Museum, my next stop, where the original handwritten lyrics to Kris Kristofferson’s “Me and Bobby McGee” and “I Still Can’t Believe You’re Gone,” by Willie Nelson, were among the artifacts on display.By midday, a few blocks away on Nashville’s famous honky-tonk strip of Lower Broadway, music spilled out of every bar. From one club’s open window, a woman sang to passers-by, belting out a cover of the Zac Brown Band’s “Chicken Fried.” The whooping passengers of pedal trolleys and party buses loudly rolled past.After four mostly club-concentrated blocks, Broadway ends at a greenway beside the Cumberland River where Jack Springhill, a street musician, strummed the Doobie Brother’s “Black Water” on an acoustic guitar for tips. He considers himself “the wasabi palate-cleanser” to the Broadway gauntlet, or what he called “the new Vegas,” and played his own humorous original, “Batman Loves You,” which hails the superhero who “loves to listen when you speak, it’s his favorite technique.”Kaylin Roberson, third from left, performs during Song Suffragettes, a one-hour weekly, all-female showcase, at the Listening Room in Nashville.William DeShazer for The New York TimesChanging the subjectCompared to raucous Broadway, the Listening Room Cafe, a club lodged in a former International Harvester showroom in the SoBro neighborhood just a few blocks away, is a sanctuary for songs meant to be heard, rather than shouted over. Rows of tables, filled with an all-ages audience nibbling on barbecued pork, run up to the theatrically lit stage.“People looking for the real Nashville, if we’re lucky, they find out about this, or any writers’ room,” said Todd Cassetty, the founder of the club’s Monday night showcase, Song Suffragettes, featuring an all-female lineup of singer-songwriters.Song Suffragettes was born in 2014, inspired by the dearth of women in the genre; only about 14 percent of songs played on country radio annually were written by women, according to research from the SongData Project, which explores music culture.In its eight-year run, Song Suffragettes has vetted more than 2,000 applicants, inviting about 350 women to perform. Of those, roughly 75 have landed recording or publishing deals. Breakout stars include the singer Gayle, whose pop anthem “ABCDEFU” topped charts around the world in 2021.That night, Kaylin Roberson led the quintet of 20-somethings on the homey stage with a shag rug, canvas backdrop and five mismatched chairs. Each round started with the full-throated Paige Rose, whose “Whiskey Drinker” sounded ready for radio. Julie Williams brought social realism to her songs about being mixed race, including the hummable “Mixed Feelings.” Sam Hatmaker’s takes on female empowerment were raw and urgent. Sasha McVeigh, the only first-timer, thanked the audience for being here for her “bucket-list moment.”Artists warm up before performing in the Song Suffragettes showcase at the Listening Room.William DeShazer for The New York TimesA sixth performer, Mia Morris, 18, is the only regular at the showcase, adding beats to each song from atop the cajon, a box-shaped percussion instrument.After the show, Ms. Roberson, the sunny M.C. dressed in orange bell bottoms and a black camisole, talked about the convention-challenging content of the Suffragettes’ songs compared with popular country music.“Country music radio is really far behind,” said the irrepressible singer-songwriter who that night would appear in a pre-taped episode of “American Idol,” airing her successful audition for the show.The apex showcaseThe concept of a writers’ night didn’t start at the Bluebird Cafe, the legendary club in a modest strip mall five miles from downtown where Garth Brooks was discovered and Taylor Swift was recruited to a new recording start-up. But it became synonymous with them, popularized in movies (including Peter Bogdanovich’s 1993 film “The Thing Called Love”) and television (the series “Nashville”).Songwriters continue to return to the Bluebird, which turned 40 in June, “to be recognized for the creativity and talent that they are, to be really celebrated as the people who are the bedrock of the music and as a proving ground for the song,” said Erika Wollam Nichols, the general manager of the Bluebird. “If you’re sitting in this room, up against a bunch of people’s grills, you know whether your song’s working or not.”Aspiring songwriters audition to make the Bluebird’s selective Sunday night showcase (free admission, $10 food and beverage minimum). Other hopefuls try for a spot in the Monday night open mic (free), which has become so popular the club went to online registration.Established writers headline shows the rest of the week (usually $10 to $15 admission). A recent show featured the Warren Brothers, Brett and Brad, who have been writing together for more than 25 years, producing a string of hits, including nine No. 1s.“Every single time we get a chance to play at the Bluebird, we always say yes,” Brett told the audience. “It’s just a magical place.”To the packed room of about 80 clustered at tables just a foot below the stage, the pair played a solid hour of radio hits, from the haunting “The Highway Don’t Care” to the sensual “Felt Good on My Lips,” both recorded by Tim McGraw. A woman from Florida sitting beside me liked their version of “Little Bit of Everything” over Keith Urban’s.By the time they got to “Red Solo Cup,” a 2011 ode to drinking recorded by Toby Keith that still reverberates at college keggers, the audience was singing along, “Red solo cup, I fill you up, let’s have a party … proceed to party.”“I know what you’re thinking,” Brett interjected as they played the bouncy tune. “If that’s what you gotta write to be a hit country songwriter, I’m moving to Nashville.”Elaine Glusac writes the Frugal Traveler column. Follow her on Instagram @eglusac.Follow New York Times Travel on Instagram, Twitter and Facebook. And sign up for our weekly Travel Dispatch newsletter to receive expert tips on traveling smarter and inspiration for your next vacation. Dreaming up a future getaway or just armchair traveling? Check out our 52 Places list for 2022. More

Extend the holiday with tracks from Sinead O’Connor, the Pogues, Kneecap and more.Sinead O’ConnorPaul Bergen/Redferns, via Getty ImagesDear listeners,This year St. Patrick’s Day was on a Monday, a particularly cursed fate for a holiday associated with merriment. I propose extending the celebration all throughout the week — a feat of endurance that will require the proper soundtrack. Today, I offer you just that.This playlist contains tracks from 11 very different artists from Ireland.* It features some interpretations of traditional Irish tunes from legends like the Pogues (I’ll get to their origins in a moment) and the Clancy Brothers & Tommy Makem; a few superstars who put Irish rock on the global map in the 1980s and ’90s (U2 and the Cranberries); and some younger upstarts refreshing Irish sounds for a new generation (the imaginative post-punk group Fontaines D.C. and the raucous rap trio Kneecap, whose 2024 biopic I highly recommend).Whether you’re playing this while sipping a pint of Guinness or trying to conjure that pub atmosphere within the secrecy of your headphones, I hope this playlist keeps you in the St. Patrick’s Day spirit all week (and maybe even all year) long.Lots of fun at Finnegan’s wake,Lindsay*Before you email me about their exclusion, a friendly reminder that the Dropkick Murphys are from Massachusetts. As for Hozier, well … something tells me that there are at least a few other playlists out there where you can hear his music.Listen along while you read.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Hear tracks by Tyla, Kassa Overall, Syd, Jay Som and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Justin Bieber, ‘Daisies’Justin Bieber has surprise-released a 21-song album, “Swag,” full of lo-fi experiments and unexpected collaborators. The singer has always been a savvy talent scout, and he concocted “Daisies” with the quick-fingered guitarist Mk.gee and the producer Dijon. “Daisies” is a bare-bones track: a lone electric guitar, drums and Bieber’s vocals, mostly using a vintage doo-wop chord progression (I-VI-IV-V) and juxtaposing vulnerability and strength. Bieber sounds needy but sure of his legitimacy: “Whatever it is,” he sings, “You know I can take it.”Syd, ‘Die for This’Syd (formerly Syd tha Kid from the band the Internet) ardently embraces the pleasures of the moment in “Die for This.” A drum machine and plush vocal harmonies buoy her through sentiments like “We can have forever tonight” and “It feels like heaven with you tonight.” She’s absolutely all in; has she convinced her partner?Tyla, ‘Is It’“Am I coming on a little strong?” Tyla teases in “Is It,” a dance-floor flirtation that’s both a come-on and an assertion of power. “Is it the idea that I like, or do I really wanna make you mine?” Tyla asks herself, then advances further. The beat is spartan — often just percussion and a few distorted bass notes — but a chorus of male voices joins her as she takes charge.Flo and Kaytranada, ‘The Mood’The British R&B trio Flo juggles a tricky situation in “The Mood”: saying no for one night, promising future sensual kicks and soothing a partner’s perhaps fragile ego. With a purring bass line and a subdued four-on-the-floor beat provided by Kaytranada’s production, they apologize, “It’s just that I ain’t in the mood tonight.” But they hasten to add, “I swear you’re the only one who does it right.” They also slyly pay homage to their R&B role models by slipping some old song titles into the lyrics.Danny L Harle featuring PinkPantheress, ‘Starlight’The hyperpop producer Danny L Harle has kept busy as a collaborator, but “Starlight” is his first song since 2021 to claim top billing, and it’s just swarming with ideas. With her piping voice run through all sorts of gizmos, PinkPantheress sings about misplaced longings: “I’ve met someone like you / They don’t love me back.” Around her, Harle’s production accelerates from wistful electronic lament to manic, pounding electro-pop, strewing countermelodies all over the place.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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Less than a week before the 56th Academy of Country Music takes place in Nashville, the ‘Best Shot’ crooner and the ‘I Hope’ singer are unraveled to be its early winners.

Apr 14, 2021

AceShowbiz –
Jimmie Allen and Gabby Barrett can add new trophy to their award collections. The two rising country music hitmakers have been announced as the early winners for the 56th Academy of Country Music (ACM) Awards.

Less than a week before the event will be held in Nashville, Tennessee, the “Best Shot” crooner and the “I Hope” singer were hailed as the recipient of the Best New Artist of the Year titles. The two musicians are also set to perform at the gala which will take place on Sunday, April 18.

Keith Urban, who will share hosting duties with Mickey Guyton, has recorded a personalized video card for both Barrett and Allen to inform them about their big win. Jimmie was at a studio when he was handed the tablet and watched Keith’s video, while Gabby instantly screamed and laughed when watching hers.

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“Oh my gosh. Yay! I’m so happy. Oh my gosh. Thank you so much. I love everybody. I don’t really know what to say. This is unbelievable. Thank you so much,” the 21-year-old exclaimed. “This is such an honor. Ever since I came into the country music community, everybody’s been absolutely wonderful to me. So thank you so much. It’s more than I deserve… this made the whole year for me.”

The “American Idol” alum also shared her feat via Instagram. In her post, she wrote, “ARE YOU KIDDING!!!!! I got this news right as I arrived in Nashville w/ my hubby and sweet Baylah! God is so good and I am so thankful and blessed to be part of this country music community.”

“THANK YOU! Ahhh! ACM New Female Artist of the Year! Thank you, thank you, thank you, @ACMawards. Tune in April 18 to see me perform 🙂 #ACMawards,” the “The First Noel” singer continued expressing her gratitude in the same caption.

The 56th Academy of Country Music Awards will be broadcast live from three of the city’s most famous venues: the Grand Ole Opry House, the Ryman Auditorium and The Bluebird Cafe.

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