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      Meet Jelly Roll, the Rapper Turned Country Singer Rousing Nashville

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      The 38-year-old artist born Jason DeFord has been turning his struggles into music for years. Now it has a bit more twang, and a lot more attention.At the CMT Music Awards this month, the least likely nominee turned into the night’s biggest story.In a room full of country music royalty, the artist Jelly Roll — a 38-year-old face-tattooed former addict and drug dealer who got his start selling his own hip-hop mixtapes out of his car — took home the most trophies, beating superstars including Morgan Wallen, Kane Brown and Luke Combs. The crowd was on its feet as he performed his new single, “Need a Favor,” in a studded leather jacket, his gravelly voice backed by a full gospel choir.“It was an absolute dream come true, the best-case scenario, and I’ve had a worst-case scenario life up to this point,” Jelly Roll said in a telephone interview the following week, excitedly recounting his interactions backstage with Shania Twain and Slash. “I spent my entire childhood feeling like I didn’t belong — in every situation, I felt like the uncomfortable fat kid. So that was like my high school prom and the graduation I never had, on national television.”On June 2, Jelly Roll’s debut country album, “Whitsitt Chapel,” arrives, but it’s far from his first release. Since 2011, he has put out more than 20 albums, EPs and mixtapes, many of them independently released collaborations with other Southern white rappers like Lil’ Wyte and Haystak. His music has often addressed his criminal past and his journey to sobriety — what he calls “real music for real people with real problems.”Jelly Roll (born Jason DeFord) grew up in Antioch, a culturally diverse working-class suburb south of downtown Nashville. His father was a meat salesman with a side hustle as a bookie, while his mother struggled with her mental health and addiction. He was first arrested when he was 14 and spent the next decade in and out of juvenile centers and prison for charges including aggravated robbery and possession with intent to sell.Inspired by Southern rappers like Three 6 Mafia, UGK and 8ball & MJG, Jelly Roll started writing rhymes of his own, getting serious about pursuing music after learning that he had a daughter, now age 15. He began touring relentlessly and eventually racked up hundreds of millions of streams with virtually no mainstream visibility.In the last few years, though, he has leaned further into a heartfelt country-soul/Southern-rock style. “The music started evolving as the man did,” he said. “The older I’ve gotten, the more I’ve found my singing voice and my love for instrumentation.”Since 2011, Jelly Roll has put out more than 20 albums, EPs and mixtapes. His official country debut is due in June.Gabriel McCurdy for The New York TimesThough Jelly Roll had several previous singles that had been certified gold, the real acceleration came with his 2020 song “Save Me,” a bluesy ballad sung over fingerpicked acoustic guitar. Emotional and despairing (“I’m so damaged beyond repair/Life has shattered my hopes and my dreams”), it was written on a Sunday, recorded and filmed on Monday, posted to YouTube on Tuesday and immediately exploded, racking up more than 165 million views to date. He recut the song as a duet with the rising star Lainey Wilson for the new album.In the last year, his bruising, fuzzed-out song “Dead Man Walking” went to No. 1 on rock radio while the mid-tempo “Son of a Sinner” topped the country radio chart, and Jelly Roll held the No. 1 spot on Billboard’s emerging artist chart for 25 straight weeks, the longest run in that ranking’s history. In December, about a year after headlining Nashville’s historic Ryman Auditorium, he sold out all 17,000 or so seats at Bridgestone Arena there. The Bridgestone show is chronicled in a new documentary, “Jelly Roll: Save Me,” premiering on Hulu on May 30.“Some traditional country music fans might be scratching their heads at his image and style of music,” Storme Warren, a host on SiriusXM’s The Highway channel, wrote in an email, “but I think they’ll come around when they realize he’s the real deal.”“In my opinion, he’s as country as any other artist,” Warren continued. “His stories are real and relatable. He’s living proof that anything is possible.”As Jelly Roll’s profile grows, he’s not slowing down his nonstop work habits. (“Drug dealers never take a day off,” he said in 2021, “and I wanted to apply that drive to music.”) This summer, he’ll be on the road with his Backroad Baptism Tour, as well as playing some shows with the country standard-bearer Eric Church. Several Nashville A-listers, including Miranda Lambert and Hardy, wrote with him for “Whitsitt Chapel.”“I could tell right away we would be fast friends,” Lambert wrote in an email. “He is so genuine and kind. He is very strong in who he is and what he wants to say as an artist. I respect that so much.”Jelly Roll, who notes that he’s “still trying to make fans when I’m at the gas station,” has long been studying the careers of country legends and what he can learn from their relationship to their fans. “They’ve stayed true to themselves,” he said. “You know who they are, and they know who they are and who they’re singing for.”“The music started evolving as the man did,” he said. “The older I’ve gotten, the more I’ve found my singing voice and my love for instrumentation.”Gabriel McCurdy for The New York TimesHe wrote more than 80 songs for “Whitsitt Chapel” before landing on the album’s predominantly spiritual themes. “Everything was great, but it didn’t feel like it had a purpose,” he said. “I’m always diligent about the why, what’s the purpose? And if it’s just that it’s catchy or it’s easy to monetize, we don’t put that out.”Then in one night, he came up with “Dancing With the Devil” and “Hungover in a Church Pew,” which became the record’s final tracks, and knew where he wanted the project to go. “Those two songs were talking to each other, dealing with the same story,” he said. “I was thinking about the choices I made, some horrible decisions. My music is a constant cry for help and growth — it tells a story of change, and I wasn’t ready for this before now.”He admitted he went out drinking after the CMT awards show (he had announced those plans from the stage), but said he is “quite a few years removed from doing the drugs that were going to kill me,” explaining that “sobriety looks different on everybody.”His focus is on the “therapeutic” role his music can play for people with addictions and on his work for at-risk youth in Nashville. He donated all the profits from the Bridgestone show and, working with the local nonprofit Impact Youth Outreach, built a recording studio inside Davidson County Juvenile Detention Center.“That’s not even scratching the surface of my plan,” Jelly Roll said. “I’m going to build halfway houses and transitional centers — that’s my real heart.”“I just never forget being that kid,” he continued. “Those years in juvenile were so formative, and it was so devastating for me to miss that time. On my 16th birthday, I didn’t get a car; I woke up incarcerated. I didn’t get my G.E.D. until I was 23 and in jail. I just missed so much of life. So I want to be remembered as a guy that did something for the kids in this town.”After grinding for a dozen years only to finally find himself recognized as a “new artist,” Jelly Roll isn’t settling into a formula now. “Music is like human nature,” he said. “It evolves or dies. Artists should always be pushing the boundaries of what’s uncomfortable, and I plan to be doing that the rest of my career. That’s what I was thinking about when I was leaving the CMTs — now that I’ve gotten here, I deserve to stay.” More

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      Morgan Wallen Fends Off Metallica for a Seventh Week at No. 1

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      The country star has two releases in the Top 5 of Billboard’s album chart, continuing a dominating run anchored by streaming.The country star Morgan Wallen fended off a challenge from Metallica to hold the top spot on the Billboard album chart for a seventh week with “One Thing at a Time,” his latest streaming blockbuster.In its most recent week out, “One Thing at a Time” had the equivalent of 166,000 sales in the United States, according to the tracking service Luminate. That total, a composite that incorporates both streams and old-fashioned unit sales, included 202 million streams and 12,000 copies sold as a complete package. Since its release, “One Thing at a Time” has been streamed nearly two billion times in the United States.For weeks, Wallen has stayed at No. 1 by holding off challenges from new releases by the alt-pop singer Melanie Martinez, the rapper NF and the K-pop acts Jimin and Twice.Metallica posed more of a threat to Wallen than any other with “72 Seasons,” its first studio album in seven years. It opens at No. 2 with the equivalent of 146,000 sales, including 16 million streams and 134,000 copies sold as complete albums. The album’s publicity campaign included a four-night residency on ABC’s “Jimmy Kimmel Live!” and an online “Metallica Logo Generator” that let fans render their chosen text in the band’s signature lightning-bolt font.Also this week, SZA’s “SOS” is No. 3, Taylor Swift’s “Midnights” is No. 4 and Wallen’s last album, “Dangerous: The Double Album,” is in fifth place. More

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      A Spree of Country Music Divorce Albums

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      Subscribe to Popcast!Apple Podcasts | Spotify | Stitcher | Amazon MusicIn February, Kelsea Ballerini released a surprise EP, “Rolling Up the Welcome Mat,” a set of songs inspired by her recent divorce from another country singer, Morgan Evans. It was her freshest recent work, thematically and musically, and also a reminder that for the past few years, several female country singers have found freedom in divorce-inspired music.In 2021, Carly Pearce put out “29,” an EP, and later “29: Written in Stone,” a full-length project, inspired by her divorce from the singer Michael Ray. That same year, Kacey Musgraves released “Star-Crossed,” which followed her split from the singer Ruston Kelly. (Men have traveled this path as well — Kelly has just released an album of his own, and in 2016, both Blake Shelton and Miranda Lambert reacted to their divorce with new albums.)On this week’s Popcast, a conversation about how the women of country have navigated divorce as subject matter, how Nashville appears to encourage the overlap of professional obligations and personal entanglements, and the ways that personal liberation might be connected to musical liberation.Guest:Marissa R. Moss, author of “Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be”Connect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Morgan Wallen’s Billboard Chart Streak Enters Its Sixth Week

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      The country star’s latest album, “One Thing at a Time,” maintains its dominance over the Billboard chart. Can it match the 10-week run of Wallen’s “Dangerous”?Can Morgan Wallen do it again?Two years ago, he became the brightest star in country music, and one of most notable new hitmakers in the music industry overall, when his “Dangerous: The Double Album” became a streaming blockbuster and held the No. 1 spot on Billboard’s album chart for 10 weeks straight. That success came even as Wallen faced an industry rebuke — including his temporary removal from country radio playlists — after the singer was caught on tape using a racial slur.Now his latest release, the 36-track “One Thing at a Time,” has notched six weeks at the chart’s peak spot, and shows no sign of slowing down. In its most recent week, it had the equivalent of 167,000 sales in the United States, including 211 million streams and 6,000 copies of the album sold as a complete unit. For weeks, nothing has come close to challenging its position.And so far, “One Thing” is posting even better numbers than “Dangerous” did. Over its first six weeks, “Dangerous” has had just under 1 billion streams, or an average of about 33 million for each of the 30 tracks on its standard edition. “One Thing” is currently at 1.7 billion streams, or 48 million per track.How long can Wallen hold at the top? So far his biggest challenger on next week’s chart is Metallica, whose latest album, “72 Seasons,” was released on Friday.Also this week, the Michigan rapper NF opens at No. 2 with “Hope,” his fifth studio album, which had the equivalent of 123,000 sales, including 57 million streams and 80,500 copies sold as a complete package.Taylor Swift’s “Midnights” is No. 3, SZA’s “SOS” is No. 4 and Melanie Martinez’s “Portals” drops three spots to No. 5 in its second week out. More

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      Morgan Wallen Spends a Fifth Straight Week at No. 1

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      The country superstar, on his latest chart streak, holds off challenges from the sardonic pop singer Melanie Martinez and a deluxe reissue from Tyler, the Creator.For the fifth time in a row, the country superstar Morgan Wallen tops the Billboard album chart with his latest extra-long LP, “One Thing at a Time,” easily holding off challenges from new releases by the singer Melanie Martinez and the indie-rock supergroup boygenius.In its latest week, the 36-track “One Thing,” Wallen’s third studio album, had the equivalent of 173,000 sales in the United States, including 216 million streams and 8,000 copies sold as a full album, according to the tracking service Luminate.It is Wallen’s latest streak atop the chart. At the beginning of 2021, he released “Dangerous: The Double Album” — which had 30 tracks — and held the No. 1 spot for 10 weeks straight, despite a temporary ban on country radio after he had been caught on video using a racial slur.Martinez, a teenage contestant on “The Voice” a decade ago who has since explored a sardonic form of art-pop as a recording artist, lands at No. 2 with her latest release, “Portals.” It had the equivalent of 142,000 sales, including 61 million streams and 99,000 copies sold as a complete album; in its physical form, “Portals” came in 21 versions, including 14 CDs in a rainbow of collectible variations — autographed, with “puzzle” or lenticular covers, with a tank top — along with six vinyl LPs and a cassette.Tyler, the Creator, jumped 134 spots to No. 3 with the deluxe version of his 2021 album “Call Me if You Get Lost,” which had 78 million streams and 11,000 copies sold as a complete package.Boygenius, featuring three acclaimed singer-songwriters — Julien Baker, Phoebe Bridgers and Lucy Dacus — opens at No. 4 with its first full album, “The Record,” after an EP released five years ago. “The Record” had the equivalent of 67,000 sales, including 18 million streams and 53,000 copies sold of the full album.SZA’s “SOS” holds at No. 5 in its 17th week out. More

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      Record Shopping in New Jersey: A Playlist From a Fresh Haul

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      Thumbing through the crates at the Princeton Record Exchange, and rediscovering albums by Stevie Wonder, Linda Ronstadt, Broadcast and Merle Haggard.Lindsay ZoladzDear listeners,I love the unpredictability of walking into a record store with a regularly replenished New Arrivals section. You never know what you’ll find: maybe that obscure rarity you’ve spent years hunting down, maybe a familiar classic discounted too low to resist, maybe a chance purchase that sends you down a rabbit hole of related artists. To honor this spirit of musical serendipity, here’s the first of a recurring Amplifier segment, My Record Haul, featuring playlists from my recent finds at brick-and-mortar record shops.I’m going to begin close to home, with a visit to one of my favorite record stores in the world (maybe one of my favorite places in the world, full stop) the Princeton Record Exchange: a vast 4,300-square-foot music lover’s paradise tucked down a side street near Princeton University’s campus. I try to swing by the PREX (as it’s known to regulars) as often as possible; inventory there turns over so quickly (by some estimates, they move 40,000 items a month), the New Arrivals shelves are always fresh.Some of my recent finds talk to each other in unexpected ways. Listen along here on Spotify as you read, and hear 12 new songs out this week in the Playlist.1. Linda Ronstadt: “You’re No Good”“Working at a store like this,” one of the managers told me at the register, “you really get a sense of who was selling massive quantities of records back in the day.” He was talking about Billy Joel (“so much Billy Joel”), but also Linda Ronstadt, whose 1976 collection “Greatest Hits” went seven-times platinum — which means there are now enough used copies floating around to make it a cheap investment. ($2.99, in this case.) I know that Ronstadt is currently enjoying an uptick in popularity with a younger generation thanks to her 1970 ballad “Long, Long Time” being featured on an episode of “The Last of Us,” but — being woefully behind on pretty much all TV shows — what inspired me to dig deeper into her catalog was the fantastic, heartbreaking 2019 documentary “Linda Ronstadt: The Sound of My Voice.” (Listen on YouTube)2. Stevie Wonder: “Superstition”My colleague Jon Pareles’s fantastic 50th-anniversary commemoration of Stevie Wonder’s 1972 album “Talking Book” made me realize it’s probably the classic Stevie release I’m least familiar with. How serendipitous, then, to find a mint-condition used copy in one of the first stacks of new releases I flipped through! I am, of course, not suggesting that you will be discovering “Superstition” through this playlist. I am merely suggesting that it has been far too long since you’ve really listened to “Superstition,” even if you listened to it five minutes ago. (Listen on YouTube)3. Broadcast: “Goodbye Girls”Last October, on a vacation in Nashville, I found myself fiddling around with a small vintage keyboard in the hands-on “novelties lounge” at the wonderfully curated Third Man Records store. Its sound was warm, staticky and viscerally reminiscent of a particular album I couldn’t place until the walk back to my hotel, when it hit me — it was the British electronic group Broadcast’s singular “Tender Buttons” from 2005, which for some reason I hadn’t listened to in ages. I’ve been correcting that error in the months since, and though I mostly buy used records, I couldn’t resist dropping $22 on a new pressing of this baby. If only that synthesizer had been priced as reasonably … (Listen on YouTube)4. Merle Haggard: “Where No One Stands Alone”I’ve been going through a Merle Haggard phase for the past few months, since reading the recently released second edition of David Cantwell’s excellent book on the Hag, “The Running Kind.” While I didn’t find the exact Haggard record on my wish list (his eclectic 1979 midlife crisis record “Serving 190 Proof”), I did find an LP that ranks high on Cantwell’s listening guide: “Songs for the Mama That Tried,” a 1981 collection of gospel standards dedicated to the long-suffering mama name-checked in one of Haggard’s most famous songs. I find his bare-bones arrangement of Mosie Lister’s gospel standard “Where No One Stands Alone” quite moving. (Listen on YouTube)5. Stevie Wonder: “Big Brother”This song has such a gorgeous lead vocal melody, the intricate layering of musical elements that makes “Talking Book” such a symphony of self, and lyrics that (“I live in the ghetto, you just come to visit me ’round election time”) are as unfortunately relevant as ever five decades later. (Listen on YouTube)6. Merle Haggard & the Strangers: “The Fightin’ Side of Me (Live at the Philadelphia Civic Center)”The Country section at PREX certainly doesn’t get pride of place — I actually had to sit on the floor to flip through it — but that also means you can find some gems for pretty cheap. In addition to “Songs for the Mama,” I picked up the rollicking 1970 live album “The Fightin’ Side of Me (Live at the Philadelphia Civic Center),” which of course has a fiery rendition of the title track, a Haggard live staple. I like how, in the sequencing of this playlist, Wonder and Haggard seem to be talking back to one another … (Listen on YouTube)7. Broadcast: “America’s Boy”… and how Trish Keenan, on this icy indictment of American military might, seems to be talking right back to Haggard. (Listen on YouTube)8. Linda Ronstadt: “When Will I Be Loved”A recent argument I had with a friend: Is Kelly Clarkson her generation’s Linda Ronstadt? (As in, “an expert interpreter of familiar material, and an effortlessly fluent liaison between the worlds of rock, pop and country,” as I put it in a piece last year about Clarkson the cover artist.) Discuss! (Listen on YouTube)9. Bonnie Owens with Merle Haggard & the Strangers: “Philadelphia Lawyer (Live at the Philadelphia Civic Center)”I’ll leave you with this charming cameo from Haggard’s wife at the time, the country singer Bonnie Owens, topically tackling Woody Guthrie’s “Philadelphia Lawyer.” I love how she admits to flubbing the lyrics — “Oh I forgot to say what the Philadelphia lawyer said to Bill’s Hollywood maid!” — and launches back into the song without missing a beat. (Listen on YouTube)Very superstitious,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“Record Shopping at Princeton Record Exchange: Hear My Haul” track listTrack 1: Linda Ronstadt, “You’re No Good”Track 2: Stevie Wonder, “Superstition”Track 3: Broadcast, “Goodbye Girls”Track 4: Merle Haggard, “Where No One Stands Alone”Track 5: Stevie Wonder, “Big Brother”Track 6: Merle Haggard & the Strangers, “The Fightin’ Side of Me (Live at the Philadelphia Civic Center”Track 7: Broadcast, “America’s Boy”Track 8: Linda Ronstadt, “When Will I Be Loved”Track 9: Bonnie Owens with Merle Haggard & the Strangers, “Philadelphia Lawyer (Live at the Philadelphia Civic Center)”Bonus tracks“The store has withstood the coming of CDs. Now it must face the internet.” Here’s a Times report from 2000 about the Princeton Record Exchange at a crossroads. (Spoiler: Almost 23 years later, they’re still in business.)Also, here’s my favorite passage from David Cantwell’s aforementioned Merle Haggard biography, discussing Haggard’s 1994 induction into the Country Music Hall of Fame: “Merle’s acceptance speech was perfectly in character. Rather than thanking a Young Country music industry that applauded him tonight but wouldn’t play his records come morning, he made a point of recognizing first ‘my plumber out in Palo Cedro … for doing a wonderful job on my toilet.’” (It’s true! You can watch the video here.) More

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      Ruston Kelly Survived Addiction and Heartbreak. It’s in His ‘Dirt Emo.’

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      The singer-songwriter has been making his way in Nashville and reckoning with his past. On his third album, “The Weakness,” he leans into his love of Americana and pop-punk, and rebuilds.PORTLAND, Tenn. — When the singer-songwriter Ruston Kelly’s marriage to Kacey Musgraves ended, he sought solace in old houses.First, at the invitation of his friend John Carter Cash — Johnny and June’s son — he retreated to the bungalow in the mountains of Virginia that had belonged to Maybelle Carter, the family’s matriarch. “I just wept on Mother Maybelle’s kitchen floor for three days,” Kelly said.Then he bought and set about restoring a 120-year-old home, first owned by the mayor of this Tennessee farming community 40 miles north of Nashville, where he knew no one.“This house saved me,” Kelly said on a recent gray afternoon, as he sat in a guitar-lined songwriting studio that would normally be the living room. It’s where he wrote most of “The Weakness,” his third and most assured and expansive studio album.It wasn’t intentional, but it was “poetic,” he added, “rebuilding a house, and also restructuring my identity as a person and artist at the same time.”“The Weakness,” out Friday, charts the fragile stability that Kelly, 34, has carved for himself, after an unusual path to music that included training to be a competitive figure skater and a decade of drug addiction. He briefly relapsed midway into his three-year marriage to Musgraves, the pop country star. (He was already sober when they divorced in 2020.) The album’s dozen songs, propelled by his Americana and pop-punk tastes, thread the tension between downbeat and shimmery; he calls his style “dirt emo.” Its title track features reverb-heavy vocals and a slow build to guitar peels, finding power in fallibility.“I wanted this record to sound like you’re in this field,” he said, “when the air blows hot. It might be twilight. And it’s about to really storm.”He shot the video for “Mending Song” at his home, wearing paint-splattered overalls among his power tools. It’s an achingly personal and finespun track plucked out on baritone ukulele. “I will forgive what I’ve done out of despair,” he sings. “I’m trying to find the happiness and healing, in the things that still need some repair.”The multi-instrumentalist Nate Mercereau (Lizzo, Leon Bridges, the Weeknd), who helped produce the album, said Kelly’s journal-entry style of songwriting often led to catharsis. “You’re putting these details of your life into something that is going to create what your next life is going to be — the future, after the record,” he said. That’s true for any artist, “but Ruston really puts it on display.”Kelly and Mercereau recorded in Mercereau’s Los Angeles studio, lit by 40 electronic candles, just the two of them on nearly every note. Kelly abandoned both his usual collaborators and some of the instrumentation, like the pedal steel guitar (played by his father) that had featured on his previous work, and turned up influences like the National, Sufjan Stevens, and Justin Vernon of Bon Iver. “I had to take a couple risks on this record,” he said.“The Weakness,” Kelly’s third album, charts the fragile stability he’s carved for himself, after an unusual path to music that included training to be a competitive figure skater and a decade of drug addiction.Avery Norman for The New York TimesThough some of the songs deal directly with his marriage unraveling, and some have oblique references that fans may read into, it is not a divorce record, according to Mark Williams from Rounder Records, who worked on it — the first time Kelly engaged with an A&R rep. “We talked about it more as a transformative record, one of transition,” Williams said.In Kelly’s wood-paneled home studio, surrounded by talismanic images of crows, angels, a taxidermy bird and stacks of composition notebooks, his ambition, and self-help plan, was on full display. White boards listed his daily goals: vocal exercises; workouts with cardio; 10,000 steps; follow a meal plan; four bottles of water; whiten teeth; free write three pages a day. “I want to give myself the best opportunity to win,” he said, unguarded and resting a leg on his tattered wooden desk.Williams, who is now the president of Rounder, said that the songwriter “was very different than I’d thought he’d be,” given that his first two albums focus, often intimately, on his addiction and sobriety. “He was very personable and funny, and had a sort of sense of joy and optimism about him that I didn’t get from the music. And I was really fascinated by that,” Williams said. He encouraged Kelly to put that into his sound “so the art could reflect on the life, and vice versa.” (One stoner track, “Michael Keaton,” hinges on a joke about the 1996 comedy “Multiplicity.”)Kelly was born in South Carolina, the youngest of three siblings, but grew up all over; his father, Tim, was a high-flying executive at a paper company. Their household was always musical: Tim played the steel guitar expertly — not country-twangy but “highly emotional, washy, heavy reverb,” Kelly said — and harmonized with Kelly’s mother, Sherre. “They would sing Jackson Browne songs and Linda Ronstadt; Bonnie Raitt; older folk songs. It was wonderful.” By junior high, Kelly was plotting his own albums.When Kelly was 8 or 9, he also started figure skating, following his sister, Abigail, to a rink. Soon he was competing and winning awards, and as a young teen, he went alone to live with married coaches in Michigan, his eye on the Olympics. But they didn’t take care of him, he said, and the coaching program ended in a sex scandal with another young skater. As Kelly’s life there was imploding, he hid out in his room, and wrote a song.“It was the first time that I was using creative expression as a tool to feel better — to make sense of a situation,” he said. “I felt like I unlocked something, like I had this safe space in this house. I was invincible. Music became like a tangible weapon.”It helped him through what he described as the lifelong emotional fissure that led to an addiction in his 20s to amphetamines and cocaine. “There was a crack somewhere that just never quite could close,” he said.Three months after an overdose, following a performance at the storied Nashville songwriter venue Bluebird Cafe, he met Musgraves.“I fell so in love,” he said, “in such a cleareyed way. And that was sustenance for me.”Their union seemed like a honeyed country music matchup: They duetted on a June and Johnny Cash tribute, and Musgraves wrote the floaty love song “Butterflies” for her breakthrough Grammy-winning album “Golden Hour.”Kelly went cold-turkey from pills at the beginning, and was fully sober later. For a time, the relationship filled all his needs — “which is really beautiful, but it’s not sustainable,” he said.Kelly has been carefully preparing for the release of his new album: “I want to give myself the best opportunity to win.”Avery Norman for The New York TimesMusgraves released her own divorce album, “Star-Crossed,” in 2021, which included sentiments that she said she hadn’t shared with him. (He didn’t fare so well in some accountings.) Apart from a track or two, Kelly said he hadn’t listened to it. “I don’t know her intention,” he said. “I know her heart, and it’s a wonderful one.”In 2021, he produced the debut album by his father, now 66, who won a major songwriting competition as a young man but had abandoned music for a more stable career. The younger Kelly called in friends like the hit songwriter Hillary Lindsey, one of his dad’s favorites, to guest on it. In the studio the day Lindsey was recording, there was more elation etched on his father’s face than he’d ever seen, Kelly recalled. “I can win every Grammy in the world, and it won’t compare to the sense of accomplishment that I felt for him.” Both his father and his sister, Abigail, who sings with Dashboard Confessional, perform with him on tour.Kelly credits his family and support network — including his girlfriend, Tori Barnes, a model — with reorienting him toward joy and experimentation.At Mercereau’s suggestion, the track “Better Now,” a circumspect meditation on hope late in the album, ends with audio of Kelly walking around Maybelle Carter’s mountain bungalow. He first visited pre-divorce, when John Carter Cash told him, “There’s a lot of secrets in that house, and I really think you should go and find them.” He opened drawers and rifled through books, discovering Johnny Cash’s handwritten notes to his family and to country luminaries like Kris Kristofferson. It was a lineage — and an industry — that Kelly hadn’t felt quite ready to step up to before.His foundation is as firm as it’s ever been: “I feel very ready now.” More

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      Morgan Wallen Makes It Four Weeks at No. 1 With ‘One Thing at a Time’

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      The country superstar’s latest album easily held off new releases by Lana Del Rey and Jimin of the K-pop group BTS.Another week, another No. 1 for Morgan Wallen, the mullet-maned country superstar whose latest album, “One Thing at a Time,” notches a fourth time at the top despite competition from new releases by Lana Del Rey and Jimin of the K-pop giants BTS.In its latest week out, “One Thing at a Time” had the equivalent of 197,000 sales in the United States, including 236 million streams and 17,000 copies sold as a complete package, according to the tracking service Luminate. Since its release a month ago, the 36-song album has been streamed about 1.3 billion times in the United States.New releases take up the next three spots on the chart, though none was popular enough to present much of a challenge to Wallen.“Face,” a six-track, 20-minute release by Jimin, opens at No. 2 with the equivalent of 164,000 sales, including 124,000 copies sold as a complete unit — it came out in a variety of collectible CD packages, which included one bonus song — and just shy of 20 million streams. Jimin is the third of BTS’s seven members — after RM and J-Hope — to put out a solo album since BTS announced a pause in full-group activities last year.Jimin’s song “Like Crazy” tops the latest Hot 100 singles chart, replacing Miley Cyrus’s “Flowers.” Its success was largely driven by sales, with five versions of Jimin’s single selling 254,000 copies as downloads and CD singles. (Billboard determines chart positions on the Hot 100 by looking at streams, sales and radio airplay.)Del Rey’s “Did You Know That There’s a Tunnel Under Ocean Blvd” starts at No. 3 on the album chart with the equivalent of 115,000 units, including 36 million streams and 58,500 copies sold as vinyl LPs. Another young country hitmaker, Luke Combs, opens at No. 4 with “Gettin’ Old,” which had the equivalent of 101,000 sales, including 85 million streams.SZA’s “SOS” falls two spots to No. 5 in its 16th week out, and “So Much (for) Stardust,” the eighth studio album by the rock band Fall Out Boy, opens at No. 6. More