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Carrie Underwood emerged from the promise of her 2005 American Idol win to become a true multi-format, multi-media superstar, spanning achievements in music, television, and film. A seven-time GRAMMY® Award winner, she has amassed over 100 major honors, sold 64 million records worldwide, and recorded 26 #1 singles, 13 of which she co-wrote, with a catalog of songs that have been streamed more than 2.6 billion times worldwide. The first female artist to be twice named the Academy of Country Music’s Entertainer of the Year, Underwood was recognized by Pollstar as the top female country touring artist for each of her headlining tours in 2008, 2010, 2012, and for 2016’s The Storyteller Tour – Stories in the Round.” Carrie also topped Billboard’s Top 25 Tours of 2016 as the leading female country artist and was the leading female artist on Country Aircheck’s top country radio performers list for her success in both 2015 and 2016. All five studio albums, Some Hearts, Carnival Ride, Play On, Blown Away, and Storyteller – are certified Platinum or multi-Platinum, and each an American Music Awards winner as Favorite Country Album – and tallied an incredible 40 weeks at #1 on Billboard’s Top Country Albums chart.  The RIAA’s highest certified country album artist to debut this century, Underwood also holds the distinction of the highest album certification of any country artist to emerge since 2000 with the 8x Multi-Platinum success of her 2005 debut, Some Hearts.  She is the all-time Top Country Artist (male or female) on RIAA’s Digital Single Ranking, also placing her among the Top 5 females in the history of RIAA’s Digital Single Program across all genres.  In December of 2014, she released her Platinum-certified Greatest Hits: Decade #1, which produced two new #1 hits co-written by Underwood, including the RIAA-Platinum, GRAMMY-winning “Something in the Water.” The Grand Ole Opry member demonstrated her creative diversity in 2013 starring as Maria von Trapp in NBC’s three-hour holiday blockbuster, the Emmy®-winning The Sound of Music Live!, whose airings attracted 44 million viewers. The reigning CMA Female Vocalist of the Year, Underwood claimed her fourth win in the category amid the ongoing success of her chart-topping platinum fifth studio album, Storyteller, which produced four #1 hits. In 2017 Underwood will return for the fifth season as the voice of primetime television’s #1 program, Sunday Night Football, and this November, she will co-host the CMA Awards for a tenth consecutive year.

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BROTHERS OSBORNE’S ‘SHOOT ME STRAIGHT’ WAS RECORDED LIVE IN FRONT OF A BUNCH OF FRIENDS.

Brothers Osborne recorded much of their new album, Port Saint Joe, in a beach house in Florida, and one of the songs they tracked — “Shoot Me Straight” — was recorded live in front of a bunch of friends who came down to hang out.

“We had just been on the road for months. We had taken a bus from a gig to Port Saint Joe and unloaded our gear off of it, so we were kind of in the mindset of playing like a band and that’s what [producer Jay Joyce] wanted to capture,” says John Osborne. “And ‘Shoot Me Straight’ literally is just us jamming in a room. We had tracked that song a few different times over the two-week course of staying there, and one of the last nights we were there we had some friends all come down from Nashville and we just set up in the room. It was late at night. We had all been drinking and partying a little bit, and he wanted us to get in front of like our friends and jam, and that was the take. He wouldn’t let us fix anything. I’m glad that he didn’t because music these days it’s so perfect. I mean you can go back and fix everything all you want until the cows come home, but this record is a snapshot of just what happened. The four minutes in time — this is what happened and that’s it. And some of our favorite music listening to is that. It’s just a live moment that was captured in time and you can’t really recreate that.”

The reigning ACM and CMA Duo of the Year will perform Saturday (April 28th) at the Stagecoach Festival in Indio, California, before heading overseas to tour the UK.

Audio / Brothers Osborne’s John Osborne talks about recording “Shoot Me Straight.”

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Brothers Osborne (recording “Shoot Me Straight”) OC: …recreate that. 1:17
JOHN: “Most of the record was recorded live. If you listen to the record intently, you will hear mistakes and the solo on ‘Shoot Me Straight,’ there are notes that I’m going for and I miss and Jay was adamant about leaving them because we captured a live moment. We had just been on the road for months. We had taken a bus from a gig to Port Saint Joe and unloaded our gear off of it so we were kind of in the mindset of playing like a band and that’s what he wanted to capture. And ‘Shoot Me Straight’ literally is just us jamming in a room. We had tracked that song a few different times over the two-week course of staying there, and one of the last nights we were there we had some friends all come down from Nashville and we just set up in the room. It was late at night. We had all been drinking and partying a little bit, and he wanted us to get in front of like our friends and jam and that was the take. He wouldn’t let us fix anything. I’m glad that he didn’t because music these days it’s so perfect. I mean you can go back and fix everything all you want until the cows come home, but this record is a snapshot of just what happened. The four minutes in time this is what happened and that’s it. And some of our favorite music listening to is that. It’s just a live moment that was captured in time and you can’t really recreate that.”

KACEY MUSGRAVES FELT ‘BUTTERFLIES’ WHEN MEETING HER NOW-HUSBAND.

Kacey Musgraves wrote her song “Butterflies” about a week after meeting her now-husband, singer-songwriter Ruston Kelly. Rarely will you find a sweet love song on one of Kacey’s albums, but “Butterflies” is a glimpse into Kacey’s heart and mind with what she was going through and feeling following their fateful meeting.

“It’s actually the first song I wrote after meeting my now-husband,” says Kacey. “Everything from the lyrics down to the production really represents this floaty, dreamy feeling that I got as soon as he came into my life. I wrote this song with Natalie Hemby and Shane McAnally back in 2016 in the Spring when I had gotten off the road and tried to get back to my creative roots of just writing again just to write and explore new ideas. I had just met Ruston, so my world had been completely flipped upside down, so this is a great sonic representation of that.”

“Butterflies” is from Kacey’s new record, Golden Hour, which also features the songs “Space Cowboy,” “High Horse” and many others.

Kacey plays the Stagecoach Festival in Indio, California this weekend and has a few more dates on Little Big Town’s The Breakers Tour before heading out on the road with Harry Styles.

Audio / Kacey Musgraves talks about the inspiration behind her song, “Butterflies.”

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Kacey Musgraves (Butterflies) OC: …of that. :44
“‘Butterflies’ is one of my favorite songs on the record, and it’s actually the first song I wrote after meeting my now-husband. Everything from the lyrics down to the production really represents this floaty, dreamy feeling that I got as soon as he came into my life. I wrote this song with Natalie Hemby and Shane McAnally back in 2016 in the Spring when I had gotten off the road and tried to get back to my creative roots of just writing again just to write and explore new ideas. I had just met Ruston, so my world had been completely flipped upside down, so this is a great sonic representation of that.”

Audio / LINER Kacey Musgraves (Butterflies)

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KEITH URBAN COLORS OUTSIDE THE BOX WITH HIS LATEST RECORD, GRAFFITI U.

This Friday (April 27th) marks the release of Keith Urban’s GRAFFITI U, his first new studio album in nearly two years.  The much-anticipated follow up to 2016’s record-breaking, No. 1, platinum album RIPCORD, GRAFFITI U is a natural musical progression that began with FUSE, but it also marks where Urban currently resides creatively. It’s this sense of presence during his writing and recording process that gives each of Urban’s albums an unabashed honesty and authenticity.

“There were no parameters or preconceived ideas,” says Keith.  “I began this process with a completely blank canvas. Every initial spark is organic and then expanded upon, like the art of graffiti, so the name really fit the music. I also liked the idea of “you” the listener (or the audience), because this is an inclusive experience. And because of my last name we had a little grammatical fun and shortened it to U.”

When Keith titles his albums, he usually does it with a lot of care, time and consideration. The last two — Ripcord and Fuse — had energy-driven titles, while his new record, Graffiti U has a very free, no boundaries feel to it. “As the record started to reveal itself to me, the word ‘graffiti’ kept coming to me out of the blue,” says Keith. “I’ve always loved that word, loved the sound of the word, and then I loved the fact that it’s art-driven. When I think of graffiti, I think of self-expression, personal expression, absolutely personal expression whether you’re painting something on the side of a building in a city or whether you’re painting ‘Billy Bob Loves Charlene’ on the side of an overpass [laughs], it’s all graffiti and it’s all free and pure and very personal, and I thought this record feels like that to me.”

A soaring spirit spray-painted right from the heart, Keith’s curiosity powers each moment on GRAFFITI U and the very title speaks to that personal and passionate vibrancy, vitality, and vision.

Of his continued drive to collaborate and explore his musical curiosity, Keith says, “I’ve always been creatively curious and I follow that passionately. That’s why I work with different people, and on this album predominantly new people, giving me an opportunity to discover new musical sides of myself.”

When Keith titles his albums, he usually does it with a lot of care, time and consideration. The last two — Ripcord and Fuse — had energy-driven titles, while his new record, Graffiti U has a very free, no boundaries feel to it. “As the record started to reveal itself to me, the word ‘graffiti’ kept coming to me out of the blue,” says Keith. “I’ve always loved that word, loved the sound of the word, and then I loved the fact that it’s art-driven. When I think of graffiti, I think of self-expression, personal expression, absolutely personal expression whether you’re painting something on the side of a building in a city or whether you’re painting ‘Billy Bob Loves Charlene’ on the side of an overpass [laughs], it’s all graffiti and it’s all free and pure and very personal, and I thought this record feels like that to me.”

Graffiti U, which has already seen the release of “Female” and “Coming Home,” features over thirty songwriting, producer and featured guest performance credits, including Greg Wells, Dann Huff, Mike Elizondo, Ed Sheeran, Ross Copperman, JHart, Julia Michaels, Nicolle Galyon, J.R. Rotem, Shane McAnally, Shy Carter and a signature lick for “Coming Home,” which credits Merle Haggard as one of its songwriters.

 

GRAFFITI U TRACK LIST:

Coming Home (Featuring Julia Michaels)
Written by Keith Urban, J.R. Rotem, Julia Michaels, Merle Haggard, Nicolle Galyon
Produced by J.R. Rotem & Keith Urban

Never Comin Down
Written by Keith Urban, Josh Kerr, James Abrahart, Shy Carter
Produced by Josh Kerr & Keith Urban

Same Heart
Written by Keith Urban, Jason Evigan, Emily Weisband, Jordan Minton
Produced by Jason Evigan & Keith Urban

My Wave (Featuring Shy Carter)
Written by Keith Urban, Greg Wells, Shy Carter
Produced by Greg Wells & Keith Urban

Parallel Line
Written by Ed Sheeran, Benjamin Levin, Johnny McDaid, Julia Michaels, Amy Wadge
Contains elements of “Everglow” courtesy of Chris Martin, Will Champion, Jonny Buckland, Guy Berryman, Tor Hermansen and Mikkel Eriksen used by permission.
Produced by Benny Blanco, Ed Sheeran, Johnny McDaid & Keith Urban

Drop Top (Featuring Kassi Ashton)
Written by Keith Urban, Jimmy Robbins, Mozella, Josh Osborne
Produced by Jesse Shatkin, Jimmy Robbins & Keith Urban

Way Too Long
Written by Oscar Holter, Julia Michaels, Nate Ruess
Produced by Oscar Holter for Wolf Cousins Productions

Horses (Featuring Lindsay Ell)
Written by Matt Rad, Mozella, Jamie Scott
Produced by Matt Rad & Keith Urban

Gemini
Written by Keith Urban, Julia Michaels, Justin Tranter, Ian Kirkpatrick
Produced by Ian Kirkpatrick & Keith Urban

 Texas Time
Written by Max Townsley, Drew Erickson, Steve Lindsey, Dillon O’Brian
Produced by Mike Elizondo & Keith Urban

Love The Way It Hurts (So Good)
Written by Keith Urban, Ben Berger, Ryan Rabin, Ryan McMahon
Produced by Captain Cuts & Keith Urban

Female
Written by Nicolle Galyon, Ross Copperman, Shane McAnally
Produced by Ross Copperman, Dann Huff & Keith Urban

Steal My Thunder
Written by Keith Urban, Jason Evigan, Emily Weisband, Jordan Minton
Produced by Jason Evigan & Keith Urban

For more official Keith Urban news and information go to www.keithurban.net.

Audio / Keith Urban explains why he felt the need to name his new album, Graffiti U.

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Keith Urban (Graffiti U name) OC: …that to me. :53
“The previous two albums I did – Fuse and Ripcord – denoted a kind of energy, and so those titles were chosen for that. And I had some energy-driven titles in mind for this album too, but as the record started to reveal itself to me, the word ‘graffiti’ kept coming to me out of the blue. I’ve always loved that word, loved the sound of the word, and then I loved the fact that it’s art-driven. When I think of graffiti, I think of self-expression, personal expression, absolutely personal expression whether you’re painting something on the side of a building in a city or whether you’re painting ‘Billy Bob Loves Charlene’ on the side of an overpass [laughs], it’s all graffiti and it’s all free and pure and very personal, and I thought this record feels like that to me.”

Audio / Keith Urban explains why he added the letter ‘U’ to the title of his new album, Graffiti U, available April 27th.

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Keith Urban (Graffiti U name) 2 OC: …personalize it. :34
“So, Graffiti came, and I didn’t like the word on its own. It felt like it needed one more thing, and I thought, ‘Well, it’s for the audience. It’s for the listener. That’s what I do this for.’ It’s what every artist does it for, because…I said the other day, ‘If an album played in the forest, would anyone ever hear it?’ [laughs] So, the audience is key. The listener is the other half of it. And I thought ‘You! It’s You are the audience.’ So, Graffiti You felt really good, and when I wrote it down, I thought, ‘Well, it shouldn’t be Y-O-U. It should be just the letter U to really personalize it.’”

Audio / LINER Keith Urban (available April 27th)

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Audio / LINER Keith Urban (available this week)

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