• Charles Kelley

Bio

It was December 2014, and Charles Kelley was getting antsy. His group—the multi-platinum, Grammy-winning trio Lady Antebellum—had released its sixth album, 747, in September, and they wouldn’t be going on tour until February.

“It’s winter,” he thought, “I’m bored and I want to make some music.”

He called up producer Paul Worley and said that he wanted to try out a new song called “The Driver.” Kelley felt that it might be something special, but that it might not be a fit for Lady A; “the perspective seemed like a Crosby, Stills, and Nash story song,” he says.

So they set up in the “kind of ratty” studio in the back of Worley’s offices, just to see what happened. “We went in with no agenda,” says Kelley. “Maybe it’ll be the start of the next Lady Antebellum record, maybe we’ll scrap it, maybe I’ll pitch the song to other singers.”

But after a first session, the singer had a good feeling. He brought in a couple of other songs that he had set aside over the years and started sensing some momentum. What eventually emerged was his first-ever solo album, named The Driver after that first exploratory song—a project that’s picked up some extra wind in its sails as “The Driver” earned a GRAMMY nomination in the Best Country Duo/Group Performance category.

“I knew I wanted to go in a little more raw, gritty direction,” says Kelley. “I definitely had a sound I wanted to chase, getting back to more of a Seventies, Southern rock feel.”

The initial batch of songs gave him a sense that he was going to be diving into some new territory, with a real sense of range—“Lonely Girl” and “Your Love” both had something of a Hall and Oates-style white soul feel, while Kelley’s cover of Tom Petty’s “Southern Accents” had a stark and melancholy feel.

“At first, it was really weird to go in the booth and be like, ‘Where’s Hillary? Where’s Dave?’“ Kelley says with a laugh. “But it was very exciting to be the leader in there and go, ‘This is it, I’m doing this.’ It took me out of my comfort zone, and as artists we sometimes get way too comfortable and start repeating ourselves.”

One thing that Kelley and Worley knew was that they wanted to push the actual sound of his voice back into a lower, grittier key than what listeners have been hearing from him in the group setting. “With the success of ‘Need You Now’ especially, where that song put my voice was a little sweeter than where it started,” he says. “When you’ve got three vocalists, a lot of time we’re each sacrificing our own sweet spot to find the blend. So I wanted to bring out that gravelly part of my voice, get a little bit of Gregg Allman back in there.”

Thrilled with the first studio go-round, they made plans to reconvene a few months later, after the first leg of Lady Antebellum’s Wheels Up Tour. The day before recording, though, Kelley had a sense that he was missing something; he called co-writers Abe Stoklasa and Daniel Tashian and almost instantly, they came up with “Dancing Around It,” adding a shot of sexiness into the mix.

The second session also included “Leaving Nashville,” an emotional powerhouse of a song about the ups and downs, heartaches and disappointments, of life as a songwriter. “It was something we could all relate to,” says Kelley. “Even the session guys said, ‘This is all of our story’—if you’re in the music business, one day you’re the king and the next you’re not. And after that song, I thought, ‘We’re probably on to something special here.’“

Three final songs were cut later in the year, which added to the album’s moody feel and personal focus. “Round in Circles” (with what he describes as a “cool, mesmerizing sound”) marks the first time that Charles and his brother, singer-songwriter Josh Kelley, have recorded together since Josh’s early work.

The last song recorded was a different kind of landmark for Kelley. “The Only One Who Gets Me” marks the first time he has written a song specifically for and about his wife, Cassie. “It’s a story wholly about my relationship with her,” he says. “Each line is so obviously about us—she tolerates me for who I am, which I know isn’t so easy.”

Though mostly recorded live in Worley’s simple studio, The Driver also benefits from appearances by a couple of Kelley’s superstar friends. He wanted a third voice on the title track alongside him and co-writer Eric Paslay, and thought Dierks Bentley might fit the track. “I love that really raw, weathered voice of his,” says Kelley, “and when he said he wanted to be a part of it, it felt like the stars were aligning for this project.”

“I Wish You Were Here” also benefits from the help of a guest. “Miranda Lambert came to a show and said she was proud of what I was doing,” says Kelley. “I thought it would be cool to get her on here—and she sounds like Emmylou Harris on this track, a very beautiful texture that fits so perfectly.”

Tom Petty’s “Southern Accents,” meanwhile, features the presence of true rock and roll royalty, with Stevie Nicks adding her incomparable voice. She and Lady Antebellum had performed together for an episode of CMT Crossroads, and when she heard Kelley’s version of the song, she immediately wanted to contribute. “Just to have her say that she liked my version was enough for me,” says Kelley. “You’re treading on some sacred ground with Tom Petty, and his fans are pretty die-hard, but with Stevie in there, I figure they can’t be too harsh!”

Another inspiration for Kelley was the possibility of getting back to a more stripped-down touring set-up. “Lady Antebellum has gotten so big that we’re playing arenas and amphitheaters,” he says, “and it’s amazing, but as great as those are, I miss those dirty clubs and people grabbing on your legs and being able to see every face. In arenas, it really is hard to connect to someone way up in the nosebleeds. And you’re tied down musically with all the videos and lights, so I’m really excited about being able to scrap the set list and play what we feel like playing.”

Of course, Charles Kelley knows that he faces a very obvious challenge with The Driver—stepping outside of one of the world’s most popular groups and getting people to accept him in a different context. “My biggest fear is being sure that the fans understand that the band isn’t breaking up,” he says. “We love each other and we’re having a blast. This was just a pure musical left turn, to take myself out of my own head and bring in a fresh perspective when we go back in to make the next Lady Antebellum record.

“It’s hard to break away from a group, for the fans to separate that in their minds. But the one thing I know I can do is lay my head down at night and feel like I’ve made a great project that I’m really proud of.”

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LADY ANTEBELLUM’S CHARLES KELLEY WILL HOST THIS YEAR’S ACM LIFTING LIVES GOLF CLASSIC.

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The Academy of Country Music® announced today that for the first time Charles Kelley, of multi-platinum trio Lady Antebellum and eleven-time ACM Award winner, will host the ACM Lifting Lives® Golf Classic at TPC Las Vegas on Saturday, April 1, 2017. The “scramble” style golf tournament, being held for the sixth consecutive year at TPC Las Vegas, was initially created to meet the need for a charitable event to connect fans, sponsors and donors with industry insiders and artists. Proceeds from the tournament benefit the ACM Lifting Lives’ Diane Holcomb Emergency Relief Fund, which provides immediate relief to those in need within the music industry.

Established by former Academy of Country Music and ACM Lifting Lives Board Chair Gayle Holcomb, in honor of her mother, the Diane Holcomb Emergency Relief Fund responds quickly to unforeseen, immediate financial needs of music related organizations and individuals. Since its inception in 2007, the Fund has distributed more than $500,000.

“I’ve been able to participate in the ACM Lifting Lives Golf Classic tournament for the past couple of years, so I’m looking forward to stepping back up onto green again this year,” said Kelley. “Getting together with my buddies to play a round in Vegas is always the perfect way to head into the award show, especially when it’s also for a good cause.”

Lady Antebellum will perform at the the 52nd Annual Academy of Country Music Awards, hosted by Luke Bryan and Dierks Bentley, and will be broadcast live from the T-Mobile Arena in Las Vegas April 2nd at 8pm ET/delayed PT on CBS. The trio is nominated for ACM Vocal Group of the Year.

VALENTINE’S DAY LINERS 2017

Audio / LINER Billy Currington (Valentine’s Day)

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“Hey! This is Billy Currington. Hope you have a very Happy Valentine’s Day.”

Audio / LINER Brothers Osborne (Valentine’s Day)

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“Hey, this is T.J., and I’m John, and we’re Brothers Osborne. Happy Valentine’s Day.”

Audio / LINER Canaan Smith (Valentine’s Day)

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“Hey, what’s up guys? I’m Canaan Smith, wishing you a very Happy Valentine’s Day.”

Audio / LINER Charles Kelley (Valentine’s Day)

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“Hey everybody! I’m Charles Kelley from Lady Antebellum. Happy Valentine’s Day.”

Audio / LINER Clare Dunn (Valentine’s Day)

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“Hey! This is Clare Dunn, hoping you have a very Happy Valentine’s Day.”

Audio / LINER Darius Rucker (Valentine’s Day)

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“What’s up y’all? This is Darius Rucker, hoping you have a very Happy Valentine’s Day.”

Audio / LINER Dierks Bentley (Valentine’s Day)

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“Hey, it’s Dierks Bentley, hoping you have a very Happy Valentine’s Day.”

Audio / LINER Eric Church (Valentine’s Day)

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“Hey! This is Eric Church, hoping you have a very Happy Valentine’s Day.”

Audio / LINER Eric Paslay (Valentine’s Day)

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“Hi! This is Eric Paslay, hoping you have a very Happy Valentine’s Day.”

Audio / LINER Gary Allan (Valentine’s Day)

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“Hey, this is Gary Allan, wishing you a Happy Valentine’s Day.”

Audio / LINER George Strait (Valentine’s Day)

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“This is George Strait, wishing you a Happy Valentine’s Day.”

Audio / LINER Jon Pardi (Valentine’s Day)

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“Hi! It’s Jon Pardi, and I hope you have a very Happy Valentine’s Day.”

Audio / LINER Josh Turner (Valentine’s Day)

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“Hey! This is Josh Turner, and I want to wish you and your sweetheart a Happy Valentine’s Day.”

Audio / LINER Kacey Musgraves (Valentine’s Day)

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“Hi, this is Kacey Musgraves, and I hope you have a Happy Valentine’s Day.”

Audio / LINER Keith Urban (Valentine’s Day)

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“Happy Valentine’s Day, everyone. This is Keith Urban. Make the day special for your ‘Once in a Lifetime’ love.”

Audio / LINER Kip Moore (Valentine’s Day)

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“Hey! What’s happening, everybody? This is Kip Moore. Happy Valentine’s Day.”

Audio / LINER Lady A (Valentine’s Day)

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“Hey everybody! We are Lady Antebellum, wishing you a very Happy Valentine’s Day, you love birds.”

Audio / LINER LBT (Valentine’s Day)

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“Hey! We’re Little Big Town. Happy Valentine’s Day!”

Audio / LINER Luke Bryan (Valentine’s Day)

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“Hey y’all, it’s Luke Bryan. Happy Valentine’s Day.”

Audio / LINER Sam Hunt (Valentine’s Day)

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“Hi! This is Sam Hunt, wishing you a very Happy Valentine’s Day.”

Audio / LINER Shania Twain (Valentine’s Day)

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“Hi, this is Shania Twain. Happy Valentine’s Day.”

NEWS AND NOTES: Lauren, Lady A, Toby, Dierks

Lauren Alaina will perform “Doin’ Fine” from her new album, Road Less Traveled, on Good Morning America on Tuesday (January 31st).

Charles Kelley of Lady Antebellum and Toby Keith are among the celebrities hitting the links at this year’s AT&T Pebble Beach Pro AM. The annual tournament, which takes place February 6th – 12th, will also feature Jake Owen, Clay Walker, Rascal Flatts’ Joe Don Rooney, Justin Timberlake, Mark Wahlberg, Peyton Manning, Bill Murray, Wayne Gretzky and Ray Romano, among others. The tournament started out in Rancho Sante Fe, California when Bing Crosby invited some friends to play golf, enjoy a clambake and a raise a little money for charity.

Lady Antebellum and Dierks Bentley are featured on the soundtrack for the upcoming film, The Shack, which stars Tim McGraw, Sam Worthington and Octavia Spencer. The record, which also features songs from Brett Eldredge, Kelly Clarkson, Dan + Shay and NeedtoBreathe, will be released February 24th, while the film opens in theaters nationwide March 3rd.

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Audio Toolkit

We have compiled an array of content -- a variety of liners and soundbites – from CHARLES KELLEY to equip you with everything you might need to put together your own album radio special; roll-out tracks leading up to –and following -- the release of his debut album, THE DRIVER, to use in news feeds, specials and much more. Check out all of details below (including audio liners and soundbites, as well as transcriptions) to create your own content surrounding CHARLES’ album release. Charles Kelley is set to release his debut solo album, The Driver, on Friday, February 5th. The collection features his hit, the title track “The Driver,” which is nominated for a Grammy. Stepping outside of Lady Antebellum, one of the world’s most popular groups, Charles Kelley explores new territory with a raw sound that pushes his vocals into a lower, grittier key. Born in a ratty studio in the back of producer Paul Worley’s offices, the initial batch of songs gave Kelley a sense that he was going to be diving into some new territory, with a real sense of range as “Lonely Girl” and “Your Love” have a Hall and Oates-style, while his cover of Tom Petty’s “Southern Accents” (featuring Stevie Nicks) has a stark and melancholy feel. “At first, it was really weird to go in the booth and be like, ‘Where’s Hillary? Where’s Dave?’ But it was very exciting to be the leader in there and go, ‘This is it, I’m doing this,’” Kelley shared. “It was the most fun I’ve had in the studio, because everything felt new again. It took me out of my comfort zone.” Thrilled with the first studio go-round, Kelley and Worley made plans to reconvene a few months later, where they came out with “Dancing Around It,” adding a shot of sexiness into the mix. The second session also included “Leaving Nashville,” an emotional powerhouse of a song about the ups and downs, heartaches and disappointments, of life as a songwriter. Three final songs were cut later in the year, which added to the album’s moody feel and personal focus. “Round in Circles,” marks the first time that Charles and his brother, Josh Kelley, recorded together since Josh’s early work. The Driver also benefits from an appearance by Miranda Lambert on the textured “I Wish You Were Here” and the very last song recorded, “The Only One Who Gets Me,” which is the fist time Kelley has written a song specifically for and about his wife, Cassie. “While so many of these songs are something I specifically can relate to, it really is all of our story,” added Kelley. “It is a pure musical left turn, to take myself out of my own head and bring in a fresh perspective when we go back in to make the next Lady Antebellum record.”  

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