Miranda Lambert & Little Big Town perform together during 2018’s The Bandwagon Tour
Reid LongMiranda Lambert and Little Big Town are teaming up this spring to revive The Bandwagon Tour, four years after their successful 2018 co-headlining run by the same name.
This year’s 15-city outing, produced by Live Nation, will also feature The Cadillac Three as direct support for all shows. The tour launches May 6 in Houston, and will include stops in Dallas, Cincinnati, St. Louis and more, before wrapping June 11 at Camden, New Jersey’s BB&T Pavilion. Just prior to the launch of The Bandwagon Tour, Lambert and The Cadillac Three will perform a pair of amphitheater shows in Tuscaloosa, Alabama on April 27 and Franklin, Tenn. on April 28.
Lambert is nominated for a Grammy heading into this year’s ceremony, for her collaborative album The Marfa Tapes with Jon Randall and Jack Ingram. Her latest single, “If I Was a Cowboy,” is out at country radio. Meanwhile, Little Big Town’s Karen Fairchild, Jimi Westbrook, Kimberly Schlapman and Phillip Sweet are working on their 10th studio album, set to release later this year. The project will follow their 2020 album Nightfall, which was nominated for best country album at the Grammys. In addition to previously touring together, Lambert and Little Big Town collaborated on the 2015 single “Smokin’ and Drinkin” from Lambert album’s Platinum.
The Cadillac Three, known for their blend of country and southern rock on songs including “The South” and “White Lightning,” most recently released a pair of studio albums in 2020: Country Fuzz and Tabasco and Sweet Tea.
Tickets for the tour’s opening night in Houston will go on sale Jan. 21 at 10 a.m. local time. Tickets for all other tour dates will go on sale Jan. 14 at 10 a.m. local time.
See the list of show dates below.
April 27: Tuscaloosa Amphitheater | Tuscaloosa, Ala. (Lambert and The Cadillac Three only)
April 28: FirstBank Amphitheater | Franklin, Tenn. (Lambert and The Cadillac Three only)
April 29: William Green Football Stadium | Johnson City, Tenn.
May 6: Cynthia Woods Mitchell Pavilion presented by Huntsman | Houston, Texas
May 7: Dos Equis Pavilion | Dallas, Texas
May 8: Walmart AMP | Rogers, Ark.
May 12: Credit One Stadium | Charleston, S.C.
May 13: MIDFLORIDA Credit Union Amphitheatre | Tampa, Fla.
May 14: iTHINK Financial Amphitheatre | West Palm Beach, Fla.
May 20: Hollywood Casino Amphitheatre | St. Louis, Mo.
May 21: Ruoff Music Center | Noblesville, Ind.
May 22: Riverbend Music Center | Cincinnati, Ohio
June 2: Budweiser Stage | Toronto, Ont.
June 3: DTE Energy Music Theatre | Detroit, Mich.
June 4: Blossom Music Center | Cuyahoga Falls, Ohio
June 9: Northwell Health at Jones Beach Theater | Wantagh, N.Y.
June 10: PNC Bank Arts Center | Holmdel, N.J.
June 11: BB&T Pavilion | Camden, N.J.
NEWS
There is no question that Clipse’s Let God Sort Em Out made a serious impact and continues to hold weight. The project showed that hip hop is not limited by age and proved that a long-awaited return can still land in a major way regardless of the time away.
If you need a reminder, the Virginia duo’s fourth studio album debuted comfortably within the top five of the Hot 200. It secured the number four position and moved an impressive 118,000 units in its first week.
On top of that, it picked up a win at this year’s Grammys, earning Best Rap Performance for “Chains & Whips.” The album also received four additional nominations, including Best Music Video, Rap Album, and Album of the Year.
It is hard to believe the project will officially hit its one year mark this summer on July 11. Even so, Pusha T is making it clear that both supporters and critics should not be overlooking it anytime soon.
While performing at Coachella yesterday, King Push told the crowd that LGSEO still sits at the top, regardless of genre.
He said, “‘Let God Sort Em Out’ is still the album of the motherfckin year. Whole new year, still album of the year,” per Kurrco. “Album of the motherfcking year until we drop again. We don't care who dropping. It don't matter.”
That is a strong statement for obvious reasons, especially considering the recent claims surrounding Push himself.
Over the same weekend, hip hop social media lit up after several alleged reference tracks connected to Quentin Miller and Push began circulating. Three tracks surfaced in total, but one that drew the most attention was an alleged record titled “Real Gon’ Come.” It is said to come from the DAYTONA era, around 2017 to 2018.
The situation gained traction because fans remember the past tension between Drake and Pusha T before Drake’s clash with Kendrick Lamar. During that feud, Pusha accused Drake of using ghostwriters on tracks like “Infrared,” which appears on DAYTONA. On that song, he raps, “The bigger question is how the Russians did it /
It was written like Nas, but it came from Quentin.”
Reactions have been mixed. Some people argue it is not a major issue since Miller’s alleged contributions were limited to hooks. Others point out that the songs were never officially released, so they see no real problem. Meanwhile, critics view it as clear hypocrisy on Pusha T’s part, a perspective that DJ Akademiks has also supported.
