Some songs were never meant to be quiet, even in goodbye. Glen Hansard and Lisa O’Neill gave Shane MacGowan the send-off he deserved with a stirring “Fairytale of New York”—not just sung, but lived, as friends and strangers danced down the aisles in joy and remembrance. It was Irish, it was poetic, and it was perfect.
20 of the Greatest Long Songs (That Aren’t Classical)
There’s a special kind of magic in a song that dares to take its time. Across rock, pop, hip-hop, funk, and beyond, artists have used long songs not just to jam, but to tell stories, build worlds, and test the limits of sound. Over the last 50 years, these epic tracks have made us dance, cry, zone out, or rock out—and reminded us that patience often pays off in music.
1. “Achilles Last Stand” – Led Zeppelin (10:26)
Driven by relentless drums and soaring guitar lines, this epic opener from Presence showcases Zeppelin at full gallop. It’s thunderous, mystical, and proof that the band could still conquer mountains—even without the hobbits.
2. “Supper’s Ready” – Genesis (22:52)
Peter Gabriel leads us on a surreal, theatrical prog-rock pilgrimage through love, apocalypse, and cosmic rebirth. One of the genre’s finest hours.
3. “Telegraph Road” – Dire Straits (14:18)
Mark Knopfler’s storytelling hits its peak in this sprawling journey of economic decay and personal despair. It’s part song, part short story — and all vibe.
4. “Jesus of Suburbia” – Green Day (9:08)
Punk meets prog in this 5-part suite off American Idiot. It’s teenage angst, small-town frustration, and epic ambition all rolled into one eyeliner-smudged anthem.
5. “Bustin’ Out (On Funk)” – Rick James (9:19)
Nine minutes of slapping bass, cosmic synths, and pure Rick James energy. If funk had a thesis statement, this track might be it.
6. “Marquee Moon” – Television (10:40)
Post-punk precision meets jazz-like improvisation in this angular, hypnotic jam. It’s not just long — it’s a clinic in guitar interplay.
7. “All Too Well (10 Minute Version)” – Taylor Swift (10:13)
The scarf, the maple lattes, the lyrical devastation — all wrapped in a slow burn that had fans screaming, crying, throwing up (emotionally, of course). A rare pop ballad that earns every second.
8. “Maggot Brain” – Funkadelic (10:20)
Eddie Hazel’s guitar solo is so raw and mournful, George Clinton allegedly told him to play “like your mom just died.” What followed was a psychedelic eulogy for the ages.
9. “Echoes” – Pink Floyd (23:31)
A sonic journey to the bottom of the sea and the edge of the mind. Floyd at their most expansive and exploratory.
10. “Impossible Soul” – Sufjan Stevens (25:35)
Nearly half an hour long, this five-part suite from The Age of Adz goes from existential crisis to auto-tuned dance party and back again. Wild, weird, and wonderful.
11. “Blackstar” – David Bowie (9:57)
Released just before his death, Bowie’s final act is a shape-shifting jazz-rock funeral dirge. Mysterious, beautiful, and chilling.
12. “Do You Feel Like We Do” (Live) – Peter Frampton (13:46)
The ultimate talk box flex. This live cut turned Frampton into a guitar god and proved solos didn’t need to end. Ever.
13. “Mortal Man” – Kendrick Lamar (12:07)
A closing statement that morphs into an interview with Tupac. Bold, beautiful, and brutally honest.
14. “Free Bird” – Lynyrd Skynyrd (9:08)
Yes, people yell it at every concert, but the guitar solo still shreds. Whether you’re on the open highway or just vibing in your living room, it still flies.
15. “Pyramids” – Frank Ocean (9:53)
A two-part fever dream of Cleopatra and strip clubs, love and loss, synths and soul. It’s Frank Ocean at his most ambitious and cinematic.
16.“Rosetta Stoned” – Tool (11:11)
Part alien abduction, part existential crisis, part percussive mind warp. Trust Tool to go full cosmic chaos.
17. “Cowgirl in the Sand” – Neil Young (10:06)
Guitars bleed and howl while Young unspools abstract heartbreak. A barn-burning classic.
18.“The End” – The Doors (11:41)
Dark, hypnotic, and unsettling, this psychedelic journey begins as a breakup song and spirals into something mythic and existential. Jim Morrison’s spoken-word descent into Oedipal territory is still one of the boldest moves in rock history.
19. “Movement 6 (Six Degrees)” – The Roots (10:16)
Jazz, soul, hip-hop, and spoken word collide in this late-night existential suite. Questlove and company at their most ambitious.
20. “One” – Metallica (7:27)
An anti-war metal masterpiece with one of the greatest buildups in rock history. It starts as a slow dirge and ends as a machine-gun assault of riffs and double-kicks.
Long songs are the musical equivalent of a road trip: a little more time-consuming, sure — but the views along the way? Unforgettable.
5 Things You Might Not Know About Gordon Lightfoot
You already know Gordon Lightfoot as the bard of “If You Could Read My Mind,” the weather prophet of “The Wreck of the Edmund Fitzgerald,” and the warm, steady voice behind the soundtracks to road trips, rainy days, and moments of quiet clarity. But even if you’ve worn out Gord’s Gold more times than you can count, here are 5 lesser-known facts about the man who helped define the singer-songwriter era—and in many ways, Canada itself.
1. He Made His Massey Hall Debut at Age 12
Before he ever sang about the Canadian Railroad or the waves on Lake Superior, Gordon Lightfoot stood on the storied stage of Massey Hall as a boy soprano. At just 12 years old, he won a Kiwanis Festival competition and earned a spot performing at the legendary Toronto venue—one he would return to more than 170 times over the next seven decades. Talk about foreshadowing greatness.
2. He Was Almost a Jazz Composer in L.A.
In the late 1950s, Lightfoot left his small-town roots in Orillia, Ontario, and headed to Los Angeles—not to sing folk songs, but to study jazz composition at the Westlake College of Music. He supported himself by writing jingles and demo tracks before homesickness pulled him back to Toronto. Had things gone differently, we might have known him for saxophones instead of shipwrecks. (Luckily, Canada called him home.)
3. He Wrote “Canadian Railroad Trilogy” in Just 3 Days—for a National Broadcast
Commissioned by the CBC for Canada’s Centennial celebrations in 1967, Lightfoot was asked to write a song about the building of the Canadian railway. Most artists might have taken weeks—but Gordon delivered the “Canadian Railroad Trilogy” in just three days. The result? A 6-minute epic that became a defining piece of Canadiana, taught in schools and revered across generations. Only Lightfoot could turn steel rails and national identity into poetry so quickly—and so beautifully.
4. He Was This Close to Losing “Early Morning Rain” to Elvis
One of Gordon’s most covered songs, “Early Morning Rain,” made the rounds with everyone from Peter, Paul and Mary to Ian & Sylvia, but Elvis Presley himself once considered recording it. Presley first passed, and while Elvis did later cover it, and other Lightfoot songs, “Early Morning Rain” remains most beloved in Gordon’s gentle, aching original. Sometimes, the original is the gold.
5. He Had a Bronze Statue Built While He Was Still Alive—And Helped Shape It
In 2015, the town of Orillia unveiled Golden Leaves: A Tribute to Gordon Lightfoot, a 4-metre bronze statue of Lightfoot, cross-legged, guitar in hand, surrounded by maple leaves etched with scenes from his songs. Lightfoot wasn’t just around to see it—he helped design it. He made sure the statue’s fingers matched how he played the guitar, because accuracy mattered. Of course it did. He was Gordon Lightfoot.
Gordon Lightfoot passed away on May 1, 2023. But like a great Canadian river, his music keeps flowing—steady, deep, and full of life. Whether you’re driving a lonely highway, watching the weather roll in, or just needing something true to hold onto, there’s a Lightfoot lyric for that.
5 Surprising Facts About Van Halen’s ‘Van Halen’
When Van Halen landed in 1978 it changed rock forever. It was raw. It was flashy. It was fun. It sounded like a bar fight between punk energy and arena ambition… and somehow Eddie Van Halen’s guitar won every round. From “Runnin’ with the Devil” to “Jamie’s Cryin’” to that solo, here are five lesser-known facts that prove this debut is still blowing amps – and minds – to this day.
1. “Eruption” Was Never Supposed to Be on the Album — and It’s Got a Mistake
The solo that redefined guitar playing wasn’t even meant to be a track. Eddie was rehearsing “Eruption” for a club gig when producer Ted Templeman overheard it and demanded it be recorded. And Eddie? He still thinks he messed it up. “There’s a mistake at the top end,” he once said. Meanwhile, the rest of us are still picking our jaws off the floor, 45 years later.
2. They Built a Horn Box Using Their Own Cars for “Runnin’ with the Devil”
The weird, warped horn blast that opens the record? That’s the band wiring together horns from their actual cars and powering them with car batteries. It’s not just audio — it’s garage rock in the most literal sense. Producer Templeman slowed the horns down to make them sound more menacing, and boom: an intro that sounds like the gates of hell opening with a V8 engine.
3. “Jamie’s Cryin’” Was Inspired by a Guitar Lick That Sounded Like Someone Crying
David Lee Roth turned heartbreak into a teen rock anthem, but the spark came from Eddie noodling between takes. Producer Ted Templeman and Roth heard it and said, “That’s it.” The song’s melodic riff had a weepy quality, and Roth built a story around it — classic ‘50s pop heartbreak by way of California leather and denim. Also: Roth claimed he “sang out” the solo before Eddie played it.
4. The Album Was Basically Just Their Live Set — Tracked in a Week
“We didn’t have a ton of material,” bassist Michael Anthony said. “We just took our live show and went for it.” Most of Van Halen was recorded live in the studio, with only a few overdubs — and it was all done in a couple of weeks. It cost just $54,000. The result? A high-voltage, no-frills debut that punches harder than albums five times the budget.
5. Gene Simmons Paid for the First Demos — But Never Got the Last Word
Before Van Halen blew up the Sunset Strip and the Billboard charts, Gene Simmons of Kiss saw something special. He flew the band to New York, paid for their demo sessions, and even shopped them around to labels. When nothing immediately landed, he graciously stepped back — but never spoke bitterly. Years later, he still called their debut “one of the best rock records ever made.” Sometimes, being early is just as cool as being right.
Van Halen set a new bar for guitar heroes, party anthems, and just how loud a record could be. Four decades on, it still sounds like a band on the verge of exploding — and loving every second. Turn it up. And Then turn it up again.
5 Surprising Facts About OutKast’s ‘Speakerboxxx/The Love Below’
In 2003, Speakerboxxx/The Love Below detonated the charts and blew minds. Outkast’s double album was two discs of genre-defying brilliance, and – really – two entire solo universes crashing together under one name. It changed the sound of hip-hop forever, won Album of the Year at the Grammys, and made every radio, dance floor, and high school hallway scream “Hey Ya!” in unison. Think you know this double LP inside out? Here are five lesser-known facts that will make you want to revisit both sides — fast.
1. “Hey Ya!” Was Inspired by the Ramones and Recorded in Dozens of Takes
André 3000 wasn’t trying to make a hip-hop song. He was channeling his love for punk bands like the Ramones, the Hives, and the Buzzcocks — and somehow ended up with a track that sounded like Prince at a garage party in space. He recorded 30–40 takes of nearly every line, experimenting with vocoders, overdubs, and drum machines. The result? A song that felt spontaneous — but was meticulously built, beat by beat.
2. Big Boi Played “Unhappy” for His Mom in Her Driveway
Big Boi’s Speakerboxxx wasn’t all bounce — it had heart. After crafting the hook for “Unhappy,” one of the album’s most emotionally resonant tracks, he drove to his mother’s house, parked outside, and played it for her. She loved it. It’s a beautiful image: a rap titan getting the ultimate co-sign from the original queen of his life. Family first. Beats second.
3. André 3000 Recorded in Four Studios at Once and Nearly Burned Out
While Big Boi wrapped up his half of the album early at Stankonia Studios, André 3000 was running between four different studios, layering jazz, funk, electro, falsetto, and pure chaos into The Love Below. Studio manager John Frye later admitted André was completely drained by the end. But that exhaustion birthed everything from “Roses” to “Prototype” — glittering weird-pop gems that still feel futuristic 20 years later.
4. The Album Artwork Was a Double Act — With a Hidden Political Homage
Big Boi’s Speakerboxxx cover was a tribute. The imagery mimics a famous 1967 photo of Black Panther Huey P. Newton, seated in a rattan chair. Meanwhile, André posed shirtless with a pistol for The Love Below, channeling his Cupid Valentino alter ego. CD editions featured only Big Boi on the front — vinyl editions placed both side by side, just like the music. Together but separate. A perfect metaphor.
5. They Recorded 120 Songs — and One Landed on a Kelis Album Instead
In total, Outkast recorded around 120 songs during these sessions. That’s more than some bands make in a decade. One track, “Millionaire,” didn’t make the final cut… but it did wind up on Kelis’s album Tasty. That’s the power of Outkast: even their leftovers were hits. Somewhere out there, there’s still a vault full of unreleased gems from the wildest album-making process in hip-hop history. One day, we’ll hear it all.
Speakerboxxx/The Love Below was a seismic shift. It shattered genre lines, shook up the Grammys, and made hip-hop safe for weirdos, crooners, poets, and party-starters alike. Whether you’re on Big Boi’s basslines or André’s extraterrestrial love songs, one thing’s for sure: nobody else could have pulled this off. And no one’s matched it since.
5 Surprising Facts About Björk’s ‘Post’
Björk’s Post was a sensory experience, a genre collision, and a love letter from a woman spinning through big-city chaos with wide-eyed wonder and deep emotional intelligence. Released in June 1995, it was adventurous, awkward, beautiful, brutal — just like life. Think you know Post? Here are five wild facts even the deepest Björk nerds might have missed.
1. She Recorded Vocals in the Ocean. Yes, Literally.
While working at Compass Point Studios in the Bahamas, Björk walked into the water at sunset with a digital recorder powered by a generator. She recorded vocals while the waves crashed around her. This wasn’t just vibes — this was commitment to environment-as-instrument. It doesn’t get more post-genre than singing with your feet in the sand and your head in a dream.
2. “Cover Me” Was First Recorded in a Cave.
Before it became one of the album’s most haunting moments, “Cover Me” was recorded deep inside a cave. That echo you hear? That’s not a studio trick — it’s Mother Nature’s reverb. For Björk, the song was partly a love letter and partly a joke about how dangerous she makes the recording process. You know, just another day spelunking in the name of art.
3. She Rejected a Polished Album to Add More “Real” Instruments.
After returning from the Bahamas, Björk delayed Post’s release — even though the label expected it the next day — because something didn’t feel right. She went back into studios in London, brought in live strings, brass, and percussion, and reshaped the album from the ground up. She even recruited Brazilian legend Eumir Deodato to arrange “Hyperballad” and “Isobel.” Good things take time. Iconic things take instinct.
4. The Iconic Album Cover Jacket Was Made of Envelope Paper.
The red-white-and-blue jacket Björk wears on the Post cover isn’t just stylish — it’s made of Tyvek, the same material as Royal Mail envelopes. Designed by Hussein Chalayan, it was a literal embodiment of the album’s title: Post, as in mail. The jacket now lives under glass at Hard Rock Reykjavík. Yes, her album art has been in a museum. Of course it has.
5. She Performed “Possibly Maybe” in a Video Directed by Her Ex… About Their Breakup.
Björk wrote “Possibly Maybe” about her breakup with director Stéphane Sednaoui — then asked him to direct the video. Awkward? Sure. But artistically brilliant. The video features East Asian aesthetics, blacklight sensuality, and Björk reflecting on herself and her identity through a silent Japanese doll. It’s icy, intimate, and deeply cinematic. Breakup goals, Björk style.
Post was ahead of its time, and truly from another dimension entirely. It’s the sound of someone discovering who they are by building worlds no one else could imagine. Whether she’s recording in caves, designing postal fashion, or rewriting genre boundaries in real time, Björk makes sure every detail means something. Now, go throw “Hyperballad” on your headphones and remember: it’s not weird. It’s wonder.
5 Surprising Facts About Nirvana’s ‘Unplugged In New York’
When MTV Unplugged in New York dropped in November 1994, it was a farewell, a funeral, and a fragile masterpiece. Nearly seven months after Kurt Cobain’s death, Nirvana’s haunting acoustic set gave us one last chance to hear a voice that already felt like a ghost. You’ve probably played this album more times than you’ve played an actual unplugged guitar… but here are five facts even the most devoted fans might not know:
1. Kurt Wanted the Stage to Look Like a Funeral. And It Did.
The stargazer lilies, black candles, and crystal chandelier weren’t a coincidence — they were Kurt’s vision. When producer Alex Coletti asked if he meant it to look like a funeral, Cobain said: “Exactly. Like a funeral.” No one knew how literal that would soon become. The visuals weren’t just moody; they were mournful foreshadowing.
2. Nirvana Cheated (A Little) on the “Unplugged” Concept.
While Unplugged was meant to showcase raw, acoustic performances, Cobain wasn’t about to part with his trusted amp and effects pedals. He ran his Martin acoustic through his Fender amp anyway — and MTV didn’t stop him. Coletti built a fake monitor wedge to hide the amp. That dreamy chorus effect you hear on “The Man Who Sold the World”? All thanks to good ol’ Nirvana rule-bending.
3. They Rejected MTV’s Guest Star Wishlist.
MTV wanted Nirvana to bring in big names: think Eddie Vedder, Tori Amos, maybe even Michael Stipe. Instead, Cobain insisted on the Meat Puppets — a move that made executives nervous. But Nirvana wasn’t interested in polishing the show for mass appeal. They wanted authenticity over celebrity, and it paid off.
4. The Show Was Done in One Take — No Retakes, No Do-Overs.
Most MTV Unplugged performers filmed their sets with multiple takes and edits. Nirvana? They played their entire 14-song set in a single, uninterrupted run. That’s it. What you hear on the album is exactly what happened that night. No overdubs. No studio polish. Just a band barely holding it together — and somehow playing better than ever.
5. Kurt Refused to Play an Encore Because He Knew He’d Already Said Everything.
After the gut-wrenching performance of “Where Did You Sleep Last Night,” MTV producers begged Cobain for an encore. He flat-out refused. He knew he couldn’t top it — emotionally, vocally, or spiritually. That one final, haunting scream wasn’t just the end of a song. It was the closing chapter of Nirvana’s story.
MTV Unplugged in New York isn’t just one of the greatest live albums ever made — it’s one of the most human. It captured a fragile, brilliant artist at the edge of something profound and unknowable. If you didn’t already love this album, now you’ve got five more reasons to put it on repeat.
Maddox Batson Announces ‘I Need A Truck’ Tour and Deluxe EP Release at Just 15
As a year of exponential growth continues, rising country sensation Maddox Batson announces the headlining I Need A Truck Tour – adding more than two-dozen dates to his busy fall schedule.
Tickets are available via exclusive artist presale beginning today at 1 p.m. local time, while venue and local-market presales open tomorrow (4/30) at 1 p.m. local time, followed by an exclusive Spotify presale beginning Thursday (5/1) at 1 p.m. local. Any remaining tickets will go on sale to the general public Friday (5/2) at 1 p.m. local time the same day his deluxe EP, First Dance (The After Party) drops featuring “I Need A Truck” via Warner Records.
“It’s wild to be 15 and releasing a song about the anticipation of my first truck at the same time I’m announcing a tour – my family is good about reminding me to live in the moment and really take it all in, and I promise you I am,” shares the multi-instrumentalist. “The band and I had the best time on the Road to Indio Tour and this last weekend at Stagecoach was sick – I was there just one year before as a fan in the crowd for Jelly Roll, so to play a tour that wrapped with a set there was a dream come true. As long as y’all keep showing up, so will we – we have the best fans in the world!”
Kicking off on September 7 in Richmond, Virginia, the I Need A Truck Tour will feature 29 dates across the U.S., with stops stretching from Orlando, Florida, to Milwaukee, Wisconsin, and beyond. The extensive trek will include shows in Myrtle Beach, South Carolina (at House of Blues), Kansas City, Missouri (at The Truman), Philadelphia, Pennsylvania (at Brooklyn Bowl), Boston, Massachusetts (House of Blues) and many more, before wrapping with a homecoming show on November 2 in Birmingham, Alabama (at Avondale Brewing Company).
All along the way, fans will be treated to electrifying performances from one of Country’s brightest young stars, who represents the start of a new creative generation.
“Come out and we’ll all have X’s on our hands at Avondale,” he says, in closing!
Dates and venues for Maddox Batson’s I Need A Truck Tour:
September 7 – Richmond, Virginia @ The National
September 14 – Oxford, MS @ The Lyric
September 17 – Orlando, FL @ House of Blues
September 19 – Jacksonville, FL @ Ponte Vedra Concert Hall
September 20 – LaGrange, GA @ Sweetland Amphitheater
September 21 – Myrtle Beach, SC @ House of Blues
September 23 – Columbia, SC @ The Senate
September 24 – Greenville, NC @ State Theatre
September 26 – Greensboro, NC @ Piedmont Hall
September 27 – Charlotte, NC @ The Fillmore Charlotte
September 28 – Norfolk, VA @ The NorVa
September 30 – Lexington, KY @ Manchester Music Hall
October 1 – Knoxville, TN @ The Mill & Mine
October 4 – Fayetteville, AR @ JJ’s Live
October 5 – Oklahoma City, OK @ Tower Theater
October 7 – Kansas City, MO @ The Truman
October 9 – Milwaukee, WI @ The Rave
October 10 – Des Moines, IA @ Wooly’s
October 12 – Omaha, NE @ SteelHouse
October 14 – Grand Rapids, MI @ Elevation
October 21 – Pittsburgh, PA @ Stage AE
October 22 – Philadelphia, PA @ Brooklyn Bowl
October 24 – Huntington, NY @ The Paramount
October 25 – Wallingford, CT @ The Dome at Oakdale
October 26 – Boston, MA @ House of Blues
October 28 – Sayreville, NJ @ Starland Ballroom
October 29 – Silver Spring, MD @ The Fillmore Silver Spring
November 1 – Brandon, MS @ City Hall Live
November 2 – Birmingham, AL @ Avondale Brewing Company
Dustin Lynch and Scotty McCreery Announce ‘Two For The Road’ Tour for Fall 2025
Raising a toast to some of the biggest Country smashes of the past decade, Dustin Lynch and Scotty McCreery are joining forces for their co-headlining Two For The Road Tour, announcing a dozen special shows in the fall.
Tickets for the DUSTIN LYNCH AND SCOTTY MCCREERY: TWO FOR THE ROAD TOUR are available via an exclusive fan presale (including VIP Packages) beginning on Wednesday (4/30) at 10 a.m. local time, and continuing through Thursday (5/1) at 10 p.m. local time. The tour’s public on-sale begins Friday (5/2) at 10 a.m. local time. To purchase tickets, visit Lynch and McCreery’s websites.
The TWO FOR THE ROAD TOUR kicks off November 6 in Saginaw, MI, and will feature 12 hit-heavy stops across the U.S. Stretching from Portland, ME, to Tupelo, MS, the run is scheduled to wrap December 6 in Duluth, MN, with two of Country’s most electrifying talents supported by Walker Montgomery and Sons of Habit (who will appear on select dates).
CO-HEADLINING DATES OF DUSTIN LYNCH AND SCOTTY MCCREERY: TWO FOR THE ROAD TOUR:
NOVEMBER
6 | Saginaw, MI – Dow Event Center*
7 | Bloomington, IL – Grossinger Motors Arena*
8 | Rochester, MN – Mayo Civic Center*
13 | Portland, ME – Cross Insurance Arena*
14 | Reading, PA – Santander Arena*
15 | Canton, OH – Canton Memorial Civic Center*
20 | Knoxville, TN – Knoxville Civic Coliseum+
21 | Tupelo, MS – Cadence Bank Arena+
22 | Corbin, KY – The Corbin Arena+
DECEMBER
4 | Ralston, NE – Liberty First Credit Union Arena+
5 | Fargo, ND – SCHEELS Arena+
6 | Duluth, MN – AMSOIL Arena+
* Walker Montgomery
+ Sons of Habit
Gretchen Wilson Joins CBS Music Competition THE ROAD as Tour Manager and Mentor
GRAMMY Award winner and accomplished country music artist Gretchen Wilson joins THE ROAD in the special role of “tour manager” for the music competition show that will be launching this fall on CBS.
As “tour manager,” Wilson will provide support and guidance to the emerging musicians while they make their way across America, ensuring the tour’s success while sharing her own expertise and experiences on the road as a touring artist.
Wilson also takes to the stage to deliver a performance of her own as part of the show. “Stepping into the role of ‘tour manager’ for THE ROAD has allowed me to take everything I’ve learned over all of my years of touring and pour it right back into these emerging musicians. Helping them sharpen their talents to capture the attention of these crowds across America, and guiding them through the real and raw grind of life on the road, has been a highlight of my career,” says Wilson. “Working with Keith Urban, Blake Shelton, Taylor Sheridan and the rest of the team and our incredible crew was absolutely amazing. It was an honor to be a part of this team and I can’t wait for the world to watch!”
THE ROAD is set to premiere in fall 2025 on CBS and streaming on Paramount+.