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Theo Von welcomes Brooks & Dunn and announces upcoming tour dates: Sioux Falls, SD; Lacrosse and Green Bay, WI; Moline, IL; Colorado Springs, CO; Casper, WY; Billings, MT; Missoula, MT; Bloomington, IN; Columbus, OH; Champaign, IL; Grand Rapids, MI; Lafayette, LA; Beaumont, TX. Tickets at theo.com. He notes their stature in country music, with hits like Neon Moon and Brand New Man, and mentions their new album Reboot to Comes Out, out November 15th, featuring Morgan Wallen, Jelly Roll, and Lainey Wilson. The duo share how they teamed up: at the invitation of Tim DuBois, who said, “Just go see if you can write a song together.” They wrote Brand New Man the first week, This Song's Next Broken Heart the next day; Ronnie had Neon Moon and Boot Scootin’ Boogie, Brooks had Lost and Found. They joke about riding a bus for 30 years trying to figure out how to get off again, and about the early hunger that kept them going. They discuss the pressure and wonder of becoming a duo. They explain that Tim saw an open slot after the Judds broke up, leading to their pairing. They reminisce about the club days, touring, and the intense co-writing culture in Nashville, where songs now often have nine writers in a room. Fame’s toll emerges in anecdotes: autograph lines, the Morgan Walk, and the occasional chaos of ticket sales and online buzz. They recall touring with Faith Hill early, the infamous eel joke, and the hospital run with Johnny Cash and June Carter. Johnny’s quiet intensity and his later generosity—handing Ronnie a black Manuel suit from 1972 for their cover—stand out in memory. They discuss rivalries and camaraderie in country music, noting Dolly Parton’s There’s room for everybody line and the reality that competition exists. They emphasize they’ve never publicly debated each other on stage, though disagreements happen, and they value the long run, 20+ years, and the chance to still create together. On new work, they say the reboot project was driven by their manager and will pair Brooks & Dunn with contemporary voices while honoring the catalog. In their off time, Dunn pursues photography and Brooks runs a vineyard; they’ve both pursued other arts and film projects. They close by inviting Theo to a show and thanking him for a long, favorite interview.

Patrick Bet-David hosts a lively podcast with guests discussing various topics, including current events and notable figures. They start with a humorous note about David's guitar performance and then dive into news stories. One major highlight is Dubai's artificial rain-making due to extreme heat. They also touch on Jack Dorsey's claim that Bitcoin could bring world peace, record-breaking NBA Finals viewership, and advancements in self-driving cars in New York City. The conversation shifts to Jeff Bezos, who recently announced that Blue Origin has sold nearly $100 million in space tourism tickets. Bezos faced backlash for thanking Amazon employees and customers for his wealth, prompting discussions about public perceptions of billionaires. The group debates why Bezos receives criticism despite his philanthropic efforts and contributions to society, with opinions varying on whether his wealth is justified or exploitative. They also discuss the recent drop in U.S. life expectancy, largely attributed to COVID-19, drug overdoses, and rising homicides. The panel reflects on how life expectancy has changed over the decades and the implications of these statistics. Rand Paul and Anthony Fauci's heated exchange in Congress is analyzed, with opinions on who won the debate. The group expresses frustration with the political climate and the perceived lack of accountability for public figures. They also discuss the upcoming California gubernatorial recall election, highlighting Larry Elder's candidacy and the potential for a Republican victory in a traditionally Democratic state. As the podcast progresses, they explore the relationship between money and happiness, referencing studies that suggest happiness levels off at around $75,000 to $80,000 in income. The discussion emphasizes the importance of relationships over wealth in achieving true happiness. David, a guest, performs a song on guitar, showcasing his talent and providing a lighter moment in the podcast. The episode concludes with a reminder for viewers to subscribe and engage with the content.

Sturgill Simpson and his band discuss their recent performance at The Troubadour, highlighting the venue's intimacy and the unique connection it fosters between artists and audiences. They express a preference for smaller venues over amphitheaters, noting the disconnect in larger spaces. Sturgill shares a memorable encounter with Everlast, reminiscing about their time together and the surreal experience of meeting someone he admired. The conversation shifts to the challenges of being a white rapper, with Sturgill acknowledging the few successful examples and the difficulties faced by those attempting to break into the genre. He humorously reflects on the cultural nuances of rap and the challenges of authenticity for white artists. They discuss the music industry, particularly the impact of the internet on promotion and the evolution of how artists connect with audiences. Sturgill emphasizes the importance of grassroots efforts and live performances in building a fanbase. The discussion touches on the struggles of early career musicians, comparing their experiences to those of comedians who often juggle day jobs while pursuing their passion. Sturgill reflects on the grind that many successful artists endure, emphasizing the value of life experiences in shaping their music. He shares insights about his creative process, noting that he often writes lyrics and music in tandem, allowing for organic development in the studio. Sturgill talks about his latest album, *Sound and Fury*, and the accompanying animated film, detailing the collaborative process with Japanese animators and the challenges of bringing his vision to life. He expresses excitement about the creative freedom he experienced during the project, which allowed him to explore different musical styles and ideas. The conversation also delves into the realities of touring life, discussing the physical and mental toll it can take on musicians. Sturgill shares anecdotes about the camaraderie within the band and the challenges of maintaining a work-life balance while on the road. They reflect on the importance of staying inspired and evolving as artists, emphasizing the need to keep their performances fresh and engaging. As the discussion wraps up, Sturgill highlights the significance of giving back, mentioning his support for the Special Forces Foundation and the importance of helping veterans and their families. The band expresses gratitude for their experiences and the connections they've made through music, underscoring the power of art to inspire and bring people together.

Travis Tritt recalls his path from a Georgia HVAC salesman to a touring musician, marrying right out of high school, working his way from docks to store manager, then quitting to chase music after realizing he enjoyed the night gig more and earned more. He credits his best friend’s father for introducing him to Jerry Clower, and notes a pivotal conversation with his heating-and-air boss who encouraged him to pursue music and offered a safety net. He describes the early grind: six‑day climbs, long hours, and the thrill of finally achieving success in 1989‑1990 with hits like Country Club, Help Me Hold On, I’m Gonna Be Somebody, and Put Some Drive in Your Country, the last inspired by a memory at Duane Allman’s grave. He explains Nashville’s hostility toward his rock-leaning sound and how Waylon Jennings told him the industry’s critics aren’t the audience, which liberated him to pursue his own blend of country, blues, southern rock, bluegrass, and gospel. He discusses the demanding tour life, the stage persona versus the real self, and rituals backstage to pump himself up, explaining the need to feel there’s no one who can entertain the audience better than him at that moment. He emphasizes the grounded life at home with his non-entertainment friends and how his children—inspired artists in their own rights—reflect his own musical influences while carving distinct paths: one daughter aiming for a Linda Ronstadt‑like country style, a son in southern rock, and another son in a different stream. He reflects on the aging industry, the resurgence of outlaws like Cody Jinks and Jason Isbell, and the longing for storytelling in modern country. He reveals plans for a new album, Set in Stone, produced by Dave Cobb, and explains the mix of genres on the record. He shares nostalgia for simpler times, the value of live performance, and the enduring power of music to move people.

Theo Von announces a February tour with Charlottesville, VA on February 1; Raleigh, NC February 2; Columbia, SC February 3; Knoxville, TN February 4 at the Knoxville Coliseum; State College, PA February 7; Syracuse, NY February 8; Amherst, MA February 9. Tickets at theovon.com, and he cautions fans not to buy on inflated secondary sites, promising more hometown stops on the way back. He welcomes guests Jelly Roll and Ernest, two Nashville songwriters and performers, noting Jelly Roll’s CMA Best New Artist award and Ernest as “one of the most talented songwriters” in the business. The hosts tease the dynamic of two friends who bring joy to many and celebrate Theo’s current run. The conversation moves from light banter to craft. They riff on mood and gear, joking about performance cues, then shift to creativity: inspiration can hit in or out of the writing room, and sometimes comes during spontaneous moments with friends. They recount the golf-cart session that produced Son of a Sinner, describing how Jelly Roll and Luke Brandon freestyled ideas while Ernest hopped in briefly to contribute, then how Ernest joined later to help finish the lyric. They describe living and experiences as fuel for writing, and compare songwriting to stand-up: both thrive on real-time energy, audience feedback, and being present in the moment. Ernest and Jelly Roll discuss the practicalities and philosophy of writing with friends, noting the value of authentic storytelling and the freedom that comes with a supportive circle. They illustrate different approaches to writing—jamming with a room, or crafting verses alone—and reflect on how genuine experiences translate into songs that feel earned rather than manufactured. They touch on unconventional methods in the studio, including a Whiz Khalifa session in which a verse was recorded in reverse, highlighting the willingness to experiment and push boundaries. A memorable anecdote centers on a Poison Control call: Ernest describes taking four caffeine pills, realizing the package warned against such a dose, vomiting, staying up all night, and ultimately surviving with the help of a counselor. The tale is used as a humorous cautionary tale about the dangers of pills and caffeine, punctuated by laughter and quick riffs on the absurdity of the moment. They celebrate Jelly Roll’s CMA moment and the viral backstage vibe with Parker McCollum and Zach Bryan, and discuss Laney Wilson’s rising star and the collaboration on Save Me, which Jelly Roll calls a deeply homegrown achievement. They explore Jessie Murph’s rapid ascent and the potential for cross-genre collaborations, acknowledging the evolving landscape where country, rap, and rock blend more freely. The group praises producers who shaped their sound, especially Joey Moy, who has steered acts from Nickelback to Florida Georgia Line, Hardy, Ernest, and Morgan Wallen, and Charlie Handsome, who embodies a modern acoustic-hip-hop hybrid. The conversation lauds Lane Frost’s legacy—the hat they wear evokes Cheyenne Frontier Days and a name connected to Zack Bryan’s middle name—tying cowboy lore to contemporary country’s storytelling. They reflect on Nashville’s shift toward authenticity and vulnerability, arguing that writers now demand creative control and room to tell meaningful stories, not just conventional country tropes. They discuss opportunities like performing at the Grand Ole Opry and the benefits of collaboration to broaden audiences. Jelly Roll and Ernest emphasize dedication to craft and the joy of shared success, while Theo remains humble and grateful for the network of friends who lift each other up. The discussion pivots to giving back: Jelly Roll promotes a large holiday toy drive in Nashville, partnering with Walmart, Predators, Coca-Cola, Hasbro, and the Nashville Fire Department, aiming for over 100,000 toys and broader national reach. They acknowledge that their platform can shine a light on people in need, with Jelly Roll pledging personal contributions and inviting others to help. They close with gratitude for family, faith, and presence, underscoring their commitment to staying grounded, serving others, and continuing to write, perform, and connect through music.

Theo Von opens from the Central East Nashville studio with Riley Mao, noting progress and joking about ghostly vibes, painters on drugs, and modern distractions. He introduces Riley, explains his background (Japan and Hawaii via grandparents) and gives Nashville as a hub three hours from Cincinnati, four from Columbus, two from Huntsville, while joking about faraway places like Cape Town. He talks about trying MMA at Nashville MMA, mentions Mike Chandler, and recalls fighting women and feeling both adrenaline and humility in the ghee. He compares youth flirting to now’s online stalking and reflects on the primal energy of the gym. A duck-feeding incident at Perennial Lake sparks social media backlash; he defends offering a half biscuit, says ducks seemed to want it, and recalls childhood California scenes of feeding ducks, while noting the culture across races and communities. He jokes about the online outrage but sticks with his intent to acclimate. Theo announces live shows in Dubuque and Des Moines, September 25-26, outdoor venues, with tickets via Instagram. He reflects on Labor Day, work resumption, and the world’s pace, then recounts a rough Big Lots experience with a rude cashier named Largeish, a long checkout, and a chaotic store layout. The episode then features promos: Hawthorne fragrances, DraftKings football promos, Raycon wireless earbuds, and BetterHelp therapy. Call-ins follow: flirting on Zoom for ROTC, farm-animal death education via storytelling, and a humorous Amish Olympics suggestion. A Baltimore caller shares an appreciation message; another caller expresses gratitude for connection and resilience. Theo closes by praising Riley and Nick Davis, stressing teamwork, and looking ahead to Nashville musicians and new guests, ending with a hopeful note: onward.

Today's guest has had eight number one musical hits in music. Theo Von and Kane Brown discuss the realities of fame, the bravery of posting early videos, and how online feedback shapes a career. Brown recalls growing up in rural Georgia and Tennessee, and notes the dilemma of privacy when fans want photos at every moment. He mentions hunting on his property, building a treehouse slash luxury deer blind, and adapting to a life where you must look for the positive. They talk hobbies during the pandemic, including DraftKings and betting on underdogs, with Brown recalling a Conor McGregor fight where he bet on the other fighter and celebrated when it paid off. They swap memories of boxing and UFC, white belts in jiu-jitsu humor, and childhood stories about car washes, electric fences, and carnival rides where misadventures sparked laughs. A key thread is Brown’s role with Restless Road, the trio Garrett, Zach, Colton, and how he signed them after they connected with his wife’s management. They explain harmonies and distinct voices, and how they moved beyond the idea that a band could only have one lead singer. Brown emphasizes using his platform to lift them and the importance of good hang on tour. Audience questions steer toward dream tours, favorite collaborations, and the balance of ego in big shows. The group envisions joining forces with acts like Jason Aldean and John Pardi, while considering other artists to keep a country soul balanced with contemporary vibes. They reflect on the value of live performance, noting the electricity of arenas and the joy of performing for front-row fans. A heartwarming moment arrives when Brown and Restless Road surprise a single mom, Brittany, with two thousand dollars to support her daughter Madison. They describe their hope to do more for single moms and their effort to recognize everyday kindness. They close by explaining the origin of their new single, Took One Look at Her Mama, inspired by a father’s dad wisdom: take one look at her mama.