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Ashley Campbell

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Live reviews

Ashley Campbell is awesome. Her set was great as she performed songs from her new album the lonely one. The songs are great and it's clear that she is a very down to earth young lady. She has a passion for performing and is a great banjo player and guitarist. I would highly recommend seeing this wonderful girl who is continuing her dad's legacy. The legendary Glen Campbell.

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Ashley Campbell Tour Dates and Upcoming Concerts

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Past Events

Here are the most recent UK tour dates we had listed for Ashley Campbell. Were you there?

• Sat 24 Aug → Sun 25 Aug Hassocks, Mid Sussex Music Hall Mid Sussex Music & Ale Festival 2024 Ashley Campbell, Trevor Moss And Hannah-Lou, Ags Connolly

December 2023

• Tue 5 Dec London, PizzaExpress Live (Holborn) David Mindel, Ashley Campbell, Steve Hampton Steve Glen

August 2023

• Wed 30 Aug London, PizzaExpress Live (Holborn) Ashley Campbell
• Tue 18 Jul London, Half Moon Putney Ashley Campbell
• Sun 16 Jul Hull, Wrecking Ball Music and Books Ashley Campbell Trio
• Tue 11 Jul Shoreham-by-Sea, Ropetackle Arts Centre Ashley Campbell
• Fri 16 Jun London, Troubadour Campbell / Jensen Ashley Campbell, Thor Jensen
• Thu 1 Jun → Sat 3 Jun Thetford, Euston Hall Red Rooster Festival 2023 Christone 'Kingfish' Ingram, Fantastic Negrito, His Lordship, Nikki Lane, Take Me to the River All-Stars…

October 2022

• Sun 16 Oct Rothesay, Craigmore Bowling Club Ashley Campbell, Thor Jensen
• Wed 12 Oct Hull, Social Ashley Campbell Thor Jensen
• Wed 5 Oct Guildford, The Star Inn Ashley Campbell Thor Jensen
• Tue 4 Oct Hassocks, Mid Sussex Music Hall Ashley Campbell Thor Jensen
• Sun 2 Oct London, Half Moon Putney Ashley Campbell Thor Jenson
• Thu 2 Jun London, Troubadour Ashley Campbell Thor Jensen
• Wed 1 Jun London, Troubadour Ashley Campbell Thor Jensen
• Tue 17 May Glasgow, Òran Mór Vacancy Records Tour Ashley Campbell, Paul McDonald
• Sun 15 May Manchester, Night People Vacancy Records Tour Ashley Campbell, Paul McDonald
• Thu 12 May London, The Camden Assembly Vacancy Records Tour Ashley Campbell, Paul McDonald
• Sun 25 Apr Online / Streaming Events Ashley Campbell Plays Something Lovely
• Sun 28 Mar Online / Streaming Events Ashley Campbell Plays Something Lovely
• Sun 21 Mar Online / Streaming Events Ashley Campbell Plays Something Lovely
• Sun 7 Mar Online / Streaming Events Ashley Campbell Plays Something Lovely
• Thu 4 Mar Online / Streaming Events Ashley Campbell Plays Merle Haggard

January 2021

• Sun 31 Jan Online / Streaming Events Ashley Campbell Plays Something Lovely

December 2020

• Sat 5 Dec Online / Streaming Events Ashley Campbell Sings Johnny Cash

November 2020

• Sun 29 Nov Online / Streaming Events Ashley Campbell Plays Something Lovely

October 2020

• Sun 25 Oct Online / Streaming Events Ashley Campbell Plays Something Lovely

September 2020

• Sun 20 Sep Online / Streaming Events Ashley Campbell
• Sun 13 Sep Online / Streaming Events Ashley Campbell
• Sun 6 Sep Online / Streaming Events Ashley Campbell

August 2020

• Sun 30 Aug Online / Streaming Events Ashley Campbell Plays The Beatles
• Sun 12 Jul Online / Streaming Events Ashley Campbell
• Sun 31 May Online / Streaming Events Ashley Campbell
• Sat 16 May Online / Streaming Events Ashley Campbell

October 2018

• Mon 22 Oct London, O2 Shepherd's Bush Empire Kassi Ashton, Ashley Campbell, Chris DeStefano, Tenille Townes
• Sat 20 Oct Manchester, RNCM Kassi Ashton, Ashley Campbell, Chris DeStefano, Tenille Townes
• Thu 18 Oct Gateshead, The Glasshouse International Centre for Music Kassi Ashton, Ashley Campbell, Chris DeStefano, Tenille Townes
• Wed 17 Oct Liverpool, St George's Hall Kassi Ashton, Ashley Campbell, Chris DeStefano, Tenille Townes
• Tue 16 Oct Glasgow, Saint Luke's Kassi Ashton, Ashley Campbell, Chris DeStefano, Tenille Townes

September 2018

• Fri 7 Sep → Sun 9 Sep Millport, Festival Site Millport Country Music Festival Jesse Dayton, Ashley Campbell, Robert Vincent, Shane Richie & His Band, The Wandering Hearts…
• Fri 7 Sep → Sun 9 Sep Leicester, Stanford Hall The Long Road Festival The Wandering Hearts, Megan O'Neill, Twinnie, Kevin McGuire, Two Ways Home…
• Fri 22 Jun → Sun 24 Jun Tunbridge Wells, Eridge Deer Park Estate Black Deer Festival 2018 Iron & Wine, Ward Thomas, Eric Bibb, Kiefer Sutherland, John Moreland…
• Sat 17 Mar London, Orange Yard Ashley Campbell, Mo Pitney
• Fri 16 Mar Birmingham, O2 Institute Mo Pitney, Ashley Campbell, Ryan Kinder
• Wed 14 Mar Manchester, The Deaf Institute Ryan Kinder, Mo Pitney, Ashley Campbell
• Tue 13 Mar Liverpool, Arts Club Ashley Campbell, Ryan Kinder, Mo Pitney
• Sat 10 Mar London, The O2 Kacey Musgraves, Sugarland, Kip Moore, Luke Combs, Ashley Campbell

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Ashley Campbell

Artist information.

Songwriter. Singer. Banjo player. Ashley Campbell juggles all three roles, armed with the ability not only to dream up a modern country song, but to deliver it, too.

Already known for her work alongside her father, country legend Glen Campbell — who, during his final years as a touring musician, leaned heavily on his youngest daughter as a banjo player, keyboardist and harmony vocalist — Ashley is now stepping out on her own. Her music is a mix of her wide-ranging influences, combining the old-school country sound popularized by her father during the ’60s and ’70s with contemporary Americana, rootsy folk and country-pop. Glen Campbell’s longtime fans may hear something familiar in Ashley's melodies as she embraces these similarities while distinguishing herself as a talented frontwoman.

Growing up, Ashley's parents encouraged her to sing and play the piano. She did both, adding the acoustic guitar to the mix once she hit high school. A theater kid with comedic chops, she also landed roles in local musicals and improv groups, eventually heading to college as a theater major during her late teens. When a director cast Ashley in a role that required her to learn the banjo, though, she fell in love with the instrument. Inspired, and with the help of her godfather, legendary banjo player Carl Jackson, she began mastering her banjo technique, then started writing her own songs. No wonder Glen asked her to join him on his farewell tour not long after she graduated college, a tour that would eventually take his band — Ashley included — on a three-year ride around the world. The banjo sounded timeless, reminding her of the music she'd heard as a child.

Ashley kept writing new material during her days on the road. By the time her father retired from touring in 2012, she was ready to make her introduction not only as a sideman, but as a solo artist in her own right. Dot Records, an imprint of the Big Machine Label Group, was ready, too, signing Ashley to a roster that also includes Maddie & Tae, Steven Tyler and Drake White. Teaming up with Kenny Chesney's longtime producer, Buddy Cannon, she began recording songs for her still-untitled debut album. All of the tracks — including "Remembering," a poignant tribute to her Dad that doubled as the first single of her career — were either written or co-written by Ashley, who also played multiple instruments throughout the recording process. The goal wasn't to create a perfect-sounding album featuring the best session musicians from Nashville. The goal was to be authentic and real, shining a light on a do-it-yourself artist who's carved out her own sound.

Ashley Campbell is a multi-talented entertainer. A singer and songwriter who plays her own instruments. A newcomer with years of heavy touring under her belt. There's no denying her iconic country pedigree, but Ashley is attracting the spotlight these days with her style, talent and a unique sound all her own.

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Ashley Campbell has music in her blood and showbusiness in her genes. The daughter of legendary country and pop superstar, also an honourary Beach Boy, Glen Campbell, Ashley was born for the stage and destined to grace the studio.

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New rising star Ashley Campbell has music in her blood and showbusiness in her genes. The daughter of legendary country and pop superstar, also an honourary Beach Boy , Glen Campbell , Ashley was born for the stage and destined to grace the studio. A long time member of her father’s touring band this talented singer, songwriter, guitarist and banjo player made her own debut with the single “ Remembering ” for Dot Records, via the Big Machine Label Group – a roster that also includes Steven Tyler , Maddie & Tae , Drake White and young newbie Tucker Beatthard.

The song “ Remembering ” was featured on the soundtrack of the Oscar-nominated and Grammy-winning documentary, Glen Campbell … I’ll Be Me although Ashley’s version is a punchier remixed take that differs from the soundtrack original. Having worked with the documentary producer Julian Raymond on early demos Ashley is now teamed with Kenny Chesney’s producer, the great veteran Buddy Cannon (Mel Tillis, Willie Nelson , George Jones George Strait etc) and managed by Toby Keith’s representative TK Kimbrell. Obviously the lady has solid roots but she is still determined to do it all her way and she won’t be short of talented assists either since she has already appeared in the video for Rascal Flatts’ “Banjo”.

‘Ropin’ The Wind’: Garth Brooks Controls The Country Currents

Born in – where else – Phoenix, Arizona in December 1986, Ashley Campbell is a chip off dad Glen Campbell’s block. Mother is Kim Woolen, an acclaimed dancer and former member of the Radio City Music Hall ‘Rockettes’. With theatre and song in her young armoury, one might have expected Ashley to be a child star. In fact, her parents put education first and she graduated with a BA in Theatre from Pepperdine University in Malibu, California whose campus is near the family home.

Campbell’s first love was theatrical and comedy improvisation and she hankered after a role in Saturday Night Live while becoming an instant hit with The Sunday Team of Comedy Sportz Los Angeles and Serious V-Neck. But music was bound to come calling and Ashley played in the band Instant People with her brother Cal, Siggy Sjursen, and Ry Jarred. Instant People will be remembered by anyone who caught Glen Campbell’s UK tour, where they opened for him. Ashley was very much a focal point and wowed the crowd with her multi-instrumentalism – vocals, keyboard, guitar and the banjo. Instant People’s EP, Songs From We Must Be Changing , was super melodic and breezy with intricate harmonies and stand out songs in the shape of “The Strangest Thing” and “Home”.

After that Ashley had her own project Victoria Ghost who would open for Glen on his poignant Goodbye Tour. She is also heard on the album Orthophonic Joy (The 1927 Bristol Sessions Revisited), billed here as Ashley with brother Shannon Campbell providing harmonies on Blind Alfred Reed’s 1940s song “The Wreck Of The Virginian”. This fine disc is produced by papa Glen’s long-time cohort and banjo pickin’ pal Carl Jackson (check ‘em laying down “Dueling Banjos” for an instant adrenaline buzz of the most cosmic country virtuosity imaginable). Now starting to delve into the bluegrass world and developing her interest in the Earl Scruggs legacy Ashley knuckled down to writing with her friend Kai Welch. “ Remembering ” was a tough song to finish since it deals with Glen’s on-going battle with Alzheimer’s disease. Started in Malibu but finished in Nashville she describes the song’s multi-faceted lyric as “ feeling a lot of different things when I play the song. It just depends. I like to think that it makes me feel like I’m giving my dad a hug. I’m trying to be as open with people as possible about how my dad’s doing without compromising his privacy or dignity. But I want them to know what it’s like to be dealing with it, so I try to be as honest as possible. I’m sure as it gets worse when people ask how he’s doing, I’ll just say something like ‘not great,’ but I think that people need to know the reality of the disease,” she says candidly.

Ashley has testified before Congress on behalf of Alzheimer’s, raising awareness and doing benefits for the Foundation. “I fell into that role as a spokesperson because my dad can’t be.”

But her own show must go on and she is excited to be working with Dot Records and top executive Scott Borchetta who she calls, with a smile, a “fearless leader”.

With most of the songs now ready to go Ashley’s debut album is causing excitement for those privy to early hearings. If the results are anything like as exceptional as “ Remembering ” or her other documentary track “Home Again” then the country world is in for a real treat. You already know the surname, now get ready to discover Ashley Campbell.

Words: Max Bell

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Ashley Campbell

Ashley campbell tour dates.

• COUNTRY / FOLK

Currently there haven't been any upcoming Ashley Campbell concerts or tours released for cities in North America. Sign up for our Concert Tracker to get alerts when Ashley Campbell performances have been unveiled to the lineup. For recent announcements of Ashley Campbell events, visit our Facebook page . In the meantime, have a look at other Country / Folk performances coming up by Sean Stemaly , Dirtwire , and Christmas Songs & Stories With John Berry .

Ashley Campbell Concert Schedule

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Ashley Campbell: Something Lovely

• Good to Let Go
• Forever's Not That Long
• If I Wasn't
• Something Lovely
• Remembering
• Moustache Man
• Diggin' Deep
• Suitcase Heart
• Good Vibrations

Ashley Campbell: Glen Campbell I'll Be Me Soundtrack

Ashley Campbell: The Lonely One

• Better Boyfriend
• A Taken Man
• The Lonely One
• Good for You
• I Wish I Wanted To
• How Do You Know
• Carl & Ashley's Brea...
• What I'm Doin' Here
• We Can't Be Friends
• Looks like time

Ashley Campbell: Remembering

Ashley Campbell: Glen Campbell: I'll Be Me Original Motion Picture Soundtrack

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Ashley Campbell Concert Setlists & Tour Dates

Ashley campbell at the neon, newport, wales.

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Ashley Campbell at Greenbelt 2023

Ashley campbell at the half moon, london, england.

• The Lonely One
• Something Lovely
• Dirty Dishes
• Carl & Ashley's Breakdown
• Lovesick Blues
• Gentle on My Mind
• I Used To Hate The Rain
• It's Hard Not To Smile
• In the Summertime
• Folsom Prison Blues

Ashley Campbell at Wrecking Ball Arts Centre, Kingston upon Hull, England

Ashley campbell at barnoldswick music and arts centre, barnoldswick, england.

• Trouble In Mind
• Careless Weed
• It's Hard Not to Smile
• Do I Ever Cross
• I'm So Lonesome I Could Cry
• Bloody Mary
• If I'm Gonna Live
• Run With You

Ashley Campbell at The Star Inn, Guildford, England

• Eleanor Rigby

Ashley Campbell at Gullivers, Manchester, England

• Long Way Home
• Remembering

Ashley Campbell at Royal Northern College of Music, Manchester, England

Ashley Campbell

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Most played songs

• Remembering ( 12 )
• Gentle on My Mind ( 11 )
• La Bete ( 5 )
• Nothing Day ( 5 )
• The Lonely One ( 5 )

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The Beatles Johnny Cash Elsie Clark John Hartford Roger Miller Dolly Parton Tom Waits Doc Watson Jimmy Webb Hank Williams With His Drifting Cowboys

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34 people have seen Ashley Campbell live.

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Ashley Campbell

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Ashley Campbell To Release Debut Album, 'The Lonely One'

The daughter of the late Glen Campbell is set to release her first LP on May 11 — get a listen to the title track

Born into a musical legacy that has few rivals, Ashely Campbell — daughter of the late GRAMMY-winning country singer/songwriter Glen Campbell — is ready to step into her own light. She will release her debut album, The Lonely One , on May 11. In anticipation, she's debuted the LP's title track on March 2.

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The creation of the 13-track album was a family affair. The Lonely One is co-produced by her brother Cal Campbell, while another brother, Shannon Campbell, co-wrote the track "Looks Like Time" in addition to adding vocals and guitar to the LP. For her part, Ashley Campbell showcases her banjo work in addition to her singing chops.

"You can expect some fun songs and also some stories from my personal life and experiences that I've had that I needed to write about," Campbell told Rolling Stone Country while making the album. "And you can expect some banjo."

Campbell is currently on tour in the U.K. through June, with North American tour dates expected to follow.

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Mason Ramsey Is Still Viral — But Not Because Of Yodeling

With a lower tone and six years of experience, Mason Ramsey proves he's not just a yodeling child star with his debut album, 'I'll See You In My Dreams.' The country singer/songwriter reflects on his "whirlwind" journey and how it shaped his artistry.

Mason Ramsey doesn't even remember why he was at Walmart on that fateful day in March 2018. And due to his family's lack of internet at home, he didn't even know his yodeling had made him an overnight sensation until calls from "The Ellen DeGeneres Show" and the like began rolling in a week later.  

But while his nasally, high-pitched yodels are what first brought him attention, it's his old-soul sensibility and silky voice that have proved he's anything but a fluke or one-trick pony. With his debut album, I'll See You In My Dreams , Ramsey shows that he's a true star in the making and a force to be reckoned with for years to come. 

The album marks the latest chapter in the singer's journey to carve out a music career from his viral moment, which has gone on to make fans out of everyone from Lana Del Rey and Zach Bryan — who welcomed Ramsey on stage this past June at Boston's Fenway Park and last summer in Tulsa for a coveted guest role on "Revival," respectively — to Lil Nas X . The latter culminated in a star-studded performance of their "Old Town Road" remix together with Billy Ray Cyrus , BTS , Diplo , and Nas at the 2020 GRAMMYs, a moment that Ramsey still considers one of his biggest milestones to date.

"It's been a whirlwind of a ride for me, the past six years," Ramsey tells GRAMMY.com. "You know, some people would say it doesn't feel real sometimes, but how I keep myself in a balanced mind is, stay humble, stay grounded, and remember where you came from. And sometimes I'll go back home to keep me in that mindset."

That steadfast approach and passion for music was instilled in Ramsey by his grandparents, who raised him in the tiny Illinois town of Golconda. He heard his first Hank Williams cut as a toddler and was instantly hooked. "I started to pick up the words on certain songs like 'Your Cheatin' Heart' and 'I Saw The Light' before I could talk," Ramsey recalls.

By age 5, he was singing in front of paid audiences everywhere from local nursing homes to festivals to — you guessed it — grocery stores. 

Those performances persisted for years until a video of Ramsey singing Williams' "Lovesick Blues" in an aisle at his hometown Walmart broke the internet in 2018, changing the youngster's trajectory forever — and leading those local gigs to cease due to strangers consistently recognizing him in public. "I could get kidnapped. Something bad could happen, you never know," Ramsey jokingly told Billboard in 2018.

But he certainly didn't stop performing. In fact, along with his appearances on "Ellen" and the GRAMMYs, he graced the stage at Coachella and Stagecoach festivals and performed at the Grand Ole Opry eight times within his first year of fame.

Despite the unexpected way his musical aspirations came to fruition, Ramsey, now 17, insists that his rapid rise to fame was never all that overwhelming.

"We didn't treat it any differently than we'd been doing before," Ramsey says of his approach to post-virality stardom. "I just thought of it as me always doing what I love to do… and performing and inspiring people to do what I do. We just looked at it as the next step in life for me."

After signing with Atlantic Records in April 2018 — becoming the youngest country singer to sign to a major label in almost two decades — the then-11-year-old delivered his first EP, Famous , three months later. Another EP, Twang , followed in 2019 and spawned another viral trend on TikTok with its title track, which Ramsey even played into that March, recording a reel of himself dancing to it — outside of a Walmart, of course.

He took a break from music in 2021 and 2022, taking the time to, well, simply be a teenager; he worked at his family's sandwich shop (which had its own viral moment ), fixed up his 1968 Chevy K10, and attended prom. All the while, Ramsey honed "what I really wanted to say with my music," as he said in a statement upon announcing his 2023 EP, Falls Into Place , and engaged with his millions of followers online — the latter of which has become one of the main keys to his continued success in 2024. 

While many of his fans first began following him for his music, it's Ramsey's playful and self-deprecating humor (like his response to his sandwich shop job: "don't knock the hustle y'all") that has kept them around and begging for more. And since the release of Falls Into Place — on which he co-wrote four of the five tracks — he's continuing to prove his prowess as a singer/songwriter, too.

Ramsey co-wrote all 14 tracks on I'll See You In My Dreams , crafting a timeless, bluesy country sound that feels like it was plucked straight out of the 1960s. Of course, he's still only 17, which is reflected in the album's lighthearted tales about the importance of family and navigating young love, like the rizz-fueled "Prettiest Girl At The Dance" ("I ain't the jealous type/ But seeing you tonight/ Makes me feel all kinds of ways"). 

"I wanted my songs to be more relatable, and being a writer on a song, and putting my words in it instead of singing songs that someone else has written for me [is the best way to do that]," Ramsey says. "I feel like I can relate to the songs more, and the audience can relate to me more."

Yet, his old-school influences — as well as a post-puberty tone — help Ramsey deliver such tunes with a maturity beyond his years. It makes appearances on numbers like the somber heartbreak ballad "Blue Over You" (the song that caught Lana Del Rey's attention) or the reassuring "Something You Can Hold" feel like they're being sung by a seasoned vet rather than someone who only recently became old enough to drive.

While the record also takes forays into Tejano territory ("The Woman From Havana"), jazz ("Lies, Lies, Lies"), gospel ("Joy") and rock 'n' roll ("Trouble Is"), it finds comfort most in the country sound that was so instrumental in setting Ramsey down his current path. And through it all, he reminds that wherever fame may take him, he's still the small-town boy from Golconda.  "No matter how far they roam or where they go/ They always go back to the place they know," he assures on the waltzing "Cowboys Always Come Home"; on the crooner "Family Pictures," he sings, "Some are here and some long gone/ And some didn't stay for too long/ I'm carrying their memory in the pocket of my jeans/ So they'll always be close to me."

Equipped with a lot to say and a lifetime ahead of him to say it, Ramsey has big plans for how he'd like his music career to pan out. As he headlines his own tour of intimate venues around North America this fall — his second headlining trek of 2024 — he's already envisioning his own arena and stadium tours in the years to come. It's no doubt a lofty goal, but he's already defied expectations of viral fame, so who's to say it can't be done?

"I really love being in front of fans — or just people in general, especially other artists. There's just an energy spike I get from it," Ramsey says. "Being in front of a new audience and showing them what I can do, it means a lot."

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How Keith Urban Has Stayed 'High' After 30 Years: "My Curiosity & Passion Burns Very Intensely"

On the heels of releasing his 11th album, Keith Urban gives GRAMMY.com an honest look inside his approach to making country music and how it played into his latest release.

When Keith Urban announced his 11th studio album in June, he revealed that it wasn't initially called HIGH . In fact, it wasn't even the album he was hoping to create. So he scrapped all but four songs and started over.

The problem with that album — which was called 615 , named for the Nashville area code — was that it was missing something: him.

Going into the studio with an open mind and a free spirit, Urban created an album that is, as he said in his album announcement , "so much more of what I actually wanted to say." As a result, HIGH captures who Urban is as a prolific songwriter, navigating everything from unbridled light-heartedness to poignant heartbreak.

The four-time GRAMMY winner co-penned half the songs on HIGH , and produced all 12 along with some of Nashville's finest writers and producers, including his longtime collaborator Dann Huff . The result is 40 minutes of Urban's heart and soul, and everything in between.

In celebration of HIGH 's release, Urban sat down with GRAMMY.com to reflect on how the past two decades have shaped the way he makes music, feels music and plays music — and how it all led to his latest masterpiece.

You've said before that making and playing music makes you euphoric. Is there a secret to maintaining that kind of high after nearly three decades of making country music?

It's my curiosity and passion that just burns very intensely. The center of me, my spirit, feels no different now than when I arrived in Nashville. Literally no different. In a strange way in the sense that I often forget that I've done anything. So I sort of feel like I haven't accomplished anything. But the real plus side of that is that I'm not encumbered by it in any way. It doesn't weigh on me.

Is that high as intense as it was when you made your 1999 debut album in America?

It is, because when it came time to make my first album in Nashville, that was when I had a clear idea of writing songs and the way I wanted to make records.

That album was released almost exactly 25 years ago. And it gave you your first No. 1 at country radio, "But for the Grace of God." That really carved out a special place for you as a singer/songwriter.

Well, I'm obviously drawn to those themes because that's how I was raised with my mom and dad. We were a working-class family, we didn't have much of anything, but we had our family and we were very close. I never once felt like we were lacking anything. 

So even on the new album, "LAUGHIN' ALL THE WAY TO THE DRANK" has that familiar theme of a guy that seems to not have anything, but he's kind of got it made, you know? It's literally recognizing that you don't need much to have a full life.

On a song like that, or any of the others on this anthology, do you ever have a gut feeling for which songs will soar to the top of the charts, win awards, or otherwise stand the test of time?

I can't even tell you how many years ago it was that I completely detached from what songs work, what songs connect, which ones don't, or how they do it. And even more so now, the definition of success is so individual. That's a good thing — that that definition now can have infinite meanings for an artist.

The success of the song, if it only barely cracked the top 50, and yet you meet somebody at a concert who says it completely saved them and changed their life, you would deem that song an incredible success. Those definitions are changing constantly.

That's a good thing, right?

It is. Because think about a song like Taylor Swift 's "Cruel Summer." It was on her Lover album, and it did nothing. But her fans really liked it. So about four years later, they released it as an official single. And then it was absolutely massive. It just hadn't been discovered yet.

A little bit like your "You Look Good in My Shirt."

Right? Seven years later! [ Laughs .] 

What was it about your never-released album 615 that made you want to start over on HIGH ?

I've always made records one way, which is fairly loose. My producer Dann Huff can definitely testify to that being my favorite way to make an album: to just show up at the studio. And when I get to the studio, I'll decide what we're playing that day. It might not be the one we were planning on if I think, "I just don't feel that song today. How about this one? Can we give this a swing?" 

So it's always about trying to do what I'm passionate and curious about, and what I'm loving and capturing that day. I've always made records that way. But I didn't do that when I made 615 . Instead, it was a specific effort to try and capture certain kinds of songs and make a certain kind of album. It was more premeditated, and then the end result felt a bit linear. It was missing a bit of playful and adventurous spirit, and I knew I had that album in me. 

Has that ever happened before?

Well, on some of my albums previously, I've wandered off in so many musical directions. I'd have some of my fans go, "I don't know where you're going with these songs." I felt like people were saying they never knew what to expect from my albums, but it didn't sound like a compliment. Then I felt like maybe I need more focus and discipline in my life and on my albums. And that's what I did on 615 . I ended up with 13 songs that sounded focused and disciplined. But the edge, the curiosity and the exploring the edges were missing.

Not all fans want focus. Sometimes there is beauty in the ambiguity, how one song can mean ten different things to ten different people. I think that's where you shine.

Well, people wrestle with metaphors sometimes. When I hear "Wichita Lineman," I don't see Glen Campbell up on a pole fixing power lines. I hear a man who's lonely and missing somebody. Songs don't need to be so literal.

But then sometimes, there's no mistaking what a song is about. "MESSED UP AS ME" paints such a dark blue picture of lonely yearning, in both versions: the album cut and the stripped-down piano version. What made you take it from sad to worse?

When we were figuring out how we would play the song live, I sent it to my keyboard player. And somewhere along the line I heard just the keyboards and the vocal. And I went, "Oh. That's really good. That song holds up really well with just ethereal keys." That was the embryo discovery of that version.

A good song is a good song when the bones are good, just like on the Ariana Grande song "We Can't Be Friends" that I reworked .

Another song on HIGH that sounds like it hit home for you is "HEART LIKE A HOMETOWN," because you moved around so much as a kid. Now that you and your family have called Nashville home for so long, does a song like this anchor you?

The feeling that song evokes is really beautiful — when you're going out and pursuing your dreams, your passions and your interests that maybe go beyond your hometown. Maybe there is a person that you were leaving behind as well. It's like, "Which one do I choose? Which way do I go?" 

But the beauty in that is how a hometown is there for you if you ever find yourself out there, lost, and want to come back. Your hometown says, "I am completely open. You can come back anytime." Nashville feels that way now, because I've lived in Nashville way longer than I lived in Australia, which is crazy.

"STRAIGHT LINE" is a little bit more reckless than that one, in the best way. Is there a person who is that straight line for you?

Some of these songs aren't about a relationship. They're almost looking-in-the-mirror songs. On this one, it's more of an interior conversation with two sides of myself. The dutiful grounded, responsible guy, and the wild, living-on-the-edge guy. 

I'm trying to balance those two guys, but then maybe you've become a little too reliable, and you've lost a bit of your color and your edge. I write these songs historically in relationship form, but many of them are actually about the duality inside me.

And when it comes to producing the music, you seem to be casting a wider net these days than when it was just you and Dann Huff. What is your thinking behind that?

Almost exclusively, every outside producer that makes it onto my record is a songwriter on that track. I'm not out there tapping a whole bunch of different producers. I'm writing with people who also happen to be producers. There's an interesting thing in Nashville where there's a lot of track people who just do tracks. So I love it when I can write with really good writers who are also really good producers.

Pretty soon it will be time to take all these songs on the road. Or, more specifically, to Las Vegas, when you start your Fontainebleau residency on Oct. 4. Will that change the way you take the stage each night?

It's interesting how many similarities there are between a residency and a traditional tour. I've been asked to do residencies in Vegas for many years before I actually did one. I would always say no. It just sounded like an episode of "Severance." It was like, "It's just gonna be this place over and over and over?"

I couldn't stand the thought of something that resembled a day job, you know? That was exactly what we don't want to be doing. But now, I can see that the audience is different every night.

Can you give those shows a sense of the lively camaraderie of playing in bars, when you were just getting started?

Definitely. It's a spirit of intent. That's how I approach what I do when I go on stage. It really doesn't have anything to do with where we are. I'm gonna get up on stage and do exactly what I do, which is to get everybody to come together and forget about their lives for the whole time. We're gonna find everything in common, have a great time, and live in this other existence for a little bit. 

And I always want to play with the audience, not at them. I need their participation. I need a huge amount of complete spontaneity and unpredictability. None of that changes, even in a big Vegas setting. 

My shows are structured so I have threads all throughout where songs can get extended or shortened. I can make a quarterback call and throw a song in right here, spontaneously.

For as long as you've been in Nashville, you've been such a genuine champion of other country artists, both your peers and the genre's newcomers. That's rare, and it has shown itself on this album with the collaborations you've done this time around, with Lainey Wilson and ERNEST . How do you decide which country artists you want to work with?

It's always because of who I feel a connection with. I don't look at their streaming numbers. I don't think about anything other than artistic compatibility. So when I read an interview about BRELAND many, many years ago, I thought, "This is a kindred spirit artistically and creatively. I'd like to see what we could do." And then with ERNEST, he is just another kindred spirit. 

And with Lainey Wilson, when I heard her voice, it was within seconds that I thought, "I feel like I know who this girl is." And I hadn't even met her. But her voice tells me that I know who she is — she is grounded, down-to-earth and just the real deal. 

Our song "GO HOME W U" might be one of those songs that has its own trajectory and journey and timeframe. It's not time sensitive, it's just about going out drinking and being flirtatious in a song. And that's timeless!

Photo: Jason Kempin/Getty Images

Miranda Lambert's Road To 'Postcards From Texas': Breaking Down Her Long-Awaited Return To Her Home State

Country superstar Miranda Lambert celebrated a new chapter by making a solo project in her native Texas for the first time in over two decades. Take a deep dive into her journey and how it all led back to the Lonestar State.

With a strong will and brazen sense of humor, Miranda Lambert has always proudly represented her native Texas with her music. But the country star's tenth album might just be her most inspired by the Lonestar State yet — which is exactly why it's titled Postcards From Texas .

Recorded at Austin's famed Arlyn Recording Studios, Postcards is full of hard-driving honky-tonk sounds and references to home running through every lyric. Along with being Lambert's first album with Republic Records — her new label home after 20 years on Sony Music Nashville — Postcards also marks the singer/songwriter's first solo studio album recorded in Texas since her 2001 independent, self-titled debut. Similar to that album, Postcards is a record as Texan as they come, and marks a full-circle moment for the trailblazing artist.

"I just felt like finally, I'm home," Lambert told Variety earlier this year. "I feel like that on the label; I feel like that recording it in Texas. And this music really reflects what made me the artist that I am." 

Postcards takes listeners on a road trip-like experience with songs referencing familiar Texas towns like Luckenbach ("Looking Back On Luckenbach") and San Antonio ("Alimony") along with more obscure places like (90 miles from) Pecos ("No Man's Land"). The "I've Been Everywhere" narrative is a combination of her previous two records — 2021's The Marfa Tapes and 2022's Palomino — that see her jamming around a campfire alongside frequent collaborators (and fellow Texans) Jack Ingram and Jon Randall one moment, and running down the highway coast to coast the next. Only on this trip, all roads lead to Texas.

Lambert's affinity for home comes at a time when the three-time GRAMMY winner is at peace in her life and career perhaps more than ever, thanks to her new label and marriage to former NYPD officer Brendan McLoughlin. In turn, Postcards From Texas is a testament to just how far she's come since trying to break through as a female country artist in Texas in the early 2000s ("The Texas scene wasn't a place for girls at all back then," she told NPR in 2019).

Despite any setbacks in her home state, Lambert moved to Nashville in 2003 following a third place finish on the now-defunct singing competition "Nashville Star," which helped her land a deal with Sony Music Nashville later that year. Even as an aspiring artist, she made it clear that nobody was going to tell her what to look like, sound like, or who to write with, swiftly turning her into a modern-day outlaw.

Her strong-willed nature culminated in a big way on her 2005 Sony debut, Kerosene . With Lambert co-writing all but one of the 12 tracks (and single-handedly penning five), the record introduced Lambert's fiery, no-BS persona through songs like the GRAMMY-nominated title track, "New Strings" and "Me And Charlie Talking." The moment marked a passing of the torch from the likes of Shania Twain and The Chicks — both of whom captivated fans in the '90s with their empowering anthems of womanhood — to Lambert, who began to gain a reputation by listeners and industry heads alike as a free spirit that wasn't to be messed with.

While 2007's Crazy Ex-Girlfriend doubled down on her unabashedly bold image (see "Gunpowder & Lead"), Kerosene 's follow-up also hinted that Texas will always be on Lambert's heart. The earnest ballad "Famous In A Small Town" saw her reminiscing on what she left behind at home, a sentiment she revisits on "The House That Built Me," a tear-jerking ode to her childhood home from her third studio set, 2009's Revolution . The latter would go on to become her first No. 1 country hit and first GRAMMY-winning song, proving that she can be equally as impactful with vulnerability as she can with vengeance.

Lambert found a successful balance of both on her next two albums, 2011's Four The Record and 2014's Platinum , as well as her work with Pistol Annies , her trio with Ashley Monroe and Angaleena Presley launched in 2011. And while 2016's The Weight Of These Wings kicked off with the playful single "Vice," much of the two-disc album offered more poignant balladry as Lambert reflected on her very public divorce from Blake Shelton . 

"Every record I've ever made has been a reflection of where I am right then in my life, however old I am," Lambert told Billboard in 2016. "And I've never held back at all. But this time with what I happened to be going through in my life, being honest was never really a choice. Everybody knew anyway. So I just said, I'm gonna journal it, and — good days and bad days — use it for my art."

One of the album's most affecting tunes is the two-time GRAMMY-nominated single "Tin Man," which also ended up being very fortuitous for Lambert thanks to co-writers Jack Ingram and Jon Randall. But before they became her right-hand men, she recruited another new collaborator for her seventh full-length album, 2019's Wildcard : Jay Joyce .

Joyce helped Lambert expand her sound into the rock and pop space more than ever before ("Mess With My Head," "Locomotive"), resulting in a fittingly more upbeat feel for the singer, who found love again with McLoughlin and married in 2019. As her first album without longtime producer Frank Liddell at the helm, it was also an indication that the singer/songwriter was ready to evolve. But Ingram and Randall were the Wildcard collaborators (both co-wrote "Tequila Does"; Randall was also a co-writer on "Pretty Bitchin'") who would ultimately serve as Lambert's guiding light for what was to come.

The trio's collaborative album, 2021's The Marfa Tapes , first brought Lambert back to her Texas roots, written and recorded together in the titular small West Texas town. Utilizing only two microphones and an acoustic guitar, the record was as raw and real as it gets, and took on a distinctly Texas flavor through songs like "Waxahachie," "Amazing Grace (West Texas)" and "Am I Right Or Amarillo" — the last of which features a town that would later pop up again on Postcards ' lead track.

The next year, Lambert revisited three of The Marfa Tapes ' songs on her eighth solo effort, Palomino ("In His Arms," "Geraldine," "Actin' Up"); the rest of the album's 15 tracks included narratives about living life on the road on your own terms, like "If I Was A Cowboy," which saw Lambert reclaiming her outlaw swagger.

The mix of The Marfa Tapes ' acoustic ballads and Palomino 's stories from the road coalesce into one on Postcards From Texas . Often pulling from her own journey, Lambert hones in on a Texas-sized sense of place — literally and figuratively — with stories about rogue hitchhikers running from the law ("Armadillo") and high-stakes divorce settlements ("Alimony"), as well as callouts to various cities and state landmarks along the way. 

Meanwhile, other songs see the re-emergence of the hard-headed Lambert that fans first met with Kerosene and Crazy Ex-Girlfriend . Tracks like "Dammit Randy" — a co-write with Randall and McLoughlin — show her walking away from someone in disappointment who's no longer serving her, whereas the fiery "Wranglers" has her fully embracing her younger self, confirming that part of her is here to stay no matter what (because "Wranglers take forever to burn"). It's a side of Lambert that has ebbed and flowed over the course of her career, but throughout Postcards , it's evident that a return to Texas played a big part in reinvigorating her signature sass.

"The woman scorned thing kind of worked for me in my career, so going away from that for too long feels like something's missing in my records and missing in my set and missing in myself," Lambert admitted during a recent interview with TalkShopLive . "When I heard 'Wranglers' I was like 'Oh, there it is. She's back.' [ Laughs ]."

Collectively, Postcards sees Lambert arguably more inspired than she's ever been — happily in love, with a fresh start at a new label, and back in Texas where her story began. She's proud of where she's been and where she is now, and being back home solidified that. 

"I've been making records now for 20 years, so it makes sense to go back to some of the emotions I felt as an artist and as a person through the years and put them in one place," Lambert asserted to TalkShopLive . "I think Postcards From Texa s does that."

Photo: Tim Mosenfelder/WireImage

A Pirate Looks At Infinity: Jimmy Buffett's Legacy In 15 Songs

A year after his untimely passing, look back at the songs that point most convincingly back to Jimmy Buffett — the man, the artist and now, the never forgotten legend.

When Jimmy Buffett passed away on Sept. 1, 2023 at age 76, the decorated singer/songwriter, performer, author and entrepreneur left behind a legacy that unified a swath of musical genres and people.

The man behind "Margaritaville" — the song and later the brand — and so many other tunes that bridged folk sensibilities with country and rock touches, sometimes called "Gulf & Western," was much more than the beach-obsessed character he played in song. Although he had plenty of industry successes, notching 13 Billboard Hot 100 hits, a pair of GRAMMY Award nominations, while selling more than 20 million albums, his fans loved him for how he made them feel.

In song, he was a true storyteller that was clever, funny and introspective; in performances, he was the quintessential Parrothead to the core. As the ringleader of the party, he was generous enough to share the spotlight with members of his Coral Reefer Band as well as the fans who dressed up, tailgated outside the venues and spread their joy to others.

Both sides of Buffett were crucial building blocks in the business empire he built around his persona as the laid-back, casually philosophical beach bum. The Margaritaville restaurant and resort chains, his Landshark Lager beer and many other ventures made him a billionaire, while his storytelling prowess made him one of few authors to top both fiction and nonfiction bestsellers' lists. While his legacy may be both musical and merchandisable, the endearing qualities of the Parrothead personality he created is the real reward for his fans.

Below, remember Buffett's illustrious career through 15 classic songs — just a glimpse of his genius that made it okay for country singers to loosen up, for rockers to pick up an acoustic guitar, and for the Parrotheads to while away their days in the sun.

"Why Don't We Get Drunk," 'A White Sports Coat and a Pink Crustacean' (1973)

While Buffett's first two albums showed glimpses of the celebrated artist he would become, his songwriting largely hewed close to the earnest observations typical of early-seventies folkies. By his third album, though, he had grown into his winking style of satire and breezy, Nashville-meets-Key West flair.

This cut from A White Sports Coat and a Pink Crustacean combined both, and created the template for hundreds of bleary-eyed sing-alongs to follow. "The Great Filling Station Hold-Up" may have been the proper album single, but "Why Don't We Get Drunk," its controversial B-side, became the bigger tune — and the one featured on his seven-times Platinum compilation, Songs You Know By Heart .

"Come Monday," 'Living & Dying in ¾ Time' (1974)

As Buffett pulled away from his folk sensibilities, Nashville-style balladry became a big part of his sound. "Come Monday"  brings orchestral strings into the mix to help express the yearnings he felt while stuck in "a brown L.A. haze," pining for his love back home. The song resonated with new fans, becoming his first Top 40 single, as it peaked at No. 30 on the Billboard Hot 100.

"A Pirate Looks at Forty," 'A1A' (1974)

It probably wasn't a stretch for Buffett to sing so convincingly from the perspective of a seafaring, modern-day pirate. He considered his own later entrepreneurial forays an adventure on the high seas of life. But back in '74, he was so inspired by the real-life stories of a Key West smuggler and rapscallion he befriended that he wrote "A Pirate Looks at Forty" from his perspective. 

A key cut on his second long-player of '74, A1A , "Pirate" is empathetic to the dashed dreams and yearnings of a man looking back at his wins and losses. And despite the eventual billionaire fortunes of Buffett himself, his narrator determines the balance is a draw.

"Margaritaville," 'Changes in Latitude, Changes in Attitude' (1977)

Buffett's next album, Changes in Latitude, Changes in Attitude , launched his music career into the stratosphere — and its success had a lot to do with "Margaritaville," a Top 10 hit and the basis of the global brand he later built.

Essentially, "Margaritaville" established the beach-boho lifestyle as an aspiration for millions. Against a backdrop of tropical instruments like steel drum and marimba, Buffett sang of the quiet pleasures of an unhurried life, unconcerned with the tides and buoyed by his favorite blender drink. In 2016, the tune was voted into the GRAMMY Hall of Fame, while the Library of Congress added it to the National Recording Registry in April 2023. 

"Son Of A Son Of A Sailor," 'Son Of A Son Of A Sailor' (1978)

Whether Buffett's soft and breezy music can be considered "yacht rock" is a subject of debate, but he certainly rocked a yacht or two in his day — and he dressed the part for the cover of his album Son Of A Son Of A Sailor . The title track is a definitive take on his love of the wandering life, untethered from the anchors many cling to and always in search of the next port of call. A master of ballads whimsical and wistful, Buffett manages to be both at once here.

"Cheeseburger in Paradise," 'Son Of A Son Of A Sailor' (1978)

Before it was a menu item at his Margaritaville-branded restaurants and resorts, "Cheeseburger in Paradise" was a mirage Buffett dreamed about while marooned at sea. As the story goes, a misadventure in the Caribbean left Buffett with only meager rations to survive. And when he finally struck a landing on dry ground, his first meal inspired one of his most enduring songs: an easy-rockin' Top 40 hit about cheeseburgers that somehow isn't a novelty cut — a hat trick only Buffett could pull off.

"Fins," 'Volcano' (1979)

As the lead tune from his 11th album, Volcano , "Fins" entered the pantheon of Buffett concert staples immediately and helped inspire plenty of Parrothead ephemera, as well as the title of the 1990 live album Feeding Frenzy and his Landshark Lager brand. But none of that would be important if not for Buffett's song about a hapless woman who travels to the beach to relax, but instead is encircled by "sharks that can swim on the land." With "fins" to the left and right of her, she's "the only bait in town."

"Boat Drinks," 'Volcano' (1979)

Buffett had a knack for coining phrases — and "Boat Drinks" certainly qualifies among the best. What makes a boat ride better? Boat drinks, of course.

An album cut from Volcano (also featured as a B-side to the single "Survive"), Buffett ironically wrote the song while on a winter sojourn in Boston, exiled from his native habitat and wishing the city's fresh blanket of snow were the sugar-white sands of Florida. Musically, the tune is a quintessential cut from his whirlwind late-seventies period, when Caribbean themes and sonic textures became his calling card.

"It's My Job," 'Coconut Telegraph' (1981)

Long before Mac McAnally joined Buffett as a sideman in the Coral Reefer Band, Buffett sent the young artist a note praising his songwriting. Then, for his 1981 album, Coconut Telegraph , Buffett boosted his new friend's fortunes by recording "It's My Job," a tune McAnally wrote about taking pride in your work — however menial or miserable it may be — while working on a hot Mississippi highway in the summertime. The tune reached No. 57 on the Billboard Hot 100, marking Buffett's last appearance on the chart until 2003 (more on that later).

"One Particular Harbor," 'One Particular Harbor' (1983)

The 1980s were the beginning of Buffett's transition from chart champion to blockbuster concert draw. But he still had plenty of gas in the songwriting tank, as songs like "One Particular Harbor" proved.

Inspired by his travels in Polynesia, Buffett sings in Tahitian about the "abundance of the sea" after leaving behind the mainland. While the song was a minor hit on Adult Contemporary radio, it became a fan favorite and a mainstay of live shows from the era. 

"Jamaica Mistaica," 'Banana Wind' (1996)

Like on "Cheeseburger in Paradise," Buffett's penchant for seeing the humor in the unfortunate dustups of his real life shines on the Banana Wind cut "Jamaica Mistaica." In this case, Jamaican police opened fire on his plane, believing he was a smuggler or criminal straight out of his own song "A Pirate Looks at Forty." Set to a reggae beat, though, Buffett lets listeners in on the joke — an endearing quality that earned him the love not only of Parrotheads, but also an official apology from the Jamaican government.

"It's Five O'Clock Somewhere," Alan Jackson's 'Greatest Hits Volume II' (2003)

By the dawn of the new century, Buffett's beach-bum aesthetic had conquered Nashville, the town he left in the early '70s to find his identity as an artist in Key West. And "It's Five O'Clock Somewhere," recorded with country star Alan Jackson and featured on his Greatest Hits Volume II , was exactly the new Buffett-style anthem Music City needed.

It was also what Buffett's 21st century career needed: "It's Five O'Clock Somewhere" earned the veteran singer his first No. 1 on Billboard 's Hot Country Songs chart as well as his first GRAMMY nomination (in the Best Country Collaboration With Vocals Category) and his first Country Music Association Award (for Vocal Event of the Year). Later, the song notched the No. 3 song of the decade on Billboard 's Hot Country Songs chart, proving Buffett's staying power amid shifting musical trends.

"Bama Breeze," 'Take the Weather With You' (2006)

After Hurricane Katrina made matchsticks of Buffett's home territory in 2005 — the beachfront bars of Mississippi, Alabama and Florida where he cut his teeth — he responded with the album Take the Weather With You and its leadoff track, "Bama Breeze." The country-rock tune extols the virtues of the so-called "Redneck Riviera" and coming of age as the sun came up outside the dive bars of the Gulf Coast, many of which were now ruined. The song also nods to the fans who have stuck by him since the beginning: "At the Bama Breeze, you're one of our own down there/ You'll never drink alone down there/ Good god, I feel at home down there."

"Knee Deep," 'You Get What You Give' (Zac Brown Band, 2010)

One of the most rewarding markers of a mature career in music is the respect paid by each successive generation of musicians. Newly minted country star Zac Brown paid homage with "Knee Deep," which was written with Buffett in mind and borrows heavily from his long-established beachbound, escape-by-tropics aesthetic. But it truly takes off when Buffett himself takes the second verse and then harmonizes the choruses with Brown. And the combination proved sweet for both acts: the song was certified triple Platinum and landed at No. 1 on Billboard 's Hot Country Songs and Country Airplay charts.

"Bubbles Up," 'Equal Strain On All Parts' (2023)

Although the public wasn't aware at the time, Buffett was dealing with the effects of Merkel cell carcinoma — the disease that claimed his life — throughout his final years of touring and recording music. Released two months after he passed, Equal Strain On All Parts , his 32nd and final album, arrived like a comforting voice from beyond to Parrotheads and casual fans alike.

On "Bubbles Up," Buffett was in a particularly reflective mood, facing his own mortality in his most measured, reassuring manner. The title phrase came from his survival training — if he were to find himself submerged in water, either from a boat or plane wreck, his trainers advised him to follow the bubbles up to the surface. "They will always point you toward home," he sings, "no matter how deep or how far you roam." 

For a songwriter and performer who spent his life showing the world how to relax, enjoy life and see the humor in life's challenges, the reassuring sentiment — to quote the title of his 2004 album — underscores that a License to Chill has no expiration date.

• 1 Ashley Campbell To Release Debut Album, 'The Lonely One'
• 2 Mason Ramsey Is Still Viral — But Not Because Of Yodeling
• 3 How Keith Urban Has Stayed 'High' After 30 Years: "My Curiosity & Passion Burns Very Intensely"
• 4 Miranda Lambert's Road To 'Postcards From Texas': Breaking Down Her Long-Awaited Return To Her Home State
• 5 A Pirate Looks At Infinity: Jimmy Buffett's Legacy In 15 Songs

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Best Things To Do in Tambov, Russia

Have you ever visited a new place and felt ‘wow’ about it? For many visitors, it happens at Tambov.

Tambov may not be as popular as other cities in Russia, but don’t let that fool you. Tambov is a smaller but beautiful upcoming tourist destination that is worth a visit. You will be surprised by some of the unique things to do and places you can explore at this hidden destination.

You might wish to revisit it someday again, to take a break and relax at Tambov.

If you have plans to visit Russia and are not sure if Tambov should be included in your itinerary, keep reading. In this list, we have put together some of the things to do in Tambov and around. We have a hunch that if you include this city in your travel plans, you will be thrilled you did so.

Tourist Attractions in Tambov

Here is the list of things to do in Tambov and tourist attractions in city.

Tambov Donskoye Airport

Address: Tambov Donskoye Airport Ulitsa Aeroporta, Tambov, Tambovskaya oblast, Russia, 392000