Brooks & Dunn and Jelly Roll – Believe | 2024 CMA Awards Performance

Introduction

This may contain: two men standing on stage with microphones in their hands and music instruments behind them

Brooks & Dunn’s “Believe” is a deeply evocative ballad originally released in October 2005 as the second single off their album Hillbilly Deluxe. Co-written by Ronnie Dunn and Craig Wiseman, the song blends country and gospel elements into a soul-stirring narrative of faith, loss, and renewal—anchored by the memory of a young boy’s friendship with an elderly neighbor, “Old Man Wrigley.”.

The song’s emotional impact was recognized at the 2006 Country Music Association Awards, where it swept the top honors, winning Single of the Year, Song of the Year, and Music Video of the Year. Over the years, “Believe” has been celebrated for its poignant storytelling and has been ranked No. 33 on Rolling Stone’s list of the “40 Saddest Country Songs of All Time.”

Fast forward to November 2024: Brooks & Dunn released REBOOT II, a rejuvenating project that revisits their classic songs through collaborations with contemporary artists. Among the standout reinterpretations is “Believe,” now reimagined with the raw emotion and grit of Jelly Roll. .

On November 20, 2024, at the 58th CMA Awards in Nashville’s Bridgestone Arena, Brooks & Dunn invited Jelly Roll to the stage for a live rendition of this reimagined “Believe.” Kix Brooks began at the piano, setting a reverent tone, while Jelly Roll delivered the narrative with soulful intensity. As Ronnie Dunn joined, the performance swelled into a gospel-infused crescendo, supported by strings and choir—bringing many in the audience to tears and earning a standing ovation.

This performance wasn’t just nostalgia—it was a bridge between eras: 1990s country icons alongside a modern-day voice, underscoring the enduring power of “Believe” to resonate across generations.

I hope this introduction captures both the rich history of the song and the emotional significance of this 2024 CMA Awards performance. Let me know if you’d like deeper exploration of lyrics, artists, or production!

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CONWAY TWITTY HAD THE RECORD-BREAKING HITS AND THE PACKED ARENAS — BUT HIS TRUE GENIUS WAS MAKING A CROWDED ROOM FEEL COMPLETELY PRIVATE. By 1990, country music was changing fast. A new generation of young stars was taking over the radio, and the traditional guard was quietly being pushed aside. But Conway Twitty never had to chase a trend. He already knew exactly who he was, and more importantly, he knew exactly what his audience needed to hear. When he released “Crazy in Love,” he didn’t rely on loud production or flashy vocal acrobatics. He simply stood at the microphone and did what he did best—he spoke directly to the soul of anyone who had ever loved someone deeply and quietly. The song isn’t about a young, fiery infatuation. It is the sound of a mature, enduring kind of romance. It is the voice of a man looking across the room at the woman he has loved for years, realizing that time has only made the feeling stronger. It captures the quiet vulnerability of admitting that, after everything, he is still completely captivated by her. That was the magic of the “High Priest of Country Music.” He didn’t just perform a lyric; he wrapped his voice around a feeling so intimate, it felt as though he was reading a private letter out loud. Though he has been gone for decades, his legacy remains untouched. When we listen to a song like “Crazy in Love,” we are reminded that we didn’t just lose a legendary entertainer—we lost a man who knew exactly how to put love into words when the rest of us couldn’t find them.

LORETTA LYNN TOLD HER LITTLE SISTER NOT TO SING LIKE HER. YEARS LATER, THE WHOLE WORLD KNEW CRYSTAL GAYLE BY A VOICE LORETTA COULD NEVER HAVE MADE. Crystal Gayle was born Brenda Gail Webb in Kentucky, nineteen years after Loretta Lynn. By the time Crystal was old enough to understand what country music could do, Loretta was already gone from home, married, raising children, and beginning the climb that would turn a coal miner’s daughter into one of the biggest names in Nashville. Crystal did not grow up sharing a bedroom with Loretta or standing beside her at the kitchen table. She grew up hearing what her sister had become. That kind of family name could open a door. It could also leave a younger singer trapped in the doorway. Loretta helped Crystal get her first record deal in 1970. At first, the records leaned toward the same hard country sound Loretta had made famous. But the comparison came fast. Every song was measured against the older sister. Every note sounded like it was being asked whether it belonged to Loretta’s world. Loretta gave her a simple warning. Do not sing my songs. Do not sing anything I would sing. Crystal listened. She left the old formula behind, signed with United Artists, and began working with producer Allen Reynolds. The sound changed. Softer. Smoother. More space around the voice. It still had country in it, but it carried itself differently — closer to late-night radio than a Saturday-night honky-tonk. Then came “Don’t It Make My Brown Eyes Blue.” Released in 1977, the song did not sound like Loretta Lynn. It did not need to. Crystal sang it with a calm that made the hurt feel almost private. No warning shot. No fist on the table. Just a woman looking at somebody she loved and realizing the leaving had already happened. The record went to No. 1 on the country chart. It crossed onto pop radio. It won Crystal a Grammy. Her album We Must Believe in Magic became the first by a female country artist to go platinum. And the long hair stayed. It fell nearly to the floor, becoming part of the image people remembered first. But the real escape had happened before the hair became famous. Crystal Gayle had kept the family name close enough to honor it. Then she built a sound no one could confuse with Loretta’s.