Jo Dee Messina Tickets for Sale

It's a strange day when the biggest star in Nashville is from the unlikely locale of Framingham, Mass, a town where the shopping malls outnumber the people, not to mention the cattle. But that's what happened in 1996 with the release of Messina's self-titled smash-hit debut and her ensuing CMA Award in 1999. Listening to the pure Country Pop material, however, offers no evidence of a New England upbringing. With studio help from buddy Tim McGraw, one-two-punch arrangements that spare nothing in the hook department, and a singing voice that sets her a cut above the rest, Jo Dee Messina offers an admittedly commercial but substantial product that's more than young country fast food.

Massachusetts-born Jo Dee Messina, a protégé of Tim McGraw, went from the top of the charts, to rock bottom, to the top again in just two years. The fiery redhead's 1996 debut single, "Heads Carolina Tails California," was a huge hit, but management problems brought her to the brink of bankruptcy. Her second CD brought her career back from the dead, spinning off a string of #1's and turning her into one of country music's hottest acts.

b. 25 August 1970, Framingham, Massachusetts, USA. Singer-songwriter Jo Dee Messina began her career as a teenager playing in local country bands around New England. By the age of 19 she had decamped to Nashville, where she struggled on the local talent show circuit. Eventually producer James Stroud at Curb Records took a chance on her. She finally announced herself with the US country hit "Heads Carolina, Tails California" in 1996, and seemed set fair for a successful career with the release of her self-titled debut album (produced by Tim McGraw and Byron Gallimore).

However, while attempting to write a follow-up she underwent severe financial problems, and had to hand back the keys of the tour bus she had leased. By December 1997 her house was on the market owing to touring debts. However, 1998 proved a better year. "Bye Bye" performed well on country radio before she triumphed once again with "I'm Alright' in August, which spent two weeks atop Billboard's Hot Country Singles & Tracks chart. The single's success enabled her to pay off some of her debts and take her home back off the market. An excellent album of the same title followed, once again produced in collaboration with McGraw and Gallimore. Her third album, Burn, was a blistering assault on the ears, featuring a full production, almost metallic guitars and rousing choruses. Messina may have strayed away from country, but the commercial appeal of her music is undeniably great, with Burn hitting the number 1 position in the country album chart in August 2000. In 2004 she was admitted to an alcohol rehabilitation unit after acknowledging her problem.
When it came time to record I'm Alright, Jo Dee Messina's already platinum sophomore album, she had a lot of ground to cover. With her breakthrough "Heads Carolina, Tails California" and follow-up Top 5 smash "We're Not In Kansas Anymore," the copper-haired firebrand soared into the role of next superstar; but the dissolution of her management company and other circumstances conspired to undermine the ground she'd gained and Messina eventually found herself teetering on the brink of bankruptcy.

"It's all life -- and you can't take anything for granted," Messina says philosophically. "All you can do is keep working, keep believing and be grateful that you can use those trials to put back into the music."

Working closely with her good friends and co-producers Byron Gallimore and Tim McGraw, Messina spent nearly two years seeking out songs that reflected her will to live and thrive, to be true to oneself -- and the faith and commitment required to see one's dreams through.

"These songs are very survival-oriented," says the two-time CMA Award nominee and winner of the Horizon Award in 1999, addressing the ten songs on I'm Alright. "As I sing 'em and as people hear 'em, it's a strength thing that you hear in my music. When I hear these songs, they actually change my mood -- when I'm down, I listen to 'I'm Alright' and the energy just lifts me up, then the lyric carries me along.

"To me, the songs have to say something I can relate to or would actually say. I have to be able to represent it and I have to be able to feel it. Otherwise, I'm not doing myself or the song any justice."

Messina knows what she speaks of. Her energy, passion and joy for living infuse songs she sings with a power and an infectiousness that's undeniable. When people hear her full-throttle commitment to the music she makes, they can't help but respond. As a result she's spent over 10% of the past year sitting at #1 on the charts with I'm Alright's first two singles: two weeks with "Bye, Bye," then three weeks with "I'm Alright."
And those two chart-toppers are merely the surface of an album that's both complex and comforting. Whether it's the resigned heartbreak - into - action - into - healing of Messina's own "No Time For Tears," or freewheeling on Grammy-winner Marc Cohn's paean to automotive nirvana "Silver Thunderbird" or the hushed real life commentary of "Even God Must Get The Blues," Messina weaves the conversational intimacy normally reserved for old friends.

"Hey, I like people," she laughs. "My character is to give... It's not about being a success in the music business, it's about doing for others and giving of one's self. When I'm out there and people say my songs touch them, help them, maybe change their life, that's why I do it! It gives the music a purpose and me a reason for doing this.
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