NEWS
Ashley McBryde Makes Dramatic Life Changes: ‘I Just Needed to Stop Killing Myself’ (Exclusive)
Up for three CMA awards, the ‘Light in the Kitchen’ singer celebrates the rewards that have come since committing to healthy living — and giving up alcohol
For months now, Ashley McBryde has been living out her dreams — taking home a shelf’s worth of trophies (including a first-time Grammy), racking up three new CMA nominations, two critically acclaimed albums and membership in the Grand Ole Opry.
“It’s just pow-pow-pow,” the 40-year-old artist tells PEOPLE with no small amount of delight and amazement.
You can chalk it all up to her relentless drive and abundant musical gifts, but McBryde herself is also crediting something more karmic.
The avalanche of good stuff has clearly been piling up since she started taking several important steps toward self-care, including making the hard decision, in June 2022, to give up alcohol.
“It’s sort of like I can hear the universe saying, ‘Kid, you were just in your own way,’” says McBryde.
She says she quit drinking quietly, privately, making a deliberate choice to leave a public announcement out of the equation.
“I decided that I wasn’t gonna talk about it at all until at least a year,” she explains, “because what I didn’t need was people on social media being like, ‘Ashley McBryde swears off alcohol!’ All people are gonna do is just wait for you to screw up, and that’s really annoying. I did it for me. I didn’t do it for social media.”
And so why is she talking about it now? Because people can’t help but notice outward changes, and they’re starting to ask. It’s obvious that she’s trimmer, fitter, and years have fallen of her face, which has long carried a certain world-weariness.
Already a powerful presence onstage, McBryde has been turning in electric performances, most notably at Nashville’s CMA Fest in June, where her stadium set proved she’s more than ready for larger venues.
“It’s the best I’ve felt, the best I’ve looked,” she says, “and the difference in my voice … If you had told me even 10 years ago, you think you love your voice? You should hear it without drinking, because along with drinking comes smoking for me.”
Though she allows for an occasional cigarette (which, she admits, makes her “feel like garbage”), she’s mostly given up that habit, too. Add in generous amounts of therapy, healthier eating and exercise — including a new passion, boxing — and McBryde says, she’s now “the happiest I’ve ever been.”
In July, she says, she even found herself celebrating turning 40, a benchmark that often invites dread.
“I was worried about it a little bit,” she says, “but it feels like a nice rite of passage. If this were an animated film, this is where they place the crown on my head, where I’m just like … I am now me. And I think that all has to do with making all the decisions I’ve been making, making all the changes I’ve been making, and recognizing, that’s who I am. I’m halfway to 80, and I just met me.”
It’s a startling statement from an artist who has built her career on songs — such as “Girl Goin’ Nowhere,” “Sparrow” and “Bible and a .44” — that seem written by someone who knows exactly who she is. But stay with her, and you’ll see that McBryde’s new self-discovery — and self-love — is really about reconciling all her contradictory sides.
Her painstaking process is now reflected on the cover of her latest album, The Devil I Know. In a multiple-exposure photo, McBryde poses as several aspects of her personality: bawdy, reckless, uninhibited, but also introspective, composed, self-assured.
“I am each of those characters,” she says. “I’m a complete person now. And I love that, and I celebrate it.”
The album’s 11 tracks, all co-written by McBryde, offer even more facets, and she invites listeners to embrace the variety: “I want them to not be confused that the country is so country, that the rock is so rock, that the tender is so tender, and that the ‘f— you’ is so ‘f— you.’ Just don’t be confused about it, because that’s how I felt about myself for so long. Just relax into the fact that that’s just how it is, and I’m so glad you’ve decided to join me.”
McBryde kicks off the album with “Made for This,” a fierce anthem that recounts her hand-to-mouth early years as a bar act. Written in 2018, the same year her debut album, Girl Goin’ Nowhere, was released, it now stands as testimony to the artist’s dogged ambition.
“You’ve got to want it more than you want anything else,” McBryde says. “You have to want it in a way, like, ‘I might die if I don’t do it.’”
Current chart-climbing single, “Light on in the Kitchen,” offers McBryde an opportunity to display the warmth of her wisdom, much of it inspired by her mother. Just as deftly, she turns steely and stubborn on songs like “Women Ain’t Whiskey” and “The Devil I Know.”
McBryde has come to realize her tenderness and toughness can co-exist: “Through my mother and her sisters and that side of the family, I learned that you are as strong as you are kind … If you’re gonna be tough — and you have to be tough if you’re gonna do this for a living — then you have to carry all things in equal measure.”
In the title track’s lyrics, McBryde describes being surrounded by people trying to pull her in every different direction before deciding to stick with “the devil I know.”
“So in a positive way, the ‘devil I know’ is my own compass,” she says.
But that devil also has a darker side. McBryde motions to a tattoo on her left forearm: “Look at that guy.” It’s a new inking, on skin already heavily tattooed, that depicts a scarlet Satan’s menacing eyes staring back in a rearview mirror.
“I got this tattoo,” she says, “when I quit drinking.”
She quickly clarifies: “I’m not gonna be like, ‘Well, the devil is alcohol.’ That’s not true. But the version of me — the Blackout Betty version of me and all those other versions that were in control — are still right in the backseat, and boy, do they want to drive. Right now, I’m the one in the driver’s seat, and it’s OK. We’re all welcome here. We all belong, and I know when to employ each of us. But I’m driving.”
McBryde explains that she created Blackout Betty to cope with the after-effects of her benders: “I would be like, ‘I am ready to go home. I just have to figure out where Betty put my keys.’”
Another way she coped was to give Blackout Betty her own song. McBryde admits she showed up at the writing session (with frequent collaborators Aaron Raitiere and Nicolette Hayford) with a serious hangover.
“How gross is that?” McBryde says now. “That’s not country music. Merle Haggard’s not proud you did that.”
The rock-infused song is an album standout, its lyrics wincingly raw: “Lost your keys and you lost your phone / Last night’s makeup, still half on / You don’t even know how you got home / It’s time for you to grow up.”
The self-loathing is in full view, but these days, McBryde also finds something else in the song when she performs it.
“There’s a lot of self-compassion,” she says. “When I’m singing it, I’m going … ‘Ohh, kiddo …” She tsks sympathetically.
Looking back, McBryde plainly sees she chose a career field that floats on alcohol — from the venues that serve it, to the parties that encourage it, to the lyrics that celebrate it — and she soaked it all up. Her reputation was cinched by the time Eric Church brought her to his stage, in 2017, to give her a career breakthrough performance. He introduced her as a “whiskey-drinking badass.”
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