10/17/26 1+0+1+7+2+6=17 ✝️ distrokid.com/hyperfollow/ki…

“HALFWAY 2 JESUS” is OUT NOW ✝️
 Lit up Times Square, now go stream it, share it, play it loud. "Heal My Faith" ft. Eminem lyric video is live on YouTube → youtu.be/kxYTLagfy-4?si=-UvG… Album → distrokid.com/hyperfollow/ki…

Lots of people asking who “they” are… 🤣 I know God wants us all to laugh, be happy, and have fun! Hope this helped brighten your day. No one can tell me what to do with my music, never have, never will! “Ain’t nobody gonna tell me how to live" Have a great weekend.

Can you believe they are trying to get me to take several songs off my new album “Halfway 2 Jesus” that comes out next Saturday 10-17 @ 10-17am? - Unreal.

For Kalvin, please. No comments about me. Thank you.

#FACTS rollingstone.com/music/music…

#FACTS complex.com/music/a/will-lav…

The album cover and track list for Kid Rocks soon to be released album "HALFWAY 2 JESUS" is here! “JAMES 1:17" (Jesus Is King) is available everywhere NOW! The official video premieres TONIGHT! Video - youtu.be/JdXdQsP2_9M?si=AqOI… All info and more available @ KidRock.com

James 1:17 (Jesus is King)

Myself and family are absolutely devastated with the passing of Presley Gerber. He was such a wonderful and kind young man. His parents are the epitome of great, genuine, loving parents who did everything humanely possible to help him. This is a tragedy, one that has devastated far too many families. I know God has his hands on Presley and he shall forever rest in peace and thrive in the kingdom of heaven. With all my love and grace - Bob Ritchie

Myself, family and friends (along with millions of others around the world) have all been Bob’s biggest fans since any of us first heard him. I am so blessed to call him a friend. 📰 bnd.com/news/nation-world/na… 👉 bobseger.com/face-the-promis…

Quite simply The G.O.A.T Thanks for the songs, the laughs, the humility and grace. Without a doubt a woman who God truly has his hands on. Rock on Dolly, baby rock on.

“Investors? Possibly you!” Thank you Kevin for a WONDERFUL time yesterday on beautiful “Shark Free” Lake Joseph!

DWAC turns 28! Forgot to post this yesterday!!

I don’t care enough to answer every hater. If I stopped to respond to every miserable blogger, failed cultural referee and bargain-bin music critic who used my name for clicks, I’d never have time to make music—or fulfill my duties as “The Mayor of Awesomeville.” 🕺 Most of it is background noise. But every once in a while, it’s fun to pick one, drag the reporting into the daylight and watch the narrative fall apart under the weight of the facts it left out. Today’s example: writer Alyssa Fields. Her page: phoenixnewtimes.com/author/a… Let’s begin with Alyssa’s August 14 article, “The 10 biggest douchebags in country music”: phoenixnewtimes.com/music/bi… Honestly? I think the list itself is funny. I like just about every artist on it—a lot. Zach Bryan is the exception; he actually seems pretty douchey to me. But then again, I don’t know him. It’s an opinion piece written to piss people off and generate clicks. Mission accomplished. No problem. All’s fair in love, war and cheap listicles. But there’s an extra joke hiding inside this one: Alyssa’s supposedly fresh article looks an awful lot like a Phoenix New Times article published 12 years earlier—with the exact same title. Here’s Mike Seely and Phoenix New Times Staff’s June 26, 2014 article, “The 10 Biggest Douchebags in Country Music”: phoenixnewtimes.com/music/th… Same title? Maybe that’s just laziness. But then compare the introductions. The 2014 article describes country music using this sequence: “Booze, chicks, jacked-up pickups, extreme redneck sports, spring break.” Alyssa’s 2026 version describes it this way: “Booze, women, jacked-up pickups, extreme redneck sports and spring break.” She apparently changed “chicks” to “women,” added an “and” and called it a day. Then there’s the closing joke. The 2014 article says Keith Urban was “spared the guillotine” because he can “really shred on guitar.” Alyssa’s 2026 article ends by saying Keith Urban was “spared the guillotine” because he can “really shred on a guitar.” Same title. Same highly specific string of examples. Same “spared the guillotine” closing joke about the same artist for the same reason. A fresh idea? Nope. An original setup? Not exactly. An original punchline? Apparently not. Call it recycling. Call it imitation. I call it a rip-off with updated names. (FYI, All Summer Long is a masterpiece and not even close to this, but go ahead and show your ignorance in the comments haters) Whatever label you prefer, it’s a long damn way from creative. If you’re going to call ten people douchebags, the least you can do is come up with your own title, introduction and closing joke. (Or original production, lyrics and melody) But seriously -  Alyssa’s article about the DOJ’s fight against Live Nation and Ticketmaster is where the problem goes beyond unoriginal writing: phoenixnewtimes.com/music/wh… The headline promises readers “what to know” about one of the most important legal battles in the live-music industry. Apparently, readers needed to know about Taylor Swift, Pearl Jam, corporate press releases and personnel drama inside the DOJ—but not that I had testified before the United States Senate just five weeks earlier about this exact issue. I didn’t show up to Congress merely to bitch and moan. I came prepared with specific solutions: Artists should control who sells their tickets and how they are sold. Resale markups should be capped. Existing laws against bots, crooked brokers and speculative ticketing should be aggressively enforced. You can read my actual Senate testimony here: commerce.senate.gov/wp-conte… So why didn’t Alyssa Fields mention it? Politics? Laziness? Bias? I can’t read her mind—but I can read her article. The result is incomplete journalism that conveniently serves a very familiar narrative. Taylor Swift says the ticketing system hurts fans? Important. Pearl Jam said it 30 years ago? Historic. Kid Rock sits before Congress, identifies the problems and proposes actual reforms? Suddenly the newsroom runs out of ink. That isn’t “what to know.” That’s what survived the writer’s political and cultural filter. And this isn’t only about one writer. It’s part of a larger media pattern: They’ll cover an issue all day long when the people speaking fit their preferred narrative. The moment somebody outside their political tribe supports the same cause, relevant facts mysteriously disappear. You don’t have to like me. You don’t have to share my politics. You don’t even have to admit you secretly know every damn word to “Bawitdaba.” But journalism is supposed to function even when the subject doesn’t belong to your political tribe. What makes my position especially inconvenient is that I’ve made millions of dollars working with Live Nation. Going after this system isn’t fashionable, easy or personally convenient. It means biting a hand that has paid me because that hand was caught reaching into my fans’ pockets. And I’m not only coming after Ticketmaster. I’m coming after every ticketing outfit that treats artists like inventory and fans like human ATMs. Ticketmaster is simply the biggest hog at the trough. Then the Live Nation trial pulled back the curtain. Unsealed messages showed Live Nation ticketing employees mocking customers while discussing outrageous add-ons—including VIP parking priced as high as $250 in connection with Kid Rock shows: finance.yahoo.com/news/peopl… Live Nation CEO Michael Rapino later called the language “disgusting” and said it wasn’t how the company operated: apnews.com/article/live-nati… A jury ultimately found that Live Nation and Ticketmaster violated federal and state antitrust laws by eliminating competition and driving up costs for fans, artists and venues: ag.ny.gov/press-release/2026… Those aren’t Kid Rock talking points. Those are internal messages, evidence presented in court and findings returned by a jury. And to all the low-rent fortune-tellers who spent months claiming I couldn’t sell tickets and that the Freedom 250 Tour would play to empty seats: How did that prediction age? The tour happened. The crowds came. We had sold-out and packed amphitheaters night after night. Then something miraculous occurred: The same writers who couldn’t stop talking suddenly discovered silent mode. No follow-ups. No corrections. No “maybe we got this wrong.” Their keyboards must have suffered a mysterious mechanical failure when the turnstiles started clicking. Funny how that works. Hot takes don’t scan at the gate. Tickets do. So, Alyssa, disagree with me all you like. I’m from the school of sticks and stones. But your reporting still has to survive the facts. If you promise readers “what to know,” have the guts to tell them what actually matters—even when the facts make somebody you dislike look informed, prepared and correct. You don’t have to like Kid Rock. But you do have to deal with the record. And let’s face one more fact: Hack journalism doesn’t publish itself. The writer owns the words. The editor owns the decision to run them. The outlet owns the standard—or lack of one—that lets the work through. When sloppy, one-sided reporting keeps making it into print, the failure isn’t only personal. It’s institutional. Suck on that, haters. Kid Rock wins again. 🎤 ⬇️ And before you comment, “Don’t waste your time on these haters,” understand this: I didn’t. I had AI help me check the facts, create the links, check the grammar and handle the other tedious shit. As a songwriter, putting a few words together to rip someone—or the media—a new asshole is easy as pie for me!

Throwback Thursday!  “It was 1989 my thoughts were short my hair was long!”

GOD is GOOD!! Bob Ritchie