\n\tThe War and Treaty<\/a> fully immersed themselves in the Nashville community when they recorded and released last year\u2019s Plus One<\/em> album.<\/p>\n \n\t\u201cWe wanted to make sure that Nashville knew that we weren\u2019t hands-off: We\u2019re here now, and we know there\u2019s a Nashville way, but we also know that Nashville\u2019s got something to offer, and we\u2019ve got something to offer Nashville,\u201d the War and Treaty\u2019s Michael Trotter told Rolling Stone<\/em><\/a> then, detailing how they played the Grand Ole Opry, toured all the country music museums, and collaborated with Music Row songwriters.<\/p>\n \n\tBut the husband-and-wife duo say they didn\u2019t get the return on their investment. \u201cAbsolutely not. Don\u2019t ever do it. Any artist watching this, don\u2019t you do that,\u201d Tanya Trotter tells Rolling Stone<\/em>\u2019s Nashville Now<\/em> podcast.<\/p>\n \n\tAfter dropping a pair of albums, including 2025\u2019s Plus One<\/em>, under the Universal Music Group Nashville umbrella, the War and Treaty released their new LP, The Story of Michael and Tanya<\/em>, on Atlantic Outpost, Atlantic\u2019s new Americana-leaning imprint (Charley Crockett reissued his indie album Clovis<\/em><\/a> via the label earlier this month).<\/p>\n \n\t\u201cThe War and Treaty, in true nature, we are definitely one-million percent an Americana band. And the country music establishment latched on,\u201d Michael says, running through a list of artists who have found success without indulging in Music Row rituals. \u201cTyler Childers, Charley Crockett, Sierra Ferrell<\/a> \u2014 there is no reason why these artists should not always be named when you\u2019re speaking of country.\u201d<\/p>\n
![\"Nashville](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/02\/nashville-now-mobile.jpg\")
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