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Noah Cyrus Joined by Billy Ray, Braison Cyrus at Stagecoach 2026

Noah Cyrus Joined by Billy Ray, Braison Cyrus at Stagecoach 2026

The singer-songwriter’s father and brother joined her onstage for the reflective duet “On Our Way Along”

It was a family affair at Noah Cyrus‘ Stagecoach set on Friday evening. The singer-songwriter appeared on stage alongside her band and against an ethereal background of moss-covered rocks and a mist of green light.

The singer delivered a moving performance of her lead single, “I Saw The Mountains,” from her second studio album, I Want My Loved Ones to Go with Me, released last year. After delivering the LP’s third single “New Country” and “Way of the World” (her song with Ella Langley), Noah announced that she had a “very special guest” and brought out Braison on stage to sing “Don’t Put It All on Me,” which her brother co-wrote and features Fleet Foxes.

Soon after, she did a temperature check with the crowd and announced, “I know ya’ll ready for this one ’cause i can smell it,” before launching into the country-tinged single “I Got So High That I Saw Jesus.”

After the brother-sister duet, Noah surprised the crowd by inviting her father Billy Ray to perform the reflective song “On Our Way Along,” which was co-written and co-produced by her brother, who returned to the stage. The song is the the first single from Billy Ray’s upcoming album The Hill.

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When discussing the song with the American Songwriter earlier this month, Billy Ray said the lyrics were inspired by a hill on his Tennessee property and “realizing that my whole life unfolded on this hill, and the magic of this place here.” He added, “It’s all come full circle.”

Noah’s Stagecoach performance arrives nearly a year after the release of I Want My Loved Ones to Go with Me, which was co-produced with longtime collaborators Mike Crossey and PJ Harding. The LP explores the background and experiences that have shaped the singer and features appearances by Langley, Blake Shelton, Fleet Foxes, and Bill Callahan. A Rolling Stone review praised the record as continuing Noah’s “path of left-leaning, unexpected sound architecture,” adding, “It’s gorgeously rendered — and very Noah.”


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