Blanco Brown, BBR’s Jon Loba On Launching “The Git Up” And Bringing “TrailerTrap” To Country Radio [Interview]

Blanco Brown’s infectious viral hit “The Git Up” has music lovers across the globe getting down to what he calls “TrailerTrap,” a country-rap hybrid of 808s, guitar, some lap steel, snares, and lyrics that touch on both his rural and urban upbringing—not to mention Brown’s customized line dance for “The Git Up” that spurred #thegitupchallenge. The track follows in the wake of the recent red-hot explosion of the country trap microgenre, as evidenced by Lil Nas X’s 12-week reign atop the Billboard Top 100, with the 3x Platinum-selling  “Old Town Road,” as well as its remix featuring Billy Ray Cyrus.

Brown’s “The Git Up” is notching some impressive chart distinctions of its own. “The Git Up” has topped Spotify’s global and domestic Viral 50 chart for the past couple of weeks, and crowning Spotify charts in countries including Australia, France, and Germany along the way. The song is the most-streamed, on-demand country track this week, with 13.5 million streams, and has generated more than one million video clips on social media platform TikTok. Brown welcomed fellow BBR Music Group/BMG labelmate Lainey Wilson for an official dance tutorial video #thegitupchallenge, which has more than 4 million views on YouTube.

“When you have a true hit record, like this is, you’re trying not to get in the way of it,” BBR Music Group Exec. VP Jon Loba. “This is one is one of those once in a lifetime records. It is connecting across every demo. There is young, old, country, urban, black, white, international, domestic. There are absolutely zero barriers to this, which is the perfect opening for Blanco because, from the moment I met him, he made it clear he wants his music to have a unifying purpose.”

This week, track was released to country radio, with an official country radio tour happening in July, bolstered by early support from heavy hitters in the country radio community.

“The song was extremely catchy and fun and the man’s lyrics were totally country. Unique is an understatement!” Cumulus’ NASH Director of Programming John Shomby recalls of first hearing the track.

Prior to signing with BBR Music Group last year, Brown had already earned a Grammy nomination for his work with Childish Gambino, provided vocals on Fergie’s Double Dutchess album, wrote for R&B singer Monica, and did background vocals and arrangements on of Kane Brown’s early demos and EPs.

Blanco was raised in Atlanta, but spent his summers in Butler, Georgia (the town counted a population of 1,972 residents in 2010), and grew up soaking in both urban and country sounds. His recently released, four-song EP deftly blends the nuanced, detailed storytelling of country music with dance-ready beats as he traces his childhood in “Ghett Ol’ Memories,” and weathers heartbreak on “Georgia Power.”

MusicRow recently spoke with Brown and BBR Music Group’s Jon Loba about the viral success of “The Git Up,” and the stories behind the music on Brown’s new EP.


MusicRow: With this song exploding as quickly as it has around the world, how has that changed or impacted the marketing plan you had in place from the beginning?

Loba: I honestly felt like we had to build a domestic story before we could really engage the other territories. But with this success, we haven’t had to wait for that build. Instead of doing domestic US and then the world, everything is happening together. Also, usually you would build a story or a brand in the country space, and if it had a chance to work in other genres, then you take that story to the other genres. With this record, those other genres are already coming to us. They’re already jumping on board. But Blanco’s intention has always been to live in the country music space. 

With country radio, I really wanted to build a story and have radio coming to us saying, “What is this? Tell us more about it.” And then we would develop a radio plan. That’s exactly what has happened—it’s just happened at an enormously accelerated pace. The discussions we are having now with radio I thought they would happen in September or October, and that we’d go for for airplay on a Blanco single the top of next year, but we have been overwhelmed by the connection to this song.

MR: How did you discover each other?

Loba: I happened to be in LA for some meetings and Zach Katz was running [BMG] North America at the time. He and I were sitting in his office and he said, “Hey, a lawyer friend is coming in and he’s probably bringing in an urban act, so you are welcome to stay, but if you have any other work you need to get done, don’t feel like so have to stay,” so I bounced out of his office to make a couple calls. Ten minutes later I got a text from him that said, “Get in here immediately.” I walked in and Blanco started playing. I was just completely blown away. And I thought immediately what he is doing is not just genre-bending, but genre-defining. 

I said, “You can clearly do any kind of music you want, but where do you want to live?” and he said, “I want to be a country artist first.” And if you go back, there’s a YouTube video from 2006 where he’s being interviewed and they ask him about making his own music. Even then, he says he’d mix country and trap music.

MR: Blanco, how did you first realize music was something you had a talent for?

Brown: My whole family sang and played music. My dad put a guitar in my hand at age five, because he played guitar and I guess he wanted me to play. I remember growing up, listening to Tim McGraw, and Johnny Cash. My uncle wrote like little country songs and my dad would play on the guitar. But at the same time I was listening to Outkast and people like that in the hood. So I always had both sides of the genres stuck in my head. 

Really, my influences just came from being in the hood around the rap music and then in the country around the country music and then bringing country music back to the hood. My auntie lived with us and we all stayed in a two-bedroom apartment—there were like 12 of us. Brick walls and even the floors were like concrete. If you had to drill a nail in the wall, you were drilling into the brick. So growing up like that influenced my music.

MR: What were some of the early venues you played?

Brown: Me and my brothers, we were in a R&B group called Times 3 and we would play clubs that we weren’t supposed to be in, like Club 3 in Atlanta. We would come home, do homework, practice, then go do shows. People would always be like, “How are you playing these clubs?”

MR: When did you start incorporating elements of country music into your art?

Brown: I started infusing country music with it in like 2008. My friends would laugh, like, “Man, you black, you can’t love country music.” I was like, “I mean look at Darius Rucker,” and they were like, “Man he tricked everybody, he was with Hootie and the Blowfish.” I was like, “You might have a point but I’m still going to play country music.” Around 2011, I started mixing it with 808s and then starting calling it Trailer Trap.

MR: What was the process for building “The Git Up”?

Brown: I started with a lap steel, but then I played it for the first time. I made a dope couple of riffs and I picked out the riff that stood out to me most. Then I looped it and added a beat box, 808s, snares, high hats and stuff. And then after I added that, I was like, “Man, this right here so fun, it brings me so much joy.” I decided to write my dance onto that. I said, “I can write a song to this, but why not give people something to smile and have joy to, just like it’s bringing to me?”


MR: What was your reaction to the success of “Old Town Road,” and did its success affect the promotional plan for “The Git Up”? 

Loba: I thought we would probably have to fight to get [“The Git Up”]  through gatekeepers and I thought we would find a specialized audience. Then, I was in the Berlin airport getting ready to fly to London for C2C and I saw the Lil Nas X record  popping up everywhere on Spotify and Apple. And I was like, ‘What is this?’ When I heard it, I got so insanely excited. It was the first realization to me that we were right, there is a huge consumer demand for this. 

We had always planned to release his debut EP the week before CMA fest. But when he brought us “The Git Up,” he showed us the short video clip of himself doing the dance. We wanted to move fast, so we put that up. We knew it was going to take a couple of weeks to get it up on all the DSPs so we uploaded it directly to SoundCloud. Then it started getting picked up by creators on TikTok and Triller and Instagram and it exploded from there. I think it’s important to note that all our friends at the streaming services recognized as well that “The Git Up” would probably be a phenomenon and that it would do that on its own. So when we released the EP, the streaming services have not focused on “The Git Up.” They wanted to focus on the EP and let “The Git Up” do its own thing.

MR: When did you realize the international potential for this song?

Loba: I realized that there were absolutely zero barriers to this song was when our French office said, “Hey, we want to take this to radio.” Because France is, traditionally, such a domestically-focused market. They don’t have a lot of incoming international repertoire and when Shazam started exploding in that country and our team said, “Hey, we want to go chase this.” That sort of proved to me that this is a completely borderless, limitless song.

MR: This song has been serviced to country radio and a radio tour is happening soon. Given the success of this song on streaming platforms, why is it so important to make a concerted effort at country radio?

Loba: With Blanco, I knew from that first meeting that he wanted to be deep in that country community. Say whatever you want, you can’t say this song isn’t country. And you have behind that song a man whose actions will show our country radio family that he intends to be there. When you look at icons in our format, they usually came from the fringes. I remember with Jason Aldean, in those early days JoJamie Hahr and everyone were tearing out their hair because people were saying, “That’s not country. That’s rock ‘n’ roll.” And now Jason’s one of the biggest mainstays in country music and changed the genre along the way. It’s bold to say something like this about this so early, but I know Blanco Brown and I know his heart. I know given the opportunity he’ll be in the genre as long as he wants, and as long as the genre wants him. 

Vanderbilt To Partner With National Museum Of African American Music

Vanderbilt University is joining with the National Museum of African American Music in a long-term partnership to enrich educational and research opportunities around the musical legacy of African-American composers, performers and supporters and their impact on American culture and musical history.

The university’s pledge of foundational support, which totals $2 million in in-kind contributions and direct financial support, will expand the museum’s archival collection, contribute to innovative programming, support the completion of the facility and more.

Chancellor Nicholas S. Zeppos announced the innovative partnership at the museum’s sixth annual Legends Gala held last night (June 27) at the Music City Center. “We are proud to partner with the National Museum of African American Music in building global awareness of the musical legacy and impact of African American composers, performers and supporters,” Zeppos said. “This museum will expand the opportunities of our Vanderbilt community, Middle Tennesseans and visitors from around the world to engage in learning and discovery.”

Included in Vanderbilt’s partnership with the museum is a collaboration with the university’s Jean and Alexander Heard Libraries to support an expanded collection of books, scores, sound recordings and material objects related to African American music. This collection will be available for loan, display and study at the museum and will also serve as an important resource for scholarly research on Vanderbilt’s campus.

“The National Museum of African American Music will be an outstanding addition to Nashville’s rich community resources, and this partnership will continue to extend Vanderbilt’s preeminent academic experience beyond the classroom,” said Provost and Vice Chancellor for Academic Affairs Susan R. Wente. “I look forward to the myriad programming, collaborations and scholarly research projects that this partnership makes possible, and to further encouraging our students to embrace lifelong learning experiences that spark or enhance our appreciation for creativity.”

Vanderbilt, in collaboration with the museum, will host speaker events that will include prominent guest lecturers, panel discussions and performances. Departments across the campus will host the events to encourage the broadest engagement by faculty, students and staff. The speaker series will launch after the museum opens.

The university and museum also envision future faculty research endeavors and Immersion Vanderbilt projects for undergraduate students that may be designed around museum holdings and ongoing collaborations between the many university classes that reflect the museum’s repertoire.

“I’m pleased that Vanderbilt’s continued strong role as a community advocate and partner for organizations that align with the university’s values is reflected in this foundational gift and partnership,” said Vice Chancellor for Government and Community Relations Nathan Green.

The museum, scheduled to open in downtown Nashville in early 2020, will be one of the only such resources in the country solely dedicated to educating, preserving and celebrating the influence that African Americans have had on all genres of music—including classical, country, jazz and hip hop.

“With our dedication to expanding the horizons of musical education, I am excited for the possibilities of this partnership to elevate the cultural and intellectual life of our campus, community and region,” said Mark Wait, the Martha Rivers Ingram Dean of the Blair School of Music and professor of music. “A museum focused on African American music will offer many opportunities for student and faculty engagement and will further elevate Nashville’s profile as a center for all genres of music.”

Vanderbilt’s relationship with the National Museum of African American Music began several years ago, and the ties were strengthened by the late Vice Chancellor for University Affairs and Athletics and Athletic Director David Williams II, who served as co-chair of the museum’s campaign steering committee and was an early supporter.

“I am deeply grateful to Chancellor Zeppos and the entire Vanderbilt University leadership team for their commitment to and investment in our mission. This partnership with one of the nation’s best research universities will dramatically enrich the reach and impact of our programming, and we look forward to the many new opportunities we will be able to offer our community and visitors as a result,” H. Beecher Hicks III, president and chief executive officer of the National Museum of African American Music, said. “I am also deeply grateful for the legacy of impact that David Williams had on the museum in its formative years, and for his and Gail Williams’ generous support.”

For more information on the museum, visit the NMAAM website.

Trisha Yearwood Teams With Kelly Clarkson, Don Henley, Garth Brooks On ‘Every Girl’ Album

Photo Credit: Russ Harrington

Trisha Yearwood has revealed the track listing and special guests on her upcoming new project, Every Girl, and has unlocked the pre-order for the upcoming album today. It arrives in stores and digitally on Aug. 30, and includes collaborations with Kelly Clarkson, Garth, and Don Henley. It also notably showcases the talents of a bevy of female writers as well, including Lucie Silvas, Caitlyn Smith, Patricia ConroyAshley McBryde, Gretchen Peters, and more.

Additionally, a Limited Edition version of the album, featuring special cover art in vinyl and CD, will be available for pre-order on Yearwood’s official Talk Shop Live channel for a limited time. She will reveal the limited edition cover and discuss the album live on Talk Shop Live today at 5 P.M. CT.

She enlisted the talents of longtime producer Garth Fundis for the new project. The two have maintained a creative partnership that dates back to her double-platinum classic self-titled 1991 debut, and flourishes once again on these 14 songs.

The album includes songs such as the soaring and sweeping “Tell Me Something I Don’t Know” [feat. Kelly Clarkson], the heartfelt ballad “What Gave Me Away” [feat. Garth Brooks], and elegant closer “Love You Anyway” [feat. Don Henley]. An avowed Linda Ronstadt fan, Yearwood reached out to songwriter Karla Bonoff for a collaboration and ended up recording an emotionally charged take on “Home,” originally cut by Bonnie Raitt.

“I approached this album without any pressure or expectations,” said Yearwood. “I’m so grateful the songs were there. I found 14 tunes I couldn’t live without. You want people to recognize you as an artist, but you also want to take them somewhere they haven’t necessarily been with you before. With the freedom of no expectations, I got back to that feeling I felt on my first album, like I have to do this and put it out there. Over the years, I let go of worrying about perfection. I just wanted to have a good time. I realized maybe that’s when you do your best work.”

This fall, Yearwood launches her first solo tour in five years. The “Every Girl On Tour” kicks off October 3rd with a special three-night engagement with the Nashville Symphony at Schermerhorn Symphony Center. The 22-city trek continues throughout the U. S. with stops in New York, Boston, Atlanta, Chicago, St. Louis, Cincinnati, Fort Worth, Minneapolis, Jacksonville, and more.

Every Girl Full Track List:

  1. Workin’ On Whiskey
  2. Find A Way
  3. Home
  4. Every Girl In This Town
  5. Tell Me Something I Don’t Know (Featuring Kelly Clarkson)
  6. What Gave Me Away (Featuring Garth Brooks)
  7. Something Kinda Like It
  8. When Lonely Calls
  9. Matador
  10. I’ll Carry You Home
  11. Drink Up
  12. Bible and A .44
  13. Can’t Take Back Goodbye
  14. Love You Anyway (Featuring Don Henley)

Weekly Chart Report (6/28/19)

Click here or above to access MusicRow’s weekly CountryBreakout Report.

Kathie Lee Gifford Makes Surprise Appearance At 31st Annual MusicRow Awards

Pictured: Alecia Davis, Kathie Lee Gifford, Sherod Robertson. Photo: Steve Lowry

The attendees of Wednesday evening’s (June 26) MusicRow Awards got a special surprise, as new Franklin, Tennessee resident and television personality Kathie Lee Gifford stopped by to greet the crowd.

Onstage, Gifford along with MusicRow Magazine owner/publisher Sherod Robertson and his MusicRow Awards co-host and media personality Alecia Davis treated themselves to a taste of Gifford’s new line of wine, GIFFT by Kathie Lee Gifford. The wine is a partnership between Gifford and Scheid Family Wines, which are 100% estate grown from Scheid’s vineyards in Monterey County, California.

Gifford has been collaborating on music with songwriter Brett James, among others.

“I’m happy,” she told attendees. “It’s this place. Everyone is so loving, and they love my wine. I’m blessed beyond belief. My dream job is what I’m doing right now. I can’t thank you enough for the welcome that I’ve received and the warmth.”

Supporting Sponsors of the event were Vaden Group | Elliott Davis, Creative Artists Agency (CAA) and Keller Turner Andrews & Ghanem, PLLC. Partner level sponsors include Ram Trucks and City National Bank.

Tracy Wilkinson Joins Big Machine Records

Tracy Wilkinson

Big Machine Records has added Tracy Wilkinson as Southwest Director of Promotion & Marketing, effective July 8 following the departure of Alex Valentine. Based in Houston, Wilkinson will promote the imprint’s roster which includes Reba McEntire, Rascal Flatts, Carly Pearce, Midland, The Cadillac Three, Lauren Jenkins, Noah Schnacky, Dan Smalley, and more.

Big Machine Records VP, Promotion Kris Lamb said, “AV is a legend in the Southwest and if promotion was a sport with jerseys, we’d retire his number. On behalf of our entire Big Machine family we wish him nothing but the best and want to give a warm welcome to Tracy Wilkinson! We’ve been following her career ascension from afar for some time now. Everything she touches turns to gold. It’s a privilege to have her join our team at Big Machine Records.”

“Country radio is a passion of mine and has been so good to me over the years,” said Wilkinson. “Scott Borchetta, Jim Weatherson, Kris Lamb and Erik Powell’s support and confidence in me made this an easy decision for a career transition and I am beyond excited to join the team at Big Machine Records.”

Wilkinson can be reached via 828-244-2827 and [email protected].

DISClaimer: Jenny Tolman, Blanco Brown, The Sisterhood Band Top New Releases

For this outing of DisClaimer, it’s all about the future.

There are plenty of fine works by established stars here — Jon Pardi, Garth & Blake, Kane Brown, Jimmie Allen. But my ears perked up the most for the up and comers.

The Disc of the Day award goes to Jenny Tolman, for whom I wish nothing short of superstardom. For today’s DisCovery Award, we have a tie between two terrific pop-leaning platters. They come to us from Blanco Brown and The Sisterhood Band.

Writers: Mark D. Sanders, Sophie Sanders, Jenny Tolman; Producer: Dave Brainard; Publishers: Songs of Sanderosa/Old Sol, ASCAP/SESAC; Old Sol (track)
– Gorgeous. Her voice aches exquisitely on this beautiful melody. It’s a woman-to-woman ballad about one losing her love to the other. Jenny’s album-release party for her awesome There Goes the Neighborhood CD is at City Winery on July 15. Those of you in A&R, in particular, need to hear this extraordinary artist. Get there however you can.

Writers: none listed; Producer: none listed; Publishers: none listed; BBR
– If there is even the slightest doubt in your mind about how wonderfully worthy this new artist is, this will erase it. If you’re already a fan, like I am, this will totally confirm it. It’s an acoustic cover of a Matchbox 20 tune where Allen sings his face off. Find it online and experience a little bliss.

Writers: none listed; Producer: none listed; Publishers: none listed; Arista
– Alyssa Bonagura and Ruby Stewart were both fabulously gifted solo singer-songwriters in Music City. Together in this ensemble, they are dynamite. Their vocal harmonies are twin-like, and their production skills are an audio delight. This track has snappy rhythm, echoey energy and feisty charm. They might have “dodged a bullet,” but you shouldn’t. The other available Sisterhood track is the poppy, choppy “Get Up and Go.” More, more, more.

Writers: Kane Brown/Marshmello/Jesse Frasure/Josh Hoge/Matthew McGuinn; Producer: none listed; Publishers: none listed; RCA
– Solid. Kane’s lead vocal keeps it grounded while international star Marshmello’s audio touches flitter around him. It’s all about the groove.

Writers: none listed; Producers: none listed; Publishers: none listed; BBR
– This is a boatload of fun, a wonderfully wacky set of instructions for the saloon dancefloor. I am told this is already a viral sensation, and I can certainly hear why. It’s an irresistible novelty. He was a big fan favorite at CMA Music Fest.

JON PARDI/Ain’t Always The Cowboy
Writers: Brandon Kinney/Josh Thompson; Producers: Jon Pardi/Bart Butler/Ryan Gore; Publishers: none listed; Capitol
– Hot on the heels of his single and title tune of the upcoming “Heartache Medication” CD comes another advance taste of the collection. As always, he is a beacon lighting up the darkness to lead us back to true country music. From the fiddle intro to the wailing choruses, this is righteous.

Writers: Jon Langston/Brad Clawson/Brock Berryhill; Producer: Jody Stevens; Publishers: Sony-ATV Countryside/Warner-Tamerlane/Mandy’s Favorite/Murphy the Wolf/Five Miles West/Don’t Be a Gypsy, BMI
– The truck, the hunting dog, the booze, the cooler, the babe, the fishing, the small-town thang, the red neck. You know the drill.

Writers: none listed; Producer: none listed; Publisher: None listed; Pearl
– Raucous and rowdy. Full of high spirits and good intentions. Somewhat reminiscent of the atmosphere created by the iconic “Friends in Low Places.” Hit bound.

JEANNIE C. RILEY/Me and Bobby McGee
Writers: Kristofferson/Foster; Producers: Larry Marrs & J.R. McNeely; Publishers: none listed; Country rewind
– Her plain-spoken, Texas-twang delivery is perfect for this timeless story song. The tempo is jaunty, and the steel passages are perfection. Never previously released, it is drawn from 1970 radio-show tapes that have been given new productions and now packaged as a CD titled The Music City Sessions. Country Rewind Records has similar releases of long-lost and updated collections by Waylon Jennings, Johnny Russell, Conway Twitty, Connie Smith, Mickey Gilley, Faron Young, Ferlin Husky and more. Cool stuff.

Writers: Jackson Michelson/Justin Ebach/STeven Dale Jones; Producer: none listed; Publishers: none listed; Curb
– Generic sounding. A memorable melody would have been nice.

Dierks Bentley Unveils Whiskey Stage Lineup For His Seven Peaks Festival

Dierks Bentley has revealed the Whiskey Row Stage lineup for his second annual Seven Peaks Music Festival Labor Day weekend (Aug. 30-Sept. 1) in Buena Vista, Colorado. The stage will host artists Clare Dunn, HARDY, Lauren Jenkins, Larkin Poe, Kendell Marvel, Rapidgrass, Teddy Robb, Seaforth, Chris Shiflett and Rita Wilson.

In addition to the Whiskey Row stage, the previously announced main stage lineup features Bentley, Luke Bryan, Maren Morris, Jon Pardi and Mitchell Tenpenny, along with Nitty Gritty Dirt Band, Ryan Hurd, Steep Canyon Rangers, The War and Treaty, Tenille Townes and Caylee Hammack. Additionally, last year’s highlight, Friday’s HOT COUNTRY NIGHT, is set to return this year with Travis Tritt, Tracy Lawrence, Diamond Rio and Deana Carter, and will feature a special performance by Bentley’s own Hot Country Knights.

Fans can also expect plenty of activities across the weekend including the return of the Somewhere On A Beach Party and Late Night At Whiskey Row, ATV Tours, inflatable kayaking, whitewater rafting and more.

Tickets are on sale now at

BMI Presents Third Rooftop On The Row Of 2019 With Aaron Watson And Faren Rachels

Pictured (L-R): CDA Entertainment’s Gino Genaro, BMI’s Jody Williams, Aaron Watson, BMI’s Mason Hunter and CAA’s John Huie. Photo: Nathan Zucker

BMI once again hosted its Rooftop on the Row series on Tuesday evening (June 25) at their Nashville office. The third show of the summer series featured Texas star Aaron Watson and up-and-comer Faren Rachels. To kick off the evening, Rachels delivered her brand of rowdy country to a crowd of industry insiders, and included a performance of her latest single “On Paper.”

Pictured: Faren Rachels performs on the BMI Rooftop. Photo: Nathan Zucker

Watson, who has a new album out this week titled Red Bandana, closed out the evening. Performing his fan-favorites and new songs—including “Kiss That Girl Goodbye”—Watson brought his Texas swagger to the BMI terrace. He finished out the set with his BMI award-winning song, “Outta Style.” Fans can catch Watson on tour through the summer.

Pictured: Aaron Watson performs during BMI’s Rooftop on the Row on June 25, 2019. Photo: Nathan Zucker

The next installment of Rooftop on the Row will be Tuesday, July 23 and will feature performances from Troy Cartwright and Maddie and Tae.

Pictured: Faren Rachels and BMI’s Leslie Roberts. Photo: Nathan Zucker

On The Cover: 2019 ‘MusicRow’ Awards Issue

MusicRow, Nashville’s leading music industry publication, is proud to release its annual MusicRow Awards print issue. The latest issue features the nominees of the 31st annual MusicRow Awards, who were celebrated during an all-new, expanded ceremony in Nashville Wednesday night (June 26) at War Memorial Auditorium.

The issue also highlights Ken Burns’ Country Music documentary, Kacey Musgraves fashion stylist Erica Cloud, an examination of female country music tours, and actor/musician Kiefer Sutherland, among many other articles.

Gracing the cover of MusicRow’s June/July print magazine is Capitol Records Nashville recording artist Jon Pardi. Pardi’s Platinum-certified album California Sunrise debuted at No. 1 on Billboard’s Top Country Albums chart earning him the titles CMA New Artist of the Year and ACM New Male Vocalist of the Year. Pardi dominated the top of the country music charts with consecutive No. 1 hits including 2x Platinum-selling songs “Dirt On My Boots” and “Head Over Boots,” and Platinum-certified “Heartache On The Dance Floor.”

Most recently, “Night Shift” reached No. 5 and No. 8 respectively on Billboard’s Top Country Airplay and Hot Country Songs charts, while “She Ain’t In It” landed in the Top 25. California Sunrise is the follow up to Write You A Song, which debuted at No. 3 on Billboard’s Top Country Albums chart and yielded Top 10 Gold-selling songs “Up All Night,” “What I Can’t Put Down,” “Missin’ You Crazy” and “When I’ve Been Drinkin” (all co-written by Pardi). Pardi’s upcoming album Heartache Medication is slated for a Sept. 27 release. For more information, visit

Single copies of the MusicRow Awards issue are available for purchase online for $20, and are included with yearly subscriptions at no additional cost.