My Music Row Story: Red Light Management’s Zach Sutton

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Zach Sutton. Photo: Eric Anderson

The “My Music Row Story” weekly column features notable members of the Nashville music industry selected by the MusicRow editorial team. These individuals serve in key roles that help advance and promote the success of our industry. This column spotlights the invaluable people that keep the wheels rolling and the music playing.

With nearly 15 years in the Nashville music community, Missouri native Zach Sutton of Red Light Management guides the careers of award-winning, multi-Platinum artists Jordan Davis and Riley Green, along with newcomers Preston Cooper, Georgia Webster, Scott Wolverton and Bizzy.

With previous stops at Borman Entertainment and Capitol Records, Sutton is a 2023 and 2024 Billboard Country Power Players artist manager honoree. He serves on ACM Lifting Lives Board of Directors. When not on the road with one of his artists, he is with his wife and two young sons or in the outdoors hunting or fishing.

MusicRow: Where did you grow up?

Kansas City, Missouri—about 40 minutes east in a more rural area on the Missouri side. My dad was a Christian minister, my mom was a teacher, so a classic preacher-teacher setup.

Photo: Courtesy of Sutton

Was music always present in your life?

I grew up with two brothers, and we were big into sports and music. With my dad being a minister, music was a huge part of our lives. My mom sang and played piano in church, my dad sang, and they were both big music fans.

I remember getting my first CD as a kid. My dad sat me down and said, “We’re going to read through the liner notes and lyrics to see what the songs are about.” He wanted me to understand what I was listening to. Music was always around, especially at family gatherings. My mom or grandmother would play piano, and we’d sing during the holidays. That early exposure shaped me—I was always drawn to songs and lyrics.

What was that first CD?

Hanson. Middle of Nowhere. Loved it. Then TLC came out, and I remember bringing that home from Kmart. We read through the lyrics, and my dad was like, “Nope, not happening.”

Photo: Courtesy of Sutton

Did you always know you wanted to work in music, or were you just a fan?

I had no clue what the music business even was. I played baseball in college, transferred schools when we had a coaching change and ended up in Nashville at a small Christian school. I was playing summer baseball in Western Kentucky and had a teammate from Trevecca Nazarene University.

I always loved Nashville, so I thought, What if I went to school there? I could see more concerts. The coach came to watch me play, I got a scholarship, and it worked out. When I got to Nashville, I interned in the marketing department at the school, and that’s when I started hearing people talk about the music business.

Photo: Courtesy of Sutton

How did you get your foot in the door?

One of the Trevecca staff members’ husbands was a publisher named Jim “Spoon” Williams. I’d pick his brain, just curious about what this business was. At the time, I thought I’d work in marketing—maybe an agency.

That year, the local news did a dumb mini-series on me, following me around in college. Through that, I met Shane Talent, the news anchor, and we hit it off because we both played baseball. He was dating Autumn House, who was at Capitol Records. She became a bit of a mentor, and through her, I got introduced to the music industry.

I was about to take a job with the Nashville Predators in corporate partnerships when Autumn called me and said, “We might have a job at Capitol.” I was pumped—then she said, “It’s in the mailroom.”

Photo: Courtesy of Sutton

I hesitated because the Preds job was an actual salary, and I was a broke college kid. But she told me, “This is a foot in the door. Jobs here don’t open up often.” So I interviewed, got the job, and it ended up being the best thing ever.

The mailroom was perfect—I had about two hours of actual work and spent the rest of the time learning the business, meeting people, and figuring out how a record label worked. This was when Chief by Eric Church was coming out, “Need You Now” by Lady A was huge and they had just signed Alan Jackson. It was an exciting time.

How did you transition into management?

In the mailroom, I kept hearing about “management”—labels would say, “we need to talk to management,” or “management will handle that.” It got me curious.

In college, someone told me, “I see you in management,” but I had no clue what that meant. They made me write a letter to my favorite artists’ managers. I reached out to John Grady at Borman Entertainment, and to my surprise, he called me back. I asked about an internship, and while nothing came of it then, it planted a seed.

Photo: Courtesy of Sutton

Fast forward to my time at Capitol—there were rumors of a merger, and I saw the writing on the wall. Around that time, Borman Entertainment needed help. They were managing Keith Urban and Lady A and they brought me on.

I had no idea what I was getting into, but I knew I wanted to be at the center of an artist’s career. Working at Borman was like drinking from a firehose, but I got to learn from the best.

What was that experience like?

It was incredible. The team was full of all-stars, and I got an inside look at how artists operate at the highest level. Keith and Lady A were in their prime, and I was learning from some of the best managers in the business.

Eventually, my mentor, Daniel Miller, left to start Fusion Music. He had no clients at the time, but I believed in his vision and joined him. That gave me the opportunity to sign my own clients.

That’s when I met Jordan Davis. I was at Red Light but didn’t have my own clients yet. Jordan took every meeting in town, but for some reason, he trusted me. I put together a full marketing plan before we even started working together, and I think that helped seal the deal.

Photo: Courtesy of Sutton

Later, Daniel and I teamed up again to sign Riley Green. Since then, we’ve continued working together—co-managing Riley, and I still manage Jordan solo.

Why do you think you and Jordan clicked?

We spoke the same language—similar age, values and interests. He wasn’t chasing fame; he just wanted to write songs. He originally didn’t even see himself as an artist, but everyone in town kept telling him he had a unique voice. Eventually, he gave in and said, “Screw it, I guess I am.”

I think he saw that I understood him and had a plan for his career. Other managers told him, “I manage so-and-so, and if you’re lucky, I’ll work with you.” I came in and said, “You’re going to be my world. I’m all in.”

Riley’s career is on fire. What did you see in him early on?

Riley was already building a grassroots fanbase when we met him. He’s incredibly strategic, knows how to engage fans and understands business. If he weren’t in music, he’d probably be running his own company.

He kept developing as a songwriter, and now some of his biggest songs are solo writes. It’s been a long game, but everything lined up perfectly for him.

What’s your favorite part of the job?

Watching an artist’s vision come to life. From hearing a song for the first time to watching it become a hit—that’s exciting. Helping them achieve their goals, seeing them grow from clubs to arenas. It’s a lifestyle, not a job.

Photo: Courtesy of Sutton

How do you sustain yourself in this demanding business?

I have a supportive wife, which makes all the difference. I also have an addictive personality—when I get excited about something, I hyper-focus. This job constantly gives me new things to get excited about, so I never feel stagnant.

What advice would you give someone who wants to be in your shoes?

Have a strategy and be willing to sacrifice. Too many people say they want to be in the music business but won’t take the necessary steps.

Find something you’re good at—whether it’s digital marketing, video editing, or accounting—and use that to add value. It’s not about applying to a job and waiting. The most successful people I know hustled their way in—waiting tables, shooting videos, whatever it took.

Doors won’t always open for you, but you have to keep knocking.

LB Cantrell
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