Damon Whiteside. Photo: Katie Kauss
As Damon Whiteside steps away from his role as CEO of the Academy of Country Music after more than six years, he’s leaving behind an organization that looks much different than the one he joined in early 2020. During his tenure, the Academy weathered a global pandemic, relocated its headquarters from Los Angeles to Nashville, transitioned the ACM Awards from broadcast television to streaming on Prime Video and expanded its footprint through new events and initiatives. As he begins his six-month term as CEO Emeritus today (July 1), Whiteside reflects on the milestones, challenges and moments that defined his tenure.
When he joined the Academy in January 2020, he expected to spend his first few months learning the organization and settling into the role, but the COVID-19 pandemic quickly upended those plans, forcing the Academy to rethink nearly every aspect of its operations.” A lot of stuff changed really fast,” Whiteside tells MusicRow. “It caused a very quick pivot within my first three months on the job.”
Pictured (L-R): Adam Stotsky, Dolly Parton and Damon Whiteside attend the 57th Academy of Country Music Awards. Photo: Kevin Mazur/Getty Images for ACM
One of Whiteside’s first major decisions as CEO was canceling the 2020 ACM Awards in Las Vegas as the pandemic brought the live entertainment industry to a standstill. But rather than waiting for normalcy to return, the Academy reimagined the show in Nashville, staging the ceremony across the Grand Ole Opry House, the Ryman Auditorium and the Bluebird Cafe.
That willingness to adapt extended beyond the pandemic. Looking back on his tenure, Whiteside points to several milestones that reshaped the Academy, beginning with relocating its headquarters from Los Angeles to Nashville. Founded in California in 1964, the Academy’s move marked a significant shift, one that he says took time but ultimately allowed the organization to become more deeply integrated into the heart of the country music industry.
Another defining moment came in 2022, when the Academy became the first major awards show to move exclusively to streaming through Prime Video. The move not only expanded the show’s global reach but also changed the viewing experience, allowing for fewer commercial breaks and a greater emphasis on music.
Returning the ACM Awards to Las Vegas marked yet another major step for the Academy. After three years in Texas, the Academy brought the event back to its longtime home, a decision Whiteside said was embraced by artists, fans and the industry and resulted in one of the organization’s most successful weekends. Reflecting on his final ACM Awards as CEO, Whiteside said the show represented everything he hoped it would.
“I sat there that night watching it, and I was just kind of blown away at the quality of the show. I feel like for me, that was the best show that I’ve been a part of since I’ve been in this role … It really captured what country music is right now… It’s still paying respect to the legacy of it, but it was very much of the moment.”
But for Whiteside, the show’s success wasn’t just measured by what happened on stage.
“I’m very proud of the ACM staff, honestly, because moving a show to a new city, and standing up new events… that is a huge undertaking for our small staff. It is a testament to the passion here and the leadership here. Everybody’s here because they want to be here and because they want it to be great for the artists and industry.”
Looking back, Whiteside said one of the biggest surprises of leading the Academy wasn’t navigating award shows or industry changes, but discovering just how much leadership centered on the people around him.
“Leadership is leading a company, yes. It is about experience in the actual business and having business acumen for sure. But, so much of it is about what you accomplish as a leader is with your team and how you develop them. What I love is just [watching] people that I’ve hired or mentored and seeing them grow. It just makes me really proud and happy to see that I could just be one part of their journey.”
Beyond the milestones and organizational changes, Whiteside said it’s the moments along the way that he’ll remember most. Bringing the ACM Awards to Nashville during the pandemic remains at the top of that list. “We weren’t going to let COVID keep us from awarding our artists,” he said. “Being able to do it at the three most iconic venues in Nashville, the Opry, and the Ryman, and the Bluebird, which hadn’t been done before. That’s always going to be kind of on my Mount Rushmore of cool things I got to do.”
Shania Twain & Damon Whitside. Photo: Courtesy of Whiteside
He also points to the Academy’s 60th anniversary celebration in 2025 as another career highlight, saying he was proud to help commemorate the organization’s legacy while showcasing where country music is today. Beyond the events themselves, Whiteside said one of the unexpected joys of the role came from working alongside some of the genre’s biggest names. “Reba is absolutely undeniably the hardest working person in showbiz, and she is just lovely and just such a wonderful human being,” he says. “Getting to work with her and see her work ethic was a great memory.” He also recalled working alongside Dolly Parton, Garth Brooks and Shania Twain, saying those experiences are memories he’ll carry with him long after leaving the Academy.
As the industry continues to evolve, Whiteside said he’s encouraged by the next generation of artists finding success while continuing to embrace country music’s traditions. “I think what I’m excited about is that we still have this tight [country music] community. There is a lot of pride and camaraderie, but everyone is willing to open their arms and let the new class in.”
While he’ll remain involved with the Academy through the end of the year as CEO Emeritus, Whiteside said he’s also looking ahead to new opportunities. He expects to help guide the organization’s leadership transition while continuing to explore ways to support country music beyond the CEO position.
“I’m kind of just a consultant,” he says. “I’m just going to be available the rest of the year and on call for the new leadership here to just help guide, answer questions, make recommendations, however they need support.”
Beyond that, Whiteside hopes to continue working at the intersection of Nashville and Hollywood, helping tell artists’ stories while introducing more of the entertainment industry to country music.
“I really enjoy that intersection of educating the media world about country music and what it is,” he says. “I love being that bridge and making that connection to show someone that’s not been part of our community, to come into the community and see what it’s about.”
As he prepares to close this chapter, Whiteside said he believes both he and the Academy are ready for what’s next.
“I’m just thrilled at where we are today, and the fact that the organization is really reestablished and thriving and it’s really set up for success for the future,” he says. “I feel like I’m leaving at the right time for me and for the organization. It’s a really exciting opportunity for a new leader to come in and continue to evolve it and strengthen it.”
Moving forward Whiteside can be reached at damon@nomadentertain.com
Crossroads Appoints New President/CEO, Chairman Of The Board
/by Lorie HollabaughScott Wagner
The Crossroads Board of Directors has named Scott Wagner President/CEO, and elected Jon Weisberger Chairman of the Board following Mickey Gamble’s passing this spring.
Wagner brings decades of experience to the position, with more than 20 years at Crossroads. Before joining Crossroads, Wagner held various leadership positions including Senior Vice President, Vice President of Sales and Label Operations, and Director of Sales at Pamplin Music Group. He also served as a National Account Executive for WEA Christian and held the positions of Regional Sales and Marketing Director at EMI Christian (now Capitol Christian) and Territory Representative at Spectra Distribution.
“Crossroads has always had a commitment to great music, great artists, lasting relationships and forward thinking, says Wagner. “As we look ahead, I’m focused on continuing that legacy and creating opportunities for the next generation of artists and industry leaders. I’m excited to continue to work alongside our team as we build on our strong foundation.”
Weisberger joined Crossroads’ staff as an A&R director in 2019, and is best known as a Grammy-nominated songwriter who earned International Bluegrass Music Association Songwriter of the Year trophies in 2012 and 2025. He has extensive additional career credits as a performer, producer, broadcaster and award-winning music journalist, and spent 11 years as a member of the IBMA’s Board of Directors, including two years as Chair.
“Mickey Gamble, who held both of these positions, was a commanding figure, not only at Crossroads but in the wider bluegrass and Southern Gospel worlds,” Weisberger says. “Among other things, he believed strongly in music’s ability to foster community, building a company committed to supporting a wide-ranging roster – a family, he often said – of legends, leaders and developing artists in the Southern Gospel, Bluegrass, Folk and Americana fields. Like Scott, I look forward to continuing that work with the talented and dedicated people we have here at Crossroads.”
Aubory Bugg Readies Debut Album
/by Lauryn SinkAubory Bugg will release her debut album, i think i had something once, Sept. 18 via Dualtone.
An Illinois native, Bugg began performing at a young age. In 2024, she began posting covers on Tiktok and garnered over 110,000 new followers from a viral cover of Reneé Rapp’s “Tummy Hurts.” Now based in Nashville, Bugg has earned over 187k TikTok followers. She recently completed a run of tour dates as direct support to Courtney Marie Andrews.
In celebration of the announcement, Bugg released a new track, “nosedive.” “Nosedive came from a time when a former partner put me in a very awkward situation. Writing this song was the only way to really put into words the way I felt in that moment,” Bugg shares.
Bugg will support Grace Enger on the road this fall.
i think i had something once Tracklist
1. “i think i had something once”
2. “circumstances”
3. “wasted potential”
4. “the one you want to lose”
5. “nosedive”
6. “still want you to”
7. “i’ve come to realize”
8. “just embers now”
9. “i can’t”
10. “farewell to dreaming”
11. “close enough”
12. “sometimes (i love you)”
Texas Songwriter U Accepting Submissions For 2027 Program
/by Lorie HollabaughTexas Songwriter U has now opened submissions for its 2027 discovery and development program.
The three-day event features showcases, feedback sessions, co-writing opportunities, and direct access to top industry leaders. Mentors for the 2027 season includeLiz Rose, Lori McKenna and Jack Ingram.
Eight finalists will be selected to attend the 2027 program, hosted Jan. 31–Feb. 3 at a private ranch just outside Austin. Applicants must be at least 18, and have either been born in Texas, currently live in Texas, or have lived in Texas for five consecutive years. Applicants may hold a current publishing agreement, and TxSU will accept both self-published and co-written songs. Previous winners are not eligible to apply. Songwriters can register and upload songs here. Submissions will remain open through Nov. 1.
Warner Chappell Music/Warner Records Nashville Host 2nd Annual Kinfolk Nashville Writers Camp
/by Lauryn SinkKinfolk Nashville Writers Camp. Photo: Dai Visions
Warner Chappell Music and Warner Records Nashville hosted the second Annual Kinfolk Nashville Writers Camp last week (June 23-25) in honor of Black Music Month.
The three-day songwriting and industry intensive united over 50 songwriters and producers, including Reyna Roberts, Mickey Guyton, Justin Love, Skimmy, Lauren Evans, Mimi McCarley, Millie Manny and Daisha McBride. Nearly 60 original songs were created, spanning multiple genres and many crafted for major label artists and high-profile sync opportunities.
Beyond the writing sessions, key programming included “Rights And Revenue,” an educational session diving deep into income streams and legal structures with Oronde Jenkins (WMG) and attorney Anjlee Khurana; “Shifting Sounds,” a conversation with Shannon Sanders, Gina Miller and James Marsh on their illustrious careers and thoughts on the current Nashville music ecosystem; “Creative Check-In,” led by Nina Teapot Owens, opening up transparent dialogue around the pressures creators face and paired with a calming meditation; and “The Playback,” a listening showcase of the camp’s creations that signaled the birth of what industry insiders expect to be future major-label hits.
The celebration extended to Broadway for the SOLID x Kinfolk Whiskey Jam Takeover featuring performances from Kenny Sharp, Shelldhn, Sarah Gerald, Hew & The Gees, Nanseera and Mille Manny.
Upcoming Kinfolk supported events include Groove And Give and The Cookout Nashville.
Adia Clark Lay and Tomy Ge. Photo: Dai Visionz
Hew & The Gees at Whiskey Jam. Photo: Mackenzie Boyd
Apple Music Releases Second Set Of ‘Apple Music Nashville Sessions: Toby Keith Covered’
/by Lorie HollabaughPhoto: Courtesy of Apple Music
Apple Music is releasing a second edition of the Apple Music Nashville Sessions:Toby Keith Covered collection, once again celebrating Keith’s life and his undeniable impact on country music with an all-new slate of Keith classics.
The project features live covers of the icon’s catalog by Tyler Hubbard, Jackson Dean, Kameron Marlowe and Emily Ann Roberts. Recorded live in Apple Music’s Nashville studio, the covers reimagine some of Toby Keith’s biggest hits, with each artist putting their own spin on their track and honoring the late star’s lasting impact on country music. All covers are exclusively on Apple Music and include “I Love This Bar” by Hubbard, “I Wanna Talk About Me” by Dean, “How Do You Like Me Now” by Marlowe, and “Red Solo Cup” by Roberts.
Ahead of the release, each artist sat down with Apple Music’s Ty Bentli to chat about the project and share more about their personal connections to Keith. The Ty Bentli Show will air the full interviews with each artist throughout the week.
The project marks the second edition of the Apple Music Nashville Sessions: Toby Keith Covered collection as Hubbard, Dean, Marlowe, and Roberts join Ashley McBryde, Ella Langley, Megan Moroney, Parker McCollum, Riley Green and Tucker Wetmore in honoring the late country music icon.
“Like you said with Toby, I love that he not only was an incredible songwriter himself, but poured into the Nashville songwriting community and the writers around him and the people,” Hubbard told Bentli about covering “I Love This Bar”. “I think he understood the value of a song and the value of the songwriter. So, really a lot of respect and love for him for that for sure… “I Love This Bar” had not been done. And I was like, oh my gosh, how has this song not been done yet? So, yeah, pretty quickly I was like, yep, I want that song. That’ll be a blast. I’ve sung it for years anyways. So yeah, it was fun to bring it to life today.”
Damon Whiteside Reflects On Leadership, Growth & His ACM Tenure [Interview]
/by Lauryn SinkDamon Whiteside. Photo: Katie Kauss
As Damon Whiteside steps away from his role as CEO of the Academy of Country Music after more than six years, he’s leaving behind an organization that looks much different than the one he joined in early 2020. During his tenure, the Academy weathered a global pandemic, relocated its headquarters from Los Angeles to Nashville, transitioned the ACM Awards from broadcast television to streaming on Prime Video and expanded its footprint through new events and initiatives. As he begins his six-month term as CEO Emeritus today (July 1), Whiteside reflects on the milestones, challenges and moments that defined his tenure.
When he joined the Academy in January 2020, he expected to spend his first few months learning the organization and settling into the role, but the COVID-19 pandemic quickly upended those plans, forcing the Academy to rethink nearly every aspect of its operations.” A lot of stuff changed really fast,” Whiteside tells MusicRow. “It caused a very quick pivot within my first three months on the job.”
Pictured (L-R): Adam Stotsky, Dolly Parton and Damon Whiteside attend the 57th Academy of Country Music Awards. Photo: Kevin Mazur/Getty Images for ACM
One of Whiteside’s first major decisions as CEO was canceling the 2020 ACM Awards in Las Vegas as the pandemic brought the live entertainment industry to a standstill. But rather than waiting for normalcy to return, the Academy reimagined the show in Nashville, staging the ceremony across the Grand Ole Opry House, the Ryman Auditorium and the Bluebird Cafe.
That willingness to adapt extended beyond the pandemic. Looking back on his tenure, Whiteside points to several milestones that reshaped the Academy, beginning with relocating its headquarters from Los Angeles to Nashville. Founded in California in 1964, the Academy’s move marked a significant shift, one that he says took time but ultimately allowed the organization to become more deeply integrated into the heart of the country music industry.
Another defining moment came in 2022, when the Academy became the first major awards show to move exclusively to streaming through Prime Video. The move not only expanded the show’s global reach but also changed the viewing experience, allowing for fewer commercial breaks and a greater emphasis on music.
Returning the ACM Awards to Las Vegas marked yet another major step for the Academy. After three years in Texas, the Academy brought the event back to its longtime home, a decision Whiteside said was embraced by artists, fans and the industry and resulted in one of the organization’s most successful weekends. Reflecting on his final ACM Awards as CEO, Whiteside said the show represented everything he hoped it would.
“I sat there that night watching it, and I was just kind of blown away at the quality of the show. I feel like for me, that was the best show that I’ve been a part of since I’ve been in this role … It really captured what country music is right now… It’s still paying respect to the legacy of it, but it was very much of the moment.”
But for Whiteside, the show’s success wasn’t just measured by what happened on stage.
“I’m very proud of the ACM staff, honestly, because moving a show to a new city, and standing up new events… that is a huge undertaking for our small staff. It is a testament to the passion here and the leadership here. Everybody’s here because they want to be here and because they want it to be great for the artists and industry.”
Looking back, Whiteside said one of the biggest surprises of leading the Academy wasn’t navigating award shows or industry changes, but discovering just how much leadership centered on the people around him.
“Leadership is leading a company, yes. It is about experience in the actual business and having business acumen for sure. But, so much of it is about what you accomplish as a leader is with your team and how you develop them. What I love is just [watching] people that I’ve hired or mentored and seeing them grow. It just makes me really proud and happy to see that I could just be one part of their journey.”
Beyond the milestones and organizational changes, Whiteside said it’s the moments along the way that he’ll remember most. Bringing the ACM Awards to Nashville during the pandemic remains at the top of that list. “We weren’t going to let COVID keep us from awarding our artists,” he said. “Being able to do it at the three most iconic venues in Nashville, the Opry, and the Ryman, and the Bluebird, which hadn’t been done before. That’s always going to be kind of on my Mount Rushmore of cool things I got to do.”
Shania Twain & Damon Whitside. Photo: Courtesy of Whiteside
He also points to the Academy’s 60th anniversary celebration in 2025 as another career highlight, saying he was proud to help commemorate the organization’s legacy while showcasing where country music is today. Beyond the events themselves, Whiteside said one of the unexpected joys of the role came from working alongside some of the genre’s biggest names. “Reba is absolutely undeniably the hardest working person in showbiz, and she is just lovely and just such a wonderful human being,” he says. “Getting to work with her and see her work ethic was a great memory.” He also recalled working alongside Dolly Parton, Garth Brooks and Shania Twain, saying those experiences are memories he’ll carry with him long after leaving the Academy.
As the industry continues to evolve, Whiteside said he’s encouraged by the next generation of artists finding success while continuing to embrace country music’s traditions. “I think what I’m excited about is that we still have this tight [country music] community. There is a lot of pride and camaraderie, but everyone is willing to open their arms and let the new class in.”
While he’ll remain involved with the Academy through the end of the year as CEO Emeritus, Whiteside said he’s also looking ahead to new opportunities. He expects to help guide the organization’s leadership transition while continuing to explore ways to support country music beyond the CEO position.
“I’m kind of just a consultant,” he says. “I’m just going to be available the rest of the year and on call for the new leadership here to just help guide, answer questions, make recommendations, however they need support.”
Beyond that, Whiteside hopes to continue working at the intersection of Nashville and Hollywood, helping tell artists’ stories while introducing more of the entertainment industry to country music.
“I really enjoy that intersection of educating the media world about country music and what it is,” he says. “I love being that bridge and making that connection to show someone that’s not been part of our community, to come into the community and see what it’s about.”
As he prepares to close this chapter, Whiteside said he believes both he and the Academy are ready for what’s next.
“I’m just thrilled at where we are today, and the fact that the organization is really reestablished and thriving and it’s really set up for success for the future,” he says. “I feel like I’m leaving at the right time for me and for the organization. It’s a really exciting opportunity for a new leader to come in and continue to evolve it and strengthen it.”
Moving forward Whiteside can be reached at damon@nomadentertain.com
John Jorgenson To Be CMHOFM Next ‘Nashville Cats’ Honoree
/by Lorie Hollabaugh“Nashville Cats” spotlights renowned musicians and session singers who have played important roles in support of artists in either the recording studio or on concert tours. The interview will be moderated by museum writer-editor Jon Freeman and will be illustrated with rare photos, film and recordings. After the program, Jorgenson will sign commemorative Hatch Show Print posters.
Jorgenson’s versatile guitar playing and inventive arrangements injected fresh energy into country music in the 1980s and 1990s, both with the Desert Rose Band and as a sought-after session player. Raised in Redlands, California by musical parents, Jorgenson had learned piano, clarinet, ukulele and guitar before he was a teen and later began playing professionally at Disneyland.
After becoming involved with Southern California’s rockabilly and country scene, he joined the Desert Rose Band with former Byrds and Flying Burrito Brothers member Chris Hillman. With Jorgenson providing musical arrangements, the group released five albums between 1987 and 1993, scoring seven top ten country hits, including the No. 1 songs “He’s Back and I’m Blue” and “I Still Believe in You.”
In 1990, Jorgenson formed the Hellecasters with guitarists Jerry Donahue and Will Ray, who together released three albums that centered a dazzling triple lead guitar attack. As a session musician, he provided guitar on albums by Mary Chapin Carpenter, Carlene Carter, Kenny Chesney, John Prine, Bonnie Raitt and many others. In addition to his session work, Jorgenson served as musical director for the TV programs Hot Country Nights and Delta. He won the Academy of Country Music’s Guitarist of the Year award in 1990, 1991 and 1992. In 1994, Jorgenson joined Elton John’s band and accompanied the British superstar live and on album for six years. Currently, he performs with his “gypsy jazz” group, the John Jorgenson Quintet.
Nashville Cats is included with museum admission and free to museum members. Seating is limited, and a program ticket is required for admittance. Tickets are on sale now here.
Rock The South 2026 Expands To Four Days, Unveils Lineup
/by Lorie HollabaughPictured (clockwise): Zach Top, Jessie Murph, Riley Green & Jason Aldean
The Rock The South Festival has shifted dates and expanded from three days to four Oct. 1-4, with a newly revealed lineup, marking a major new chapter for the festival as it moves to its brand new home, The Fields at Decatur in Alabama.
Rock the South 2026 headliners Jason Aldean, Riley Green, Zach Top and Jessie Murph will be joined by an all-star mix of country icons and rising stars, and over 30 artists will perform at the new four-day event which will also feature a Midway Fair including carnival rides, games, fair food and more. This exciting addition marks the first time Decatur has had a fair since 2018 and the first time ever that Rock The South has hosted a fair as part of its annual event.
Among the additional artists set to perform during the four-day event are Aniston Pate, Austin Snell, Ava Hall, Avery Anna, BigXThaPlug, Brantley Gilbert, Callie Prince, Cody Lohden, Cole Goodwin, Connor Hicks, Craig Morgan, Emmy Moyen, Ethan Garner, Grace Tyler, Graham Barham, Ian Harrison, Jay Webb, Kameron Marlowe, KG and the Bad Habits, Lakeview, Myles Morgan, Phil Kane, Stella Lefty, The Band Perry, The Castellows, The Creekers, Titus Thornton and Tyler Nance.
Tickets are on sale now for the new October dates. Tickets for the originally scheduled June dates will be honored in October. Original June 11 single day ticket holders will now have access to both October 1 and October 3 at no additional charge, original June 12 single day ticket holders will now have access to both October 2 and October 3 at no additional charge, and original June 13 single day ticket holders will now have access to both October 4 and October 3 at no additional charge. Tickets and full details are available here.
Nash Nites:Santa Barbara Songwriter Series To Feature Sarah Buxton, Luke Dick, More
/by Lorie HollabaughCreated by the team behind the Sac Song & Wine Series, “Nash Nites” expands that concept, taking it to other regions and destination cities, bringing audiences closer to the music through an intimate listening-room type experience. At Nash Nites:Santa Barbara, guests will enjoy a unique evening of live music, storytelling, coastal hospitality, and breathtaking ocean views in one of Santa Barbara County’s most spectacular settings, The Break at The Ellwood.
Aug. 22 will feature acclaimed songwriters Marv Green and Sarah Buxton. Green’s catalog includes hits such as “Amazed” by Lonestar, “Wasted” by Carrie Underwood, “True” by George Strait and “Who I Am With You” by Chris Young. Buxton has written songs including “Stupid Boy” by Keith Urban, “Sun Daze” by Florida Georgia Line, “That’s Why I Pray” by Big & Rich and “Pieces” by Gary Allan. Together, they will bring an evening filled with hits, stories from the road, and a behind-the-scenes look at the creative process that transforms ideas into chart-topping records.
On Oct. 3 Ben Williams and Luke Dick are set to perform. Williams has penned songs including “Tennessee Orange” and “6 Months Later” by Megan Moroney, as well as cuts by Kenny Chesney, Ed Sheeran, Dierks Bentley and Miranda Lambert. Among other cuts, Dick was a co-writer on Ella Langley’s ACM Award-winning hit “Choosin’ Texas,” which was recognized as both Song of the Year and Single of the Year at the 2026 ACM Awards. Known for his wit, storytelling, and catalog, he brings an unforgettable blend of humor, heart, and behind-the-scenes insight to every performance. California based singer-songwriter Ava Lynn will be opening both shows.
Tickets will go on sale July 6 here.
Artist Action: Kenny Chesney, Little Big Town, Willie Nelson, Ashley McBryde, More
/by Lauryn SinkKenny Chesney Receives Pandora Billionaire Plaque
Pictured (L-R): SiriusXM NSR’s Tommy Massad, NSR’s Kizzi Barazetti, The Highway’s Buzz Brainard, Kenny Chesney and SiriusXM’s Johnny Chiang. Photo: Courtesy of Morris Higham Management
Kenny Chesney received a Pandora Billionaire plaque last week, commemorating over 8 billion streams on the platform. SiriusXM’s The Highway host Buzz Brainard and SiriusXM’s VP Music Programming Johnny Chiang presented him with the honor during a special edition of SiriusXM’s Music Row Happy Hour held in the VERY Vibe Room attached to Chesney’s second Sphere residency.
No Shoes Radio’s Tommy & Kizzi also interviewed Chesney’s band Rosie & the Revival for the Friday evening live broadcast.
Little Big Town Shares New Album With WME Team
Photo: Courtesy of WME
Little Big Town recently visited the WME Nashville office for a Q&A and to share an exclusive first listen to six songs from their forthcoming album, It’s A Dying Art, out Aug. 28.
Willie Nelson Releases Limited-Edition Flannel With Dixxon Flannel Co.
Photo: Courtesy of Dixxon
Willie Nelson has partnered with Dixxon Flannel Co. to release a limited-edition flannel. The custom designed sticker tag shows an image of Nelson, and the buttons, glasses slot on the left breast pocket and microfiber lens cloth on the inner left corner features Nelson’s name.
The flannel is exclusively available here.
Ashley McBryde Appears On ‘Songwriter Soup’ Podcast
Ashley McBryde. Photo: Nathan Chapman
Ashley McBryde recently appeared on Songwriter Soup Podcast, joining host Laura Veltz for a candid conversation about songwriting, artistry, and the realities of today’s music business. The full episode is available here.
Mickey Guyton & Samara Joy Explore America’s Musical Legacy in ‘Songs of U.S.’ Series Appearance
Samara Joy & Mickey Guyton. Photo: Charlotte Scully / Kaitlin Mendoza
Mickey Guyton and Samara Joy are this week’s featured artists in Salt Lick’s “Songs of U.S.,” a new series that brings together musicians from across genres and generations to reinterpret songs that have shaped the country’s cultural identity while exploring what belongs in the American songbook today.
The feature will include Joy’s covers of Miles Davis Quintet’s “Stablemates” and Jerri Winters’ “Spring Can Really Hang You Up The Most,” as well as Guyton’s cover of John Denver’s “Take Me Home, Country Roads” and her original “All American.”
The performance and interview videos can be found here.
Warren Zeiders Partners With MasterCraft & RealTruck
Warren Zeiders.
Warren Zeiders partnered with MasterCraft and RealTruck for the Building Homes for Heroes benefit initiative. Additional details will be released at a later date.
“This project brings together several things I’m passionate about. I’m an avid boater and a longtime fan of classic trucks and cars, so getting involved was an easy decision,” shares Zeiders. “As we celebrate America’s 250th anniversary, it’s an honor to support an initiative that supports our military and first responders while celebrating the craftsmanship and ingenuity that have long been part of the American story. Giving back is one of the most meaningful ways we can show up for one another, and I’m proud to be part of something that will make a real difference.”
Grammy Museum Mississippi Hosts Special Day With American Blonde
Photo: Courtesy of American Blonde
American Blonde recently visited the Grammy Museum Mississippi in their hometown of Cleveland, Mississippi as a part of the week-long Grammy Summer Camp. The five-piece band shared their musical story and gave the students a behind the scenes look at their music, songwriting and the entertainment industry.
They wrapped up the day on the museum’s Sanders Soundstage with a six-song performance, which included their current single, “Mississippi Moonshine” and other songs from their upcoming EP.