Hit Country Songwriter Brett Jones Passes

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Brett Jones

Nashville songwriter Brett Jones has died at age 69.

Jones earned 10 BMI Awards for co-writing country hits. Among his big songs are “You Won’t Ever Be Lonely” (Andy Griggs), “Crazy Town” (Jason Aldean) and “Cover You in Kisses” (John Michael Montgomery). He provided hits to such stars as Montgomery Gentry with “What Do You Think About That,” Blue County with “Good Little Girls,” Tracy Lawrence with “Better Man, Better Off,” and his co-writer Bobby Pinson with “Don’t Ask Me How I Know.”

Among his biggest chart toppers were 2009’s “That’s How Country Boys Roll,” sung by Billy Currington and 2011’s “If Heaven Wasn’t So Far Away,” sung by Justin Moore.

During his 25-year career on Music Row, Brett Jones was responsible for more than 300 recorded songs, 14 top-10 hits and seven No. 1 successes. He provided songs to such artists as Chris LeDoux, Darryl Worley, Ricky Van Shelton, Jeff Carson, Darius Rucker, Reba McEntire, Colt Ford, Lorrie Morgan and Tracy Byrd, among dozens of others. Trace Adkins recorded six of his works; Logan Mize recorded five. Jones’ “old school” country style was particularly favored by Canadian country stars such as Gord Bamford, George Canyon and Paul Brandt.

Brett was born William Seaborn Jones in Annapolis, Maryland as one of six children in a U.S. Navy officer’s family. He was raised near Manchester, Georgia and played football for the University of Georgia. He graduated in 1978.

As a young adult, he experienced the deaths of his father and two of his brothers. He dealt with his grief by taking up guitar and writing songs.

He did not initially view music as a vocation. Brett Jones worked variously as a bartender, line cook, farmer, high-school teacher, county commissioner, commodities trader and wealth manager before pursuing his dream. He moved to Nashville in 1991 at age 34 with no contacts or prospects. Thanks to his talent, Jones advanced quickly in the city’s songwriting scene.

His first significant chart appearance as a songwriter was with 1995’s “When and Where,” recorded by Confederate Railroad. The following year, Daryle Singletary charted with Jones’ co-written ballad “Workin’ It Out,” and Neal McCoy sang “You Gotta Love That” as the songwriter’s first top-10 hit. Then 1998’s “A Little Past Little Rock” became a key song in the repertoire of Lee Ann Womack. “Practice Life,” recorded by Andy Griggs and Martina McBride in 2002, was not a big hit, but its meaningful message was quoted in his Tennessean obituary.

Jones was an entertaining presence at the city’s songwriting showcases. As an artist, he released the CDs Life’s Road (2009) and Cowboy Sailor (2014).

Recalling his early experience of music as a healing thing, he founded Gold Star Mentors in 2017. This organization provides guitars and music instruction to children who experience the loss of a military loved one.

Brett Jones died on Feb. 16 following a 10-month struggle with brain cancer. He is survived by his wife Clair Tri Jones. He is also survived by his seven children — Ben Grady Jones III, Brett Thayer Jones, Thaddeus Clayton Jones, Seth Seaborn Jones, Cody Augustus Jones, Olivia McBride Jones and Riley Cataula Jones — as well as by six grandchildren and two sisters.

A celebration of life will be held at BMI Nashville, 10 Music Square E, Nashville, TN 37203, at 4:00 PM on March 2, 2026. In lieu of flowers, please consider a donation to his nonprofit, goldstarmentors.com. Arrangements are in care of Williamson Memorial Funeral Hone, 615 794-2289, williamsonmemorial.com.

BREAKING: Keith Urban Inks With Crush Management

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Keith Urban

Keith Urban has inked with Crush Management.He will be managed out of Crush’s Nashville office, along with New York and LA.

Across his career, Urban has amassed over 11 billion streams, four Grammy Awards, 13 CMA Awards—including two nods for Entertainer of the Year—15 ACM Awards—including the prestigious Triple Crown for winner Best New Artist, Male Vocalist and Entertainer of the Year—three AMAs and two People’s Choice Awards. He has celebrated nine consecutive Gold, Platinum or multi-Platinum albums and holds a record setting streak of 37 consecutive top 10 singles on the Billboard Hot Country Songs chart.

Crush Music is a music management firm founded by Jonathan Daniel and Bob McLynn. The organization represents acts such as Green Day, Miley Cyrus, Fall Out Boy, Weezer, Lorde, Train, Sia and many more.

Jeremy Stover Enters Top 10 On MusicRow Top Songwriter Chart

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Jeremy Stover

Jeremy Stover has entered the top 10 on the MusicRow Top Songwriter Chart. Cody Johnson’s “The Fall,” and Justin Moore and Dierks Bentley’s “Time’s Ticking” place the songwriter at No. 9 this week.

Zach Bryan remains at No. 1 for the fifth consecutive week with all solo-penned “Appetite,” “Bad News,” “Plastic Cigarette” and “Say Why.” Chase McGill stays at No. 2 with “20 Cigarettes,” “Brunette,” “I Got Better,” “It Won’t Be Long,” “McArthur,” “the hell you are” and “Water At A Wedding.”

Blake Pendergrass (No. 3), Randy Montana (No. 4) and Ty Myers (No. 5) round out this weeks top five.

The weekly MusicRow Top Songwriter Chart uses algorithms based upon song activity according to airplay, digital download track sales and streams. This unique and exclusive addition to the MusicRow portfolio is the only songwriter chart of its kind.

Click here to view the full MusicRow Top Songwriter Chart.

Borman Entertainment’s Gary Borman Retires

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Gary Borman.

Gary Borman, longtime artist manager and founder of Borman Entertainment, has retired.

Borman Entertainment has closed following his retirement. During the 50 years since its inception, the company has represented a wide array of artists, including The Yellowjackets, The Bee Gees, James Taylor, The Violent Femmes, Dwight Yoakam, Faith Hill, Steve Moir, The Rolling Stones and Natalie Cole, among others.

“To say I’ve been lucky to have spent my time doing what I’ve loved, would be an understatement,” says Borman. “I’ve worked side by side with some of the most gifted artists. I’m grateful beyond words to all the teachers, artists, colleagues, collaborators, supporters, Lady Luck, as well as the adversaries and turbulent moments that sharpened my resolve and taught me how to manage emotion and life.”

The retirement also brings to an end his 25-year professional relationship with Keith Urban.

“I’m so grateful to Gary (and my entire Borman Nashville family) for the most incredible and successful time together,” shares Urban. “It was extraordinary—what we were able to accomplish together—and I’ll forever be grateful for the creative and collaborative spirit we were all a part of for so long. I wish Gary and everyone at Borman Entertainment the very best journey ahead and look forward to what the future holds for all of us.”

“Keith and I shared a journey not unlike brothers,” adds Borman. “The place that I have in my heart will remain warm and my mind filled with wonderful memories. I have been and will remain a fan.”

My Music Row Story: Warner Records Nashville’s Victoria Mason

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Victoria Mason

Warner Records Nashville’s Senior Vice President of Marketing, Victoria Mason, continues to lead Nashville’s charge in optimizing audience, fan development and fan engagement in country music. She joined the Warner Music ranks in 2011 after a three-year tenure working with audience and data giant Nielsen and became the driving force behind Warner Music Nashville’s implementation of analytics for the next six years.

In 2017, Mason was promoted to VP, Research & Analytics, where she increased the label’s focus on broader industry and genre-level trends, as well as deepening her oversight of ROI and marketing spend analysis. WRN expanded Mason’s duties in October 2019 into artist development, while also leading in-house analytics, and overseeing the day-to-day functions of the digital and strategic partnerships teams. She then moved from VP, Strategic Marketing to SVP Marketing & Analytics, where she merged and rebranded the Artist Development team into the comprehensive Marketing department, which encompasses Artist Marketing, Digital Marketing, Analytics, Brand Partnerships, and Industry + Fan Events, all reporting to Mason.

Mason is a current member of the Leadership Music Board of Directors (2022-2026) and has been named a Billboard Country Power Player, Nashville Briefing Power Player and a Billboard Woman In Music.

Mason will be honored as part of MusicRow’s Rising Women on the Row class of 2026 on March 3 at the JW Marriott. Read more about the event here.

Photo: Courtesy of Mason

MusicRow: Where’d you grow up?

I grew up in a small town called Bourbon, Indiana. It’s in northern Indiana, just south of South Bend, a one-stoplight town. My childhood home is across the street from a cornfield, so I basically grew up in a country song.

Did your family listen to country music?

It was very prevalent in our community, but in my house it was more like the big cultural zeitgeist artists of the time. I grew up on Whitney Houston, Garth Brooks, Backstreet Boys and Boyz II Men. My dad listened to classic rock. It was a pretty mixed bag; I have always been open to exploring all different types of music.

In high school, one of my best friends, Kelly Whiteman, made me a mix CD of country hits at the time, and I remember hearing Tracy Lawrence’s “Paint Me a Birmingham” and Tim McGraw’s “Live Like You Were Dying” for the first time. Those songs really cracked the genre open for me…shoutout to Kelly for unknowingly setting me out on this path!

Photo: Courtesy of Mason

What did you want to be when you grew up?

I grew up kind of always being music-adjacent. I danced growing up. I wanted to play the drums, but my parents vetoed it, so I opted for tap class. [Laughs] I sang in a barbershop quartet and did choir, but I was never really talented enough to consider a life in music. Also, growing up in a small town, I think you just don’t really even imagine that there could be a lane for you in the music industry if you’re not famous or you don’t know someone famous. So I went to business school at Indiana University (go Hoosiers!) and focused on marketing.

While in college, I felt like I wanted to be a brand manager. I liked the idea of owning the responsibility of a brand, helping to shape its narrative and drive results. I imagined that I might work for a company like Procter & Gamble, and maybe manage a brand like Tide laundry detergent. In my mind, that was sort of the most classic, well-rounded marketing track.

I didn’t end up doing that exactly. I went and worked for The Nielsen Company, but in their consumer packaged goods arm that focused on forecasting and product innovation.

Photo: Courtesy of Mason

Tell me about that.

Nielsen worked with companies like Procter & Gamble and Del Monte and Kellogg’s to launch new products that you would find in the grocery store. The division of the company was called BASES, which means Booz-Allen Sales Estimating System. Essentially, CPG companies would come to us when they wanted to launch a new product or rebrand an existing product in the marketplace. They would come to us and say, “If we launch this new brand of cereal, or this new refrigerated fruit cup that you can blend into a smoothie, what would we sell in year one? If we got product placement at Kroger and Publix, and spent X million dollars in marketing in year one, what would you expect us to generate in volume? Is it a proposition worth exploring and launching?” We would test the ideas and products with potential consumers, and help the companies make refinements to ensure the most successful possible launch.

It was like fortune telling, but with math and science. In retrospect, I don’t know that there was a better job for me to just get my feet wet in terms of understanding different drivers of marketing activity, how specific levers can move the needle, and how to tell stories with data.

I could not have envisioned, much less predicted, that the version of me at Nielsen, and now the version of me in my current role, would have any similarities whatsoever. However, they definitely are connected.

Photo: Courtesy of Mason

How did you transition from that to the music business?

I moved down to Nashville in 2010 for personal reasons, and I was working remotely still with Nielsen at the time. After a year and a half, maybe, of working remotely, I started to feel a pull to do something different where I could be in a traditional office environment. I remember walking my dog down Music Row one day and thinking, “I wonder if they do research or analytics in the music industry.”

I went home and did a little searching online and found a job on LinkedIn called Director of Research at Warner Music Nashville. It was a brand new position…the job description was really nebulous and unspecific, and I applied for it on a whim and got an interview. I knew the minute that I walked into the building that I wanted to work here. The job just felt like it was made for me. It was a combination of doing things that I had been doing at Nielsen in terms of telling stories with data, but instead of talking about cereal and fruit cups, now I had the opportunity to talk about something that I was really passionate about, which was music.

Tell me about when you first got here. What was it like?

It was basically building my own job from the ground up. John Esposito was CEO at the time, and I remember him describing my job as the “chief truth officer.” He wanted me to have no political affiliations with any of the departments, but really to just come in here with a very objective eye and state the facts, like this is what is happening for these artists and for this music, and here are the opportunities that I think we should pursue. Here’s where I think we’re winning, and here’s where I think we could be doing better.

Photo: Courtesy of Mason

Do you remember a time early on that solidified that you were in the right job?

Early on, Espo asked me to present to a room full of industry partners, primarily in the radio space of the business. We were at this inflection point where radio had not fully adopted streaming as an indicator to help them program and make decisions. It was obviously an area of the business that I was super leaned into, understanding when there really was a signal versus noise. So he asked me to come out and present during that summit about when data is real and organic versus programmed or lean-back. It wasn’t intentional, but it ended up being kind of an educational moment. I just remember feeling very in my element during that presentation, and the room was very open and receptive to hearing what I had to say. We were having this healthy discourse and conversation, and I remember feeling like, “Oh man, I think I might have a lot to offer this town and this industry,” and really helping people embrace new technologies and the constant ebbs and flows.

There have been hundreds of other little moments along the way that have given me reassurance that I am in the right place. Listening to the first batch of Dan + Shay songs ever on a white label CD. Introducing friends and family to their favorite artists. Getting ready for CMA Awards night with the girls. Steady, constant reminders of how lucky I am to be here.

You’ve risen through the ranks and grown your team at Warner. Tell me about how the job has changed over the years.

When I first came in, it was just me, a department of one, analyzing sales data on SoundScan and radio data on Mediabase. Now the analytical arm is still very much under my remit, but that has become so much more complex, and we’ve got a whole team dedicated to looking at that. Obviously with streaming and socials, there’s just an infinite amount of data and things to analyze.

Beyond that, my job is ultimately about how we can make the healthiest, smartest decisions about how we allocate resources and people and time. That’s really what my job is now…supporting, guiding, and resourcing my team, and giving them the runway to do the things they need to do to give our artists and their music the best shot. I’d say that the same responsibility applies to our artists…supporting, guiding, and resourcing. Helping ensure they have the right tools at the right times to tell their stories and reach new audiences.

And as I am sure anyone in the industry would tell you—no two days are the same.

Photo: Courtesy of Mason

Who have been some of your mentors?

Growing up, my grandparents (Mammaw and Pap) and my parents always set great examples of the importance of hard work, kindness, compassion and community. I hope that I have taken many cues from them, both personally and professionally.

Espo is certainly my number one mentor professionally. I’m so grateful to him for so much that I’ve been able to accomplish in my career. He always made sure that I had a seat at the table.

Ben Kline, Shane Tarleton, Cris Lacy and Kristen Williams. And there is a special camaraderie I find among the other working moms in the industry…you know who you are!

What’s some of the best advice you’ve ever gotten?

Seek first to understand. My mom has always said this, and it’s always stuck with me. Listening is so powerful…the more that we approach one another from a place of openness and understanding, the better we are going to be.

Also: Quality remains long after the price is forgotten. This one is from my grandpa, and I love it because it applies to lots of different things. It’s a funny way to justify a shopping splurge. And it’s also a reminder that good, hard work pays off.

Tell me about an experience you’ve had that your little kid self would think is so cool.

She would have been amazed to learn that in the second week of her first music industry job, Faith Hill would walk into her office to introduce herself and graciously offer her a hug. It was a perfect foreshadowing of the warm, welcoming women that make up our country music community.

MusicRow Weekly (News, Charts, More)

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This week’s edition of The MusicRow Weekly captures a season of reinvention and momentum across Nashville’s country music landscape. From major label rebrands and executive appointments to new publishing deals, venue launches and industry honors, the headlines reflect a town constantly evolving. Click here to see the full edition.

One of the biggest stories comes from HYBE AMERICA’s Nashville-based country, Americana and roots rock division, which has officially rebranded as Blue Highway Records, formerly BMLG. The move signals a new chapter for the powerhouse roster, which includes Thomas Rhett, Brett Young, Midland, Justin Moore, Carly Pearce, Preston Cooper, Jackson Dean and Mae Estes. The label also oversees distribution for Riley Green, Shaylen, The Band Perry and Greylan James under Nashville Harbor Records & Entertainment.

At the helm of the newly minted Blue Highway Records is industry veteran Jake Basden, who has been appointed Chief Executive Officer. The Valory Music Co. will fold into Blue Highway Records as part of the transition, further consolidating the operation’s artist-facing efforts, while Big Machine Music will remain under the HYBE AMERICA umbrella.

Meanwhile, Lower Broadway is preparing to welcome another artist-branded venue to its neon-lit strip. Kane Brown is partnering with Detroit-based Elia Group to open Kane Brown’s On Broadway this summer. The venue will take over the historic building that previously housed The Valentine.

On the publishing and label front, it was a week filled with fresh ink and forward motion. Mary Kutter has signed with BBR Music Group/BMG Nashville. Regan Rousseau has entered into a new agreement with Sony Music Publishing. In a joint venture move, Sony Music Publishing Nashville, alongside Kane Brown and Verse 2 Music, has signed singer-songwriter Jonny Capeci to a global publishing agreement.

Big Loud Publishing also made headlines with the additions of Matt McCartney and Max Martin to its roster. Jaron Boyer has signed a global exclusive publishing deal with Young Guns Publishing.

Ticketek Entertainment Group has appointed Brad Turcotte as Senior Vice President of Country at TEG Live.

Jelly Roll will receive this year’s Artist Humanitarian Award presented by Country Radio Broadcasters, an honor that acknowledges his charitable efforts and community impact alongside his chart success.

Finally, the Country Music Hall of Fame and Museum has announced a series of internal promotions across its guest relations, human resources and marketing teams. Maggie Banker has been elevated to Senior Director of Marketing, Meredith Rife to Associate Director of Social Media, Denise Alvis to Director of Human Resources and Nancy Cason to Associate Director of Guest Experience.

This week’s edition also features conversations with Concord’s Courtney Allen and Make Wake Artists’ Sophia Sansone.

In addition, the latest MusicRow CountryBreakout Radio Chart is included. Thomas Rhett and Jordan Davis remain in the No. 1 spot for the second consecutive week with “Ain’t A Bad Life.” Explore more chart data here.

The MusicRow Weekly is delivered every Friday, featuring Nashville’s top music industry news, exclusive interviews, song reviews, radio and songwriter charts and more. Sign up for free here.

JUST IN: ASCAP To Relocate Nashville Office To New Building

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ASCAP will relocate its Nashville office from its current location on Music Row to a new building in the Wedgewood Houston neighborhood. The new office is scheduled to open in the fall of this year.

ASCAP has spent more than 30 years in its current space. In addition to a more modern workspace and technology capabilities for the ASCAP membership and licensing teams in Nashville, the newly constructed ASCAP office will include upgraded writers’ rooms and an event space for member gatherings and performances.

“We have loved our time on Music Row, but as our office needs have evolved, we are excited to move into a space that will better serve our community of members and employees in an area of Nashville bustling with creative energy,” says ASCAP CEO Elizabeth Matthews.

“We are really looking forward to welcoming ASCAP members to our new Nashville home,” adds ASCAP VP of Nashville Membership Mike Sistad. “Music City is constantly expanding, and ASCAP’s new space will offer our members more opportunities to gather as a community.”

ASCAP recently completed the sale of the Music Row building to new owners but will remain in its current offices until May. After that, the team will move to temporary office space until the new space is complete.

Thomas Rhett & Jordan Davis Notch Second Week Atop MusicRow Radio Chart

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Thomas Rhett stays atop the MusicRow CountryBreakout Radio Chart this week alongside Jordan Davis with their song, “Ain’t A Bad Life.”

The track comes off of the deluxe version of his latest album About a Woman and was written by Rhett, Ashley Gorley, John Byron, Mark Trussell and Blake Pendergrass.

Rhett will be on the road through the summer supporting Morgan Wallen on select dates during his “Still The Problem Tour” beginning on Apr. 10.

“Ain’t A Bad Life” currently sits at No. 5 on the Billboard Country Airplay chart and No. 5 on the Mediabase chart.

Click here to view the latest edition of the MusicRow Weekly containing the MusicRow CountryBreakout Radio Chart.

DISClaimer Single Reviews: Emily Ann Roberts Delivers A ‘Delightful Listening Experience’

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The male country-music superstars have their day today, but none of them claimed a DISClaimer award.

Luke Combs, Vince Gill, Russell Dickerson, Ray Stevens and Rodney Atkins all issued worthy new singles this week. But the female voices were just as captivating. Add Ella Langley, The Band Perry, Disc of the Day winner Emily Ann Roberts and DISCovery Award winners The Burnett Sisters Band to your playlists pronto.

EMILY ANN ROBERTS / “Whipped”
Writers: Emily Ann Roberts/Jeremy Spillman/Trent Willmon/Ryan Beaver; Producer: Brandon Hood; Label: RECORDS/Sony
– Wonderfully playful and smartly rocking. He’s a man’s-man, but she’s in charge. “Got me wrapped around his finger/But he don’t know I’ve got the upper hand.” A delightful listening experience. This gal is batting a thousand—every single is a gem.

VINCE GILL / “Down at the Borderline”
Writers: Vince Gill/Liz Rose; Producer: Vince Gill; Label: MCA
– Gill takes a trip to Louisiana in this rump-shaking, Cajun-flavored tempo tune. The whole track is a rollicking ride, and Lainey Wilson is on board with a lively vocal harmony. Get up and and dance.

RUSSELL DICKERSON / “The Roses”
Writers: Russell Dickerson/Michael Hardy/Chase McGill/Jordan Schmidt; Producers: Russell Dickerson, Josh Kerr; Label: Triple Tigers
– The high-energy showman proves his mettle as a balladeer with this ultra-romantic, piano ode to love and commitment. Beautifully done.

LUKE COMBS / “Be By You”
Writers: Dan Alley/Sam Banks/Nick Walsh; Producers: Luke Combs, Jonathan Singleton, Chip Matthews; Label: Sony
– A gently swaying hammock of sound cushions a softly caressing vocal performance. Soothing, sweet, and dreamy.

THE BURNETT SISTERS BAND / “Blaming You”
Writer: Gail Ann Amundsen; Producers: none listed; Label: Pinecastle
– This group’s Easy Come, Easy Go album is No. 1 in the bluegrass charts. This fiddle-led waltz is the collection’s lovely latest single. The tune really comes alive on the triple-harmonized choruses. Bluegrass purists beware, the sound includes steel guitar. The rest of us are going to smile and sway along.

ELLA LANGLEY / “Be Her”
Writers: Ella Langley/Jordan Schmidt/Smith Ahnquist/Michael Hardy; Producers: Ella Langley, Miranda Lambert, Ben West; Label: SAWGOD/Columbia
– Enchanting. A delicious pop confection that’s sweet in all the right places. She’s yearning for self acceptance as she counts down all the markers of confidence and truth.

RED CLAY STRAYS / “If I Didn’t Know You”
Writers: Drew Nix/Natalie Hemby; Producer: Dave Cobb; Label: HBYCO/RCA
– The redemptive power of True Love infuses this somber ballad. The band marches to a slow, deliberate stomp while the vocalist rips into the lyric.

RODNEY ATKINS / “The Years Are Short”
Writers: Casey Beathard/Monty Criswell; Producers: Ted Hewitt, Brandon Hood, Rodney Atkins; Label: Curb
– A tender, affecting meditation on fatherhood. Country-music wisdom, found in three chords and the truth.

THE WAR AND TREATY / “If This Day”
Writers: Diane Warren; Producers: Desmond Child, Marti Frederiksen, Leslie Greif; Label: MCA
– Goose bumps all over. These twin towering infernos of vocal power bring gospel intensity to a meaningful message: If this was the last day of your life, would you be proud of what you’ve left behind? The track comes from The Gray House TV soundtrack. The limited series launches on Feb. 26.

LEE BRICE / “Country Nowadays”
Writers: Lee Brice/Matt Alderman/Nate Kenyon; Producers: none listed; Label: Curb
– Whining about how difficult it is to have values and morals these days. Puh-leeze.

THE BAND PERRY / “Psychological”
Writers: Ciara Park/Grace Tyler/Colton Venner; Producers: Dann Huff, Scott Borchetta, Jimmy Harnen; Label: Nashville Harbor
– This act is now a duo (Kimberly Perry & Johnny Costello), with no brothers in sight. The comeback single is a well written ditty — the boyfriend drives her so crazy that he makes her going psycho, logical. Definitely worth your spins.

RAY STEVENS / “Savannah”
Writer: Nick Sibley; Producer: Ray Stevens; Label: Curb
– Stevens surrounds his crooning with a synth-y, big-band arrangement on this ode to a city in his home state of Georgia. Old-school pop that goes down smoothly.

ATLUS / “Spare Key”
Writers: Atlus/Rian Ball/Nick Boyd; Producers: Andrew Baylis; Label: BBR/BMG
– The verses are delivered in intimate, conversational fashion. Then he unleashes a fiery, anguished shout as he confronts his devastated relationship. They were dreaming of moving in together, until she suddenly split, leaving him just the spare key he’d once given her. You’ll hang on every line.

My Music Row Story: Concord’s Courtney Allen

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Courtney Allen

Courtney Allen joined Concord’s Nashville team in October 2021 as Director, A&R and was promoted to Senior Director in 2023. Allen serves as an A&R for Concord’s publishing roster that has grown and expanded immensely in the Nashville and country market.

She is committed to rounding out Concord’s Nashville roster with top-notch talent and continues to be a force in developing high-level signings across the company including breakout artist Russell Dickerson and top country music songwriter/producer Corey Crowder, as well as rising stars like Grace Tyler, Cole Goodwin, Clayton Mullen, Lauren Hungate and more. Additionally, Allen serves an integral role in liaising with Hang Your Hat, a Concord creative venture founded by two-time ACM Songwriter of the Year, Hillary Lindsey including notable signings such as Chris LaCorte.

Prior to Concord, Allen served as Creative Director at BMG, where she worked with their roster of songwriters and developed new talent. Prior to her time at BMG, she was the Creative Director of publishing at Starstruck Entertainment, where she worked with developing artists on the management roster.

Allen is active in the country music and Nashville scene, both for music and philanthropically. She works with St. Jude Children’s Research Hospital raising money with their annual “This Shirt Saves Lives” campaign, encouraging the music community’s involvement. She was also a part of the 2023 class of CMA Women’s Leadership Academy, and was named Song Champion of the Year at the 2025 AIMP Nashville Country Awards.

Allen will be honored as part of MusicRow‘s Rising Women on the Row class of 2026 on March 3 at the JW Marriott. Read more about the event here.

Photo: Courtesy of Allen

MusicRow: Where did you grow up?

I grew up in Simpsonville, South Carolina.

What were you into as a kid?

I loved cheerleading. I played volleyball. I did class pageants. I was involved in a lot of extracurricular activities. And I always loved music and entertainment. I had no idea I would land doing what I do now. But my mom always loved music, and she was my best friend, so I loved music.

My dad was military, and I was born in Germany. So for a long time it was just me and my mom together all day. She loved country, and she would take me to concerts. I specifically remember going to see Wynonna and standing on a chair trying to see her.

What were you going to do when you went to college? What was your dream?

I went to the University of South Carolina in Columbia for sport and entertainment management, which is hilarious because I know nothing about sports. I just wanted to do the entertainment part. I quickly realized it was very sports-focused. Everybody in the program was trying to work in sports.

I had gone to high school with a girl who loved country music. She came to Columbia one weekend and asked me if I wanted to go to a concert with her to see some new guy named Jason Aldean, who was opening for Trace Adkins. So we went and ended up meeting Jason and his band. We befriended them and would go see them whenever they played around the area.

Photo: Courtesy of Allen

They invited us to come to a show on New Year’s Eve at the Sommet Center in Nashville — Bridgestone Arena now. It was Brooks & Dunn and Jason, and we were sitting with Brooks & Dunn’s family in these really insane seats. Brooks & Dunn’s family got up, and I was like, “Where are y’all going?” They said, “We’re going back to see Ronnie and Kix. Do you have a pass? You need a pass to go backstage.”

I remember looking at my friend and saying, “We should just try to walk back there and see what happens. What’s the worst that can happen?” And we walked right back. I was taking pictures, just having the best time. Nashville completely enchanted me. Broadway was so different back then. You could just walk into any bar and see an artist.

So what did you do?

I went to my guidance counselor and said, “Hey, I know I have to do an internship. Could I do something in Nashville in music?” She said, “Yes. My husband actually went to school there. Maybe he would know someone.”

She asked her husband, then came back with a piece of paper and said, “Here’s the email address of a guy in Nashville my husband went to college with.”

So I emailed him, and he said, “Next time you’re in Nashville, you can come by and meet me.” I went, and it was Song Garden Music, Byron Gallimore’s publishing company. At the time they had just signed Brett Eldredge and some other writers. I didn’t know what publishing was, but he told me about it. I took the internship, and the guy I emailed who gave me my first internship was Brad Kennard, who is my boss today.

Photo: Courtesy of Allen

Small world!

Brett was a college student at MTSU at the time. I transferred there and watched Brett get a record deal, get radio singles and all of that. That was a really awesome experience.

After my internship, I did odds and ends jobs. I was in a few music videos where I’d make maybe $20. I did wardrobe styling. Anything I could do to make money and stay in Nashville, I did.

I worked for a short window at Brentwood Benson Music publishing and sales, selling church music and church programs. After a while, I hit a rough patch where I was really struggling with anxiety and depression. I eventually decided that moving home was probably the best thing for me. I kept trying to find a job in publishing but couldn’t find one. I just wanted to be around songwriters and songs so badly, and there didn’t seem to be another route for me. So I moved home for a few years before eventually coming back.

Photo: Courtesy of Allen

What led you back?

I ended up getting a job at NSAI, which put me back around songwriters, so I came back and worked there for a little bit. Around that time, I met an artist named Tara Thompson, who I just loved. I knew a girl in A&R at Big Machine, so I played her Tara’s music. Scott Borchetta ended up signing her, and she started being produced by Alex Kline.

Alex was writing at Starstruck, and they didn’t have a plugger there. She told them about me and how I’d helped Tara get signed. I went and met with them at Starstruck, but they weren’t really interested in hiring a plugger. I started getting interest from another company and kept Alex in the loop about what was going on. She was insistent that I be her plugger.

One day, she and Tara were in the studio at Starstruck and told me to come by. Alex walked me into Cliff Williamson’s office. He said, “It’s so crazy that you’re here. I was just talking about you at lunch today. Come with me.” He walked me down the hallway into this giant office where someone was sitting behind the desk, and he said, “Reba, this is the girl I was telling you about at lunch today.” I blacked out. [Laughs]

She stood up from behind the desk, a vision like an angel, and said, “I hope all your dreams come true.” We went back to his office, met with Narvel [Blackstock], and they offered me the job.

Reba was there every day unless she was touring. She really was the force behind publishing there. She loved songwriters and wanted a place where she could have the songwriters she loved. When she moved on and got new management, all of that kind of went away. That was when I left and went to BMG.

Photo: Courtesy of Allen

Tell me about your time at BMG.

BMG was a really special place. They had Hillary Lindsey, and she was one of the main reasons I wanted to be a publisher. When I interned at Song Garden, there was a whole underground group of interns who would literally share her demos on a website. I was obsessed with her songwriting and her voice. Getting to work with her was such a great opportunity.

Carly Pearce was there, and she’s been a friend of mine since very early on when she first moved to town. Emily Shackelton was there. Tully Kennedy and Kurt Allison, who are in Jason’s band and were two of the people who encouraged me to move to Nashville, ended up becoming my writers. I learned so much from Kos Weaver, Daniel Lee, Sara Knabe, Jake Gear and Rakiyah Marshall. They are all incredible song people who approach publishing in their own unique ways.

Then you pivoted to Concord.

There were a lot of changes at BMG, and then COVID hit. Brad told me they were ramping things up at Concord and really trying to make it competitive in the country market. I wanted to work for him again. I knew what kind of boss he was and what kind of person he is, so it was a no-brainer to go there and work with Brad.

That ended up being a great decision. It’s been an amazing journey. We have such an incredible roster, such a great culture and great coworkers. Over the past year with my health issues, it’s been a really difficult time for me. Having that support and the kind of people there who have helped me through it, along with the roster I work with, has meant so much. They’ve taken pressure off me at a time when I needed to focus on my health and treatment.

Photo: Courtesy of Allen

What are some of the proudest moments you’ve had in the last few years?

I’m really proud of the way Concord has grown while maintaining the culture that makes our company so special. I am especially proud of the roster we’ve built and our staff because not only are they talented but they are people who have so much integrity.

It’s hard to pinpoint the exact proudest moment because our roster works so hard and they are constantly accomplishing goals that I’m thankful to be a part of. Russell Dickerson’s massive year with “Happen To Me” to Tofer Brown’s work with Carter Faith coming to fruition, Grace Tyler having her first radio single as a writer, Cole Goodwin getting a record deal and Lauren Hungate having her first hit single. These are all dreams coming true for these creatives and that makes me incredibly proud.

Who have been your mentors?

There’s this overall narrative I sometimes hear about women not being good to other women, and I feel really lucky because that hasn’t been my experience. I’ve been surrounded by confident, encouraging women who genuinely want to help other women.

Abbe Nameche, Allison Jones, Stephanie Wright, Kerri Edwards, Leslie DiPiero, Carla Wallace, Tiffany Kerns, Brad Kennard and Kos Weaver.

What’s the best piece of advice you’ve gotten?

It’s simple: be kind to people. You don’t know what someone is going through. It’s a scary world we’re living in, and there are a lot of hard things happening in people’s lives. You never know how a kind word or simply acknowledging something someone has done can turn everything around for them.