Loretta Lynn Honored With A Star-Studded Night At The Opry

Pictured: Amanda Shires, Brandi Carlile and Natalie Hemby of the Highwomen with Brittney Spencer perform onstage for “CMT Coal Miner’s Daughter: A Celebration of the Life & Music of Loretta Lynn” at the Grand Ole Opry. Photo: Terry Wyatt/Getty Images for CMT

Industry folk, friends, fans, and family of Loretta Lynn gathered at the Grand Ole Opry house Sunday night (Oct. 30) for a star-studded celebration of life for the country legend.

Lynn, who passed away on Oct. 4 at her home in Hurricane Mills, was celebrated for her life and legacy with twelve musical performances and many special messages. The event was dubbed “Coal Miner’s Daughter: A Celebration Of The Life & Music Of Loretta Lynn,” and aired live on CMT and was simulcast on SiriusXM’s Willie’s Roadhouse: Willie Nelson’s Classic Country (Channel 59).

Presley Tanita Tucker, Tanya Tucker and Layla Tucker perform. Photo: Terry Wyatt/Getty Images for CMT

The evening was hosted by NBC’s Today Show co-host and close family friend Jenna Bush Hager and included tribute performances from Alan Jackson, Brandi Carlile, Darius Rucker, George Strait, The Highwomen with Brittany Spencer, Jack White, Keith Urban, Little Big Town, Margo Price, Emmy Russell and Lukas Nelson, Tanya Tucker, and Wynonna with Gaither Vocal Band and Larry Strickland.

Other stars who appeared—both in person and virtually—to share heartfelt messages included Barbara Mandrell, Faith Hill, Hoda Kotb, Martina McBride, Sheryl Crow, Tim McGraw, Dolly Parton, Kacey Musgraves, Marty Stuart, Miranda Lambert, Reba, Sissy Spacek, Taylor Swift, and more.

Documentary-style videos of Lynn’s story played in between performances, showcasing the Country Music Hall of Famer’s humble beginnings and subsequent rise to stardom. Many videos and special messages highlighted Lynn’s down-home hospitality, her humor and her open-arms to young women coming up in the music industry.

A small exhibit of some of Lynn’s iconic wardrobe pieces was situated just outside the hall. Fans waiting in line to get in created an altar of flowers at the Opry House entrance.

Wynonna, the Gaither Vocal Band and Larry Strickland opened the show with a hair-raising performance of the hymn “How Great Thou Art,” earning the night’s first standing ovation.

Jack White performs. Photo: Terry Wyatt/Getty Images for CMT

Later, Alan Jackson got permission from the Lynn family to sing a song he wrote for his mother when she passed away called “Where Her Heart Has Always Been.” The country legend said the tender song felt appropriate for the occasion, as Lynn had always reminded him of his mother.

Keith Urban did a heart-warming rendition of “You’re Looking At Country,” George Strait honored Lynn with her “Don’t Come Home A-Drinkin’ (With Lovin’ On Your Mind),” Darius Rucker took on “Fist City,” and Margo Price performed “The Pill.” Tanya Tucker did a great job with “Blue Kentucky Girl” and Little Big Town sounded beautiful on “Let Her Fly.”

One of the night’s many highlights came when Jack White made a surprise appearance to sing “Van Lear Rose,” the title track of his and Lynn’s Grammy-winning album. Just before he performed, guests were treated to a video of a rarely seen performance from Third Man Records Vault Package #24 featuring White and Lynn performing “Whispering Sea,” a favorite of White’s and one of the first songs Lynn ever wrote.

Another standout moment came when Lynn’s granddaughter Emmy Russell joined forces with Willie Nelson’s son, Lukas Nelson, to perform the first song Lynn and Nelson ever recorded together, “Lay Me Down.” The two proteges sounded beautiful together on the reverent tune.

Brandi Carlile did an excellent rendition of one of Lynn’s closest friends, Patsy Cline‘s “She’s Got You.” She later joined The Highwomen’s Amanda Shires, Natalie Hemby and Brittney Spencer to close the show with “Coal Miner’s Daughter.”

Pictured (L-R): Executive Producers Margaret Comeaux (CMT), Patrizia DiMaria (Ladypants Productions), Jason Owen (Sandbox), Ebie McFarland (Essential Broadcast Media), Leslie Fram (CMT) attend “Coal Miner’s Daughter: A Celebration of the Life & Music of Loretta Lynn.” Photo: Catherine Powell/Getty Images for CMT

At the end of the program, Lynn’s daughter Patsy Lynn Russell and granddaughter Tayla Lynn took the stage and recalled their pride in all that Lynn accomplished and how loved she was by the world.

“Coal Miner’s Daughter: A Celebration Of The Life & Music Of Loretta Lynn” is a co-production from CMT and Sandbox Productions. Margaret Comeaux (CMT), Jason Owen (Sandbox), Patrizia DiMaria (Ladypants Productions) and Ebie McFarland (Essential Broadcast Media) are Executive Producers.

Two additional commercial-free encore airings of “Coal Miner’s Daughter” will play on CMT on Wednesday, Nov 2 at 7 p.m. CST and Sunday, Nov 6 at 10 a.m. CST.

Nashville Songwriters Hall of Fame Ushers In Six New Members At 52nd Anniversary Gala

Pictured (L-R): Sarah Cates, Board Chair of NaSHOF; inductees David Malloy, Gary Nicholson, Hillary Lindsey and Steve Wariner; Mark Ford, Executive Director of NaSHOF

The Nashville Songwriters Hall of Fame (NaSHOF) welcomed six new members into its ranks on Sunday night (Oct. 30) at the organization’s 52nd Anniversary Gala. The musical contributions of the Class of 2022 were celebrated through star-studded performances at Nashville’s Music City Center.

The Class of 2022 includes Hillary Lindsey and Gary Nicholson in the songwriter category; David Malloy in the veteran songwriter category; Shania Twain in the songwriter/artist category and Steve Wariner in the veteran songwriter/artist category. Additionally, the late Chips Moman was inducted into the Hall’s new Legacy category, designed specifically to honor NaSHOF-worthy candidates who are deceased.

The Isaacs with Sharon Vaughn

“Tonight we are celebrating the legacies of six extraordinary songwriters and bestowing upon them one of the nation’s highest songwriting honors—induction into the Nashville Songwriters Hall of Fame,” Sarah Cates, Board Chair of the Nashville Songwriters Hall of Fame Foundation noted. “I always look forward to this evening when the industry can gather to share in this moment with our inductees, their families and friends. And I’m not alone in anticipating this event. This year, we have one of our largest audiences ever, all here to applaud these exemplary songwriters.”

Award-winning artists The Isaacs kicked off the evening by honoring Twain with a medley of her song-of-the-year hits “Forever And For Always” and “You’re Still The One.” Though Twain was unable to attend, she sent a video thanking NaSHOF for the honor, noting that songwriting had gotten her through many hard times. NaSHOF 2019 inductee Sharon Vaughn presented Twain and also spoke on her behalf.

NaSHOF 2021 inductee Rhett Akins took the stage to honor Malloy, reprising his own 1998 recording of “Drivin’ My Life Away,” originally popularized by Eddie Rabbitt. NaSHOF 2015 inductee and longtime co-writer Even Stevens presented him.

NaSHOF 2005 inductee Vince Gill was joined on stage by Delbert McClinton, Shawn Camp and Michael Rhodes to perform “One More Last Chance” in honor of Nicholson. NaSHOF 2003 inductee Rodney Crowell presented him.

Garth Brooks. Photo: Moser Photography

The late Chips Moman was presented by NaSHOF Board member, industry journalist and longtime MusicRow contributor Robert K. Oermann. The legendary Clint Black performed Moman’s standard, “Luckenbach, Texas.”

Superstars Carrie Underwood and Keith Urban joined forces to perform a medley of Lindsey’s song of the year hits “Jesus, Take The Wheel” and “Blue Ain’t Your Color.” NaSHOF 2008 inductee Matraca Berg presented her.

Closing the night’s festivities, NaSHOF 2011 inductee Garth Brooks offered his rendition of “Holes In The Floor Of Heaven” to honor Wariner. NaSHOF 1975 inductee Bill Anderson presented him.

The evening also featured a medley of “Coal Miner’s Daughter and “If My Heart Had Windows” performed by award-winning songwriters Jessi Alexander and Jon Randall in a special memorial tribute to NaSHOF inductees Loretta Lynn and Dallas Frazier.

Gary Nicholson. Photo: Moser Photography

Legendary Jerry Lee Lewis Passes

Jerry Lee Lewis. Photo: Sean Gowdy

Rock ‘n’ roll pioneer Jerry Lee Lewis, who also became one of country music’s penultimate honky-tonk stylists, has died at age 87.

The Rock ‘n’ Roll Hall of Fame member was renowned for his flamboyant showmanship in whatever musical genre he performed. His controversial lifestyle, outrageous antics, livewire energy and unfiltered language made him one of the most colorful characters in the annals of popular music.

Jerry Lee Lewis’s frenetic “Great Balls of Fire” and “Whole Lotta Shakin’ Going On” established him as one of rock’s founding figures in the 1950s. After a fall from grace, he reestablished himself with a stunning barrage of hits in 1968-82 as a country-music master.

Born in Ferriday, Louisiana, Lewis was part of a clan of musical personalities that included his cousins, evangelist Jimmy Swaggart and “Urban Cowboy” country star Mickey Gilley. After being expelled from Bible college, Lewis began his climb to stardom when he auditioned at Sun Records in Memphis for producer Jack Clement (1931-2013). Clement played his tapes for label owner Sam Phillips (1923-2003).

Phillips issued Lewis’s debut single in 1956. It was an intense remake of the Ray Price classic “Crazy Arms,” characterized by the singer’s characteristic florid piano glissandi. It became a modest regional Southern hit.

The following year, Lewis achieved an international smash sensation with the fiery “Whole Lotta Shakin’ Going On.” He followed it with “Great Balls of Fire,” which also hit No. 1 on every chart in sight. A remake of the Hank Williams standard “You Win Again” gave him another country hit as 1958 dawned.

Then “Breathless” became his third simultaneous hit on both pop and country charts. “High School Confidential” was the title tune from a teen movie in which he appeared in 1958. He also appeared in the 1957 feature film Jamboree.

Jerry Lee Lewis

During this era, he became famous for his wild, dynamic stage style. Lewis kicked over piano benches, played standing up, raked his hands over his keyboards for dramatic effect, pounded them with his heels and attacked them relentlessly. He even demolished pianos, shoving one off stage and lighting another on fire.

He was 22 when he married his third wife, his 13-year-old cousin Myra Gale Brown, in 1958. When they appeared together during a tour of Great Britain, a scandal erupted. His pop-music career was devastated as U.S. radio stations blacklisted his discs.

During the early 1960s, Lewis issued everything from the Ray Charles classic “What’d I Say” to the Hank Williams chestnut “You Win Again.” Nothing he tried brought him back to prominence.

He signed with the Nashville division of Mercury/Smash in 1963, yet initially continued to record rock songs. In 1968, he soared into the country top 10 with a masterful performance of the honky-tonk ballad “Another Place, Another Time.” This launched a totally new era of his career.

At the time, he was performing the role of Iago in the Los Angeles musical stage production Catch My Soul, which was based on Shakespeare’s Othello. Lewis returned to Nashville to capitalize on his new success by recording with producer Jerry Kennedy.

Jerry Lee Lewis solidified his country stardom with the hit 1968 singles “What’s Made Milwaukee Famous (Has Made a Loser Out of Me),” “She Still Comes Around (To Love What’s Left of Me)” and the No. 1 country success “To Make Love Sweeter For You.” He teamed up with sister Linda Gail Lewis for 1969’s hit duet “Don’t Let Me Cross Over.”

He continued his country hit streak with 1969’s “One Has My Name,” “Invitation to Your Party,” “She Even Woke Me Up to Say Goodbye” and “One Minute Past Eternity.”

Between 1970 and 1972, he had some of his biggest country hits, including “Once More With Feeling” (1970), “I Can’t Seem to Say Goodbye” (1970), the No. 1 smash “There Must Be More to Love Than This” (1970), “Touching Home” (1971), the No. 1 hit “Would You Take Another Chance on Me” (1971, backed with his rendition of Kris Kristofferson’s “Me and Bobby McGee”) and a remake of The Big Bopper’s pop hit “Chantilly Lace” (1972).

“Chantilly Lace” became his biggest country hit of all. It was also nominated for a country Grammy Award.

Ironically, that song referenced his rock ‘n’ roll past. So did such early 1970s recordings as “Lonely Weekends,” “Drinkin’ Wine Spo-Dee O’Dee,” “Boogie Woogie Country Man” and “I’m Left, You’re Right, She’s Gone.” But his biggest country hits continued to be emotional ballads such as “Sometimes a Memory Ain’t Enough” (1973) and “He Can’t Fill My Shoes” (1974).

He divorced Myra in 1970 and married his fourth wife the following year. They were in the midst of divorce proceedings when she died in a swimming-pool drowning in 1982.

Two years after his fourth marriage, son Jerry Lee Lewis Jr. died in a car wreck. Son Steve Allen Lewis had drowned to death in 1962. In both instances, Jerry Lee Lewis soldiered onward.

As the 1970s wore on, his country hits continued, although more sporadically. Jerry Lee Lewis returned to the country top-10 in 1976 with “Let’s Put It Back Together Again.” His memorable 1977 hit “Middle Age Crazy” inspired a Hollywood film starring Bruce Dern and Ann-Margret. Lewis next scored back-to-back top-10 hits with 1978’s “Come On In” and “I’ll Find It Where I Can.”

His behavior, always erratic, became even more so in 1975-79. He had numerous arrests—for disorderly conduct, drunk driving, assault, possession of pills and shooting his bass player in the chest. In 1976, he was carrying a gun when he crashed his Lincoln into the gates of Graceland in Memphis and demanded to see Elvis. In 1979, the I.R.S. seized his property because of his unpaid taxes.

He signed with Elektra Records and debuted on the label with the two-sided hit “Rockin’ My Life Away”/”I Wish I Was 18 Again” in 1979. “When Two Worlds Collide” and “Over the Rainbow” both became Elektra country hits in 1980.

In 1981, his ulcerated stomach ruptured, and he lay close to death for weeks. When he finally emerged from the ordeal, he was addicted to painkillers. During that same year, “Thirty Nine and Holding” became his final top-10 country hit.

The first books about him were published in 1981—Robert Palmer’s Jerry Lee Lewis Rocks! and Robert Cain’s Whole Lotta Shakin’ Goin’ On. In 1982 came Hellfire, by Nick Tosches and Great Balls of Fire by Myra Lewis and Murray Silver.

Lewis recorded for MCA Records in Nashville in 1982-83. But no significant hits ensued.

The star’s fifth marriage lasted only 77 days in 1983 before that wife died, probably of a drug overdose. Some journalists suggested that his longtime moniker “The Killer” was more than a nickname.

He wed his sixth wife in 1984. Lewis suffered a second ulcerated stomach perforation in 1985, but rose from his near-deathbed to be inducted into the Rock N Roll Hall of Fame in Manhattan in early 1986. Hank Williams Jr. did his induction honors.

This was the first rock-hall induction, and Jerry Lee Lewis and Chuck Berry dominated its all-star finale. Among the other performers honored that evening were Fats Domino, Ray Charles, The Everly Brothers and James Brown. Also inducted were the absent Little Richard and the late Elvis Presley, Sam Cooke, Buddy Holly, Robert Johnson and Jimmie Rodgers.

Later that same year, he recorded Class of ’55 with Johnny Cash, Carl Perkins and Roy Orbison. Its interview disc won a Grammy.

In 1989, Jerry Lee Lewis cooperated on a film biography of his life, Great Balls of Fire. Starring Dennis Quaid as Jerry Lee and based on Myra’s book, it was not well received. Lewis did, however, receive his star in the Hollywood Walk of Fame in 1989.

The second wave of Jerry Lee Lewis books arrived in the 1990s. These included 1991’s Rockin’ My Life Away by Jimmy Guterman and 1998’s The Devil, Me and Jerry Lee by sister Linda Gail Lewis.

Although no longer making the popularity charts, Jerry Lee Lewis remained an in-demand concert draw, particularly in Europe and the British Isles. As a new century dawned, he kicked his addictions to pills and alcohol. He went through withdrawals, unaided, at his home in Nesbit, Mississippi. He said he did it through prayer.

Although now clean and sober, he began to succumb to the ravages of old age. He suffered from crippling arthritis, repeated bouts of pneumonia and attacks of shingles, as well as his nagging stomach ailments. Against all odds, he persevered.

In 2005, he was given a Grammy Lifetime Achievement Award. Three years later, he appeared on the 50th-anniversary Grammy Awards telecast.

He also had a new triumph as a recording artist. His 2006 album Last Man Standing sold a million. It featured him collaborating with Bruce Springsteen, B.B. King, Mick Jagger, Neil Young, Merle Haggard, John Fogerty, Rod Stewart, Willie Nelson, Eric Clapton, George Jones and others.

He followed it with 2010’s Mean Old Man, another all-star collection. That same year, Lewis was memorably portrayed in the Broadway musical The Million Dollar Quartet, which continues to tour today.

Jerry Lee Lewis returned to Nashville in 2011 to record a live album at Jack White’s Third Man Records. A year later, he married his longtime caregiver, Judith Ann Coghlan. He fractured his leg on his wedding day.

After recovering, in 2013 he opened Jerry Lee Lewis’ Café & Honky Tonk on historic Beale Street in Memphis. Next, he cooperated with author Rick Bragg on the definitive 2014 biography, Jerry Lee Lewis: His Own Story. It was accompanied by another new album, Rock & Roll Time.

In late 2014, he kicked off “Jerry Lee’s 80th Birthday Tour,” which spanned the U.S. and continued in Europe the following year. He drew four encores when he played The Ryman Auditorium in 2014. And he continued to entertain concert offers into early 2016.

Jerry Lee suffered a minor stroke on February 28, 2019.

He was inducted into the Country Music Hall of Fame in 2022, though he was not well enough to attend the ceremony.

Jerry Lee Lewis is survived by his wife, Judith Coghlan Lewis, his children Jerry Lee Lewis III, Ronnie Lewis, Pheobe Lewis and Lori Lancaster, sister Linda Gail Lewis, cousin Jimmy Swaggart and many grandchildren, nieces and nephews. He was preceded in death by his parents Elmo and Mamie Lewis, sons Steve Allen Lewis and Jerry Lee Lewis Jr., his siblings Elmo Lewis Jr. and Frankie Jean Lewis and his cousin Mickey Gilley.

In lieu of flowers, the Lewis family requests donations be made in Jerry Lee Lewis’ honor to the Arthritis Foundation or MusiCares.

A memorial service for Lewis will be held this weekend in Hernando, Mississippi and his birthplace, Ferriday, Louisiana. Click here for more details.

Lainey Wilson Rings In Album Release With News Of First Headlining Tour

Lainey Wilson. Photo: Alysse Gafkjen

ACM 2022 New Female Artist of the Year, CMT’s 2022 Breakout Artist of the Year and six-time CMA Awards nominee Lainey Wilson has released her sophomore album, Bell Bottom Country. With it, she’s also shared the news that she’ll be embarking on a 27-city headlining tour, presented by Stella Rosa Future Is Female music series.

On Jan. 4, Wilson will kick off her inaugural headlining trek in Spokane, Washington, with later stops at Irving Plaza in NYC and Nashville’s Brooklyn Bowl before concluding in Columbus, Ohio on March 31. Newcomer Ben Chapman will join the Louisiana native on the road, as well as Meg McRee and Leah Blevins on select dates. Tickets go on sale to the general public beginning Nov. 4 at 10 a.m. local time. Citi cardmembers will have access to pre-sale tickets beginning Nov. 1, and Wilson’s Fan Club pre-sale will begin on Nov. 2.

Stella Rosa Future Is Female will debut in 2023 with Wilson, and was created by Idol Roc Entertainment in an effort to help support and advance the growing number of female headliners and music industry professionals. In partnership with We Are Moving the Needle, a nonprofit organization supporting all women recording industry professionals, Stella Rosa Future Is Female will donate $1 from each ticket sale.

“This past year has been such a roller coaster—it’s truly been one of the most rewarding and challenging of my career. We’ve worked so hard on this album, and I’m so proud of it,” Wilson shares. “I can’t wait to headline my first tour next year and play all my new music across the country.”

Bell Bottom Country features 14 tracks, including Wilson’s latest release, “Live Off,” as well as “Watermelon Moonshine,” and current single “Heart Like a Truck,” which is approaching top 20 on the country radio charts.

She will make her acting debut on season 5 of the smash hit series Yellowstone  on Nov. 13. Throughout the upcoming season, she will perform original music from Bell Bottom Country. Next year, Wilson will join Luke Combs on all of the North American dates of his “2023 World Tour” alongside Riley Green, Flatland Cavalry, and Brent Cobb.

Stella Rosa Future Is Female Presents: “Country With a Flare Tour” Dates:
January 4, 2023 – Spokane, WA – Knitting Factory*
January 5, 2023 – Seattle, WA – The Showbox*
January 6, 2023 – Portland, OR – Wonder Ballroom*
January 7, 2023 – Bend, OR – Midtown Ballroom*
January 8, 2023 – Chico, CA – Senator Theatre*
January 12, 2023 – San Jose, CA – Club Rodeo*
January 13, 2023 – Reno, NV – Cargo Concert Hall*
January 14, 2023 – Visalia, CA – Visalia Fox Theatre*
January 19, 2023 – Bozeman, MT – The ELM*
January 21, 2023 – Laramie, WY – Cowboy Saloon*
January 22, 2023 – Mills, WY – The Beacon Club*
February 2, 2023 – Silver Spring, MD – The Fillmore Silver Spring*
February 3, 2023 – New York, NY – Irving Plaza*
February 4, 2023 – Jordan, NY – Kegs Canal Side*
February 5, 2023 – Portland, ME – Aura*
February 9, 2023 – Chattanooga, TN – The Signal*
February 10, 2023 – Starkville, MS – Rick’s Café*
February 17, 2023 – Charlotte, NC – Coyote Joe’s*
February 18, 2023 – Greenville, SC – Blind Horse Saloon*
February 24, 2023 – Columbia, MO – The Blue Note*
February 25, 2023 – Springfield, MO – Midnight Rodeo*
March 2, 2023 – Grand Rapids, MI – The Intersection+
March 3, 2023 – Rootstown, OH – Dusty Armadillo+
March 16, 2023 – Nashville, TN – Brooklyn Bowl
March 23, 2023 – Tulsa, OK – Cain’s Ballroom+
March 30, 2023 – Milwaukee, WI – The Rave+
March 31, 2023 – Columbus, OH – The Bluestone+

Direct support: Ben Chapman
1st of 3 acts: Meg McRee & Leah Blevins
*Meg McRee
+Leah Blevins

Jimmie Allen Earns MusicRow No. 1

Jimmie Allen’s “Down Home” jumps three positions into the No. 1 slot this week on the MusicRow CountryBreakout Radio Chart. Allen co-wrote the song with Rian Ball, Cameron Bedell, and Tate Howell and it appears on his impressive 17-track album, Tulip Drive.

“Down Home” serves as a letter to Allen’s late father James, who passed away in 2019, and showcases their special, enduring connection. The music video features several locations vital to him and his father’s relationship like Allen’s childhood home, the baseball field his father taught him how to play on, and his father’s favorite restaurant. Watch the video here.

In August, Allen successfully sold-out his second annual Bettie James Fest. He is currently on tour supporting Carrie Underwood’s “Denim & Rhinestones Tour.”

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

Darius Rucker Honored For Diamond Certification Of ‘Wagon Wheel’

Pictured (L-R): Today anchor Craig Melvin, who presented Darius Rucker with the RIAA Diamond certification honor; “Wagon Wheel” Producer Frank Rogers; Rucker; UMG Nashville Chairman/CEO Mike Dungan. Photo: Steve Lowry

There are now four country songs that are certified Diamond by the RIAA, signaling 10,000,000 units consumed. They are “Cruise” by Florida Georgia Line, “Tennessee Whiskey” by Chris Stapleton, “Old Town Road” by Lil Nas X and Billy Ray Cyrus, and now, “Wagon Wheel” by Darius Rucker.

The multi-Platinum artist released “Wagon Wheel” in 2013 for his True Believers album. It was originally recorded by Old Crow Medicine Show and written by the band’s Ketch Secor after he discovered an unfinished Bob Dylan demo of him singing what is now the “Wagon Wheel” chorus. While it has been an instant classic since OCMS first released it in 2004, Rucker’s recording has taken on a life of its own, transcending country radio into the cultural zeitgeist.

To celebrate this accomplishment, UMG Nashville held a ceremony to present Rucker with a plaque. The party also celebrated Rucker’s tenth No. 1, “Beers And Sunshine,” which hit the top of the charts in early 2021.

Kelly Sutton served as emcee for the event, first recognizing the co-writers of “Beers And Sunshine,” Rucker, Josh Osborne, Ross Copperman and JT Harding. The writers shared their thanks to all the responsible parties for “Beers And Sunshine” going No. 1, such as UMG Nashville, their respective publishers, and PROs. ASCAP’s Mike Sistad and BMI’s Josh Tomlinson were also there to represent their writers.

Pictured (L-R): “Beers And Sunshine” co-writers Josh Osborne, Ross Copperman, Darius Rucker, JT Harding. Photo: Steve Lowry

In each of their speeches, the writers talked about the Zoom meeting that the tune was written on, guessing that “Beers And Sunshine” might have been the first country No. 1 written on Zoom.

“There’s no nonsense on Zoom. In the [writer] room, you sit around and talk about your kids. You tell them what’s going on and it takes 20 minutes to get started. Not on Zoom!” Rucker said. “When we finished it, I thought it was something special. Ross went out of his way to record this whole record on Zoom. Nobody was ever in the same room together ever.

“I want to say thank you to Universal, ASCAP, and Sony,” Rucker added.

Next, it was time to shift gears to celebrate “Wagon Wheel.” Sutton welcomed UMG Nashville Chairman and CEO Mike Dungan to the stage to say a few words about his partnership with Rucker.

“The truth is, it was a big leap of faith on everybody’s part,” Dungan said of UMG signing on to usher in Rucker’s country career. The label head pointed out that not only was Rucker in limited company as a person of color in country music, but he had also fronted the ’90s hit band Hootie & The Blowfish, who became so popular that they became a punch line. Forging a new path into country music stardom did not sound easy to Dungan, but with 10 No. 1 hits and a Diamond-certified single, it paid off to take a risk.

“To be here all these years later celebrating all these hits is amazing,” he said. “I couldn’t be prouder, my friend. I love you like a brother.”

The Today show’s Craig Melvin also joined in the presentations. He made sure to recognize Rucker’s philanthropic contributions, specifically to South Carolina where both Melvin and Rucker are from.

Frank Rogers, who produced “Wagon Wheel” and a myriad of other Rucker hits, joined the country star on stage to take a photo with the Diamond certified plaque.

When it was time to hear from the man of the hour, Rucker was full of gratitude for his team.

“I came here just to make a record. I came here because I wanted to make the music,” the country star said. “I can’t thank you guys enough for the life that you’ve given me. My life is so much better because I came to Nashville. Thank you.”

DISClaimer Single Reviews: Tanya Tucker’s Vocals Soar On ‘Ready As I’ll Never Be’

Country music is in the midst of one of its periodic artist shakeups.

There’s a new generation of record makers vying for stardom, and they’re a very diverse lot. Just take a listen to Sam Williams, Pillbox Patti, Brandon Ratcliff, Ian Munsick, Elle King and Lily Rose.

But let’s not forget to dance with the ones who brung us. I refer to the enduringly great Tanya Tucker, who towers above all these would-be stars with “Ready As I’ll Never Be” as the Disc of the Day.

The DISCovery award goes to Michael Warren. He’s a Birmingham native who’s written pop tunes for the likes of Toni Braxton, Jennifer Lopez and Akon. But his southern roots shine through on “What’s Country to You.”

LILY ROSE / “Whatcha Know About That”
Writers: Dave Pittenger/Jonathan Hutcherson/Sydney Cubit/Miranda Glory; Producer: Joey Moi; Label: Big Loud/Back Blocks/Mercury/Republic
–A chiming, echoey production backs her husky come-on to a potential lover. It has a certain “rush” that’s very inviting.

IAN MUNSICK / “Horses & Weed”
Writers: Ian Munsick/Josh Thompson; Producers: Ian Munsick/Jared Conrad; Label: Warner
–The Colorado cowboy praises products of his home state. Tennesseans might have their pick-up trucks and beer, but he’s floating languidly on a ballad with wafting smoke in his hair and a palomino for propulsion.

ELLE KING / “Try Jesus”
Writers: Ashley Gorley/Ben Johnson/Casey Smith/Elle King/Geoffrey Warburton; Producers: Elle King/Ross Copperman; Label: Sony
–This manages to be hilarious, devout, wacky, uplifting, kookie and delightfully strange all at the same time. The song is out there. Her performance is charming. The video is a hoot.

SHABOOZEY / “Gas!”
Writers: Sam Martinez/Shaboozey; Producer: Sam Martinez/Junwaa/Ben Mironer/Shaboozey; Label: Empire
–The Virginia rapper thinks this is some new kinda country music. I don’t.

TANYA TUCKER / “Ready As I’ll Never Be”
Writers: Tanya Tucker/Brandi Carlile; Producers: Brandi Carlile/Shooter Jennings; Label: Fantasy
–This is the end title tune of the new Tanya Tucker documentary. It’s also a dynamite ballad that dips into the legendary entertainer’s deepest alto before soaring into a stirring, melodic chorus. An awesome performance by one of our most charismatic greats.

BRANDON RATCLIFF / “Grow Apart”
Writers: Brandon Ratcliff/Lori McKenna/Pete Good; Producers: Pete Good/AJ Babcock; Label: Monument
–This guy is batting a thousand with me: I believe I’ve loved everything he’s released so far. He comes by his extraordinary singing voice doubtless via his inheritance, since his mom is the great Suzanne Cox of The Cox Family. Here, he applies it to a meditation on youth and aging that echoes with truth. Brandon’s debut album is due in January, and I can’t wait.

PILLBOX PATTI / “Eat Pray Drugs”
Writers: Nicolette Hayford/Aaron Raitiere/Benjy Davis/Connie Harrington/Park Chilsolm; Producer: Park Chisolm; Label: Monument
–The sound of a steamy southern summer. She drawls in an atmospheric dream in this super-creative production. “There’s only three things to do around here,” the small-town gal whispers. They’re listed in the sez-it-all title.

TYLER HUBBARD / “I’m the Only One”
Writers: Tyler Hubbard/Chris Locke/Rhett Akins; Producers: Jordan Schmidt/Tyler Hubbard; Label: EMI
–Positively joyous. Being in love has seldom sounded so downright fun. Hubbard is currently going from strength to strength en route to a debut album in January.

KARLEY SCOTT COLLINS / “Better Strangers”
Writers: Liz Rose/Karley Scott Collins; Producer: Brock Berryhill; Label: Sony
–The relationship went bust, and she’s totally depressed about it. Promising, if somewhat overproduced.

REYNA ROBERTS / “Pretty Little Devils”
Writers: Reyna Roberts/Kendall Brower/David Mescon; Producer: David Mescon; Label: Empire
–Minor-key, moody and edgy. Hip-hop fused with country-rock, which is her usual jam.

SAM WILLIAMS / “Tilted Crown”
Writers: Luke Dick/Sam Williams/Scooter Carusoe; Producer: Luke Dick; Label: Mercury
–In a voice cracked with heartache, Williams muses about the legacy of his legendary lineage. The evocative ballad is produced with exquisite precision, and his performance glows with honesty.

MICHAEL WARREN / “What’s Country to You”
Writers: Dylan Schneider/Zac Kale/Jake Rose; Producer: none listed; Label: Workplay
–Jaunty and charming. He bops through the countryfied lyric with verve and smiles while the guitars ring and chime. Add this.

My Music Row Story: Wasserman Music’s Chappel McCollister

Chappel McCollister. Photo: Stacie Huckeba

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.

As SVP of Business Development at Wasserman Music, Chappel McCollister is devoted to leveraging synergies between the company’s music, sports, film, marketing and social media divisions to build unique, high-profile and profitable campaigns for clients.

Prior to joining Wasserman, McCollister spent five years spent running Taylor Swift’s tour partnerships, during which he represented brands such as Covergirl, Keds, Diet Coke and Elizabeth Arden. He also executive produced Tim McGraw and Faith Hill’s documentary Tim & Faith: Soul2Soul and sold it to Showtime, where it aired in 2017. In addition, he activated Covergirl’s partnership with the NFL for an innovative 2011 campaign involving pop-up nail salons to provide team-themed manicures in stadium parking lots.

More recently, McCollister collaborated with Kacey Musgraves early in the pandemic on a candle line with Boy Smells, which has sold more than 100,000 units and earned the Candle of the Year award for 2021 from the Fragrance Foundation. In addition, he negotiated George Strait‘s H-E-B Super Bowl commercial, LeAnn Rimes‘ partnership with Novartis and brokered CAAMP‘s “See the World” sync for the TV and digital campaign Ohio.

MusicRow: Where did you grow up?

I grew up in Montgomery, Alabama. I was there until I was a sophomore in high school. Then I moved to Birmingham and finished out high school there.

Were you into music as a kid?

I wasn’t musical at all. I was a runner. I ran track and ultimately went to college for track. I went to UNC Charlotte and ran freshman year at UNCC. The only music I absorbed was whatever my brothers were introducing me to.

What was college like?

Freshman year I ran for UNCC and then I decided that my running career was over and decided to transfer to Auburn University. At Auburn, I took up rowing. I rowed on their crew team for three years. In addition to that, I started working with the Auburn University Programming Council. I started focusing on booking university-funded entertainment, specifically their music. I booked two big shows a year, one per semester. I eventually ran that department. That’s where I fell in love with music and the music industry.

In the summers, I would go back to Birmingham and intern. I did a free internship for a little club called Work Play in Birmingham. I was a local stage hand for them at night to make a little extra money. In the summer, I worked for a music festival in Birmingham that no longer exists called Birmingham City Stages. With the university side of things, I learned about the booking side; I learned a little bit more of the production elements being a stage hand at Work Play, and then I learned even more doing production work for the festival.

Chappel and Haley McCollister on Taylor Swift’s “1989 Tour.”

What an education! Were there any shows you booked during college that affirmed that you wanted to pursue a career in the music industry?

We were fortunate at Auburn that we had a pretty deep budget, certainly for 12 years ago. I had to alternate the genre every semester. Auburn is an agriculture and engineer school—so I couldn’t neglect country. At the same time, when I was in college, rap and hip-hop was super big so I had to make sure I facilitated that genre. We also had some rock fans, so it was a bunch of different stuff. The show I was probably the most excited about was when I had Ben Harper play with Citizen Cope. I also had O.A.R. play, which was a huge college band at the time. My hip-hop show was Soulja Boy opening for Akon. That was a really fun one. I did a rock show that was Live and Collective Soul.

It gave me the bug. I’ve never been an agent, nor wanted to be an agent necessarily, but being on the booking side gave me the bug for the industry.

What did you do after graduation?

I graduated in the summer of 2009, which was pretty deep into the recession, so there weren’t a lot of “dream jobs” that you think you’re going to get. I was fortunate enough to get a contractor position with a company based in Detroit that had just opened a Nashville office called George P. Johnson. They were an experiential marketing company that focused on auto shows, but they were starting to get into other elements of experiential marketing. They had just sold this tour sponsorship for an insurance brand named Country Financial Insurance. They were sponsoring two separate tours, Jason Aldean and Jewel. They needed somebody to go out on the road to help fulfill all those elements that had been agreed upon. They needed someone that would work hard for like 18 hours a day and be grateful for the opportunity, so I did that as a contractor for George P. Johnson for a year. I went out on the road with Jason and Jewel and enjoyed that, but realized that I didn’t necessarily want to be on the road full time. I was fortunate enough to get a full-time job with GPJ, managing those tours from the office and going out occasionally.

Later, three or four of us spun that group off into a side agency called G7 Entertainment Marketing. For the next five or six years, I ran our tour sponsorship division. I helped pitch, sell and manage those tour sponsorships.

What was next?

[My nearly 7 years at] G7 were great for me. I was helping advise brands on how to spend their money in live music. Tour sponsorships started shifting, money was shifting, and [brands became] very much focused on content opportunities. I had been on the brand side of the coin and I was interested in being on the artist’s side. I felt like I would have a more holistic view of what an artist was working on. There weren’t a lot of people on the artist side who had previously been on the brand side, so not a lot of people had that perspective. I felt like there was value there and I looked for the right opportunity. I also wanted to expand outside tour sponsorships; I wanted to touch other aspects of an artist’s career.

I was fortunate enough to connect with Jason Owen and his team at Sandbox. At Sandbox, I was able to focus on endorsement, licensing opportunities, and VIP opportunities. I packaged and sold the Tim & Faith: Soul2Soul documentary and helped launch Little Big Town‘s wine brand, along with Jason and the team. My time at Sandbox helped expand my horizons as to what was possible, and ultimately grow my skill sets.

Part of Wasserman Music’s Nashville team at their recent AmericaFest Happy Hour. Photo: Stacie Huckeba

Next you joined Paradigm, which became Wasserman in 2021. How did you get there?

Paradigm was looking for someone to help grow some non-touring opportunities for the roster, specifically in Nashville. Most of the Nashville office were agents or agent support teams, so there weren’t a lot of people that were focusing on things outside of touring or performance-based opportunities. I came over and, at the time, the only artist that Sandbox and Paradigm shared was Kacey Musgraves and the Johnny Cash Estate. I was lucky that I got to continue to work with them [when I went to Paradigm].

Early in my time at Paradigm, I was focused on trying to get some wins on the board and provide value for our artists in the brand space. That has grown into licensing and I do some sync work. My job at Wasserman is solely focused on growing the country and Americana genre for the roster and bringing opportunities for that roster that may live outside of traditional touring.

Your role is unique at an agency. Did you feel a lot of pressure during the pandemic to find other ways for artists to make a living?

Absolutely. I have a colleague here that works with me and the two of us were some of the only people that could produce revenue during the heat of the pandemic. The pressure to bring opportunities and to retain clients was really high. I’m very glad that we’re out of that. The pressure is always high in the agency world based on the competitors, but it was just a very different environment.

During normal times, when do you feel most fulfilled in what you do?

I think there sometimes is a misconception that, in some of these partnerships, there’s a winner and a loser. At the end of the day, I wear the artist jersey and I always will. So I feel the best when the artist is happy [with a partnership]. But for the sake of a partnership, assuming everyone is playing by the rules, I think there’s a lot of opportunity to have both parties feel really good. When both parties feel good about a launch, a partnership or a collaboration, that’s when I feel the best. But like I said, at the end of the day, my sole job is to represent the artist and make sure that they feel heard and represented appropriately.

Have you had any mentors along the way that have been important to you?

When I joined Jason and his team at Sandbox, it really opened my world as to artist representation and what that meant. The way that Jason thinks outside of the traditional model of artist representation is, to this day, something that I think is unparalleled. I feel really fortunate to have had that time with him and I still work very closely with him.

Louis Messina has been a friend and a mentor for me for over 10 years. My wife works with Louis, but he’s been kind enough to give me some time over the years. I have an immense amount of respect for what he’s built, how he’s built it, and how he’s evolved over his career. This year is his 50th year in the industry. How he’s been able to evolve as a promoter and as a leader in the industry over five decades is pretty amazing.

What have been some moments in your career that you’ll always remember?

Touring internationally was an amazing experience. I got to do that with a couple of Taylor Swift tours as well as U2. Those were really big moments. At Wasserman, we just launched this full Blake Shelton/Lands End lifestyle collaboration that involves apparel, pet and home. It was almost two years in the works. It takes a long time and it’s a really cool feeling to get it out there into the world. That has been a moment we’ve been really excited about as well.

What does success mean to you?

It’s cheesy to say, but I haven’t dreaded going to work in probably 10 years. I’m excited to get in the office and see what the day brings. There’s definitely days that are tough and annoying that will wear on you, but as a whole, I get excited to come into the office. I really enjoy what I do. If you don’t, it’s worth taking a look at making a change.

Reba Commemorates First Solo Headlining Show At Bridgestone Arena With Sold-Out Crowd

Reba McEntire performs at Bridgestone Arena. Photo: Caitlin McNaney.

Astonishingly, Country Music Hall of Fame member Reba McEntire played her first-ever show as a solo headliner at Nashville’s Bridgestone Arena on Friday (Oct. 21).

Pictured (L-R): UMG Nashville’s Mike Dungan, Reba McEntire, UMG Nashville’s Cindy Mabe. Photo: Tony Matula

The Grammy-winner kept the Music City crowd entertained during her 90-minute show, as part of the “Reba: Live In Concert” tour, presented by Live Nation. Just before the show, McEntire was honored for more than 58 million albums sold worldwide. UMG Nashville President Cindy Mabe and Chairman/CEO Mike Dungan presented McEntire with a plaque to commemorate the accomplishment.

Before the country legend graced the stage, ’90s country hitmaker Terri Clark warmed things up. Clark had a ball performing her hits “Better Things To Do,” “Poor, Poor Pitiful Me” and “Girls Lie Too.” By the time she was done with us, the arena was pumped for McEntire.

When McEntire appeared onstage, she kicked things off with her first No. 1 hit, the 1982 “Can’t Even Get The Blues,” and followed it with her most recent, 2011’s “Turn On The Radio.”

“We’re tickled to pieces you came out to see us tonight,” McEntire said when greeting her guests. “In between those two songs has been a lot of life, love and a whole lot of hairspray. We want to take you on a little musical journey and see how many places we can go.”

The 30-song set that ensued included more of McEntire’s biggest hits, such as “Little Rock,” “Whoever’s In New England,” “The Night The Lights Went Out In Georgia,” “Somebody,” “Is There Life Out There” and many more.

McEntire led the crowd in sing-along after sing-along, often smiling out to her adoring fans and waving. Her signature wit shined in moments where she spoke to the crowd.

Reba McEntire performs at Bridgestone Arena. Photo: Elisabeth Garcia

At other times, McEntire was stoic. In a section of her show she dedicated to sad, “wallering” songs, she played a medley of “You Lie,” “Tammy Wynette Kind Of Pain,” “Somebody Should Leave,” “What Am I Gonna Do About You” and “The Last One To Know.”

“I love singing sad songs,” she said, adding that she thought sad songs were “the glue of country music.”

A standout section of the show came when Clark re-emerged again to perform a Linda Ronstadt medley alongside McEntire. The two traded verses of “You’re No Good,” “When Will I Be Loved” and “Heat Wave”–and the crowd danced along without missing a beat.

The night also included virtual collaborations. McEntire introduced a digitally dancing Brooks & Dunn for “Oklahoma Swing” and a few virtual verses from Vince Gill on “The Heart Won’t Lie.”

Towards the end of the show, McEntire kept the energy high. Following a medley of some gospel songs, she blitzed us with “Is There Life Out There,” “Take it Back” and “Why Haven’t I Heard From You.”

She left her blockbuster hit “Fancy” for the encore. After disappearing into darkness, the crowd roared for her return to sing the captivating hit. In a chill-bump inducing performance, McEntire put the cherry on top of an evening of fun, good music and country music communion.

McEntire will play 11 more dates this year before picking the “Reba: Live In Concert” tour back up again in the spring. For dates, click here.

Top Five Hold Steady On MusicRow Top Songwriter Chart, Zach Bryan Lands Fifth Week At No. 1

Zach Bryan

This week, the top seven on the MusicRow Top Songwriter Chart remain the same with Zach Bryan notching another week at No. 1, brining his total up to five consecutive weeks.

Bryan is the sole writer on all four of his chart entries, which include “Something In The Orange,” “Oklahoma Smokeshow,” “Burn, Burn, Burn” and his newest release “Starved.”

Ashley Gorley (No. 2), Morgan Wallen (No. 3), Ernest Keith Smith (No. 4) and Luke Dick (No. 5) all maintain their respective spots on the MusicRow Top Songwriter Chart.

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.