MusicRow has revealed its 2026 N.B.T. Industry Directory list, highlighting a rising class of music industry leaders.

Now in its seventh year, MusicRow’s N.B.T. Industry Directory is the first and only list of its kind, showcasing Nashville music business professionals who occupy important roles at their respective companies. This class of professionals are on a trajectory of excellence to successfully lead the Nashville music industry into the future.

All members of the 2026 N.B.T. Industry Directory are featured in MusicRow’s current Touring & Next Big Thing Issue, which releases today (Dec. 9).

Single copies of MusicRow’s Touring & Next Big Thing print issue are available for purchase at musicrow.com for $50, and are included with yearly MusicRow subscriptions.

The members of MusicRow Magazine’s 2026 N.B.T. Industry Directory are:

Alex Albanese, Creative Mgr., Publishing – Creative Nation Music
Sally Allgeier, National Dir. of Country Promotion – Red Street Records
Taylor Antle, Dir., A&R – Round Hill Music
Amy Beard, VP, Marketing – Big Loud Records
Sarah Bennett, Sr. Publicist – The GreenRoom PR
Ben Binner, Dir. of Content & Strategy – Sun Label Group
Avery Bon, Sr. Dir. Marketing – WHY&HOW
Michelle Bower, Pres., Strategic Partnerships – The Neal Agency
John Bradley, A&R – Electric Feel Entertainment
Kristi Bradshaw, Publicist – OH Creative
Corey Brewer, VP/Head of Media & PR – Big Loud
Matt Brum-Taylor, Dir. of Digital Marketing – Academy of Country Music
Victoria Cappelli Greiner, Sr. Dir., Digital Marketing – AEG Presents Global Touring
Jeff Cherry, Founder/Artist Mgr. – Hudson Hill Mgmt.
Casey Childers, VP of Digital – ONErpm
Camryn Clark, Manager – Left Right Management
Jen Coen, Sr. Director, Brands & Ventures – HYBE America / Big Machine Label Group
Elizabeth Cook, Creative Dir., Publishing/A&R – Back Blocks Music
Sam Cope, Dir. of Digital Accounts Strategy, Americas – FUGA – a Downtown company
Tyler Corrado, Artist Mgr. – Neon Coast
Saxon Curry, Manager – Sticks Management
Courtney Daly, Dir., Artist & Label Strategy – Stem
Aubrey Daniels, Head of Publishing – Major Bob Music
Sally D’avanzo, Assoc. Business Mgr. – Farris, Self & Moore, LLC
Jennifer Davis, Dir., Live Events & Production – Academy of Country Music
Blake Duncan, Sr. Creative Dir., A&R – Combustion Music
Andrew Farwell, President – Outback Presents
Rhiannon Ferronetti, Asst. Mgr. – WHY&HOW
Brittany Finley, Dir. of Publicity – Elicity Public Relations
Justin Ford, VP Creative, Design & Branding – Big Machine Label Group
Houston Gaither, Dir., Radio Marketing – MCA
Allan Geiger, Sr. Dir., Creative & Content – BBR Music Group/BMG Nashville
Carter Green, Agent – WME
Dillon Goldberg, CEO of The PRNT Company – FNGRPRNT
Ethan Goldish, Music Agent – CAA
Anna Kathryn Groom, Mgr., Music Brand Partnerships – Wasserman Music
Bret Guest, Business Mgr. – Tri Star Sports & Entertainment Group
Rummy Le Guevel, Business Mgr. – Tri Star Sports & Entertainment Group
Weston Hebert, VP, Touring – AEG Presents
Alex Heimerman, VP of Streaming & Strategic Partnerships – Riser House Entertainment
Eunice Hernandez, Relationship Mgr. – Studio Bank
Duane Hobson, Assoc. Dir., Creative Membership – ASCAP
Ben Huddleston, Assoc. Business Mgr. – FBMM
Connor Hunt, Sr. Dir., Media – MCA
Jordon Isbell, Dir., Marketing – Virgin Music Group
Emilia James, Mgr., Creative Membership – ASCAP
Willie Jones, Associate – Loeb & Loeb LLP
Samantha Kane, Mgr., Artist & Industry Relations – Opry Entertainment Group
Colleen Kelley, Associate – Loeb & Loeb LLP
Brad Krause, Sr. Dir., Digital Strategy – MCA
Taylor Krebs, Coord., Music – United Talent Agency
Courtney Kruckeberg, Creative Dir. – Endurance Music Group
Abby Lamb, Assoc. Business Mgr. – FBMM
Lexi Leatherwood, Publicist – OH Creative
Autumn Ledgin, Manager, Tucker Wetmore – Ledgin Management
Nicole Lewis, Artist Mgr. – One Spark Entertainment
Lauren Lieu, Creative Dir./Publishing – River House Artists
Brooke Mansfield, VP of Digital Strategy – Riser House Entertainment
Liz Mayo, Sr. Dir., Public Relations – Mechanical Licensing Collective (The MLC)
Lyndsie McClure, Dir. of Development – NSAI
Moira McCravey, Agent – WME
Jaclyn McDonald, Mgr., Sync – Concord Music Publishing
Lili McGrady, President – Humanable
Dylan McGraw, Manager – Fusion Music/Red Light Management
Melissa McGreevy, Dir., Audience & Web Marketing Strategy – Warner Records Nashville
Julia McLeod, VP Artist Marketing – ONErpm
Micah McNair, Creative Dir. – Black River Entertainment
Jenny Methling, Sr. Dir., Strategic Partnerships – Country Music Association
Bryan Mooney, Global VP of A&R – Downtown Artist & Label Services
Matt Musacchio, Manager, Vincent Mason, Jessie James Decker – Red Light Management
Kate Myers, Dir., Strategic Partnerships – Warner Records Nashville
Sam Nasr, Manager, A&R – Universal Music Publishing Group
Walker Newberry, Artist Mgr. – Make Wake Artists
Marita Niemiec, Dir., Digital Marketing – Warner Records Nashville
Yitzi Peetluk, Agent – Wasserman Music
Megan Pekar, Associate – Loeb & Loeb LLP
Trevor Perkins, CEO & Founder – PERK PR + Creative Co
Victoria Powell, Attorney – Gutt Law, PLLC
Alex Quattlebaum, Dir. of Touring – Futureshirts, Inc.
Tahsin Rakib Himi, Dir., A&R Research – BMG
Alyssa Ramsey, Manager – Play It Again Music
Amanda Remo, Senior Client Mgr – Harris, Huelsman, Barnes & Company
Tim Reynolds, VP, Digital – Big Machine Label Group
HB Riordan, Artist Mgr. – Make Wake Artists
Rio Van Risseghem, Label Relations Mgr., Country – Amazon Music
Sam Sarno, Sr. Creative Dir. – SMACK
Camryn Scharnhorst, Owner – The Cam Collective Publicity
Karen Schillinger, Music Agent – CAA
Phil Shay, Sr. Dir. of Development – Belmont University, Mike Curb College of Entertainment & Music Business
Chandler Nicole Sherrill, Sr. Dir. of Creative – Electric Feel Entertainment
Allie Snyder, Creative Dir., Video – Sony Music Nashville
Alyson Stokes, Sr. Brand Communications Mgr. – Ryman Hospitality Properties/Opry Entertainment Group
Lizzy Stone, Account Mgr. – Wiles+Taylor & Co
Lexi Stringer, Dir., A&R – Sony Music Nashville
Caitlin Stubner, Vice President – Songtrust – a Downtown company
Mak Symmonds, Dir. of Marketing / Management Team Member – SMACK
Anna Thiel, Creative Mgr. – Eclipse Music Group
Jessica Turri, Head of Artist and Industry Relations, Nashville – ALSAC/St. Jude Children’s Research Hospital
Julianna Vaughn, Dir., Promotion, SE/MW – Triple Tigers
Layne Weber, Head of Digital and Experiential Marketing – Q Prime South
Anna Widmer, Dir., Radio Marketing & Promotion – Sony Music Nashville
Carlile Willett, Agent, Brand Partnerships – WME

Joybeth Taylor has moved into the top 15 on the MusicRow Top Songwriter Chart. Ella Langley’s “Choosin’ Texas” and “girl you’re taking home,” BigXthaPlug & Langley’s “Hell At Night,” and Gavin Adcock’s “Need To” and “Never Call Again” all push the songwriter to No. 14 this week.

Riley Green remains at No. 1 for the ninth consecutive week with “Change My Mind” and “Don’t Mind If I Do.” Chase McGill moves to No. 2 with “20 Cigarettes,” “Happen To Me,” “I Got Better,” “It Won’t Be Long” and “the hell you are.”

Charlie Handsome (No. 3), Blake Pendergrass (No. 4) and Ty Myers (No. 5) round out this week’s 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.

For decades, Christian and gospel music have operated in a parallel ecosystem to the broader music marketplace, thriving within their own lanes yet rarely invited onto mainstream stages. But, the past few years have marked a measurable and widely discussed shift. Faith-based music is not only growing but breaking into mainstream conversations, streaming charts and cross-genre collaborations in ways that feel genuinely new.

Part of the shift comes from the democratizing effect of modern streaming platforms, which have reshaped how niche communities find and elevate their favorites. But a bigger part may be generations as younger listeners are engaging with music and with their chosen artists with an intensity and intentionality that would have been unusual a decade ago.

At the center of one of the format’s biggest recent breakthroughs is Brandon Lake, who has amassed over 270 million career streams and earned a foothold on playlists and stages that traditionally sit outside the Christian category. But Lake is far from an outlier. Faith-driven content across both audio and video has surged in visibility. Prime Video’s House of David landed as a Top-10 new U.S. series debut and reached more than 40 million viewers globally, while The Chosen climbed to No. 1 on Prime Video’s U.S. charts. On the audio side, Christian artist Forrest Frank has become one of the most consistently requested musicians on Alexa, reflecting a deepening appetite for spiritually oriented music beyond traditional audiences.

“I’ve been in Christian music over 25 years. I don’t think I’ve ever experienced a time like this where there is so much natural pull from the general music marketplace for Christian and gospel music,” Holly Zabka, President, Provident Entertainment tells MusicRow. “It has always been, in my experience, us trying to push into that landscape and be accepted into the overall mainstream landscape. Now there is just a natural pull of people finding our music and being attracted to the music, attracted to the sound and artists, more than I’ve ever experienced.”

Zabka believes that much of this shift comes from changes in the distribution system. “It has leveled the playing field for Christian music. For someone to be scrolling on their phone and go from Luke Combs to Beyoncé to Brandon Lake all in one scroll has opened the door and shifted the game.”

Lauren Stellato at Amazon Music frames the moment similarly, but leans into how younger listeners drive it. “The genre is growing younger,” she tells MusicRow. “That audience is chronically online and they’re constantly sharing songs with friends and family members.” Stellato says she’s seeing more public enthusiasm with people “proudly talking about it” where previously listening to religious music might have been private. That public sharing, she adds, has translated into tangible fandom behaviors such as buying merchandise, attending multiple shows and spreading tracks across platforms.

That shift in listener behavior has also reshaped what industry support looks like. As Christian and gospel music move further into mainstream visibility, DSPs are adapting by giving these artists access to the same high-visibility tools and storytelling formats historically reserved for pop, country and alternative stars, not siloing them into their own lane.

At Amazon Music, that evolution is most clearly seen in Songline, the company’s original performance series. Songline has hosted artists like Ed Sheeran, Maren Morris and The Lumineers. Until Brandon Lake’s recent partnership, it had never featured a Christian artist.

For Stellato, the addition was both overdue and organic. “This is the first Songline we’ve done in the Christian/gospel space. It shows a different side to Lake than what most people typically get to see.”

That intimacy is built into the Songline format, but it also came from Lake himself. The series was filmed in Charleston, where he grew up, and incorporated quiet moments with his family, including his mother. “I was incredibly honored,” Lake tells MusicRow. “Being labeled as a Christian artist, I’m not going to shy away from the fact that that’s not an opportunity that a lot of us get. I was incredibly honored to get to share what God’s done in my life. For them to want to come to me, to show where I grew up and what made me. It felt like the most authentic thing I could do.”

For Zabka, the partnership was the natural continuation of years of partnership between Provident and Amazon. “Our very first project with Brandon at Provident, Lauren and the Amazon team were intentional and strategic from song releases through the album,” she explains. “[The teams] have always come to each release like ‘what else can we do?’ and ‘how else can we strategically lean into one another?’ Songline is just an extension of that creative partnership.”

That intentionality helped the project resonate. Lake performed reimagined versions of tracks from King of Hearts, but the standout moments were the stripped-back ones. Lake points to “When a Cowboy Prays” as one of the most special performances of the series. “It wasn’t about a big sound,” he says. “Everything got quiet and intimate. I tend to love those moments the most.”

Stellato noticed it with standout catalog tracks as well. “It gives these songs an opportunity to be seen in a new light,” she says, noting that even the longtime fan-favorite “Gratitude” connected differently in the Songline environment.

But the decision to feature Lake wasn’t driven by aesthetics alone. It was backed by audience data showing that Christian listeners on Amazon were engaging at levels that surpassed expectations. Lake’s King of Hearts debuted at No. 1 across the Billboard Top Rock, Top Rock & Alternative and Top Christian Charts, and Amazon Music drove the highest share of global first-week streams compared to any other DSP.

Timing also played a big role in the decision to feature Lake. “I think this was the first time it really aligned,” Stellato noted. “We’d partnered with him around Easter, we did an Amazon Music Original, and then the album came. The Christian fan base on Amazon Music is really leaning in and looking for this kind of content. Doing it with one of the biggest artists in the space felt like the right next step.”

Zabka echoes that sense of alignment and urgency. “If we want this genre to keep growing, we have to take risks,” she says. “We have to try things we’ve never done before. Especially with an artist like Brandon, being willing to kick down doors and get that noticed is what makes me excited about the future. There’s so many other artists coming behind him creating great music that can fit in all the different lanes. Its exciting to think about where we see this genre continuing to grow.”

For Lake, Songline offered the chance to let his music and his story meet a wider audience without losing what makes them personal. “I thought it was so cool that they wanted to tell my story in that way,” he says. “We had an absolute blast creating it together.”

Above the numbers, Stellato, Zabka and Lake each stressed that the blurring of genre lines is one of authenticity taking the reins. “I’ve focused less on what people want and more on what naturally wants to come out of me,” Lake says. “Somehow that’s translated to crossing genres.”

The instinct to create from conviction rather than category mirrors the broader movement driving the momentum of faith-based music. Artists are releasing what feels true, and audiences are responding. For as long as listeners continue to champion the music that resonates with them, this softening of lines shows no signs of slowing down.