Five Breakthrough Country Acts Make Their Mark On CRS New Faces

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Pictured: The New Faces of Country Music Class of 2020, Parker McCollum, Lainey Wilson, Jameson Rodgers, Gabby Barrett, and Walker Hayes. Photo: Courtesy of CRB/CRS | Kayla Schoen

On Friday night (Feb. 25), five breakthrough country artists graced the prestigious New Faces stage to close out another Country Radio Seminar.

Formed in 1970, the annual New Faces of Country Music Show is one of the most anticipated events at CRS, and has featured some of the format’s biggest acts in their early days. Each of the 2021 New Faces have had some traction at country radio, and were voted on by the industry to perform.

The evening was hosted by radio professionals Elaina Smith, Kelly Ford and Ania Hammar.

Parker McCollum. Photo: Courtesy of CRB/CRS | Kayla Schoen

First to perform was MCA Nashville’s Parker McCollum. The Texas-born singer-songwriter kept things simple, kicking things off with a sizzle reel of his many career achievements. McCollum started his set with “To Be Loved By You” and seamlessly transitioned into his first No. 1 at country radio, “Pretty Heart.”

McCollum thanked the radio personnel in the crowd for their part in his success before launching into a piercing rendition of “Hell Of A Year.” The breakout star exuded quiet confidence as he smiled out to the crowd, sounding great with his unique country voice. He closed with his “I Can’t Breathe,” and promptly received the night’s first standing ovation.

Gabby Barrett. Photo: Courtesy of CRB/CRS | Kayla Schoen

Next up was Warner Music Nashville star Gabby Barrett. Like McCollum, she got things started with a sizzle reel listing off her stunning achievements, including her 5X Platinum debut, “I Hope,” being the most-streamed country song of 2020. The powerful singer came out rocking with “Jesus & My Mama.”

She followed that up with her second No. 1 hit, “The Good Ones,” before playing her newest single, “Pick Me Up.” Barrett took an opportunity to share her Christian roots with a beautiful, acoustic rendition of “How Great Thou Art.”

Barrett closed her set with the song that kicked off her meteoric rise, “I Hope.” “This song completely flipped my world around,” she said, thanking country radio for their support.

Jameson Rodgers. Photo: Courtesy of CRB/CRS | Kayla Schoen

Columbia Nashville/River House Artists breakout, Jameson Rodgers, was up next. After a funny video skit about turning in his two weeks and his 9-to-5 to focus on music, the singer-songwriter oozed charisma with a four-song set.

Rodgers got things started with his second No. 1, “Cold Beer Calling My Name,” and followed it with his first chart-topper, “Some Girls.” The singer was all smiles during his set, saying: “It’s a damn honor to be a part of this show tonight.”

After playing a hit he had as a songwriter for Chris Lane, “I Don’t Know About You,” Rodgers closed with a standout track from his debut album Bet You’re From A Small Town–”Missin’ One.” The track starts with a line about the Eagles, so Rodgers and his band thrilled the crowd with a bit of “Seven Bridges Road” to start the song.

Lainey Wilson. Photo: Courtesy of CRB/CRS | Kayla Schoen

Broken Bow’s Lainey Wilson kept the charisma going for her set, starting off with the best video of the night: a hilarious skit that featured country artists Cole Swindell, Jon Pardi, Jimmie Allen, and Tracy Lawrence in Wilson’s signature bell bottom britches.

After a big laugh from the crowd, Wilson was ready to rock, kicking off her set with her party anthem, “Straight Up Sideways,” with a verse of Queen’s “Fat Bottomed Girls” to introduce the track.

“I’m so honored to be here,” she said before playing her first No. 1 hit, “Things A Man Oughta Know.” “Everyone in this room changed my life,” Wilson added.

To close her set, Wilson gave the room a sneak peek of her new single that could be called “Heart Like a Truck.”

Walker Hayes. Photo: Courtesy of CRB/CRS | Kayla Schoen

Monument Records’ Walker Hayes was the last performer of the night. His video recounted the seismic boom that “Fancy Like” had on the world over the last year. The entertainer started his set with “Drinking Songs,” before launching into his newest fan-favorite, “AA.” When it came time for Hayes to play the song of the year, industry members in the audience joined him in the dance.

Hayes stunned the audience with his last song: “Briefcase,” a song about his father’s struggle with working too much and being away from family. The hook of the song reveals that although Hayes doesn’t have a briefcase, he’s begun to understand why his dad’s work took him away from their family so often. “I guess a guitar doesn’t fall too far from a briefcase,” he sang.

Before he sang the touching song, Hayes’ briefed the crowd, saying this song probably wouldn’t be on the radio. The rousing applause and big standing ovation that Hayes received for the track, though, might make him reconsider.

Jake Owen Speeds To No. 1 On MusicRow Radio Chart

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“Best Thing Since Backroads” by Jake Owen drives to the top of the MusicRow CountryBreakout Radio Chart this week. This marks Owen’s eighth CountryBreakout No. 1.

The single was penned by Ben Johnson, Jordan Minton, Hunter Phelps and Geoff Warburton. This is Warburton’s first CountryBreakout No. 1.

In November, Owen released the music video for his latest single, “Drunk On A Boat.”

Youtube video

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

DISClaimer Single Reviews: Tiera Kennedy Shows The Steamy Side Of Country

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DISClaimer salutes Black History Month this week, because country music is having a historic moment.

Since the dawn of the 2020s, more than 50 African-American country artists have staged their debuts. Inspired by the breakthroughs of Jimmie Allen, Kane Brown, Mickey Guyton, Breland and Blanco Brown, a torrent of Black talent has surged into the format, with such artists as Brittney Spencer, Chapel Hart, Charley Crockett, Miko Marks and the Black Opry acts garnering significant media attention.

The Disc of the Day in today’s Black-country survey belongs to Big Machine’s Tiera Kennedy, with indie artist Dalton Dover running a close second.

The DISCovery Award is also a two-way race, with Coffey Anderson edging out Karen McCormick for the honor.

COFFEY ANDERSON / “Good To You”
Writers: Seth Ennis/Will Weatherly/John Pierce; Producers: Coffey Anderson/Ilya Toshinsky/Jordan Omley; Label: Riser House
– This good-time banger sports a sawing fiddle and a steady, head-bobbing beat. He has a jaunty, good-buddy delivery that’s quite winning. The sing-along song has loads of cute lines: “You’re always gonna be too good for me / And I’ll always be good to you.” “I would treat you like a lady / Like a brand-new Mercedes.” A winner.

DANIELIA COTTON / “Roll On Mississippi”
Writers: Rhonda Fleming/Dennis Morgan; Producer: none listed; Label: Cottontown
– Cotton has forceful, striking delivery that brings a pop-rock edge to this 1981 Charley Pride classic. She should have lowered the key, because she screeches way off key on the high notes.

JIMMIE ALLEN, CHARLEY PRIDE & DARIUS RUCKER / “Why Things Happen”
Writers: Brandon Day/Cary Barlowe/Jimmie Allen/Tate Howell; Producer: Ash Bowers/Jimmie Allen; Label: Stoney Creek
– Jimmie Allen currently sits at No. 1 on the country charts with pal Brad Paisley on “Freedom Was a Highway.” You’ll find it on his CD Bettie James: Gold Edition, which is loaded with cool collaborations. This track contemplates the mysteries of life and fate in a swirling production that’s also a “summit meeting” of Black-country greats. Earlier this month, the shooting star took time out to participate in a program called CreatiVets, which uses songwriting to aid veterans suffering from PTSD. By the way, Jimmie Allen is also one of our finest contemporary country showmen. If you haven’t seen him live, do so.

MICKEY GUYTON / “The Star Spangled Banner”
Writer: Francis Scott Key; Producer: N/A; Label: N/A
– This woman proved she is a STAR with this performance at last week’s Super Bowl. Social media sites blew up in its aftermath, and its YouTube video already has 1,182,673 views. Make that 1,182,674 views, because I just watched it again. Wow.

DWAYNE McMILLAN / “Find a Good Woman”
Writers: Dwayne McMillan; Producer: none listed; Label: AIK
– It is soaked with steel guitar, which is a good thing. It is painfully slow and draggy, which is not. The Atlanta soulman sings with sincerity, which is cool. The song lacks hooks, which isn’t.

DALTON DOVER / “Baby I Am”
Writers: Jason Gantt/Dan Isbell/Nate Smith; Producer: Matt McVaney; Label: Droptime
– I liked his debut single quite a bit, and this follow-up is just as impressive. The power ballad is a fervent declaration of True Love, and Dover sings the fire out of it. He’s small-town Georgia man who has found himself a big-city wedding anthem. Very uplifting.

CHIYANTI / “Big Ole Wagon”
Writers: Chiyanti Aiken-Brown; Producer: Chiyanti; Label: DistroKid
– Is “country twerk” a thing? This is a catchy hip-hop loop backed by a fiddler playing “Jaunty Alouetta” and “Old McDonald.” The lyric of the daffy dance tune praises gals with big butts.

THE PAULA BOGGS BAND & DOM FLEMONS / “King Brewster”
Writers: Paula Elaine Boggs; Producer: Martine Tucker; Label: PBB
– This Seattle combo dubs its sound “soulgrass,” since it combines bluegrass and Americana idioms. This track is a story song telling of Paula’s enslaved ancestor in Alabama and his journey through the post-bellum Jim Crow South. Flemons, a veteran of the Carolina Chocolate Drops, shares lead vocals. It’s kinda wordy, but could find favor on folk playlists.

MIKO MARKS / “Goodnight America”
Writers: Justin Phipps; Producer: none listed; Label: Redtone
– Miko Marks issued country albums in 2005 and 2007. After more than a decade out of the spotlight, she returned in 2021 with two new collections, Our Country and Race Records. The lyrics of this song are based on the sermon that Martin Luther King Jr. was working on when he was assassinated in 1968. Backed by rippling acoustic guitars, Marks gives it a terrific reading, shaded with deep alto notes and passionate political urgency. She remains a spectacular country voice, here with something to say.

TIERA KENNEDY / “Gentleman”
Writers: Cameron Bedell/Emily Landis/Tiera Leftwich; Producer: Cameron Bedell; Label: Big Machine
– This rhythmic slow jam is totally steamy. Tonight, she might not be ladylike, so he doesn’t have to be a gentleman when he comes over and turns out the lights. Country gets sexy.

KAREN McCORMICK / “Summer Lover”
Writers: Karen McCormick/Dana Marie Rogers; Producer: Evan Sieling; Label: KM
– Born in Brazzaville, Congo and raised in Washington State, this singer-songwriter staged her country debut with “Retro” in 2020. She has now followed it with this lovely, ultra-romantic ballad. Sung in a breathy sigh with hidden power, it’s very much in a pop-country mode, somewhat akin to Faith Hill’s work.

LATHAN WARLICK / “It’s OK to Cry”
Writers: Blake Hubbard/Jarrod Ingram/Lathan Warlick/Marc Peuschl; Producer: The720; Label: Records/Columbia
– This Tennessee native is nominally a Christian rapper, but he collaborates with Lauren Alaina, Dustin Lynch, Russell Dickerson, FGL’s Tyler Hubbard and other country acts on his My Way EP. The message to men that tears are healing is a good one. But this track is still way more hip-hop than honky-tonk. Pass.

Spirit Music Group Acquires 90% Of Jason Aldean’s Recorded Music Catalog

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Jason Aldean

Spirit Music Group has announced the acquisition of the recorded music catalog of multi-Platinum recording artist, Jason Aldean.

The acquisition includes 90% of Aldean’s recorded music catalog and encompasses nine albums in total, including 24 No. 1 songs, 34 Top 10 songs, and six RIAA certified Platinum albums. Covering Aldean’s discography, starting from his self-titled debut Platinum album in 2005 through his ninth album, 9, the acquisition also includes neighboring rights and SoundExchange royalties. Aldean retains an income interest.

BBR Music Group still owns their portion of the catalog, as well as certain distribution rights with respect to Aldean.

After 17 years of recording, Aldean has established himself as one of music’s biggest superstars. Named ACM Artist of the Decade, the BMG/Broken Bow artist has made his own lane with his country music with rock sensibilities.

“It’s cool that a company like Spirit, that’s been around so long, has taken on my music catalog. It’s something really important to me, so I’m glad it’ll be looked after,” offers the country superstar.

“Jason Aldean has been a consistent hitmaker and trailblazer in country music for nearly two decades. His recordings have helped define the sound of modern country music. Spirit Music Group is excited to partner with Jason and we look forward to further championing these important recordings to the world,” adds Frank Rogers, CEO, Spirit Music Nashville.

“Jason Aldean is one of country music’s elite headliners and the breadth and depth of his work is undeniable,” says Jon Singer, Chairman, Spirit Music Group. “We welcome Jason’s impressive collection of works to the Spirit Music Group catalog and are committed to being an active partner in safeguarding and building upon the success of these recordings.”

Aldean was represented in the deal by Kent Marcus from Marcus & Colvin LLP. Spirit was represented by Reed Smith.

My Music Row Story: Shane Stevens

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Shane Stevens

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.

Shane Stevens is a Grammy and ACM nominated singer-songwriter who has written for a variety of country and pop acts, including Walker Hayes, Carrie Underwood, Lady A, Sara Evans, Kellie Pickler, Ronnie Milsap, Jo Dee Messina, Jordin Sparks, Fifth Harmony, Little Mix, Selena Gomez, Ariana Grande and Meghan Trainor.

The South Carolina native achieved his first No. 1 on the Billboard Hot Country Songs chart in 2010 with “American Honey,” performed by Lady A and co-written with Hillary Lindsey and Cary Barlowe. After achieving much success in writing country music, Stevens wanted to broaden his songwriting horizon and moved to Los Angeles in 2014 to pursue a new direction as a writer, vocal producer, and artist developer in the pop and R&B world.

While in Los Angeles, Stevens contributed songs to several pop artists, such as “Super Bad” and “Goodie Bag” by Jesse McCartney, “Everlasting Love” by Fifth Harmony, “Paper Doll” by Bea Miller, “Step On Up” by Ariana Grande, “Love Me or Leave Me” by Little Mix, “Woman Up” by Meghan Trainor, “Nobody” by Selena Gomez, and “I’ll Chase The Sky,” “No Better Feelin’” and “Neighsayer” on the 2017 My Little Pony soundtrack.

Stevens’ most recent accolades includes selling a country music musical movie to Paramount Pictures for which he wrote all original compositions alongside childhood friend Karyn Rochelle. He also co-wrote Walker Hayes‘ blockbuster hit “Fancy Like.”

MusicRow: Where did you grow up? What led you into music?

I was born in Myrtle Beach, South Carolina. I was raised in a little town called Calabash, North Carolina, right on the state line. My dad was a shrimper and my family worked in the restaurant business. My parents led praise and worship in church, so that’s how I fell in love with music. But I hated country music—because my parents loved country music!

My sister and I were obsessed with Michael Jackson. My fourth grade school teacher was the first person to ever play me George Michael, which became a massive influence for me. She said, “One day you’re going to be just like him. You’re gonna write songs!” She was talking to this little gay kid who was being cast out and bullied by everybody else, reassuring me that I was going to be okay.

When did you learn to love country music?

Around 1994, I was in high school. My best friend Tina got her driver’s license first, so I would ride with her in her Subaru to school. We had a deal that if she would listen to Mariah Carey, George Michael, Paula Abdul, and Whitney Houston on the way there, I would listen to her crappy country music on the way back. (laughs)

She turned me onto Wynonna Judd. She played me “Is There Life Out There?” by Reba, and some Dolly stuff. It’s Tina’s fault, because she made it cool for me. And then I became obsessed with the storytelling.

Shane Stevens, Karyn Rochelle

How did you get to Nashville?

I had started doing karaoke contests and stuff like that. I would sing Clint Black‘s “Put Yourself In My Shoes” and Alan Jackson‘s “Here In The Real World.” I just got really into it. I went to Opryland auditions in Myrtle Beach and I met who would become my best friend, Karyn Rochelle.

When I was done with school, she asked me if I wanted to go to Nashville with her. So I was 17 when I came to Nashville.

What happened when you got here?

[Karyn and I] were writing and I [decided to go] to hair school, for my “just in case career,” and ended up working for Earl Cox and their team at Trumps [Salon] doing hair extensions. We did Sara Evans, Tammy Wynette, everybody. All these women that I wanted to write songs for, I ended up being their hairdresser.

At the same time, Karyn had been at Crutchfield [Music Publishing] for three or four years, and then she got signed with Pat Finch over at Famous Music. By then I had several songs that I really was proud of and an artist project going. She took my music to Pat and I got a phone call from Pat. He said, “Come over, I want to meet you.” And then he signed me [to my first publishing deal].

After some time in Nashville, you moved to New York, before moving back to Nashville in 2006. What brought you back?

[While in New York], I ended up sending [a song I wrote] to my friend Beka Tischker, who worked at Major Bob. She gave it to Bob Doyle and then he wanted to hear more songs. So I sent some other songs that I had, he loved it, and then I got a phone call. I was sitting at the Good Enough to Eat [restaurant] on the upper west side, across from the bar that I worked in called The Raccoon Lodge. Mike Doyle called and said, “Hey Shane, this is Mike Doyle. I want to offer you a publishing deal.” That was in 2006, and that was the last time I did hair—other than for fun.

I was free as a bird in New York City. I got so much energy from it and I loved creating there, but I would come back to Nashville and stay for a few weeks at a time. Jesse Frasure was my day to day publisher, and they just put me with the right people.

Shane Stevens, Hillary Lindsey

You had your first country hit with Lady A’s “American Honey” in 2019. What was that like?

Blew my freaking mind. Hillary, Cary and I went to Gatlinburg together for the first time and we started writing that song there. We didn’t finish it, we just had a bunch of different ideas. We brought them all home and Jesse Frasure was like, “Y’all have got to finish that song. That’s the one.” That opened the floodgates and then everything really started to happen.

You co-wrote one of the biggest hits of 2021, “Fancy Like” by Walker Hayes. How fun has that ride been?

I knew [it was going to be a hit]. I knew it in my soul, and I knew it in my spirit. I told everybody in the room that day.

Walker says we wrote [“Fancy Like”] for people that go to strip malls; and we really did. We also wrote it for people like us, just normal country people [who feel like] going to an Applebee’s is an upgrade.

When you’re the songwriter, you’re not on the stage usually, so you’re not seeing the reaction of a crowd. But because of Instagram and TikTok, when a lot of that stuff can be so bad and hurtful, watching the joy from people and getting to experience it that way has been the coolest thing that has ever happened to me.

Selena Gomez & Shane Stevens in the studio.

In addition to your success in country music with songs recorded by Sara Evans, Carrie Underwood, Ronnie Milsap, and more, you’ve had a lot of success in the pop space as well, writing songs with and for Selena Gomez, Ariana Grande, Little Mix, and Jesse McCartney. Who have been some of your biggest champions?

Jesse Frasure, Mike Doyle, and Bob Doyle. Leslie Roberts gave me my first cut over at RCA, and then she went to BMI and she’s still been my champion. Whitney Daane really loves me and I really love her. Stephanie Wright and Allison Jones [are some more]. I have really great relationships with people. I’m not fair-weathered, I’m in it with ’em when it’s low, I’m in it with ’em when it’s high.

Pictured (top row, L-R): Bob Doyle (Owner, Purplebeat), Eric Daigle (Co-Head of Creative, Purplebeat), Mike Doyle (GM Purplebeat); (bottom row, L-R): Graham Kothman (Artist Relations Coordinator, Purplebeat ), Shane Stevens and Andy Friday (Co-Head of Creative, Purplebeat)

Now you’re back with Bob Doyle at Purplebeat.

Now I’m back with Bob. He hired my husband, Eric Daigle, to help run Purplebeat. It feels like I’m back with family and having this ride with “Fancy Like”—which came out the week that I signed my deal at Purplebeat. So we’re all winning together. It feels good to be on that team.

What is one of the proudest moments of your career?

There’s just too many. Most people would say their first No. 1 party or something, but I sang at Carnegie Hall a long time ago. I sang a solo on the stage of Carnegie Hall and Elaine Stritch introduced me. There was a snowstorm and what’s so crazy is I had holes in both bottoms of my shoes because I couldn’t afford to get new dress shoes. They were super cute, you would never know, but my socks were soaked. And I was singing this beautiful song on the Carnegie stage. That probably sounds silly to most people, because I had nowhere near made it, but being on a stage of that size was the biggest dream come true.

On The Cover: Dustin Lynch Graces The Cover Of MusicRow’s 2022 Country Radio & Streaming Issue

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MusicRow Magazine has released its 2022 Country Radio & Streaming Issue, with Broken Bow Records’ Dustin Lynch gracing the cover.

Lynch recently released his fifth studio album, Blue In The Sky, which includes his hit single “Thinking ‘Bout You,” featuring MacKenzie Porter. The track marks the label’s longest reigning single at country radio with an impressive six weeks in the top spot. Within the album’s 12 tracks—five of which were penned by the Grand Ole Opry member—the Tennessee native displays a heavy helping of optimism while also delivering a fair share of drinking songs, neon-soaked ballads, and more with help from Riley Green and Chris Lane.

Since first coming onto the scene in 2012 with his breakout self-titled album and stand-out singles, such as “Cowboys and Angels” and “She Cranks My Tractor,” the decorated singer-songwriter has achieved eight No. 1s, four top 5 albums, and over three billion on-demand streams. Over the last decade, he has also earned 8 Gold and Platinum-certified singles from the RIAA, including for “Ridin’ Roads,” “Good Girl,” “Small Town Boy,” “Seein’ Red,” “Where It’s At,” and more.

The Country Radio & Streaming Issue includes the winners of MusicRow’s 20th Annual CountryBreakout Awards, which honors the artists who earned the most spins on the MusicRow CountryBreakout Radio Chart in 2021. The 2022 winners include Male Artist of the Year Luke Combs, Female Artist of the Year Miranda Lambert, Group/Duo of the Year Dan + Shay, Breakout Artist of the Year Priscilla Block, and Independent Artist of the Year James Robert Webb. Capitol Records Nashville was honored with Label of the Year for the 18th time, while SMACK Songs/Sony Music Publishing’s Josh Osborne was named Songwriter of the Year for the third time. This year’s Reporter of the Year is WDHR’s Jeff Meek.

Within this issue’s pages, you’ll also find an engaging crop of editorial content. This issue includes a revealing profile on Warner Music Nashville’s CEO John Esposito, highlighting his entry into the music business and his meteoric rise to the top of one of country music’s most successful record labels. Also featured is a look inside Amazon Music’s busy year with its new Head of Country Music, Michelle Tigard Kammerer, and Principal Programmer Emily Cohen.

This issue also spotlights UMG Nashville’s outlook on radio and streaming throughout the pandemic, a conversation on the dramatic increase in country collaborations, and the minds behind PickleJar, “the world’s biggest tip jar.” This year’s Country Radio & Streaming Issue also takes a look at secondary market radio with KZPK and KYCK’s Brook Stephens, and celebrates the 20th anniversary of the MusicRow CountryBreakout Radio Chart.

Single copies of MusicRow’s 2022 Country Radio & Streaming Issue are available for purchase at musicrow.com for $20, and are included with yearly MusicRow memberships.

MusicRow’s 20th Annual CountryBreakout Award Winners [Full List]

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In place of the annual Country Radio Meet & Greet and CountryBreakout Awards, MusicRow is virtually announcing the winners of the 20th annual CountryBreakout Awards today (Feb. 23). Follow along on all of MusicRow‘s online platforms, including Twitter, Facebook, and Instagram.

Now in its 20th year, the MusicRow CountryBreakout Awards celebrate those who have dominated country radio’s secondary market. Winners in eight categories are determined by spins on the secondary market stations that report to the MusicRow CountryBreakout Radio Chart panel each week.

Each winner is featured in MusicRow‘s Country Radio & Streaming issue, also out today (Feb. 23).

The winners for the 2022 CountryBreakout Awards will be updated live below:

Reporter of the Year – WDHR’s Jeff Meek

Songwriter of the Year – Josh Osborne

Label of the Year – Capitol Records Nashville

Independent Artist of the Year – James Robert Webb

Breakout Artist of the Year – Priscilla Block

Group/Duo of the Year – Dan + Shay

Female Artist of the Year – Miranda Lambert

Male Artist of the Year – Luke Combs

J.T. Harding: ‘This Is The Book I Wish I Had When I Tried To Get Into The Music Business’ [Interview]

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J.T. Harding. Photo: Fred Hayes

Hit country songwriter J.T. Harding has celebrated his fair share of successes, with seven No. 1s under his belt, including “Somewhere In My Car” (Keith Urban), “Somewhere With You” (Kenny Chesney), “Sangria” (Blake Shelton), “Alone With You” (Jake Owen), “Beers and Sunshine” (Darius Rucker), “Smile” (Uncle Kracker), and “Different For Girls” (Dierks Bentley).

With quite the wild story to tell and plenty of experience as a songwriter in the country music industry, the accomplished tunesmith has put it all to paper in his new book, Party Like A Rockstar: The Crazy, Coincidental, Hard-Luck, and Harmonious Life of a Songwriter. The engaging page-turner is available everywhere books are sold today (Feb. 22).

Described as a memoir, a self-help book, and a how-to guide for aspiring songwriters, Party Like A Rockstar chronicles Harding’s life from being adopted at a young age, growing up in southern Detroit in a family of sports fanatics, and discovering his love for music.

“Like most kids, I was jumping around to the radio and putting KISS makeup on while listening to my KISS and Journey records,” Harding shares with MusicRow. “One day, like an alien landing, MTV came blasting into my living room and I felt like Dorothy going from black and white Kansas to technicolor Oz. I could not believe MTV. I wanted to crawl inside the TV and get into that world.”

J.T. and his band. Photo: Courtesy of J.T. Harding

Soon after in middle school, Harding put a band together with some of his friends. Together they entered into Battle of the Bands competitions, but Harding had a hunch that the only way to truly succeed was for them to write their own songs.

“I’ve always tried to write my own songs. I didn’t want to end up playing cover songs in a Holiday Inn with the smell of stale beer and full ashtrays. Which is funny because that’s where I met Uncle Kracker, at a Holiday Inn lobby,” he quips. “Regardless, I just knew that I wanted to [write songs]. I looked on the back of all my CDs, and they all said Sunset Boulevard. That’s where all the record companies were, so I went out to LA and lived in the most unglamorous corner of Sunset Boulevard for years. It was awful, but I made it through.”

Throughout its pages, Party Like A Rockstar shares some of the many playful stories of Harding’s life, including how he cleverly distributed his first demo. “I was living in LA and I didn’t know where to take my demo. I couldn’t get meetings with anybody, so I borrowed a FedEx jacket from someone I knew. Like Obi-Wan Kenobi just walking into the Death Star, I walked past every security gate, every A&R guy, and I put my demo in every single mailbox.”

The book also shares the stories behind Harding’s many country hits, including how he and his co-writers came up with titles, lyrics, and the thoughts that went into them. Party Like A Rockstar also takes readers through Harding’s worldwide travels with modern day rockstars like Linkin Park, and how he made his way to Music City to write for some of today’s biggest country acts.

“This is the book I wish I had when I tried to get into the music business because I didn’t know how to. I just wanted to write songs and be on the radio, but all I had were interviews with rockstars, which is like deciphering hieroglyphics in a dark room,” Harding jokes. “There’s not a magic button to songwriting. I’d have more hits if there was a magic button, but I poured my heart into this book in a very simple way. This is how I feel you can make songs stand out.

“I hope people will be inspired that [even though] you do get turned down over and over again, along the way you’ll find people that encourage you. You have to write a lot of bad songs before you get to some of those good ones, so just keep writing.”

Within the book, Harding also shares some of his hard-learned lessons and advice for budding songwriters.

“If you’re looking to do country music, to be a songwriter in the country genre, or to be discovered in the country world, I truly believe you have to get to Nashville. It’s a full contact sport here,” Harding sums. “Even though we have the internet and there’s people getting discovered on TikTok, I can’t think of any country star or hit country songwriter that isn’t [in Nashville] pretty much all the time.

“The second piece of advice is something that I did and something everyone here does,” he continues. “We first come to town and we all think, ‘If I can just write a song with someone that’s already having hits, then I’ll be good to go.’ I wanted to write with Hillary Lindsey, who wrote ‘Jesus, Take The Wheel’ and Craig Wiseman, who had 20 No. 1 hits [at the time], but that’s not how it happens. You meet your own tribe—people that are at your same level—and you rise together.”

Harding adds, “There’s so much value in the way that a new writer sees the world and the music that they’re influenced by. Find your tribe and come up together. Make a noise so loud that I’m begging to write with you.”

J.T. Harding dons a special version of his book, Party Like A ROWstar, with MusicRow‘s Lydia Farthing.

Aiming to serve up plenty of entertainment and laughs along the way, Harding also hopes that people find relatability and inspiration through Party Like A Rockstar, and that readers walk away with the confidence that they can find their way through the music industry, too.

“People should buy this book because I truly think it’s better than a backstage pass,” he explains simply. “More so than ever, people are interested in how songs get written. Songland was gigantic on NBC, and now everyone’s talking about the Beatles documentary on Disney+. They see these guys sitting around writing songs. That’s how it happens, and now you could have it in your hands!”

To celebrate the release of Party Like A Rockstar, Harding will host a book release show at The Listening Room at 1 p.m. on Feb. 26. With every ticket, attendees will receive a copy of the book.

Party Like A Rockstar: The Crazy, Coincidental, Hard-Luck, and Harmonious Life of a Songwriter is available everywhere now.

Dustin Lynch Looks Back On The Last 10 Years, Celebrates New Album Release [Interview]

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Dustin Lynch. Photo: The Dwyers

A few weeks back, Broken Bow Records star Dustin Lynch released his fifth studio album Blue In The Sky.

The project contains 12 upbeat tracks, five of which Lynch co-wrote, including his 6-week No. 1 with MacKenzie Porter, “Thinking ‘Bout You.” Blue In The Sky also features his new single, “Party Mode,” which marked his biggest add week and highest career debut when it impacted radio last week.

Since his debut in 2012 with “Cowboys and Angels,” Lynch has become a serious country hitmaker. He’s achieved eight No. 1 country songs, four top 5 albums, eight Gold and Platinum singles, and over 3 billion global on-demand streams.

Lynch recently spoke with MusicRow about the last 10 years, his hopes for the future, and lessons learned along the way.

MusicRow: When you were releasing “Cowboys and Angels” in 2012, what were your goals for the song? What were you thinking then?

I didn’t expect it would do anything, to be honest with you. I knew it felt special to me, but I didn’t know why. I didn’t expect it to go on and rack up the accolades that it did.

In hindsight, I wish I would’ve asked more questions or at least attempted to contact other artists to ask, “Hey, if this happens, what do I do? What shouldn’t I do?” But I’ve learned a lot along the way, too. I was scared to death because I was afraid that maybe I couldn’t follow [“Cowboys and Angels”] up or handle the success that it brought on.

If you could go back, what would you tell yourself then?

I would definitely tell myself to trust your gut when it comes to your artistry. I was listening to a lot of outside influences back then. I should have been standing up for myself. I think everybody probably has regrets creatively along the way, like, “Dang it! We should have done that,” or “I should have gone back in and rerecorded that.”

Throughout the years, it’s become easier. I’ve become a better communicator in the studio, and I’ve become a better communicator to my team. I’ve assembled a team around me that that will stand up for me and believes in our long term goals. So we’re in a really good spot right now and I think that’s all part of the journey.

Dustin Lynch celebrates his new album release at iHeartCountry party. Photo: Wes And Alex For iHeartRadio

What is a piece of advice you’ve garnered along the way that you would share with newer artists?

Keep playing cover gigs so you can make some money. (laughs) I remember going back home after “Cowboy and Angels” was a hit and all of my friends growing up thought I had millions of dollars because I had a hit on the radio and I was on the CMT Music Awards performing. But what they didn’t realize is I was literally sleeping on my parents’ couch at the time and living out of a hotel room. I went from having a very successful run of cover shows, and also playing originals, at a lot of college campuses, frat parties, sorority parties, and wedding receptions—and making a great living! All that goes away and you start playing free shows [while promoting] the first few singles.

Keep believing in yourself and save your money, because you’re not guaranteed much early on. Keep believing, save up, and stay frugal.

You recently signed with Warner Chappell. Why was that the right move for you?

[When making that decision] I looked back on who has been helping me these past few years, who’s given me opportunities, who’s believed in me, who’s pushed me and challenged me to become a better writer… And it was the Warner Chappell team.

It just felt like home. I love doing business with people that I like to do life with. Ben Vaughn has been there since before I could write a song worth a crap, he’s championed me. He was on my radio tour video as a guy that was endorsing me early on, so he’s been a believer since day one. Ryan Beuschel has become a great buddy of mine. It’s fun to create with those guys that I like hanging out with off the clock.

What about your songwriting has changed over the last 10 years?

My songwriting has gotten a little bit more efficient because I know what I want to say and what I want to do in my live show. I’m not just casting into the wind anymore. There’s purpose behind every cast. For me, in the writing room, I’m always steering the ship with my live show in mind.

I’ve seen myself click with certain writers along the way. Tim Nichols was an early believer, [as well as] Rhett Akins, Ben Hayslip, and Ashley Gorley. I was an early believer in Zach Crowell, believe it or not. I think I took him on his first bus trip ever. Fast forward to “Small Town Boy,” he had gotten his foot under him as a producer with the Montevallo record with Sam [Hunt]. He raised his hand and said, “Man, let me produce ‘Small Town Boy.’ I just feel really passionate about that song.” So we let him swing the bat and the rest is history.

Speaking of Zach Crowell, he produced your new album Blue In The Sky. What did you want this record to sound like?

There weren’t lines in the sand of, “It’s gotta be this or it’s not making [the album].” It was just about how I was living life, I let that steer it. A lot of that was just being off the road, being with friends, being on the water, and having a buzz. When we’re on the lake, we are always either drinking a beer or mixing tequila, so listening to music in that head space is a great spot to be.

Dustin Lynch and MacKenzie Porter. Photo: Brennon Williamson

You’ve had a lot of success recently with MacKenzie Porter on “Thinking ‘Bout You.” What has it been like to bring a new artist up with you on this one?

When we start seeing those indicators [that the song was going to be a hit], Mackenzie was texting me weekly. “Is this good?” I was like, “Mackenzie, no, this is great!” It was a fun ride. No kidding, I woke up early this morning and the first song I started singing in my head was Mackenzie’s next single. She’s got a great future ahead and it’s been a blessing [working with her].

What are some of your goals for the next 10 years? What are you shooting for at this point?

Just to continue to live in the moment and be present. The next 10 years are going to be about enjoying the moment of creativity; to create and have fun.

The next 10 years for us as a team, we have goals to continue to grow the fan base and grow our tickets. I know we can hang with the best of ’em. We just got to headline down at Crash My Playa with Jason Aldean and Luke Bryan. Getting to do that at that level, to hold that crowd and feel that energy for the entire set, that lets us know we’re ready.

For the next 10 years, we are just going to see where that takes us. I’ve got 10 years until I’m as old as Luke Bryan, so I’ve got many more beers until I reach his level. (laughs) We’re going to continue to enjoy life and put on the best shows we can.

AEG Presents Promotes Adam Weiser To Sr. VP, Global Touring & Talent

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Adam Weiser

Nashville-based executive Adam Weiser has been promoted to Sr. VP, Global Touring & Talent at AEG Presents.

A member of the AEG Presents team for 15 years, Weiser currently books and promotes tours for a wide range of artists, including Lauren Daigle, Kane Brown, Luke Combs, Kelsea Ballerini, Dan + Shay, Jordan Davis, My Chemical Romance, The Band Camino, and more.

Before his move to Tennessee, Adam served as a Senior Talent Buyer for AEG Presents in the Northeast region. In that role, he oversaw the company’s venue bookings at Starland Ballroom, Count Basie Center for the Arts, The OceanFirst Bank Center, Foxwoods Resort Casino, Mount Airy Casino Resort, and a number of other prominent regional venues.

In his new role, Weiser will work with agents, managers and label partners to identify new talent and artist development opportunities, while continuing to oversee the company’s Nashville office and produce and promote tours.

“Adam has an incredible track record of giving artists the support and opportunities they need to take their careers to the next level, and that’s become even clearer since he joined our Nashville team,” says AEG Presents President of Global Touring and Talent Gary Gersh. “His passion is infectious, and his vision and determination inspire everyone around him. I have no doubt he will make even greater contributions in his new role.”