Big Machine Music Adds Tim Hunze As Vice President Of Publishing

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Tim Hunze

Big Machine Music adds Tim Hunze as Vice President of Publishing, whose career spans nearly three decades in Nashville’s music publishing community.

His experience includes work with current hitmakers and hall of fame inductees such as Jordan Davis, Kip Moore, Chris Janson, Joey Hendricks, Justin Wilson, Tom Shapiro and Tony Martin, among others. Notably, Hunze managed Bobby Pinson (2009 BMI Songwriter of the Year) and Brett James (2009 ASCAP Songwriter of the Year). His previous stops include Anthem Entertainment, Parallel Entertainment, Stage Three Music and legendary publisher Hamstein Music.

“Tim’s name is synonymous with the best of Nashville music publishing,” says BMM General Manager Mike Molinar. “Not only does he fit our work ethic, vision and advocacy for songwriters, his addition complements Big Machine Music’s stellar team and allows us to stay service-minded to our songwriters as we continue to grow.”

Pictured (L-R): Sr. Director of Royalties and Finance Grayson Stephens, Vice President Alex Heddle, Creative Director Michelle Attardi, Vice President Tim Hunze, Creative Coordinator Lizzy Gallatin, General Manager Mike Molinar, Catalog Manager Taylor Courtney. Photo: Courtesy of Big Machine Music

A graduate of MTSU’s Recording Industry program and a member of Leadership Music’s Class of 2013, Hunze currently serves on the board of the Association of Independent Music Publishers and as the host for their AIMP Nashville: Pubcast.

Hunze shares, “when Mike approached me about the possibility of working together at Big Machine Music, I was honored that he’d consider me to join his already amazing team. I feel like I’m joining the all-star team! I can’t wait to see what we can do joining forces.”

Hunze can be reached tim.hunze@bigmachinemusic.com.

BBR Music Group Names Jay Jones Sr. VP Of Publicity

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Jay Jones. Photo: Cody Heckber

BBR Music Group announced the promotion of Jay Jones to Senior Vice President of Publicity.

His responsibilities include strategy and oversight of publicity campaigns for BBR Music Group/BMG Nashville’s recording artists across the label’s imprints, including Broken Bow Records, Stoney Creek Records, and Wheelhouse Records. Additionally, he directs corporate communications and messaging for all three imprints. Jones will continue reporting to President of BMG Nashville, Jon Loba.

As the first executive hire at BBR Music Group following its acquisition by BMG, Jones has led publicity campaigns including the debut of Blanco Brown and his triple Platinum hit “The Git Up,” Jimmie Allen’s breakout as he became the first Black artist to launch his career with two consecutive No. 1 singles at country radio, and Lindsay Ell’s debut album The Project and powerful sophomore concept album Heart Theory. He has also been instrumental in recent campaigns for Granger Smith, Lainey Wilson, Elvie Shane, and Brooke Eden.

Prior to joining BBR, Jones career stops include time at CMA and his own Jay Jones Music, a public relations and marketing company where his clients included The Beach Boys. He attended the University of Alabama and graduated from Belmont University with a degree in Music Business and is a member of CMA, ACM and the CCMA’s.

“Jay was the perfect addition to the BBR Music Group at the perfect time,” says Loba. “His previous experience as both an independent publicist and working for the CMA served him well as the BBR Music Group transformed from a family-owned domestic country label to a strong and diverse music entity with global reach. Jay’s track record of securing significant media and press speaks for itself and we look forward to he and his team continuing their strong role telling our artists’ stories.”

Jones can be reached at jay@bbrmusicgroup.com.

Veteran And Contemporary Agents Launch Reliant Talent Agency [Exclusive]

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Steve Lassiter, Matt McGuire, Heath Baumhor

Talent agents Steve Lassiter, Matt McGuire, and Heath Baumhor have announced the launch of the full-service entertainment company Reliant Talent Agency.

Headquartered in Nashville, Reliant Talent is comprised of a growing team of veteran and contemporary agents with decades of experience spanning major talent agencies. Lassiter, who got his start in the music business at age 19, most recently served as Co-Head of Worldwide Music at APA Nashville. Baumhor worked in a few different areas of the music industry before landing at APA, where he spent the last 15 years and was part of their contemporary music department. McGuire spent time at Buddy Lee Attractions before joining APA in 2013 to help form their club and small theatre department and rose to line agent just a few years after joining the company.

“Unfortunately COVID took out a lot of companies, and a lot of companies just had to make do with what they had. Fortunately for us, it created an opportunity for some of us to regroup and start our own thing,” Lassiter tells MusicRow. “We wanted to start an independent boutique operation instead of a corporate operation. We all spent many years at APA, and still have a lot of respect for those people as they were always really good to us through the years, but we just saw this opportunity and felt it was the right thing to do.”

Since its inception, Reliant has brought on other agents and expanded its artist roster to include talent representing Americana, comedy, country, rock, jazz, and more. Reliant’s roster currently includes Travis Tritt, Kenny Loggins, Everclear, Rodney Carrington, Phil Vassar, Yacht Rock Revue, Take 6, Average White Band, Sister Hazel, and more. Additional artists continue to be added to the roster, and more will be announced in the coming weeks.

Reliant artist Travis Tritt says, “Steve Lassiter has been in my corner for many years as a loyal agent and friend. I look forward to what’s on the horizon for Steve and the entire team at Reliant Talent Agency.”

In addition to its fundamental base of booking and live event services, Reliant continues to expand into a full-service agency, offering representation in TV/Film, commercials, voiceovers, and endorsements. They have formed strategic alliances with other global branding agencies to maximize opportunities and deals for the clients they represent.

Lassiter says, “The staff is about one quarter of the staff that we had. With a smaller staff, it creates more of an opportunity to focus more on the clients and not have to deal with a lot of the corporate agency minutia. It frees up a lot of time to act independently and be a smaller shop where the result is more focused on the clients, better routing for the clients, being able to work on each deal a little bit more and maybe squeeze in a little bit more money out of it.”

Additional agents that make up the Reliant Talent team include Chris Burke, Chris Gaulke, Fred Hansen, Jeff Howard, Chris Looney, and Frank Wing.

“Through the pandemic, there’s been quite a few independent boutique agencies to spring up that consists of agents from Paradigm, WME or CAA. For the last many years, they’ve all been competitors and now they found themselves working together. They’re starting from scratch. Whereas in this situation, all of us have already been working together for 10 to 20 years. So we were able to hit the ground running and really just blast out of the gate.”

Reliant continues to add partners, agents, and staff, who will be announced in the coming months.

Luke Bryan Announces ‘Proud To Be Right Here’ Tour

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Luke Bryan. Photo: Ryan Anderson

Newly-named ACM Entertainer of the Year Luke Bryan has announced he will launch his Proud To Be Right Here Tour on July 8 in Syracuse, New York.

Dylan Scott, Caylee Hammack and Runaway June, along with DJ Rock, will serve as tour support.

“There is nothing more gratifying about writing and recording music than getting to play it live for the fans. There’s several songs off my new album that I’ve never performed live” says Bryan. “I can’t believe this moment is nearly here when we get to hop on the tour bus and roll into towns across America and get back to doing what we do best. What we live to do!”

New concert dates on the schedule will be available for presale to Bryan’s fan club, the Nut House, on Tuesday, April 27 and on sale to the public beginning Friday, April 30 at 10 a.m. local time at lukebryan.com. Tickets previously purchased will be honored on the newly reschedule dates as indicated below.

The announcement comes a day after his Crash My Playa 2022 concert vacation event sold-out due to record-breaking demand from returning event alumni and Bryan’s fans through pre-sale access. The sell-out is the event’s fastest in its seven-year history.

2021 Proud To Be Right Here Tour Dates:
July 8 – Syracuse, NY – St. Joseph’s Health Amphitheater at Lakeview
July 9 – Hershey, PA – Hersheypark Stadium
July 10 – Boston, MA – Xfinity Center
July 16 – Hartford, CT – Xfinity Theatre *
July 17 – Bristow, VA – Jiffy Lube Live
July 18 – Holmdel, NJ – PNC Bank Arts Center
July 22 – Cincinnati, OH – Riverbend Music Center *
July 23 – Charlotte, NC – PNC Music Pavilion
July 24 – Raleigh, NC – Coastal Credit Union Music Park at Walnut Creek
July 30 – Nashville, TN – Bridgestone Arena
July 31 – Orange Beach, AL – The Wharf *
Aug 5 – Bangor, ME – Darling’s Waterfront Pavilion
Aug 6 – Gilford, NH – Bank of New Hampshire Pavilion
Aug 7 – Gilford, NH – Bank of New Hampshire Pavilion
Aug 8 – Philadelphia, PA – BB&T Pavilion
Aug 12 – Columbia, MD – Merriweather Post Pavilion
Aug 13 – Wantagh, NY – Northwell Health at Jones Beach Theater
Aug 14 – Darien Center, NY – Darien Lake Amphitheater *
Aug 19 – St. Louis, MO – Hollywood Casino Amphitheater
Aug 20 – Indianapolis, IN – Ruoff Music Center
Aug 21 – Chicago, IL – Hollywood Casino Amphitheatre
Aug 27 – Rogers, AR – Walmart AMP
Aug 28 – Dallas, TX – Dos Equis Pavilion
Aug 29 – Brandon, MS – Brandon Amphitheater *
Sept 3 – Welch, MN – Treasure Island Amphitheater
Sept 23 – San Diego, CA – North Island Credit Union Amphitheatre
Sept 24 – Phoenix, AZ – AK-Chin Pavilion
Sept 30 – Bend, OR – Les Schwab Amphitheater
Oct 1 – Bend, OR – Les Schwab Amphitheater
Oct 2 – Portland, OR – Sunlight Supply Amphitheater
Oct 8 – Los Angeles, CA – STAPLES Center *
Oct 9 – Mountain View, CA – Shoreline Amphitheatre
Oct 10 – Sacramento, CA – Toyota Amphitheatre
Oct 14 – Irvine, CA – FivePoint Amphitheatre
Oct 15 – Fresno, CA – Save Mart Center *
Oct 16 – San Bernardino, CA – Glen Helen Amphitheater *

*indicates concerts that have been rescheduled to these dates
Dylan Scott on all dates except July 8-18
Caylee Hammack on all dates through August 14
Runaway June on all dates beginning August 19
DJ Rock on all dates

Justin Moore: ‘I’m As True To Myself As An Artist As I’ve Ever Been’ [Interview]

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Justin Moore. Photo: Cody Villalobos

As a torch-bearer for traditional country music, Justin Moore continues onward with the release of his sixth studio album Straight Outta The Country, available everywhere today (April 23).

Featuring co-writes with Rhett Akins, Casey Beathard, Randy Montana, Hardy and others, each of the eight songs find Moore embracing his signature Arkansas-twang and traditional country themes. Produced by Jeremy Stover, Straight Outta The Country includes Moore’s latest single “We Didn’t Have Much,” which is climbing at country radio.

Moore spoke to MusicRow recently about the new project, his collaborators, and the last 14 years of music.

MusicRow: Did you make the album during the pandemic?

We really recorded a lot of this while recording the Late Nights And Long Necks album. We had 30 or 40 songs that we were really excited about for that, but my label shockingly would not let me put 30 or 40 songs on that album. We knew that we were in a good spot and we knew that we loved these songs enough that we wanted to get them out to folks, so as we moved through this crazy year we were just trying to figure out how we were going to go about doing that. I might’ve recorded a couple of vocals here at home, but other than that, we were just very fortunate that we didn’t have to go in and track those things because it could have been very challenging, to say the least

With that many songs, how did you decide which songs went on which project?

Honestly it’s like putting a puzzle together. There’s songs that I wrote 18 or 19 years ago that I still want to put on an album. I’ll give you a prime example: I thought a song that I wrote 17 years ago called ‘Late Nights And Long Necks’ was going to be on the Late Nights And Long Necks album, so much so that we named it Late Nights And Long Necks and then that song didn’t make it on that album.

Sometimes putting an album together is just what fits together the best, it’s not necessarily ‘These are the best songs.’ We wouldn’t record them if I didn’t think they were great songs, I don’t mean it in that regard, but I’m a fan of albums having continuity throughout them. So I always try my best to put them together where I think they best fit.

You worked with Jeremy Stover again on production. You guys have have been working together your whole career. Why do you think it works so well with you guys?

We just get each other. It sounds silly to say, but we literally finish each other’s sentences. We’re not only partners in music and have been since the beginning of my career, but we’re like brothers. He’s one of my best friends in the world. I’ve heard him say that if he was an artist, he would be me. By the same token, if I was a producer/songwriter, I’d be him. I learned a lot from him early on in my career about writing songs.

Another collaborator, Paul DiGiovanni, is all over the Straight Outta The Country track list. With his background in pop-punk [Boys Like Girls] before starting to work in the country music space, and your very traditional sound, how does that work?

Well in complete transparency, I didn’t have a clue he was in [Boys Like Girls]. I love Paul, I would tell him this to his face, I just didn’t listen to that type of music. The reason it works is because he brings something to the table completely different than what Jeremy and I do, or whomever else is in the room with us. He will say something in a way that none of us have thought about, not to mention his ability to put tracks together and his melodies are just stuff that I would personally never think of. That has put me on a different path, lyrically. If he comes up with something melodically, or just says his thoughts about where to take a song, it may be a direction that never even entered my mind. I think it’s good to not only have [a variety] in the amount of voices in the room, but I think different types of voices in the room helps too. It makes songs better.

YouTube video

You have two versions of “We Didn’t Have Much” on the track list. Why is that song is so special to you?

It’s more special to me because of what we’ve all dealt with this year than it would have been otherwise. I heard the song really early on in the pandemic. We had Tracy Lawrence on as one of first guests on my podcast. He said something that really resonated with me and I really related to, and then after hearing this song, I related it to the song. What he said was that especially early on in the pandemic, he and his wife and family had been forced to lead a much more simple life, literally borrowing eggs from neighbors and things like that. Things that sound like a cliche country song, but we were kind of in the same boat here at home. I thought, man, this song speaks to the beauty in that simplicity.

This song kind of describes my youth and what we’re trying to impress upon my kids as best you can in this world we live in today. And I thought the song, from a timing perspective was perfect with what we’re all dealing with.

This is your sixth studio album. You signed to Valory Music Co. in 2008 and “Small Town USA” hit in 2009. What do you think it says about how far you’ve come musically and in your career?

It’s hard to believe, first and foremost, that we’ve been able to do this as long as we have and continue to have the success that we’ve been able to enjoy. I’ve got friends in town that I met when I came here and for whatever reason they didn’t [make it]—there’s a lot of luck involved in it. It’s a lot of timing and things. I just feel so blessed that I never had to get a real job.

More specifically pertaining to the music and me as an artist 14 years later, I think you learn who you are and what you want to say and what you want to be as an artist. You have an idea when you come out as a young artist, but then as you try this and you try that and you have the opportunity to go out and meet your audience, whether it be on stage, meet and greets, or social media. I think you just learn your craft. I feel as though I’m as true to myself as an artist as I’ve ever been.

‘Shady Ladies’ Susan Nadler And Evelyn Shriver Talk Business, Friendship, And Hilarity [Interview]

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Susan Nadler and Evelyn Shriver, also known as the ‘Shady Ladies of Music City,’ have been forging their own paths through the Nashville music business since the 1980s.

The close friends and industry stalwarts have always demanded a seat at the table that was largely made up of men, and eventually became first women ever to helm a major Nashville record label. They’ve both led a fascinating career, which they talk about in their hilarious podcast, Shady Ladies of Music City.

The recently announced second season of the podcast is available to stream now–and Susan and Evelyn just revealed more guest stars for the second season, including Clint Higham, Bonnie Garner, Michael Campbell, Shane McAnally and the late Connie Bradley. They join previously announced episodes featuring Martina McBride, Lorrie Morgan, Joel Katz, Raul Malo and Tony Conway.

Evelyn came to Nashville after having started her career in PR in New York, where her husband had a record deal. While in New York Evelyn worked with actors Cary Grant, Bette Davis, and Joan Crawford, and musicians Cher, Diana Ross, and more. She was part of the team that launched People magazine, Entertainment Tonight and MTV.

Eventually she and her husband grew tired of New York and moved to Nashville. Once in Music City, her first management client in Nashville was a young, handsome country newcomer from North Carolina: Randy Travis.

“A girl named Susan Niles who used to work at Warner Brothers, she was my assistant in New York at one time, and she was a huge country music fan,” Evelyn said. “One day I said to her, ‘You should really move to Nashville,’ and she did. So when I came down here, she was the only person I knew and she took me and my husband out to the Nashville Palace to meet Randy.

“They wanted to have somebody outside of Nashville, he had been rejected by so many people in Nashville that they wanted somebody that didn’t have that attitude—and it turned out to be me.”

Evelyn Shriver, Susan Nadler. Photo: Courtesy Shriver & Nadler

Susan grew up in Pittsburg and was a music lover from birth. She started her college degree in Wisconsin, and finished in Jerusalem. Susan returned to the United States, but got involved in smuggling hashish through Mexico. She and her partners were caught and she ended up spending time in prison in Mexico. Susan later published a book about the experience called, The Butterfly Convention.

Susan then moved to Key West, where she owned and operated a popcorn stand and started writing books. She briefly married a songwriter, which got her to Nashville and eventually led her to a career in PR.

“I couldn’t make a dime as a writer, so I decided to get into the music business,” Susan said. “I had just done a series of interviews for my book and I went to talk to a woman named Liz Thiels who had a great PR company called Network Inc. I told her what my background was, I had just had a second book come out, and she hired me right away. So I started off doing PR. I had never worked before, I had never even operated a fax machine.”

After cutting her teeth in PR working with country and blues artists, Susan went to work for manager Stan Moress, doing PR for his artist list that included names such as Lorrie Morgan, Eddie Rabbit, Ronnie Milsap, Roger Miller, KT Oslin, Restless Heart and more. “He was the only management company in town that was going to have an in-house press person, and that was me.”

Eventually Susan became Lorrie Morgan’s manager. “We still are very good friends. We had a long history together and we made a lot of money together, Susan said. “I went on the road a lot with her, she’s an incredible talent. She really has the most authentic country voice.”

Susan Nadler, Lorrie Morgan, Evelyn Shriver. Photo: Courtesy Shriver & Nadler

Evelyn and Susan’s paths crossed in 1988. The two were fast friends.

“We both came from different backgrounds than most people in Nashville,” Evelyn said. “I came from New York, and she thought I was Jewish and that I was more sophisticated, so she was hell-bent on becoming friends. She called me all the time, we would have breakfast or lunch or whatever. We ended up becoming really good friends.”

“Evelyn was fantastic. She was so intelligent and from New York, she knew everybody,” Susan said. “She was representing Randy Travis and I was representing Tammy Wynette. We just became really good friends and that was the beginning of a long and very productive friendship. We have done a lot together.”

Pictured (L-R): Asylum Records Stan Byrd (VP Promotion), Susan Nadler (Exec. VP/A&R), Nancy Jones, George Jones, Evelyn Shriver (Label Head) in 1999. Photo: Courtesy Shriver & Nadler

Evelyn earned the title of the first female president of a major country label when she took over Asylum Records in 1998; Susan served as Asylum’s Exec. VP/A&R. They released the critically-acclaimed projects Cold Hard Truth (George Jones) and Trio II (Emmylou Harris/Dolly Parton/Linda Ronstadt) until Asylum was folded into Nashville-based Warner Bros. Records in 2002.

“We were unbelievably busy. We were overwhelmed with how much work there was,” Susan said. “When we came in [to Asylum] the first day they had fired everybody and we couldn’t even open the door. We had to rehire people back to figure out how to work the switchboard. It was an incredible time in the business. There were some very powerful women in the business, and we really didn’t realize it that much.”

Susan and Evelyn continued working together, forming Bandit Records in 2003 and adding Jones on the roster. In 2009, they launched Country Crossings Records, with artists John Anderson and Lorrie Morgan. By 2015, Susan and Evelyn were serving as a talent managers for the TV show Soundstage.

Susan Nadler and Evelyn Shriver’s first Shady Ladies of Music City podcast session. Photo: Courtesy Shriver & Nadler

Over the years, Evelyn and Susan have seen the Nashville music business grow and change, which they often discuss in their podcast.

“I think country music has more pride in itself now, even though it’s gotten so far away from country music. When I came to town, there was like this step-bastard child mentality. Nashville didn’t see itself as being competitive [to other genres],” Evelyn said. “But there was more of a sense of community. It was before everyone became a brand. I remember when people would have No. 1 records, everybody on the Row came. It was a big open family and that was the thing that really appealed to me. Though they had this bastard child mentality, they had a great sense of community. If one person had success, it felt like everybody had it.”

With all the adventures they shared through the ups and downs, the podcast is a perfect media for sharing the good, the bad, the ugly and the hilarious. Click here to stream the Shady Ladies of Music City, and hear about all the fun.

Pictured (L-R): Joel Katz Willie Nelson Evelyn Shriver at Farm Aid in 1993. Photo: Courtesy Shriver & Nadler

Pictured (L-R): Susan Nadler, KT Oslin, Evelyn Shriver in 2014. Photo: Courtesy Shriver & Nadler

Shannan Hatch Exits Fourward Music

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Shannan Hatch

Shannan Hatch has exited her position as President of Fourward Music. She can be reached via email at hatchshannan@gmail.com.

Fourward, the management, production and business development company, formed its music publishing venture, Fourward Music, in the summer of 2019 with offices in both Nashville and Los Angeles.

Prior to her post at Fourward, Hatch served as Vice President of Creative Services for SESAC, where she led the Nashville-based Creative Services team in supporting SESAC-affiliated songwriters and publishers.

Her honors include MusicRow Rising Women on the Row and Nashville Business Journal Women in Music City Award. With two decades of experience as a respected member of the Nashville music industry, she’s a member of the Academy of Country Music and prior board member, as well as a member of Americana Music Association, Country Music Association, The Recording Academy, SOURCE, NSAI, and a board member of AIMP’s Nashville chapter.

DISClaimer Single Reviews: Charlie Worsham, Keith Urban, Hailey Whitters

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Charlie Worsham. Photo: Jason Myers

Vets and babies coexist in today’s roundup of new country tunes.

The Oaks, Lisa Brokop and Keith Burns all have sounds that stand alongside Sarah Jane Nelson, Forrest Finn and our DisCovery Award winner, Zach Bryan.

In a hard-charging contest among Hailey Whitters with Jordan Davis, Keith Urban with Breland, Brokop and Filmore, the multi-talented Charlie Worsham wins the Disc of the Day with his “Fist Through This Town.”

FORREST FINN / “How Do You Break a Heart”
Writers: Thomas Archer/Lalo Guzman/Nick Boyd; Producer: Forrest Finn; Label: New Lost City
— Breathy, R&B flavored vocal, plus finger snaps, electronic track and sing-songy melody. Attractive, if not exactly your daddy’s country music.

CRAIG CAMPBELL / “Good Things Come to Those Who Drink”
Writers: Craig Campbell/Mark Holman/James McNair; Producer: none listed; Label: Grindstone
— The track is too loud and busy. But the rollicking song and his good-time performance are both right on the money. Raise a glass and shake your booty.

SARAH JANE NELSON / “Smile Pretty”
Writers: Sarah Jane Nelson; Producer: Jamie Tate/Sarah Jane Nelson; Label: none listed
—Dark and moody, this ballad about a rape rings with resonance and authenticity. Her alto delivery and the beautifully mixed production both bolster the lyric perfectly. Sarah Jane and her song will be featured on Saturday (April 24) at a benefit for Nashville’s Sexual Assault Center. The gig is 4-6 p.m. at the fabulous Dee’s Country Cocktail Lounge, and she’ll be joined by Mary Gauthier (who has a new book), Alice Wallace, Jaimee Harris, Kenny Foster, The HawThorns and Caitlin Cannon.

CHARLIE WORSHAM / “Fist Through This Town”
Writers: Charlie Worsham/Jeremy Spillman/Travis Meadows; Producer: Jay Joyce; Label: Warner Music Nashville
— Super powerful. The track throbs with visceral strength. His searing guitar solo lifts off the top of your head. His singing gains in intensity and passion as the production builds to a crescendo. Most important, the hard-times lyric and its blue-collar attitude grab you by your coat lapels and command you to pay heed. Brilliance all around.

RHONDA TOWNS / “Walking in Your Wonderful Light”
Writers: Teddy Hayes; Producer: Billy Sherrill/Rhonda Towns; Label: none listed
— Rhonda was in the vanguard of the swell of Black country artists who have appeared during the past couple of years. Her comeback single is a light, airy, pop-inspirational ditty with a gentle innocence and sweet affection.

KEITH URBAN, BRELAND & NILE RODGERS / “Out The Cage”
Writers: Sean Small/Daniel Breland/Keith Urban/Sam Sumser; Producer: Keith Urban/Sam Sumser/Sean Small; Label: Capitol Records Nashville
— Zippy and zesty track overlaid with scampering vocals, empowering rapid-fire lyrics and fleet-fingered guitar work. Inventive and imaginative. Energetic, to say the least.

HAILEY WHITTERS & JORDAN DAVIS / “The Ride”
Writers: Ben West/Hailey Whitters/Hillary Lindsey; Producer: Jake Gear/Ben West/Hailey Whitters; Label: Pigasus/Big Loud/Songs & Daughters
— This terrific talent has an updated album, The Dream: Living the Dream Deluxe. It features collaborations with Little Big Town, Brent Cobb, Trisha Yearwood and Lori McKenna, as well as this rolling, utterly enchanting outing with Mr. Davis. Hooky as well as meaningful. You need this woman’s music in your life.

THE OAK RIDGE BOYS / “Life Is Beautiful”
Writers: Colin Linden/Kevin Moore; Producer: Dave Cobb; Label: Lightning Rod
— Lovely and uplifting. The magical, echoey audio atmosphere makes the spare, piano-and-rhythm-section arrangement seem like a wonderland. The message could not be more healing.

ZACH BRYAN / “Heading South”
Writers: Zach Bryan; Producer: Leo Alba; Label: Warner Records
— His urgent, online, acoustic, lo-fi, guitar-vocal performance of this poetic story song evidently made this active-duty Navy ordnanceman such a viral sensation that he’s earned a deal with Warner and a guest appearance on the Opry. A preview of stardom?

FILMORE / “Used to Be”
Writers: Filmore/Geoff Warburton/Brandon Day/Andy Albert; Producer: Zach Abend; Label: Curb Records
— This guy is so cool. His sound is utterly different and ultra modern, while his songwriting is thoroughly country. I’ve loved everything he’s done to date, and this rhythmic new heartbreak track only deepens my affection for his music. Get on board.

LISA BROKOP / “Is It Me and You”
Writers: Harley Hatcher; Producer: Harley Hatcher; Label: Amersong
— The ‘90s Canadian country thrush returns with a propulsive, dancefloor rocker that features a newly assertive vocal style. Her throaty delivery here has loads of moxie and emotional maturity. Arguably the most potent single of her career to date.

KEITH BURNS / “Tryin’ Times”
Writers: none listed; Producer: none listed; Label: KB
— This vet of Trick Pony and Burns & Poe goes solo with this gentle meditation on faith, turbulence, hope and perseverance. Easy does it.

Connie Bradley Celebration Of Life Set For May 12

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Connie Bradley

A Celebration of Life has been announced for pioneering music industry leader Connie Bradley.

The celebration will be held on Wednesday, May 12th at 2:00 p.m. at Cedar Creek Church By The Lake in Mt. Juliet, Tennessee located at 3581 Benders Ferry Road. (Click here for map.)

Those wishing to attend the celebration of life are requested to RSVP here.

In lieu of flowers, please consider donating to one of these charities in memory of Connie Bradley: Ascension Saint Thomas Foundation for support of the NICU Fund, Nashville Humane Association, Pet Community Center, Shriners Hospitals for Children, or another charity of your choice.

Inquiries about the celebration of life can be sent to celebrateCDB@gmail.com for more information.

Bradley, who spent more than three decades with ASCAP, passed away on Wednesday, March 24 in Ft. Myers, Florida. She joined ASCAP in 1976, and rose to Senior Vice President and Nashville Head. Under her leadership, ASCAP signed and supported the careers of Kenny Chesney, Dierks Bentley, Garth Brooks, Rodney Crowell, Billy Currington, Alan Jackson, Reba McEntire, Brad Paisley, Kellie Pickler, Rascal Flatts, John Rich, George Strait, Trisha Yearwood and Chris Young, among many. She led the ASCAP Nashville office until 2010, when she stepped back to take the role of strategic advisor.

Click here for complete obituary.

On The Cover: Bobby Bones Graces MusicRow Magazine’s 2021 InCharge Issue

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Esteemed radio and television personality Bobby Bones graces the cover of MusicRow Magazine’s 2021 InCharge issue.

This annual guide highlights some of the most influential music industry executives in the Nashville entertainment community. This year’s edition includes 382 profiles which are accompanied by contact information, career biographies, and detailed board and organizational membership affiliations.

The guide also includes a company appendix, record label staff appendix, and a professional categories appendix which lists executives by their areas of expertise, including label, talent agency, management, music publishing, legal, finance, performing rights organizations and more.

As host of the No. 1 country morning show, The Bobby Bones Show, Bones recently garnered his second CMA Award for National Broadcast Personality of the Year and fourth ACM Award for National On-Air Personality of the Year. He is the host of his own podcast, BobbyCast, which has been downloaded nearly 20 million times. Bones is the official in-house mentor on ABC’s American Idol and is set to star and serve as executive producer in a new travel TV show titled Breaking Bobby Bones, coming to National Geographic on May 31. Additionally, Bones won season 27 of ABC’s Dancing with the Stars and serves as host and executive producer of Opry, a weekly TV program airing highlights from the Grand Ole Opry stage on Circle Network. He is a two-time New York Times No. 1 best-selling author and has recently become the youngest-ever inductee into the prestigious National Radio Hall of Fame.

“The last 12 months have seen the COVID-19 pandemic harshly impact the lives and livelihoods of our Nashville music industry while completely stifling the live entertainment segment,” says MusicRow Publisher/Owner Sherod Robertson. “There has perhaps been no other time in our history when our industry’s leadership and talent have been more important in helping us navigate back to the success achieved prior to this deadly disease. The challenges have been enormous, but the talent in this issue is undeniable and provides assurance that our industry will continue to rise back up, and soar to even greater heights.”

In this issue of InCharge, MusicRow Magazine also celebrates the 40th anniversary of the publication by creating a beautifully woven timeline of MusicRow’s history. From the publications’ creation in April of 1981 as a one-page directory to the multi-format media presence that it holds in 2021, the timeline highlights MusicRow‘s milestone moments throughout its 40 years.

Single copies of MusicRow’s 2021 InCharge issue are available for purchase at musicrow.com for $110, and are included with yearly MusicRow subscribed memberships. Please note that issues of MusicRow Magazine’s InCharge issue can only be purchased online as the MusicRow building is currently closed to the public due to COVID-19.