2023 People’s Choice Country Awards Winners – Complete List

Toby Keith accepts the Country Icon award on stage during the 2023 People’s Choice Country Awards. Photo: Mickey Bernal/NBC

The inaugural People’s Choice Country Awards took over the Grand Ole Opry last night (Sept. 28) and aired live on NBC and Peacock.

Lainey Wilson accepts The Female Artist of 2023 award on stage during the 2023 People’s Choice Country Awards. Photo: Katherine Bomboy/NBC

The telecast honored country music legend Toby Keith with the Country Icon award for his decades-long career as a groundbreaking musician, humanitarian and entrepreneur. Fellow Oklahoman Blake Shelton presented the award and honored him with a heartfelt performance of Keith’s hit “Who’s Your Daddy.” After he accepted the award, Keith performed “Don’t Let the Old Man In.”

Wynonna was presented with the Country Champion Award for her lasting career and heroic efforts around philanthropy and activism. Brothers Osborne presented the award to her, and she took the stage to perform her iconic hits, “I Saw the Light” and “No One Else on Earth.”

The show also featured performances from country superstars Carly Pearce, Dan + Shay, Hardy, Jelly Roll, Kane Brown and Kelsea Ballerini. Click here for MusicRow‘s full recap.

Below are the 2023 People’s Choice Country Awards winners:

THE PEOPLE’S ARTIST OF 2023
Morgan Wallen

THE MALE ARTIST OF 2023
Jelly Roll

THE FEMALE ARTIST OF 2023
Lainey Wilson

THE GROUP/DUO OF 2023
Dan + Shay

THE NEW ARTIST OF 2023
Jelly Roll

THE SOCIAL COUNTRY STAR OF 2023
Blake Shelton

THE SONG OF 2023
“Need A Favor”
Jelly Roll
Songwriters: Austin Nivarel, Jason DeFord/Jelly Roll, Joe Ragosta, Rob Ragosta

THE COLLABORATION SONG OF 2023
“Save Me”
Jelly Roll with Lainey Wilson
Songwriters: David Stevens, Jason DeFord/Jelly Roll

THE CROSSOVER SONG OF 2023
“Just Say I’m Sorry”
P!nk, Chris Stapleton
Songwriters: Alecia Moore, Chris Stapleton

THE ALBUM OF 2023
One Thing At A Time
Morgan Wallen

THE MUSIC VIDEO OF 2023
“Wait In The Truck”
HARDY feat. Lainey Wilson

THE CONCERT TOUR OF 2023
Morgan Wallen: “One Night At A Time World Tour”

DISClaimer Single Reviews: The Late Jimmy Buffett ‘Encourages Optimism & Hope’

Jimmy Buffett. Photo: Julie Skarratt

It’s wall-to-wall country stars in this edition of DISClaimer.

For your listening pleasure, we present Dan + Shay, Darius Rucker, Lady A, Charlie Worsham and Kip Moore, Kane Brown, Lauren Alaina and Cody Johnson. And the biggest star of them all gets the Disc of the Day award. It’s Jimmy Buffett singing the most touching and uplifting song of his career. Released posthumously, it demonstrates that this troubadour was making powerful music right up until the end of his life.  

Our DISCovery Award goes to Matt Schuster, whose sound is the one of the most innovative I’ve heard these days. 

LARRY FLEET / “Earned It”
Writers: Larry Fleet/Connie Rae Harrington; Producer: Joey Moi; Label: Big Loud Records
– The title tune of Fleet’s album is a toe-tapping blue-collar anthem about being proud to be a member of the working class. Fiddles saw, guitars twang and his voice drawls with honesty. I love it that this guy is so by-gawd country. Make him the star he deserves to be. 

LADY A / “Love You Back”
Writers: James McNair/Lindsay Rhimes/Emily Weisband; Producer: Dann Huff; Label: BMLG Records
– It’s kind of a snooze until the three kick in with those amazing three-part harmonies. Then it’s katy-bar-the-door. A sterling, stirring audio ride. 

MASON RAMSEY / “Next Right Thing”
Writers: Mason Ramsey/Kendall Goodman/Brandon Day; Producer: Brandon Day; Label: Atlantic Records
– This 16-year-old country phenom wails with fire on this country rocker. The sound is wonderfully relentless, and he bends notes in all the right places. 

KANE BROWN / “I Can Feel It”
Writers: Kane Brown/Phil Collins/Gabe Foust/Jaxson Free; Producer: Dann Huff; Label: RCA Nashville 
– I love his baritone vocal dips in the verses, and he definitely communicates lust in the soaring choruses. This one’s an upbeat banger that is going places. 

CHARLIE WORSHAM & KIP MOORE / “Kiss Like You Dance”
Writers: Jon Nite/Andrew DeRoberts/Andy Albert; Producer: Jaren Johnston; Label: Warner Music Nashville
– Talk about a good time. This joyous, flirtatious bopper rumbles with an outlaw beat, and both men sound like they are having big, big fun. Turn it up and stomp along. 

JIMMY BUFFETT / “Bubbles Up”
Writers: Jimmy Buffett/Will Kimbrough; Producers: Michael Utley/Mac McAnally; Label: Sun Records
– Warmly philosophical and contemplative. Acoustic guitar strumming and a subtle bass heartbeat underlie Buffett’s relaxed, friendly delivery. Co-written with Nashville guitar treasure Will Kimbrough (a longtime Coral Reefer), the ballad reflects on your life’s journey and encourages optimism and hope. What a eulogy. What a gift.

LAUREN ALAINA / “Thicc As Thieves”
Writers: Lauren Alaina/Rocky Block/Jacob Durrett/Parker Welling/Luke Bryan/Dallas Davidson; Producer: Joey Moi; Label: Big Loud Records
– Snappy and sassy. This sprightly rocker has cute lyrics as well as beats to spare and a catchy, layered-vocals production. 

CODY JOHNSON / “Work Boots”
Writers: Jason Afable/Brett Beavers/Canaan Smith; Producer: Trent Willmon; Label: COJO Music/Warner Music Nashville
– The superb “The Painter” remains the single, but here’s another preview of CoJo’s Leather album, due Nov. 3. It’s a jaunty ditty that urges, “feet don’t fail me now.” Get up off your barstool and make your work boots dance with her. Crispy twanging and slurred slide notes abound.

KIMBERLY PERRY / “Fools Gold”
Writers: Kimberly Perry/Nicolle Galyon/Jimmy Robbins; Producer: Jimmy Robbins; Label: Records Nashville/Columbia
– Our story so far: She had country hits with her two brothers in a trio act, then decided she was going to be a pop star. That didn’t work out, so now she wants back into country music, this time as a solo. With its processed vocals and dance club beats, this doesn’t sound all that “country” to me. 

DAN + SHAY / “Then Again”
Writers: Dan Smyers/Shay Mooney/Andy Albert/Jordan Reynolds/Lori McKenna; Producers: Dan Smyers/Scott Hendricks; Label: Warner Music Nashville
– A heavenly listening experience—lilting, sweet, romantic, wafting and gentle. They harmonize beautifully as the reflective lyric unspools. A complete audio pleasure. The song also inspired a music video, one of eight (!) the duo has made to promote songs on their new Bigger Houses album. 

DARIUS RUCKER / “Southern Comfort”
Writers: Chris LaCorte/Matt Rogers/Josh Osborne; Producer: Dann Huff; Label: Capitol Nashville
– Uptempo and breezy, it’s an ode to the South with Allman-esque guitars and Dixie name-dropping galore. Rucker sings at the top of his range, and is extra-effective doing so. He should do it more often.

SAWYER BROWN / “Under This Old Hat”
Writer: none listed; Producer: Blake Shelton; Label: SB
– This veteran country band stars in Get Me to the Stage on Time, a documentary film that premieres this week. Produced by Blake Shelton, their comeback album features this zippy, rapid-fire-vocal rocker about living on the road. Sounding as good as ever, fellas. 

MATT SCHUSTER / “Tell Me Tennessee”
Writers: Matt Schuster/Josh Dorr/Andy Albert/Lalo Guzman; Producer: Chris LaCorte; Label: Warner Music Nashville
– I dig this guy’s refreshing sound. His plaintive, heartfelt tenor is backed by a jingle-jangle, pop-ish track with irresistible rhythm. The hooky bopper’s lyric calls out to a missing lover to join him in the Volunteer State. I’m definitely intrigued. Send more. 

Country Music Gets A New Awards Show: A Look At The ‘People’s Choice Country Awards’

Pictured: Carrie Underwood accepting The Country Artist of 2022 award on stage during the 2022 People’s Choice Awards held at the Barker Hangar on Dec. 6, 2022 in Santa Monica, California. Photo by Rich Polk/E! Entertainment/NBC via Getty Images

This article also appears in the 2023 MusicRow Awards Issue, published earlier this month.

NBCUniversal is bringing a new party to Nashville with the premiere of the People’s Choice Country Awards. Airing live on NBC and Peacock from the Grand Ole Opry House on Thursday, Sept. 28, this expansion of the People’s Choice Awards brand will be one of country music’s only fan-voted awards shows.

The original People’s Choice Awards program launched in 1975 with producer and creator Bob Stivers at the helm. The program aired annually on CBS with a ceremony in January to celebrate the previous year of pop culture. In the early years, Gallup polling determined the results of the categories. Prior to 1982’s Country/Western Musical Performer award, the Awards did not have an accolade specifically for country music.

For the 31st Awards in 2005, the franchise moved to an online voting system, allowing fans to cast 25 votes per day per category. Then, in 2018, the NBCUniversal-owned E! Entertainment Network became the new home for the 44th Awards ceremony, and the annual date moved to November in celebration of pop culture from each current year.

As the annual categories continued to evolve, they awarded wins for Favorite Country Performer, Favorite Male and Female Country Artist, and, most recently, Country Artist of the Year. Reba McEntire, Garth Brooks, Carrie Underwood, Blake Shelton and Taylor Swift are multi-award winners across the country-specific categories, as well as the general music categories such as Favorite Male or Favorite Female Musical Performer.

The 47th annual ceremony in 2021 aired live simultaneously on E! and NBC, ushering in a new era and shifting towards a December slot. With the 49th People’s Choice Awards already scheduled, NBCUniversal turns their eyes to expanding in a new direction—country music.

Pictured: Cassandra Tryon. Photo: Courtesy of NBCUniversal

Cassandra Tryon, the Senior Vice President of Entertainment Live Events, NBCUniversal Television and Streaming, led a team in revamping the People’s Choice Awards, and expanding the franchise to launch the upcoming People’s Choice Country Awards.

“The People’s Choice Awards [awarded] in movies, TV, social media categories, comedy, sports, etc. and music is just one component, but it is always the most voted—and country [is represented] through that,” she says. “We’ve had an overwhelming response. That gave us the first hint that this was a good extension for us.”

Tryon shares with MusicRow that after NBCUniversal acquired the rights to the People’s Choice Awards back in 2017 and aired their first show on E! in 2018, its evolution has been a journey of
transformation.

“We really tore it down to the studs and rebuilt it. It’s an awards show that’s been around since the ‘70s and was ready for a refresh, in our minds,” Tryon shares. “At the heart of it was ‘how do we best represent the voice of the fans?’

“[The People’s Choice Country Awards are] really a celebration of music with country at its heart,” she explains about the new special, adding that the team took a fan-focused approach as they created the show, from the crafting of the lineup to the voting procedures to the event itself.

“It’s about reflecting on the biggest moments in country music of the year. So, so many artists have had such incredible years, tours, songs and albums, so it’s really about ‘what is the best celebration of that music and how many performances can we pick?”

To get to the heart of one of the most anticipated new events in country music this year, the People’s Choice Country Awards narrows in on various sources throughout the media landscape. To keep the nominees as recent and relevant as possible, the PCCAs limits its eligibility year to each calendar year.

“We have a proprietary system that ingests data from sources like Spotify and Billboard, and all the usual sources like social media, etc., so when we announce the nominees, we know they’re truly reflective of what the fans are consuming and talking about in country music.”

Previously, NBCUniversal announced that the Grammy Award-winning group, Little Big Town, will be hosts for the inaugural show as well as featured performers leading the impressive lineup. They will present the night’s honors to the first class of People’s Choice Country Awards winners.

“The lineup is about the best celebration, and what the fans want to see as they celebrate the year in country music,” Tryon notes. While careful not to give away any more details about the performers for the evening, she was able to provide more insight into the award categories slated for celebration.

“Our big fan-voted category is the People’s Artist. That is the ultimate fan-voted award that covers every category. We have the Male Artist, Female Artist, the New Artist, the Duo/Group, the Song, the Album, the Collaboration Song, the Crossover Song, the Music Video, the Concert/Tour and the Social Country Star [of 2023 awards].”

She adds, “I would say Social Country Star and Crossover Song are probably the most unique and different categories than we’re used to from some of the other award shows out there. It’s really trying to celebrate the best in country music, including new artists and up-and-comers.”

The Social Country Star category is a new nod to the rising trend of artists using their social media platforms to actively engage with fans. This category will reflect the country stars that not only have the biggest followings, but also have high fan engagement rates.

Given the growing popularity of country artists collaborating with musicians from various genres, two categories reflect the trend and specifically highlight those efforts. “We feel like this is a great opportunity to showcase the genre-blending collaborations that are out there,” Tryon says.

“We have a category that is Collaboration Song, which is two country artists coming together, but the Crossover Song is a country artist collaborating with an artist from another genre. Even in our categories, we’re really trying to be not just your traditional country awards show.”

Beyond the named categories, the People’s Choice Country Awards will also extend honors to a chosen few of the genre’s leaders through special award recognition.

“The Country Icon is Toby Keith. Blake Shelton will be presenting him with that award, as well as a Country Champion, [Wynonna].”

While these categories are set for this first show, the future list of categories is flexible. Tryon says evolution is natural for an awards show—changes occur often to reflect the industry landscape and cater to the fans.

“We always tweak the categories every year or two. We want to keep everything as relevant as possible.”

In the same vein as the Social Country Star award, this new show is leaning into the elevated levels of social media interaction with fans and viewers in anticipation of the show. Given that this program will air on NBC network television, with streaming on their OTT platform Peacock, Tryon understands that other segments of the audience may tune in elsewhere.

Using the past tactics from the People’s Choice Awards and the shift to engage more with online communities in the past years, the People’s Choice Country Awards is adopting a multi-platform approach from the onset.

“Over the years, we’ve really tried to make it a full, 360 experience for our fans, whether they’re tuning into a livestream on Peacock or one of our social networks, or they’re viewing clips of performances and acceptance speeches,” Tryon says.

Fans’ online engagement with their favorite nominees fuels the social media success for this Awards show. Now that the PCCAs have announced this year’s nominees in all categories, they welcome and encourage artists to promote voting to their audiences.

Tryon says, “So many of the artists that [we nominate] have such big fandoms and are in great touch with their fans. There’s a steady drumbeat of social activity that really starts with voting and goes all the way through the night of the show and beyond.”

The shimmering night of the event will spotlight an elegant red-carpet walk-in for all the evening’s biggest stars. The People’s Choice Country Awards will use their social media platforms to cover the on carpet interviews, an exclusive pre-show and the ceremony with peeks at the stars behind-the-scenes.

The new Awards launched its first voting window on Aug. 16 with another change from the original show. Where past People’s Choice Awards ballots have allotted voters 25 votes per category per day, new changes going forward reflect a recent increase in fan voting.

“We have such an overwhelming response to voting that we just [do not] need it anymore. We’ve moved to one vote per category per day.” Tryon assures that this will be more than enough, as she notes the previous 25-vote limit became unwieldy.

People’s Choice Country Awards will still retain the Turbo Voting day where each vote cast will count twice towards the nominee. The races may be close until the very end of voting, especially in this inaugural selection.

“Anything can happen with the People’s Choice Country Awards. With the voting, there’s always surprises. It’s truly all about the fans. I think it’s going to be quite a rabid voting fanbase.

“We have such a great fandom of country fans across NBC with our The Voice audience and with Sunday Night Football,” Tryon explains. This vibrancy in viewership led them to program the Awards for a slot in late September.

“We wanted to put this one in a place where it could live for a long time. We thought September, in the landscape of other country music awards that are out there, was good timing. And also, on our own air because it aligns with [NBCUniversal’s] fall premiere week and premiere schedule, as well as Sunday Night Football.”

She adds, “This also gives us the premiere of primetime shows. The Voice—with Reba [as a coach]—is a big country tie-in. [There are] lots of great opportunities there within our network and keeping it [before] the big holiday window that kicks in for us in the November timeframe.”

With Carrie Underwood kicking off another year of Sunday Night Football, Blake Shelton’s longstanding run that ended this year as a coach on The Voice and now with Reba McEntire and Dan + Shay slated to coach upcoming seasons, country music fans consistently tune into NBC programming during the fall.

“We felt like it would give it the biggest marketing platform and align with a lot of great, related programming that’s out on our networks,” Tryon shares. “We wanted to give it the biggest push we could and secure that home for it now, and for the future as well.”

This fan-focused event also brings business benefits as it highlights a new partnership. The inaugural show marks a major iteration of the investment partnership between Atairos, NBCUniversal and the OEG Attractions Holdings LLC, which owns the assets that comprise Opry Entertainment Group under Ryman Hospitality Properties. Going forward, the goal is to strengthen fans’ connection to the music and become a major player in the country lifestyle, live entertainment and media content fields.

“It’s a partnership that actually goes beyond live events and specials, across our whole portfolio of brands. This is really the ideal show to kick it off—it’s a long-term investment.”

Tyron adds, “The Opry is the heart and soul of country, and such an iconic venue, so we couldn’t be prouder to be partnering and hosting the show there. We do plan to make it the venue—country artists have such reverence for being at the Opry. We very much want to make it a part of our show.”

On Sept. 28, as the artists gather to receive new awards and glamorously celebrate a wonderful year of country music, fans are welcome to join the night’s fun at the Grand Ole Opry.

“We want this show to really be inclusive, like a fun party in Nashville,” says Tryon. The inaugural People’s Choice Country Awards invites country music’s biggest fans to celebrate the stars they helped create.

NSAI Notches Another Epic Nashville Songwriter Awards Show [Recap]

Pictured (L-R, front row): David Israelite (2023 NSAI Advocacy Award recipient), Sonya Isaacs, Steve Bogard (NSAI, Board President), Bobby Braddock (2023 NSAI Kris Kristofferson Lifetime Achievement Award recipient), Nicolle Galyon, Emily Shackelton, Ashley Gorley (2023 NSAI Songwriter of the Year recipient), Megan Moroney, Trannie Anderson (NSAI 2023 Song of the Year recipient), Ben Burgess and Jennifer Turnbow (NSAI Chief Operating Officer); (L-R, back row): Jimmy Yeary, Bart Herbison (NSAI, Executive Director), Ben Johnson, Dallas Wilson (NSAI 2023 Song of the Year recipient), Ben Williams, Mark Holman, Hunter Phelps, David Fanning and Paul Jenkins. Photo: Jason Davis

“This is becoming my favorite industry awards show.” That statement was shared among throngs of songwriters, publishers and other industry members at last night’s (Sept. 26) sixth annual Nashville Songwriter Awards, put on by Nashville Songwriters Association International (NSAI) with presenting partner City National Bank.

And for good reason. The night was full of epic performances, tender speeches and shared congratulations. As it has been since the beginning: it was a love fest.

Songwriter and producer Bobby Braddock, NSAI’s 2023 Kris Kristofferson Lifetime Achievement Award honoree, pictured with Tracy Lawrence, Blake Shelton, and Garth Brooks (2022 NSAI Kris Kristofferson Lifetime Achievement Award recipient). Photo: Jason Davis

Throughout the night, the winning songs in the “10 Songs I Wish I’d Written” category were performed, as were tributes to some of the night’s esteemed honorees, Bobby Braddock, David Israelite and Tim McGraw.

The show opened with talented vocalists Jimmy Yeary and Sonya Isaacs singing a medley of “Golden Ring,” “The Jet Set” and “D-I-V-O-R-C-E,” as one of many musical moments tributing the incomparable Braddock.

Later in the show, Garth Brooks appeared to a hooping and hollering house. He was tasked with presenting Braddock with the Kris Kristofferson Lifetime Achievement Award, but he wasn’t alone. Tracy Lawrence soon joined the stage to perform the Braddock-penned classic, “Time Marches On.” A highlight of the evening was when Blake Shelton, whom Braddock discovered, appeared to perform the iconic “He Stopped Loving Her Today” that Braddock penned alongside Curly Putman for George Jones. Toby Keith got a huge applause when he appeared to sing “I Wanna Talk About Me,” on which he sounded as stellar as ever.

When Braddock made his way to the stage, he insisted that the award was an honor to all of the songwriters who had written with him over the years. The songwriter—who has had chart-topping hits in five decades—was incredibly humble, thanking his family, publishers and the Nashville community.

“I love country music. I’m fortunate to play a small part in it,” Braddock shared. “Long live country music!”

2023 NSAI President’s Keystone Award recipient Tim McGraw. Photo: Jason Davis

Lori McKenna was on hand to honor McGraw, who was being presented with the NSAI President’s Keystone Award. She played her epic “Humble And Kind” that McGraw sent into the stratosphere. “Tim McGraw always makes me cry,” McKenna said.

The President’s Keystone Award recognizes significant contributions to the betterment of all songwriters. In a video that played with messages for McGraw, almost all participants spoke about his commitment to cutting the best songs—no matter if he had a hand in writing them. For McGraw, the best song wins.

“You are the songwriters. The corner stone of Music Row,” McGraw said to the crowd.

“I listen to hundreds of your songs as I’m trying to record what I’m hearing in my head. I consider it one of the most precious and awesome things I get to do, listening to your demos,” he added. “I heard your song and I fell in love with it. Thank you for trusting me with your songs.”

Israelite, the Chairman & CEO of the National Music Publishers’ Association, was given the NSAI Advocacy Award for his significant service to the songwriting community. Brett Young performed a cover of Israelite’s favorite song, “Hallelujah” by Leonard Cohen. When Israelite got up to speak, he said Young’s cover was now his favorite version.

Israelite spoke about the work NMPA and NSAI had done together for the betterment of songwriters. “Songwriting is a collaborative exercise. As you’ll see tonight, most great songs are the result of a team effort,” he said. “The same is true in my world.”

Ashley Gorley was the night’s Songwriter of the Year, an award he has taken home a record seven times. He was treated to performances of “God Gave Me A Girl” by Russell Dickerson and “She Had Me At Heads Carolina” by Cole Swindell as an example of two of his hits from the past year.

2023 ‘Songwriter of the Year’ Ashely Gorley with NSAI’s Lindsay Glover. Photo: Kristen Kelly / NSAI

When Gorley spoke, the chart-topper with over 60 No. 1 hits shared something that he had found himself telling rising songwriters lately.

“I’ve been in Nashville a long time and this past year was the biggest year I’ve had,” Gorley shared. “To anyone that’s out there that is digging in, just be patient, keep being you and do what you do best.”

In between in awards, the “10 Songs I Wish I’d Written” were revealed through videos from the creators about the song’s writing process. Then, the artist or songwriter(s) behind the song would perform them.

Josiah and the Bonnevilles performed a folky version of Taylor Swift‘s “Anti-Hero” (Swift, Jack Antonoff); while Megan Moroney thrilled the audience with her breakout hit “Tennessee Orange” (Moroney, David Fanning, Paul Jenkins, Ben Williams).

Tony Lane and Travis Meadows played their hit with Cody Johnson, “Human,” while Nicolle Galyon performed Morgan Wallen‘s “Thought You Should Know” (Galyon, Wallen, Miranda Lambert). Emily Shackelton sounded beautiful on Carly Pearce‘s “What He Didn’t Do” (Shackelton, Pearce, Gorley). Hardy and Renee Blair brought the house down on “Wait In The Truck” (Hardy, Blair, Jordan Schmidt, Hunter Phelps.)

Pictured (L-R): Jill Moody (NSAI, Director of Membership), Jennifer Turnbow (NSAI, Chief Operating Officer), Song of the Year Winners Trannie Anderson and Dallas Wilson, Steve Bogard (NSAI, Board President). Photo: Jason Davis

Gorley, Phelps and Ben Johnson performed another winner they wrote with Hardy, “Give Heaven Some Hell.” The ever-charming Ernest appeared a few times throughout the night to perform winners “Flower Shops” (Ernest, Ben Burgess, Mark Holman) and “You Proof” (Ernest, Wallen, Gorley, Charlie Handsome), with Handsome in tow for accompaniment.

The top-voted of the “10 Songs I Wish I’d Written” is named Song of the Year. That honor went to Lainey Wilson, Trannie Anderson and Dallas Wilson for Wilson’s “Heart Like A Truck.” Trannie and Dallas performed the tune—Lainey couldn’t be there as she had sold out Red Rocks that night.

Morgan Wallen Adds 10 Stadium Shows To Extended ‘One Night At A Time Tour’

Morgan Wallen. Photo: Matt Paskert

Morgan Wallen has added 10 additional stadium shows to his “One Night At A Time World Tour” in 2024, including a stop at Nashville’s Nissan Stadium.

A rotating lineup of guests including Bailey Zimmerman, Jelly Roll, Jon Pardi, Lainey Wilson, Nate Smith, Bryan Martin, Lauren Watkins and Ella Langley will join for support on the added dates, which include Indianapolis, Denver, Charlotte and Kansas City in addition to Nashville.

“Thank y’all for an insanely fun and fulfilling 2023 tour,” Wallen shares. “It was impossible for me to hit every stadium that I wanted to in 2023, so we’re gonna keep this tour going in 2024. See y’all out there!”

Tickets for “One Night At A Time 2024” will be using advance registration to ensure more tickets get into the hands of fans directly by helping to filter out bots from the ticket purchase process. Fans can register now through Sunday, Oct. 1 here.

The tour will also offer a variety of different VIP packages and experiences for fans and packages may include premium tickets, a guided backstage tour, group photo on the stage, invitation to the Morgan Wallen VIP Lounge, VIP-exclusive gift item and more.

Three dollars of every ticket sold for U.S. dates benefits the Morgan Wallen Foundation, which supports programs for youth with a focus on sports and music. To-date, Wallen has supported community revitalization efforts for ballparks in local neighborhoods in cities including Boston and Chicago, and MWF recently donated $500k to Habitat For Humanity of Greater Nashville’s Parkwood community transformation project.

Morgan Wallen Newly Announced 2024 Tour Dates:
Thurs, April 4 // Indianapolis, IN // Lucas Oil Stadium* % @ !
Sat, April 20 // Oxford, MS // Vaught-Hemingway Stadium* % @ !
Thurs, May 2 // Nashville, TN // Nissan Stadium* % @ !
Thurs, June 20 // Minneapolis, MN // U.S. Bank Stadium* % @ =
Thurs, June 27 // Denver, CO // Empower Field at Mile High* – @ =
Thurs, July 11 // Tampa, FL // Raymond James Stadium* ~ @ =
Thurs, July 18 // Charlotte, NC // Bank of America Stadium* % @ =
Thurs, July 25 // Arlington, TX // AT&T Stadium* ~ @ =
Thurs, Aug 1 // Kansas City, MO // GEHA Field at Arrowhead Stadium* ? @ <
Thurs, Aug 8 // Las Vegas, NV // Allegiant Stadium* ~ @ <

Morgan Wallen Previously Announced Tour Dates:
Thurs, Sept 28 // Winnipeg, MB // Canada Life Centre & %
Fri, Sept 29 // Saskatoon, SK // SaskTel Centre & %
Sat, Sept 30 // Calgary, AB // Scotiabank Saddledome & %
Tues, Oct 3 // Vancouver, BC // Rogers Arena & %
Wed, Oct 4 // Vancouver, BC // Rogers Arena & %
Sat, Oct 7 // Tacoma, WA // Tacoma Dome & %
Fri, Nov 10 // Atlanta, GA // Truist Park* $ % +
Sat, Nov 11 // Atlanta, GA // Truist Park* $ & %
Thurs, Nov 16 // Austin, TX // Moody Center % @
Sat, Nov 18 // Houston, TX // Minute Maid Park* # @
Sun, Dec. 3 // London, UK // The O2 > %
Sun, April 28, 2024 // Indio, CA // Stagecoach ^
Thurs, May 9, 2024 // Hershey, PA // Hersheypark Stadium* & !
Sat, May 11, 2024 // Philadelphia, PA // Citizens Bank Park* $ & !
Fri, May 17, 2024 // East Rutherford, NJ // MetLife Stadium* $ & @
Sat, May 18, 2024 // East Rutherford, NJ // MetLife Stadium* $ & @
Sun, June 2, 2024 // Panama City Beach, FL // Gulf Coast Jam ^
Thurs, June 6, 2024 // Virginia Beach, VA // Veterans United Home Loans Amphitheater at Virginia Beach & !
Fri, June 7, 2024 // Virginia Beach, VA // Veterans United Home Loans Amphitheater at Virginia Beach & !
Sat, June 8, 2024 // Myrtle Beach, SC // Carolina Country Music Festival ^

* Stadium Dates
^ Festival Dates
& ERNEST
> Larry Fleet
# HARDY
< Ella Langley
+ Dylan Marlowe
= Bryan Martin
$ Parker McCollum
~ Jelly Roll
– Jon Pardi
@ Nate Smith
! Lauren Watkins
? Lainey Wilson
% Bailey Zimmerman

My Music Row Story: NSAI’s Bart Herbison

Bart Herbison

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.

Bart Herbison is Executive Director of the Nashville Songwriters Association International (NSAI), the world’s largest not-for-profit songwriters trade organization with 7,000 annual members and over 100 chapters.

Since joining NSAI in 1997, Herbison has led the organization to legislative accomplishments, including adoption of the Music Modernization Act in 2018, a 43.5 percent increase in digital mechanical streaming royalties through the Copyright Royalty Board in 2018, the landmark Songwriters Capital Gains Tax Equity Act in 2006, creation of the first Group Copyright Infringement—Social Network Insurance and the acquisition of the famed Bluebird Cafe.

Herbison’s honors include the NMPA Industry Legacy Award, the IP Champion’s Award from the U.S. Chamber of Commerce Global Innovation Policy Center, the Individual Award in Support of Songwriters and Publishers from the Los Angeles Chapter of AIMP and the Arnold Broido Award from the Music Publishers Association.

Prior to joining NSAI, Herbison worked as a reporter and spent 14 years in radio and as a correspondent for The Nashville Banner newspaper before joining the administration of former Tennessee Governor Ned McWherter as Deputy Director of Communications in 1987. He joined the staff of U.S. Rep. Bob Clement (D-Nashville) in 1988 where he served as the Tennessee Congressman’s Press Secretary, Campaign Manager and Chief Tennessee Administrative Officer until coming to Music City.

Herbison and NSAI will continue their legacy of celebrating songwriters tonight (Sept. 26) at the sixth annual Nashville Songwriter Awards.

MusicRow: Where did you grow up?

I grew up in Cottage Grove, Tennessee. Population 250. It’s a suburb of Paris, Tennessee, where I was born.

Were you into music?

My whole family was musical except me. My grandmother played piano at Cottage Grove Methodist Church. My two brothers and I all played trumpet—I sucked and they were amazing.

Where it all started for me was when I was somewhere between four and five. My late Uncle Billy Pullen called me in one day and said, “Listen to this!” He played, “That’s When Your Heartaches Begin” by Elvis. I was never the same.

A fun, unknown fact about me is I’m such an Elvis disciple, I’ve got his logo, TCB, with a lightning bolt tattooed down my left shoulder. I win a lot of “who loves Elvis the most” arguments with that. But it really did change me—I knew even then I would do something in music.

Bart Herbison

Wow. How did you pursue that?

My father and brother ran this company until my father passed—my brother still runs it—JB Herbison and Sons Painting and Sandblasting. They specialized in high stuff back then, like church steeples, bridges and grain tanks. That sandblasting was nasty business. I probably weighed 100 pounds and so did the bags of sand I wold carry up the ladder. I started with him when I was 13. It was never my thing.

One day my father and I got into it. It was hard for me and my dad to work together. I loved him, but that wasn’t a good recipe. A kid at my local high school had gotten a job at the radio station, WTPR (We Treat People Right.) My hair was way longer than yours and it was matted full of sand and paint. I walked into that radio station and I said, “I want a job.” And they gave me one.

Tell me about working there.

I was 16 when I started. People say this is an exaggeration, but it’s not. There were some weeks I worked 100 hours. I had an afternoon shift every day. The school would let me off if some of the other DJs couldn’t make it, so I was constantly on the air. The AM station was a pop/Americana kind of thing and the FM station was country, but on the weekends at 10 o’clock, we turned to acid/AOR rock, which was my favorite.

We did a lot of live stuff. I hosted sports talk shows—all kinds of stuff. As I got older in the ’80s, I became a news director for that station and some other stations that came along. I went back and forth between some stations in that town. I also worked as a stringer for the Tennessee Radio Network and I was the west Tennessee correspondent for the Nashville Banner.

What was next?

In 1986, my state representative Ned Ray McWherter was running for Governor. The reason I have this job and everything else I had from that moment was because of two individuals: one was my middle school 4-H leader, Mary Kate Ridgeway, who got me into public speaking. The other was her husband, who was elected to the Tennessee House of Representatives, L. Don Ridgeway. He became the House Majority Leader. He was my promoter, often probably to the detriment of his own career. I was wearing the fatigue jacket and was the hippie protesting everything. He insisted that McWherter hire me.

Did he? How did you get that job?

It started off with Ridgeway. McWherter didn’t like Ridgeway’s commercial that an ad agency did in Nashville. Byron Gallimore—who was from the next little town over in Puryear, Tennessee—had a band and a little studio. One weekend without McWherter’s knowledge, we went [into the studio to make a new commercial]. Byron did a soundtrack and the jingle and I did the voice work and wrote a commercial called “He Knows The Way, The Tennessee Way.” I stayed up all night and drove Byron and Ridgeway crazy—we did 85 takes of that commercial. You couldn’t tell a difference in the first and last, but I could. They played it for Ned a couple days later and he flipped over it.

We were doing a live news event on a campaign stop when Ned called and said, “Barto,” which is what he called me, “I’m going to be the next Governor of Tennessee.” He had been the speaker of the Tennessee House of Representatives for 14 years, so I said, “I believe so too, speaker.” He then said, “I want you to come work for me in the press office.” We ended that broadcast and he asked me again. We didn’t talk about it after that. That was probably in June. He was elected in November and went into office in January.

I was on the air when he called me again. He said, “Can you be up here today?” I said, “I’ll be up there the day after tomorrow.” They had a really sweet little celebration for me in my hometown. I went to Nashville and at the tender age of 29, I became the Deputy Director of Communications for the state of Tennessee. Way over my head, frankly, but Ned liked me. My grandpa was his mailman. He was from a little town called Palmersville. My grandfather carried his mail in a horse and buggy, so he liked me. We spoke the same language.

Bart Herbison

What was your next move?

Soon after taking that job, I got a couple of promotions. I became the guy that traveled with him all over the state of Tennessee. I was there about two years when then U.S. Congressman Bob Clement—who represented the fifth district, Nashville—came in and needed some help on a press matter. I went out with him that day and a day or two later, he offered me a job. I said I would take it on one condition: I wanted to do the music issues. He said, “We’ve got somebody else doing that.” Through a weird series of events, a few weeks later that came open. He called me back and I took the job. I took a job in Washington D.C. and had never been there. I remember the night I landed, I was at a payphone calling my then-girlfriend and somebody tried to rob me at knife point. Rent there was three to four times what it was in Nashville, but I persevered. I stayed there 10 years.

Tell me about that job.

My very first two or three weeks there, NSAI made an appointment with me. The two individuals that came in were the late great songwriter Peter McCann and the then-publisher Kevin Lamb that ran Peer Music. It must’ve been the worst meeting in history for them because all I kept saying was, “Y’all do what?”

Back in my radio days, there was a huge popular local band known Tennessee River Crooks or T.R. Crooks. They were a southern rock band in their heyday. Their leader and main songwriter was my best friend to this day, Jimmy Stewart. Jimmy went to Nashville before I did and got signed. A couple of his songs people would know were “Brotherly Love” and “A Little Less Talk And A Lot More Action.” While we all read the liner notes, I always was a lyric guy. I loved the music too, but I cared about who wrote the songs. Visiting Jimmy [after he became] a professional songwriter is the second reason why I have this job, besides the Ridgeways. I wanted to work for songwriters from the time I was about 17 or 18 years old.

After Peter and Kevin left that appointment, I said a prayer that day. “Lord, let that be my next and my final job.” 26 years ago that came true. It just was ordained for me. This job requires legislative knowledge, intricacies of politics, fundraising and communications. I felt like 10 years after I was born, when they created NSAI in 1967, somebody had me in mind.

That’s amazing. What were your goals when you joined NSAI?

We were in terrible financial trouble. Starting with the three performing rights societies, I tried to let them know who I was first. I had to sell myself, the vision of NSAI was going to be and why they needed an independent songwriter organization like us. By the end of the year, we turned the finances around and they’ve been in good shape ever since. That was the first challenge.

That organization had been there for 30 years and we were doing a lot of things like programs, services, camps and cruises that didn’t make any sense, but a lot of board members had personally inherited some of them. So I had to get rid of a lot of those.

Then we had to get ready for advocacy. We needed a bill—we needed to pass a piece of legislation. So I’m sitting in a room one day about to have a legislative committee and a songwriter named Billy Kirsch walks in—he wrote “Holes In The Floor Of Heaven”—and he was talking to another songwriter named Beckie Foster. He said, “I just sold a catalog. I wish I could get the same tax breaks publishers get.” So I start looking into it and it’s another wacky story that goes back to 1951 and involves Groucho Marx, Salvador Dali, Ira Gershwin and Dwight Eisenhower. They took capital gains treatment away from songwriters, as well as from some other intellectual professions.

That was our first bill. We went to the Hill with it in ’98 into ’99 to tweak it. Our contention was songwriters had already paid income tax, FICA, Medicare and Social Security on those income-producing songs and it was double taxation. Congress agreed and seven and a half years later in ’06, we passed the Songwriters Capital Gains Tax Equity Act. It took effect January 1 of 2007 and I think it had a big part to do with the values and the explosion of catalog sales that you see today, because there’s much more incentive for songwriters to sell them. That put us on the map. We became a force and we’ve grown as a force in D.C. and in regulatory bodies and courts ever since then.

What’s the best part of your job?

The more fun two things is a tie. It’s meeting with the up-and-coming songwriters here and our other chapters around the country. I love that enthusiasm and glowing nature. Just about every songwriter started with a meeting with us at NSAI. It’s that and this series I do for the Gannett newspaper chain and The Tennesseean called “Story Behind the Song.” I also love working with our staff, starting with Jennifer Turnbow. I get all the credit, but I would say over the past few years, she’s done more to lift this organization than I have. So has Erika Wollam Nichols at the Bluebird Cafe.

Bart Herbison

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

It was really from the Governor’s Director of Communications, Ken Renner. I was overwhelmed when I was going to D.C. and he said, “Bart, read everything you can read.” I would get up every morning and read seven publications: The Tennesseean, Washington Post, Roll Call, The Hill and several other political things. He said, “They’re all going to be more experienced than you, but trust your instincts.” Every time I haven’t, I’ve regretted it. That’s probably the best advice I ever had. My father would say, “Your word is your bond.” I always keep my word.

Erika gave me a piece of advice when we were trying to resurrect the funding structure of NSAI in 1997. There were some people that wanted to come fund us, and it would’ve been easy to do, but it would have potentially compromised our mission. Wayland Holyfield, the President of NSAI who hired me, always said this to me, but Erika said it that day and I still use it: “Read your mission statement.” Sometimes when Jennifer and I are torn or lost, we read that mission statement and it becomes crystal clear. It’s not always the answer I want, but it’s never wrong.

What are a few”pinch me” moments you can recall?

Getting to meet the songwriters I grew up loving and admiring. In particular, the late Mac Davis. You don’t always want to meet your heroes, but Mac and I became fast friends. Some days I would sit there and go, “Oh my God, he wrote ‘In The Ghetto!'”

[Another thing that comes to mind is] our 50th anniversary event that we did at the Ryman in 2017. Jennifer is responsible for it. We performed 25 or 30 songs, but we celebrated the rest with videos. Kris Kristofferson performed, Garth Brooks, Trisha Yearwood, everyone. My single favorite music moment since I took this job was reuniting Shelly West and David Frizzell for “You’re The Reason God Made Oklahoma.” That was my favorite moment in all these years.

Jimmy Stewart and Tim Nichols wrote “Brotherly Love.” When I started coming to town, Tim was the first writer I met. They regularly played rounds with Craig Wiseman, Tony Arata, Bernie Nelson and Scott Miller. They introduced me to the songwriter community. I hung with them. They accepted me as one of my own. There are great stories to tell—some I will never tell. [Laughs] That’s where I learned the pulse beat, the fabric, the desires, the successes and the fears of professional songwriters.

Chris Stapleton Enters Top 10 On MusicRow Top Songwriter Chart

Chris Stapleton. Photo: Becky Fluke

Chris Stapleton moves into the top 10 on the MusicRow Top Songwriter chart this week.

Stapleton’s new singles, “Think I’m In Love With You” and “White Horse,” move him from No. 16 to his current position at No. 9. Both have been released ahead of his upcoming Higher album, due out on Nov. 10.

The top five spots on this week’s chart hold steady with Zach Bryan at No. 1, Ashley Gorley at No. 2, Tracy Chapman at No. 3, Jordan Schmidt at No. 4 and Ryan Vojtesak at No. 5.

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.

All-Around Nashville Music Man Mike Henderson Passes

Pictured: Chris Stapleton and Mike Henderson accept the Song of the Year award for “Starting Over” at The 55th Annual CMA Awards. Photo: John Russell/CMA

Songwriter/performer Mike Henderson died suddenly on Friday, Sept. 22 at age 70.

He is perhaps best known as the co-writer of the Chris Stapleton hit “Broken Halos,” which became Stapleton’s first No. 1 success and won the Grammy Award as Country Song of the Year in 2017. It also won a CMA Song of the Year Award, as did 2021’s “Starting Over.”

Mike Henderson was a founder of the much-awarded progressive bluegrass band The SteelDrivers. For nearly 40 years, he has held down a weekly Monday-night residency at The Bluebird Cafe with his blues bands.

Mike Henderson. Photo: Jim McGuire

A native of Independence, Missouri, Henderson mastered guitar, fiddle, mandolin, Dobro and harmonica while playing in folk, bluegrass, rock and blues bands in high school and college at the University of Missouri. The most prominent of these was a blues combo called The Bell Aires. He and his family moved to Nashville in 1985. His aim was to become a utility player in some star’s road band.

In Nashville, he joined the blues-rocking group The Roosters, which evolved into The Kingsnakes. Henderson’s co-written “Powerful Stuff” was recorded by The Fabulous Thunderbirds and became a standout on the soundtrack of the Tom Cruise movie Cocktail in 1988. The Snakes were signed to Curb Records the following year.

As a songwriter, Henderson was signed to EMI on Music Row. His songs were recorded by Trisha Yearwood, Gary Allan, Patty Loveless, the [Dixie] Chicks, Travis Tritt, Kenny Rogers, Randy Travis, Marty Stuart and others.

Mike Henderson & The Bluebloods

He also worked steadily as a session musician, appearing on albums by Emmylou Harris, Kelly Willis, Lucinda Williams, Sting, Waylon Jennings, John Hiatt, Albert King, Tim McGraw, Hank Williams Jr., Faith Hill, Guy Clark, Bob Seger, Blake Shelton, Delbert McClinton and Martina McBride, as well as Loveless and the Chicks.

RCA Records signed him as a solo artist in 1993, and he issued the album Country Music Made Me Do It on the label. His “Hillbilly Jitters” RCA single charted briefly in 1994.

He formed the Dead Reckoning collective with Kieran Kane, Kevin Welch, Harry Stinson and Tammy Rogers. Henderson released three albums on Dead Reckoning, Edge of Night (1996), First Blood (1997) and Thicker Than Water (1999). The last two were with The Bluebloods, a new incarnation of his blues-rock ensembles.

Mark Knopfler hired him for his touring band in 2001. The rock star praised Henderson’s guitar work and was particularly taken with his blues harmonica stylings.

Henderson and Rogers co-founded The SteelDrivers in 2006. The group issued its debut album in 2008 and was named New Artist of the Year by the IBMA (International Bluegrass Music Association) in 2009. The group’s 2010 album Reckless was nominated for a Grammy. Henderson and Stapleton met in The SteelDrivers and became songwriting collaborators. Their SteelDrivers song “If It Hadn’t Been for Love” was recorded by pop superstar Adele.

Mike Henderson left the band in late 2010, and Stapleton departed in 2011 to launch his highly successful solo career. The two men remained songwriting collaborators. In addition to “Broken Halos” and “Starting Over,” Stapleton has popularized their collaborations “Midnight Train to Memphis,” “Second One to Know” and “Death Row,” among others.

Henderson also continued to record, issuing the 2015 album If You Think It’s Hot in Here. He became a record producer, as well. In addition to recordings by The Bluebloods, Henderson guided a series of rootsy albums for John Oates in recent years. He worked with Dale Watson on the latter’s current album, Starvation Box.

Last year, Mike Henderson had a special thrill when he performed with Stapleton at Wrigley Field. He was a lifelong fan of The Chicago Cubs, so he described the experience as “a dream come true.”

He also continued to perform regularly at The Bluebird. His final performance was last Monday there. Longtime songwriting collaborator Wally Wilson spoke to him Friday morning by phone. That afternoon, Henderson died in his sleep at home. Wilson believed the cause to be a pulmonary embolism.

Mike Henderson is survived by his wife of nearly 45 years, Janet, and by his daughters Lauren and Shannon Henderson. Visitation will be in the sanctuary of Woodmont Christian Church on Wednesday (Sept. 27), 10 a.m. to noon with a memorial service to follow. In lieu of flowers, the family requests donations to MusiCares.

Ringo Starr Honored At Musicians Hall Of Fame

Pictured: Ringo Starr and his All-Starr Band, with Linda Chambers, CEO, Musicians Hall of Fame & Museum

The Musicians Hall of Fame staged a music-filled welcome reception for visiting Ringo Starr on Sunday afternoon (Sept. 24) and announced the drummer as its latest honoree.

The legendary performer was given the inaugural Joe Chambers Musicians Legacy Award, named for the co-founder of the Musicians Hall of Fame. Brenda Lee recalled that when she played The Star Club in Hamburg, Germany in 1962, The Beatles were her opening act.

“Everyone used to ask, ‘Who’s your favorite Beatle?’ Well, I loved ‘em all,” she said. “But, to me, Ringo was just adorable.

“I love doing all I can to support my fellow members of the Rock ’n’ Roll Hall of Fame. But Ringo has got me beat. He’s in the Hall of Fame twice, once for being in The Beatles and once for his own records. And I love both of those Ringo Starrs.

“I love his singing on records — everything from ‘With a Little Help From My Friends’ to ‘Act Naturally,’ from ‘You’re Sixteen’ to ‘The No-No Song.’ I love him in the movies and on TV, like in The Magic Christian, Shining Time Station, Son of Dracula…..

“What?” she blurted, jumping off script. “Really!?” she comedically added, looking over her glasses at Starr, seated in the front row. “Well, Harry Nilsson was Dracula,” he drawled. “I’d pay big money for a tape of that,” she quipped. “When you find one, get one for me,” he replied.

Returning to her prepared remarks, Lee continued, “I love him as a songwriter — and not many people know him as this — for ‘Photograph,’ ‘It Don’t Come Easy,’ ‘Oh My My’ and ‘Back Off Boogaloo.’

“But let me tell you something, the heartbeat of every rock & roll song you’ve ever heard is in the rhythm….And Ringo Starr is one of the greatest heartbeats I’ve ever heard…..So maybe I love Ringo most of all for his work as a musician.

“Help me welcome him as the first solo drummer to be inducted into the Musicians Hall of Fame….We tried to get them to make your medallion into a ring. But they wouldn’t do it. So you’ll just have to wear it around your neck.”

A top-tier Nashville backing band took the stage. Wendy Moten led them in blasting the rumbling power of “Photograph,” embellished by a sizzling sax solo from Sam Levine. Next, Felix Cavaliere sang a good-humored “Act Naturally.” Steve Lukather performed “Matchbox” with Moten joining in.

Peter Frampton made the award presentation. He first met Ringo Starr when they both played on an Apple Records album by Doris Troy produced by George Harrison. “His playing was, and is, incredibly unique — left-handed, playing a right-handed kit,” Frampton explained. “[Ringo] is one of the greatest of all time….and a gentle man.”

“Wow, what a lovely tribute,” responded Starr, holding the plaque that Frampton gave him. “For all of this, I am really touched and honored.” He recalled recording his Beaucoups of Blues LP in Nashville in 1970. He said he was amazed by the quality and efficiency of the Nashville session musicians, who created the recording with him in just two days.

“I love this museum,” Starr continued. “I send you all peace and love. Thank you for coming. See you at the Ryman,” where Ringo Starr and his All-Star Band performed that night.

The finale was “With a Little Help From My Friends,” performed by Rodney Crowell with The Fisk Jubilee Singers. Like the other performances, it received a standing ovation.

Among those in attendance were such musicians as Vince Gill & Amy Grant, Dave Pomeroy & Regina McCrary, Gary Burr & Georgia Middleman, Jim Horn, Charlie McCoy (who played on Beaucoups of Blues), Harry Stinson, Wally Wilson, T Bone Burnett, David Briggs and Bergen White. An elite group of music-biz folks mingled — Doug Howard & Linda Edell, John Huie, Roger & Erika Wollam Nichols, Wayne Halper, Rose Drake (whose late husband Pete Drake produced Ringo’s Nashville LP), Tony Conway, Pat McCoy, Richard Courtney (who is such a Beatles fan that he’s written a book about them), Dan Rogers, Katherine Richardson, Don Cusic, Russell Zieker (the soundtrack supervisor of the Nashville TV series who has moved here), Mark Miller, Marcus K. Dowling, Jackie Marushka, Kay Smith and Freddie O’Connell, who will be sworn in as Nashville’s new mayor today (Sept. 25).

“I want to thank everyone for being here,” said Musicians Hall of Fame CEO Linda Chambers. “And a special thanks for your support, especially during this past year.” The museum’s 2006 co-founder, her husband Joe Chambers, passed away exactly a year ago this week. Hence the title of the award given yesterday to Sir Richard Starkey, a.k.a. Ringo Starr.

Morgan Wallen Takes ‘Everything I Love’ To Top Of MusicRow Chart

Morgan Wallen performs at at Chicago’s Wrigley Field. Photo: Matthew Paskert

Morgan Wallen jumps from No. 4 to No. 1 on the MusicRow CountryBreakout Radio Chart this week with “Everything I Love.”

Wallen co-wrote the tune with Ashley Gorley, Ernest Keith Smith and Ryan Vojtesak, and it interpolates the Allman Brothers Band‘s “Midnight Rider,” written by Gregg Allman and Robert Kim Payne. “Everything I Love” appears on Wallen’s record breaking third studio album One Thing At A Time.

“Everything I Love” currently sits at No. 12 on the Billboard Country Airplay chart and No. 11 on the Mediabase chart.

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