Ashley Gorley Notches Eight Weeks Atop The MusicRow Top Songwriter Chart

Ashley Gorley

Ashley Gorley has remained at the top of the MusicRow Top Songwriter Chart for eight consecutive weeks.

The ACM Songwriter of the Year is a co-writer on Chris Janson’s “All I Need Is You,” Parmalee’s “Girl In Mine,” Russell Dickerson’s “God Gave Me A Girl,” Hardy’s “Truck Bed” and Morgan Wallen’s “Last Night,” “One Thing At A Time,” “Cowgirls,” “Everything I Love,” “Thinkin’ Bout Me” and “You Proof.”

Tracy Chapman remains at No. 2 this week as Luke Combs’ cover of her solely-written “Fast Car” rises on the country charts.

Zach Bryan (No. 3) Ryan Vojtesak (No. 4) and Chase McGill (No. 5) complete the top five.

The weekly MusicRow Top Songwriter Chart uses algorithms based upon song activity according to airplay, digital download track sales and streams. This unique and exclusive addition to the MusicRow portfolio is the only songwriter chart of its kind.

Click here to view the full MusicRow Top Songwriter Chart.

ACM Announces 2023 Industry & Studio Recording Award Winners

The Academy of Country Music has revealed the winners of the 58th ACM Industry and Studio Recording Awards.

The ACM Industry Awards recognize venues and talent buyers/promoters who have bought or promoted a predetermined number of country music concerts and helped promote country music ticket sales. Nominees are selected by a professional panel of judges approved by the ACM Officers, with ACM members classified in the Artist/Musician/Producer/Engineer, Venue, Manager, Talent Agent and Talent Buyer/Promoter categories voting to decide the winner.

The Studio Recording Awards recognize the creators behind the music. To be eligible, each artist, musician, producer and engineer must have played a part in a commercially released single or album embodying the creator’s performance that achieves top 20 chart position or better during the eligibility period. Nominees are then selected by a professional panel of judges approved by the ACM Officers before being voted on by members classified in the Artist-Entertainer/Musician-Bandleader-Instrumentalist categories and the Producer-Engineer-Studio Manager categories.

The winners were announced through a video featuring Mickey Guyton, Little Big Town, Dustin Lynch, Ashley McBryde, Jon Pardi, Thomas Rhett, Cole Swindell and Lainey Wilson as well as elected officials and community leaders from across the nation.

First-time ACM Award recipients include Bank of NH Pavilion, Bristol Tennessee’s Country Thunder, acoustic guitar player Tim Galloway, Harveys Lake Tahoe, bass player Mark Hill, Austin’s Moody Center, Seminole Hard Rock Hotel & Casino Hollywood and talent buyer Troy Vollhoffer.

Justin Niebank is taking home his ninth ACM Award for Audio Engineer of the Year, and Jay Joyce has scored his sixth win for ACM Producer of the Year, bringing his total ACM Award count to nine. Joe’s on Weed St. received its sixth ACM Award for Club of the Year, and the club’s owner Ed Warm receives his fifth ACM Award for Promoter of the Year.

Also, Dave Cohen has earns his fourth ACM Award for ACM Piano/Keyboards Player of the Year, totaling his ACM Award count to five. Derek Wells receives his first win in the ACM Electric Guitar Player of the Year category, bringing his ACM Award total to four awards, which includes two previous wins for ACM Guitar Player of the Year before the category was split to individually recognize acoustic and electric guitar players. Fiddle player Jenee Fleenor and drummer Aaron Sterling each receive their second career ACM Award for Specialty Instrument Player of the Year and Drummer of the Year.

All ACM Industry, Studio Recording Award and Special Award recipients will be celebrated during the 16th Academy of Country Music Honors on Wednesday, Aug. 23 at Nashville’s Ryman Auditorium. ACM Special Award honorees will be announced tomorrow (June 27) along with the show’s host and ticket information. Performers will be revealed in the coming weeks.

The complete lists of winners are below.

2023 ACM Industry Award Winners:
Casino of the Year – Theater: Seminole Hard Rock Hotel & Casino – Hollywood, Florida
Casino of the Year – Arena: Harveys Lake Tahoe – Stateline, Nevada
Festival of the Year: Country Thunder – Bristol, Tennessee
Fair/Rodeo of the Year: Houston Livestock Show & Rodeo – Houston, Texas
Club of the Year: Joe’s on Weed St. – Chicago, Illinois
Theater of the Year: Grand Ole Opry House – Nashville, Tennessee
Outdoor Venue of the Year: Bank of NH Pavilion – Gilford, New Hampshire
Arena of the Year: Moody Center – Austin, Texas
Don Romeo Talent Buyer of the Year: Troy Vollhoffer – Premier Global Production
Promoter of the Year: Ed Warm – Joe’s Live

2023 ACM Studio Recording Award Winners:
Bass Player of the Year: Mark Hill
Drummer of the Year: Aaron Sterling
Acoustic Guitar Player of the Year: Tim Galloway
Electric Guitar Player of the Year: Derek Wells
Piano/Keyboards Player of the Year: Dave Cohen
Specialty Instrument(s) Player of the Year: Jenee Fleenor
Audio Engineer of the Year: Justin Niebank
Producer of the Year: Jay Joyce

Bluegrass Great Jesse McReynolds Passes Away

Jesse McReynolds. Photo: Courtesy of the Grand Ole Opry archives

Bluegrass Hall of Fame inductee Jesse McReynolds, the oldest cast member of the Grand Ole Opry, has died at age 93.

Jesse & Jim McReynolds. Photo: Courtesy of the Grand Ole Opry archives

He was noted for his revolutionary, complex “crosspicking” style of mandolin playing as well as for his years of recording and performing in the star brother duo Jim & Jesse. His guitarist-singer older brother Jim McReynolds was born in 1927 and died on New Year’s Eve in 2002.

Jesse McReynolds was born July 9, 1929 near Coburn, Virginia. Jim & Jesse’s grandfather was fiddler Charlie McReynolds, who recorded as a member of The Bull Mountain Moonshiners at the famed 1927 Bristol Sessions where Jimmie Rodgers and The Carter Family were discovered. Their coal-miner father, Claude, was also a fiddler. Mother Savannah played guitar, banjo and harmonica and taught them to sing gospel songs in harmony.

The brothers established their performing partnership in 1947, following Jim’s hitch in the Army. They began their broadcasting career on WNVA in Norton, Virginia. During the next few years, they held radio jobs in Johnson City, Tennessee; Lexington, Kentucky; Charleston, West Virginia; Augusta, Georgia; Waterloo, Iowa; Wichita, Kansas and other towns. During their first dozen years as professionals, Jim & Jesse performed on 14 radio stations in 10 different states. They had their first recording session in 1951.

Jesse & Jim McReynolds. Photo: Courtesy of the Grand Ole Opry archives

Following radio stints in Asheville, North Carolina and Versailles, Kentucky, Jim & Jesse were signed by Capitol Records and brought to Nashville to record in 1952. The fiddler on the sessions was James Loden, later to become Country Music Hall of Fame member Sonny James. The standout tune of these recordings was one of their trademark songs, “Are You Missing Me,” penned by The Louvin Brothers.

Jesse was drafted and entered the Army to serve in the Korean War. While he was home on leave in 1953, the brothers recorded “Air Mail Special,” “A Memory of You” and other tunes for Capitol.

With Jesse’s military service completed, the duo joined the cast of WWVA’s Wheeling Jamboree in 1955. But the team truly began to prosper the following year when the brothers moved to Florida. They broadcast for several years on WNER’s Swanee River Jamboree in Live Oak and became television stars with their own shows in Tallahassee and Pensacola. By the late 1950s, their programs were also being broadcast on TV in Montgomery, Alabama; Albany, Georgia; Dothan, Alabama and Jackson, Mississippi.

Jesse McReynolds, Ricky Skaggs, Jim McReynolds. Photo: Courtesy of the Grand Ole Opry archives

Jim & Jesse recorded for Starday Records in 1958, then signed with Columbia’s Epic Records division on Music Row in 1962. This is the label where their biggest hits occurred.

Bluegrass music gained popularity on the folk circuit during this era. Jim & Jesse performed at the Newport Folk Festival in 1963 and 1966.

On the strength of such high-profile engagements and the major-label contract, the Grand Ole Opry invited Jim & Jesse to become members of the show’s cast on March 2, 1964. Throughout their Opry tenure—and indeed, throughout their career—the McReynolds brothers were widely respected for their courtly manners and gentlemanly ways.

Four months after their Opry induction, Jim & Jesse’s first charted single was 1964’s “Cotton Mill Man,” which also became a signature song. “Better Times A-Comin’” followed it onto the charts as a top 40 hit in 1965. Their eyebrow-raising LP Berry Pickin’ in the Country was also released in 1965. It contained their bluegrass arrangements of Chuck Berry’s rock ’n’ roll classics.

This record typified their willingness to experiment. Jim & Jesse also dabbled in Latin, electric country, gospel, cowboy and other genres. In 1969, Jesse McReynolds played mandolin on The Doors rock LP The Soft Parade.

The brothers scored their biggest country hit with 1967’s “Diesel on My Tail.” Other memorable Epic recordings included versions of Robert Mitchum’s “Ballad of Thunder Road” (1967), Tom T. Hall’s “Greenwich Village Folk Song Salesman” (1968), Ray Pennington’s “Yonder Comes a Freight Train” (1968) and Hank Snow’s “Golden Rocket” (1970). They returned to Capitol and charted with Elizabeth Cotton’s folk classic “Freight Train” in 1971.

Jesse McReynolds. Photo: Courtesy of the Grand Ole Opry archives

Jim & Jesse veered into a harder-edged bluegrass sound in the 1970s. Their Virginia Boys band included such stellar alumni as Vassar Clements, Allen Shelton, Bobby Thompson, Carl Jackson, Vic Jordan, Glen Duncan, Randall Franks, Chick Stripling and Jimmy Buchanan. The group was wildly popular on the bluegrass-festival circuit for three decades.

The brothers launched their own syndicated TV series, The Jim & Jesse Show, in the early 1970s, They formed their own Old Dominion and Double J record labels and released a number of LPs, cassettes and CDs on these in the 1970s, ‘80s and ‘90s. In 1977, they created their own annual bluegrass festival and maintained it well into the 1980s.

They were nominated for a Grammy Award for the 1992 CD Music Among Friends. They were inducted into the Bluegrass Hall of Fame in 1993. They received a National Heritage Fellowship Award from the National Endowment for the Arts in 1997.

The death of Jim McReynolds in 2002 marked the end of the 55-year run of the longest lasting brother duo in country history. Jim & Jesse were also notable for having the longest running fan club in the annals of country music.

Following his brother’s passing, Jesse McReynolds continued to tour, record and appear on the Opry. In 1990, he had been part of a recording and touring “supergroup” called The Masters that also included Josh Graves, Kenny Baker and Eddie Adcock. He created a new instrument called the mandolobro, which was tuned like a mandola and had a resonator-guitar body. It was featured on his CD Jesse McReynolds Introduces the Mandolobro.

His other solo albums included New Horizons (2004), Bending the Rules (2004), A Tribute to Brother Duets (with Charles Whitstein, 2005) and Dixie Road (2007). In 2010, he released a tribute album to the songs of The Grateful Dead.

He was variously dubbed “Mr. Mandolin” (for his innovative, virtuoso playing) and “The Ironman of Bluegrass” (for the 65+ years of his career). Solo and with his brother, Jesse McReynolds recorded more than 50 albums.

Jesse McReynolds was preceded in death by his parents, Claude Matthew McReynolds and Prudence Savannah Robinette McReynolds; loving first wife of 41 years, Darlene McReynolds; son, Keith McReynolds, brother, Jim McReynolds, sisters, Stella McReynolds and Virginia Greear and great grandson, Andrew Keith McReynolds.

He is survived by his loving second wife of 27 years, Joy Tipton McReynolds; daughter, Gwen McReynolds; sons, Michael K. McReynolds and Randy Q. McReynolds; eight grandchildren and three great grandchildren.

Funeral Service will be 11:00 a.m. Wednesday, June 28 from the chapel of Alexander Funeral Home & Cremation Center with Brother James Bell and Randy McReynolds officiating. Entombment will follow in Sumner Memorial Gardens Mausoleum. Visitation will be Monday, June 26 from 4:00-8:00 p.m., Tuesday, June 27 from 2:00-8:00 p.m. and Wednesday, June 28 from 9:00 a.m. until the time of service.

Luke Combs Earns Another MusicRow No. 1 With ‘Fast Car’ Cover

Luke Combs. Photo: Jeremy Cowart

Luke Combs is at No. 1 on the MusicRow CountryBreakout Radio Chart this week with his explosive cover of Tracy Chapman‘s “Fast Car.”

Written solely by Chapman, the singer-songwriter had a huge hit with “Fast Car” in 1989. The tune received three Grammy nominations that year, and won Best Female Pop Vocal Performance.

Combs included his cover of “Fast Car” on his 2023 album Gettin’ Old after years of playing it on the road. It was sent to U.S. Top 40 and Hot AC radio as the second single from the album, marking the first time that Combs has sent a song to contemporary hit radio.

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

DISClaimer Single Reviews: Brad Paisley ‘RAWKS’

Brad Paisley. Photo: Jeff Lipsky

Yesterday was the first day of summer, and the country artists are celebrating.

Jameson Rodgers, Brian Kelley and Brad Paisley all have new singles saluting the season. The rocking effort by Brad Paisley takes home the Disc of the Day award.

The DISCovery Award goes to Tanner Adell, one of three Black female acts in today’s playlist. The others are the equally listenable O.N.E. The Duo and Black Opry alumna Roberta Lea.

Three seems to be today’s magic number. Big Machine is on fire this week, with three of our contenders. David Garcia is having a moment, since he’s also involved in three of this week’s releases. And that bring us back to summertime, which is the topic of three DISClaimer sounds. Here’s hoping yours is a sunshine-and-flowers season.

JOSH ROSS / “Trouble”
Writers: Josh Ross/Mason Thornley; Producer: Matt Geroux; Label: Mercury Nashville
– Heartbreak and anguish from a shredded tenor voice. The ballad is taken at a mournful pace as he describes drinking to ease the pain. In mid-song, everything stops for a drunk-dial, spoken-word passage. The echoey guitars are cool. too.

CARLY PEARCE & CHRIS STAPLETON / “We Don’t Fight Anymore”
Writers: Carly Pearce/Shane McAnally/Pete Good; Producers: Shane McAnally/Josh Osborne/Carly Pearce; Label: Big Machine
– The relationship is so dead that they have stopped communicating completely. There’s no love, but there’s also no hate. A dobro drones sympathetically as the vocalists portray this super sad story. Both are such glorious singers that you hang on every line.

BRIAN KELLEY / “See You Next Summer”
Writers: David Garcia/Michael Hardy/Hillary Lindsey; Producer: Dann Huff; Label: Big Machine
– This mid-tempo effort unspools with pent-up energy as his voice rides atop a swirling mix of beats and electric guitars. They hooked up at the beach in Florida. Instead of calling it a summer fling, he fell in love.

BRAD PAISLEY / “So Many Summers”
Writers: Brad Paisley/Ross Copperman/Lee Thomas Miller; Producers: Luke Wooten/Brad Paisley; Label: Loaded Goat/UMG
– Live it up and have a good time, because you only get so many summers. “Swing for the fence, jump in the water …and tell her you love her.” A word of wisdom from the senior citizen at the playground. And it RAWKS. Play this on repeat.

JAMESON RODGERS / “Mine for the Summer”
Writers: Brent Anderson/Jake Mitchell/Jameson Rodgers/Smith Ahnquist; Producer: David Garcia; Label: Columbia/River House Artists
– Well written. He’s fallen so hard that he doesn’t care about anybody back home or anything else, for that matter. They’ve just met, but he’s dizzy and giddy enough that it doesn’t matter whether she’s his for the night, for the summer or for the rest of his life. The chiming production supports him at every melodic turn. A lovely little single.

CHRIS JANSON / “The Outlaw Side of Me”
Writers: Chris DeStefano/Chris Janson/Lee Miller; Producers: Julian Raymond/Chris Janson/Scott Borchetta; Label: Big Machine
– The title tune of Janson’s new album is a thumping redneck anthem that marries his drawling vocal performance with some processed electronics and a Southern-rock production. Fiery and fierce.

JOE NICHOLS / “Brokenhearted”
Writers: John Thomas Harding/Marv Green/Rhett Akins; Producers: Mickey Jack Cones/Derek George; Label: Quartz Hill Records
– This lively tune puts tongue firmly in cheek to state that there’s no crying-in-your-beer country music anymore. Instead, everybody’s dancing to party songs, “gettin’ up and gettin’ down.” I love this song, and he’s still one helluva country singer.

PILLBOX PATTI / “Low Life”
Writers: Nicolette Hayford/Chris Tompkins/Jessie Jo Dillon/Nicolette Rose Hayford; Producers: Chris Tompkins/Park Chisolm; Label: Monument Records
– This is a terrifically gripping account of a misspent youth of drugs, booze, theft, jail and bad behavior. Despite the sordid details, you get the impression that she has fond memories. Her hushed vocal is wonderfully compelling, and the echoey, wooshy, electronic production casts a hypnotic spell. As a songwriter, Nicolette Hayford is top-notch. As an artist, Pillbox Patti has no equal.

ROBERTA LEA / “Too Much of a Woman”
Writer: Roberta Lea Halmond-Walters; Producer: none listed; Label: Heaven Lea Records
– Very feisty. She might be too loud and too assertive, but she’ll be nobody’s doormat. “If I’m too much of a woman, you’re too little of a man.” So there. Here’s an interesting tidbit: This feminist anthem was recorded in the studio with an all-woman band.

TANNER ADELL / “Throw It Back”
Writers: Dan Pellarin/Tanner Adell; Producer: Evan Cline; Label: Columbia
– Adell employs a fishing metaphor on this bopping, amusing, girl-power outing. If you don’t like the way he talks or acts, well just like something you hauled in with your rod and reel, toss him overboard. On the other hand, if he likes classic country songs, “grab him by the hand and take his country ass back home.”

O.N.E. The Duo / “‘Til You Called My Name”
Writers: Prana Supreme Diggs/John Bettis/Tekitha Washington; Producer: Nash Overstreet; Label: Visionary Media Group
– Lilting and very pretty. Their airy, wafting voices blend in harmony beautifully. The sighing strings in the mix are exquisitely arranged and produced. The message is a balm of finding home and solace after a wanderlust life. Lend this your ears. By the way, this mother-daughter team deserves some major-label support.

CARRIE UNDERWOOD / “Take Me Out”
Writers: Carrie Underwood/David Garcia/Hillary Lindsey; Producers: Carrie Underwood/David Garcia; Label: Capitol Nashville
– Sweet sounding. Underwood wants to rekindle romance with some simple solutions—some flirting, some kisses, some attention. Most of all, take her out on the town. The gently pulsing rhythm and hushed soprano harmonies are the icing on the audio cake.

CAA’s Chad Kudelka: A Texas Troubadour Making Waves In Nashville [Interview]

Chad Kudelka

Last spring, veteran Texas music agent Chad Kudelka joined CAA as an Agent in the company’s Music Touring department.

Kudelka came to CAA from Red 11 Music, the Nashville and Austin-based agency he co-founded. Now, with a roster that includes Cody Johnson, Koe Wetzel, Wade Bowen, Kolby Cooper, Pecos & The Rooftops, Randall King, Roger Creager and Ray Wylie Hubbard, Kudelka is a leader in both markets.

Wade Bowen

Growing up in Texas, Kudelka was born for the role. His career inadvertently started with his relationship with his childhood best friend, now prominent singer-songwriter Wade Bowen.

“We grew up together. We went to school together from our first day of school to high school. He’s like family to me,” Kudelka tells MusicRow.

When Bowen started college at Texas Tech University in Lubbock, Kudelka found himself in Austin and the University of Texas. When Bowen’s music career started taking off his sophomore year of college, he called his best friend for advice.

“He said, ‘Hey, I need some help getting off the ground. I know you love music. I need someone to help me get organized for a few months while I figure this out.'”

Kudelka agreed and the rest is history. “Here I am still doing this,” he says. “He’s one of my best friends. We lean on each other. I blame and thank him every day for asking that question and bringing me into the music business.”

Cody Johnson performs in Las Vegas. Photo: Jay Trevino

When they were starting out, Kudelka and Bowen learned the music business as they went, all while they were completing their college educations.

“We just started trying to pick up shows where we could and follow the tracks of some other [artists] that were doing it in clubs. We were begging for opportunities and trying to do the best job we could,” Kudelka says. “Every day, every week and every month we were learning, connecting and networking from the ground up.”

Eventually, Kudelka started independently representing several other artists.

“When I graduated, I was booking around half-dozen artists, along with Wade,” Kudelka says. “After two years of doing it, I settled on the fact that I had a roster, I was enjoying it and it was working. I knew I was going to give it a shot.”

He eventually went to work at regional/boutique agency Austin Universal Entertainment in 2002. He was intrigued by the company’s history, as its founder Greg Henry had a similar path to the music business that he grew from beginning his career working with Texas maverick Pat Green.

“They had a pretty extensive roster at the time and were doing well regionally,” Kudelka says. “Mutual friends got us connected and it allowed me to take what I was doing by myself and expand with an agency that had a staff to learn from.”

Koe Wetzel performs. Photo: Bubba Sellers

After some time with AUE, Kudelka co-founded Red 11 Music in 2009 with Jon Folk. Serving as a Co-Owner/Partner, he helped to develop the agency over a 13-year span.

“It just made sense at the time to start [Red 11] together and see where it went. I stayed in Austin and ran the office, he ran the Nashville branch and off we went,” Kudelka says.

When asked what he is most proud of from his time at Red 11, Kudelka says it’s developing artists.

“Building acts from the ground up,” he says. “That’s a lot of what we did [at Red 11] and what I’ve done for years. That’s still what I have the desire to do. I love taking someone that is in the beginning of the career where there’s a spark and building that artist to a high level—and growing with them.”

Kudelka joined CAA in 2022. Now he splits his time between Austin and CAA’s Nashville office.

“It’s been exciting. I’ve been thrilled with the transition and I’m really excited about what’s to come,” Kudelka says. “It’s been a big change for me, coming from a very small agency to something this large, but it’s been great.”

Kudelka has been instrumental in Johnson’s rise to success. He worked to strategize, book, negotiate and coordinate Johnson’s recent headline run, resulting in him selling around 500,000 tickets in 2022 and being named one of the top Country Touring Acts of the year. Johnson ranked No. 70 among Pollstar’s Top North American Tours for 2022 and No. 88 for Worldwide Tours in 2022, while being ranked No. 8 among the country artists in these charts.

“It’s been incredible. It’s been a lot of fun to be a part of,” he says of working with Johnson. “When I committed to working with Cody and his manager, I had just seen him in Austin. There may have been 40 people in the crowd. To see that thing through from that point—growing him through clubs and larger rooms to now playing all the major arenas and some stadiums—it’s been incredible.

“Cody, like a lot of my artists, has built his fanbase through hard tickets on the road. That was always a focus of his and his team,” Kudelka says.

Randall King performs. Photo: Evan DeStefano

Wetzel, another one of Kudelka’s clients, also had a big year in touring, selling more than 380,000 tickets on his recent run. Wetzel was ranked No. 121 on Pollstar’s Top North American Tours list for 2022 and No. 157 on the 2022 Worldwide Tours list.

Additionally, Kudelka also works with Kolby Cooper, Pecos & The Rooftops and Randall King to center their careers around connecting with fans through touring, dedicating a massive amount of time and energy to being on the road. Through this strategy, they have all consistently been listed on the Pollstar Live 75 chart and Global Concert Pulse charts.

Though Kudelka spends a lot of time in Music City now, he is still very passionate about contributing to the thriving music business scene in Austin. He has been involved with organizations such as the Texas Chapter of the Recording Academy within their Grammy U Program and the Texas Heritage Songwriters Association within The Texas Songwriter U Program, as well as being a member of the Inaugural Class for ATX Leadership in 2018.

“Austin is still home,” Kudelka says. “The Nashville office is my home team.”

Jelly Roll Enters Top 10 On MusicRow Top Songwriter Chart

Jelly Roll. Photo: Ashley Osborn

Jelly Roll jumps from No. 26 to No. 10 this week on the MusicRow Top Songwriter Chart.

Jelly Roll, whose legal name is Jason DeFord, is a co-writer on three of his climbing hits, “Need A Favor,” “Halfway To Hell” and “Save Me” with Lainey Wilson. All appear on his recently released debut country album, Whitsitt Chapel.

Ashley Gorley spends another week at No. 1 on the MusicRow Top Songwriter Chart this week. Tracy Chapman (No. 2), Zach Bryan (No. 3) Ryan Vojtesak (No. 4) and John Byron (No. 5) complete the top five.

The weekly MusicRow Top Songwriter Chart uses algorithms based upon song activity according to airplay, digital download track sales and streams. This unique and exclusive addition to the MusicRow portfolio is the only songwriter chart of its kind.

Click here to view the full MusicRow Top Songwriter Chart.

In This Issue: MusicRow’s Artist Roster Issue Highlights Strategic Executives

MusicRow‘s recently released 2023 Artist Roster includes a myriad of resources for industry professionals.

This annual edition contains a six-part company directory, complete with client rosters and up-to-date contact information in the categories: Label, Management, Talent Agents, Publicity, Artist Services (Banking, Business Management/Financial/Insurance, Digital Music, Legal, Marketing, Radio Promotion and Media) and Organizations (Trade & Professional Development, Performing & Mechanical Rights and Unions).

This issue also offers a summarizing Artist Grid, which has become an indispensable tool connecting artists to their team members in Label, Management, Talent Agency and Publicity categories.

In addition to those resources, MusicRow taps several industry experts for exclusive interviews regarding their work.

Inside is a celebration of Kane Brown’s elevation into a genre-leading artist, shared by members of Brown’s team Martha Earls (Neon Coast), Braeden Rountree (WME), Dennis Reese (Sony Music Nashville) and Alex Alvga (Brown’s Creative Director).

Brown’s team speaks about his recently completed monumental tour of the nation’s 29 NBA arenas, which made him the first country artist in history to complete the trek. MusicRow also walks through other recent career wins for Brown, including his hit single “Thank God” released with his wife, Katelyn, and his first television appearance on the drama Fire Country.

When asked about Brown’s next steps, Earls shares, “Thinking about all the different verticals, we are definitely focused on new music and not waiting so long to release another album. We’re playing Fenway Park this year, which is crazy and amazing, so I’d like to do maybe four or five of those. There’s different tactics but for us, we’re easing in and doing some more stadiums.”

Elsewhere, leading music managers Brad Belanger, Blythe Scokin, Mandelyn Monchick and Zach Sutton join together for a round-table about working in this fast-paced industry with its dynamic social media and technological climates. In a Q&A, the four discuss AI, making collaborations work, feeding fans’ veracious appetite for new music, TikTok and more.

When talking about the current trend of country and western aesthetics in pop culture, Sutton shares, “You have this interest in country music in this new way, but I also feel like it’s only with a specific age bracket that is already conditioned to listen to all kinds of music.” He adds, “There’s a unique thing happening with a subset of the population where people can understand and appreciate the nuances between each artist, but I do think as a whole on the ground floor, we’re seeing this melting pot where people are into all kinds of things.”

In another editorial feature, Music Health Alliance’s Founder and CEO Tatum Hauck Allsep and CFO and Certified Senior Advisor Shelia Shipley Biddy celebrate a decade of “healing the music.” MHA has provided healthcare access through advocacy services since its launch in 2013.

Allsep and Biddy walk MusicRow through MHA’s inception and speak about their services and goals for the next 10 years.

“I think there’s a lot of things [within] a senior program that need to be developed,” Biddy says about one of MHA’s goals. “Part of that is education. There needs to be something for the younger people in the music industry to understand the impact of [aging].”

For the Artist Roster issue, MusicRow also spoke with RECORDS Nashville’s Executive Vice President Joe Fisher and Vice President of Promotion and Commercial Strategy Josh Easler, as well as RECORDS Founder Barry Weiss. Now with a robust country roster, the men discussed their unique approach and strategies with each artist.

Easler shares, “There’s nothing about what we do that’s cookie cutter at all. We’re very intentional and strategic about the marketing plan around each individual artist and their releases.”

ASCAP songwriter and MCA Nashville recording artist Jordan Davis graces the cover of the 2023 Artist Roster issue.

Single copies of MusicRow’s 2023 Artist Roster print issue are available for purchase at musicrow.com for $45, and are included with yearly MusicRow subscriptions.

Megan Moroney Hits No. 1 With ‘Tennessee Orange’

Megan Moroney. Photo: David McClister

Megan Moroney’s debut hit single “Tennessee Orange” reached No. 1 this week on the Country Aircheck/Mediabase Country Airplay chart.

The first single from her debut album Lucky, the Platinum-certified track fueled Moroney’s rise. Within just five days of its premiere, the viral sensation surpassed a million streams and catapulted the 25-year-old into the spotlight, paving the way for her to sign with Sony Music Nashville/Columbia Records.

First released last September, “Tennessee Orange” is the story of a love so strong it even defies loyalty to a beloved home team. Moroney won Breakthrough Female Video of the Year at the recent CMT Music Awards for the single, and made history as the fifth solo country female artist ever to hit No. 1 on Billboard’s Emerging Artists chart.

Moroney will kick off “The Lucky Tour” with her New York City debut at The Bowery Ballroom on Sept. 20.

Peermusic Acquires Entire Earl Scruggs Song Catalog, Majority Of Gary Scruggs Catalog

Pictured (L-R): Kara Blankinship, Director, Clearance & Catalog Management, Peermusic; Patrick Smith, Manager, Legal and Business Affairs; Jesse Scruggs; Jaime Scruggs; Kathy Spanberger, President & Chief Operating Officer, Peermusic; Michael Knox, President, Peermusic Nashville

Peermusic has acquired the entire music publishing catalog of bluegrass legend Earl Scruggs, as well as the majority of his son Gary Scruggs‘ song catalog.

During his lifetime, Earl was a collaborator with Peermusic founder Ralph S. Peer. The company has served as the publishers of the Earl Scruggs song catalog from the time the songs were written. Through this deal, Peermusic acquires the U.S. rights it was previously administering for Earl, as well as some of the songs that were previously controlled by the Scruggs estate.

The deal also includes the acquisition of the majority of the song catalog of the late Gary Scruggs, a Grammy award-winning songwriter, musician and eldest son of Earl and Louise Scruggs.

“It’s a rare opportunity to acquire these incredible catalogs of songs in this competitive music rights landscape, but what makes this most meaningful to us is the decades-long relationship that Peermusic has enjoyed with Earl Scruggs and Gary Scruggs,” says Kathy Spanberger, President & COO of Peermusic Anglo American Region. “This deal really exemplifies everything a relationship between a songwriter and a publisher should be. Earl and Peermusic worked together successfully for decades to share his music with the world, and Peermusic continues that tradition with the songs of Gary Scruggs. We thank Jesse, Jaime, and the Scruggs family for this opportunity—the entire team at Peermusic is honored to continue championing and protecting Earl and Gary’s incredible legacy of music so that these songs can be enjoyed for generations to come.”

“The Scruggs are multi-generational music royalty who have worked with the Peers, a multi-generational family of music publishers since Day 1. The history here is incredible. There are few artists that have defined an entire genre the way that Earl Scruggs and Gary Scruggs have with bluegrass or that so popularized a single instrument across genres as Earl did with the banjo—we’re delighted to continue our work with the Scruggs family and to represent their interest in some of country music’s most beloved songs,” adds Michael Knox, President, Peermusic Nashville.

“We are now the third generation of the Scruggs family to be working alongside the team at Peermusic. Our grandfather trusted Peermusic as his music publisher from the beginning of his career and the team at Peermusic has been like a family to us throughout these many years. Keeping these song catalogs with Peermusic is an easy decision for us because we know how much they have done to support The Scruggs family—and they know these song catalogs inside and out. We’re thrilled to have these songs looked after by Kathy, Knox and the Peermusic team,” share Jesse and Jaime Scruggs, the grandsons of Earl Scruggs and the sons of Gary Scruggs, in a joint statement.

Earl Scruggs revolutionized bluegrass with a unique three-fingered picking style that has since become a hallmark of bluegrass banjo. He began his career in 1945, when he joined Bill Monroe’s band and met Lester Flatt. The two were mainstays of Monroe’s Blue Grass Boys for a little over two years before striking out on their own.

Performing as Flatt & Scruggs and the Foggy Mountain Boys, the band became one of most well-known bluegrass band in the nation. Among their most famous recordings are “Earl’s Breakdown,” “The Ballad of Jed Clampett” and “Foggy Mountain Breakdown.”

In 1969, Scruggs began pursuing a solo career by enlisting his sons Gary and Randy to perform with him as the Earl Scruggs Revue. The group found success recording for Columbia Records throughout the 1970s.

The bluegrass icon was recognized with numerous accolades for his contributions to bluegrass and country music throughout his lifetime. Scruggs is in both the Country Music Hall of Fame and the International Bluegrass Music Association’s Hall of Fame. He was also a recipient of four Grammy Awards, a Grammy Lifetime Achievement Award and a National Medal of Arts.

Gary Scruggs played alongside his legendary bluegrass father as well as in a duo with his brother Randy called The Scruggs Brothers,. He and Randy released two projects together—1970’s All the Way Home and 1972’s The Scruggs Brothers. Together with their father, the two brothers then formed The Scruggs Revue, touring extensively under that billing and forming connections with other country and rock acts of the day.

Gary was part of the genesis of the 1972 Nitty Gritty Dirt Band-led Will the Circle Be Unbroken album, which has since been inducted into the Grammy Hall of Fame and the Library of Congress. He retired from touring in the mid-’80s, but continued his work as a songwriter until his death in 2021.