Independent Songwriters & Publishers Celebrated At 2026 AIMP Awards [Recap]

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Big Loud Publishing Accepts Their Award for Top Independent Music Publisher of the Year. Photo: Peyton Hoge

The Association for Independent Music Publishers (AIMP) held its 2026 AIMP Nashville Country Awards earlier this week at Analog at the Hutton Hotel. Bringing together members of Nashville’s music business in celebration, the annual event celebrated the successes of independent songwriters and publishers.

Guests snacked on sliders, mini chicken sandwiches, caprese skewers, fried pimento cheese bites, specialty popcorn and a bevy of sweet treats while visiting with each other before the program began. Radio veteran Storme Warren served as emcee for the evening.

Alex Heddle and Jessie Jo Dillon. Photo: Katie Kauss

Country newcomer Emily Ann Roberts won her first-ever industry award with the Rising Artist-Writer of the Year. She thanked her team for their support, and shared that she would work hard to “live up to who [you] believe [I] am.”

Lauren Hungate took home the 2026 Rising Songwriter of the Year award, and shared her surprise and gratitude when accepting the honor. SMACKSongs’ Lee Krabel received the 2026 AIMP Song Champion Award, bringing his signature wit and heart to his speech.

Jessie Jo Dillon was named Songwriter of the Year for the second consecutive year. She dedicated the win to her mother, who she lost a few months back. Zach Top, who was not in attendance, was recognized as Artist-Writer of the Year.

Big Loud Publishing took home Top Independent Music Publisher of the Year, with the recently-promoted Mike Giangreco shouting out Big Loud songwriters and “the best team in Nashville.”

Two of the night’s highlights came with the performances of award-winning songs. Tigirlily Gold did an excellent job covering the AIMP Publisher’s Pick of the Year winner, “Come Home To You,” written by Jim McCormick, Makayla Lynn and Michael Wayne Wilkes, and performed by Emily Ann Roberts. Carly Pearce brought her classic country vocals to the night’s Song of the Year, “Weren’t For The Wind” written by Johnny Clawson, Ella Langley and Joybeth Taylor, and performed by Langley.

HARDY poses with Independent Spirit Award. Photo: Katie Kauss

Another highlight came when HARDY was presented with the Independent Spirit Award. A video montage with messages of admiration for the singer-songwriter played before his wife, Caleigh Hardy, gave a speech about HARDY’s steadfastness to being himself, and how that has impacted his career, the Music Row community and their family.

HARDY spoke about how honored he was, and thanked his team and the community for celebrating his commitment to authenticity.

“Congratulations to all of this year’s AIMP award winners. Our event truly highlights just how special and supportive the Nashville independent community is,” shared Ree Guyer and Courtney Crist, this year’s AIMP co-chairs. “Presenting the Independent Spirit Award to Michael Hardy—who genuinely embodies its meaning—was a magical moment. We’re also deeply grateful to our sponsors, our dedicated awards committee—Megan Pekar, Alex Heddle, Shannan Hatch, Janine Ebach, and Tim Fink—and our incredible coordinator, Haily Harris, for making this event possible.”

Emily Ann Roberts, this year’s Rising Artist Writer of the Year, along with her publishing team from Jody Williams Songs. Photo Credit: Katie Kauss

Carly Pearce performs the Song of the Year, “Weren’t For The Wind.” Photo: Peyton Hoge

The SMACKSongs publishing team poses with winners Lee Krabel and Johnny Clawson (co-writer of “Weren’t For The Wind.” Photo: Katie Kauss

My Music Row Story: Neste Live!’s Gil Cunningham

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Gil Cunningham.

Gil Cunningham serves as Chairman of Neste Live!, a Live Nation joint venture specializing in talent buying and festival production. Based in Nashville, Cunningham has played a pivotal role in shaping the modern talent buying landscape, helping define how festivals, fairs and live events are programmed across the country. He continues to lead talent strategy for some of the largest country music festivals in North America, including the Country Thunder brand, which spans multiple markets across the U.S. and Canada.

Cunningham has been working in the live entertainment business since 1988, building his career on the talent buying side of the industry. He joined Neste Event Marketing, the company founded by his wife, in the mid-1990s, where the pair developed a business that combined sponsorship, marketing and talent buying services. Their complementary skill sets helped grow the company’s presence across the festival and event space over more than two decades.

In 2019, Live Nation acquired a majority stake in the company, forming Neste Live! and expanding its reach within the broader live entertainment landscape.

Cunningham is a five-time ACM Talent Buyer of the Year.

MusicRow: Where did you grow up? 

I grew up in Des Moines, Iowa, and went to the University of Iowa.

Photo: Courtesy of Cunningham

Tell me a little bit about your childhood. 

I really wasn’t into music as a kid. I mean, I went to concerts and I enjoyed music, but it wasn’t something I thought about as a passion or something that I wanted to do.

My ultimate goal was to get into the advertising business. I wanted to work for an ad agency in Chicago. I graduated from Iowa with a marketing and journalism degree, and when I graduated, we were in a bit of a recession.

I had gone to Chicago and set up around 20 interviews, but I ended up doing six because people weren’t hiring. I met with the creative director at one of the big ad agencies, and he recommended that I get some experience working in advertising at a radio station or at a newspaper.

I applied for a job at a newspaper in Burlington, Iowa, and worked in the ad department. I was there for about six months, and then I took another job working for an electronics company in a marketing department.

Photo: Courtesy of Cunningham

During my time there, I was asked to serve on an entertainment committee for an event called Burlington Steamboat Days, which was a three-day music festival that was originally a Dixieland jazz festival.

That’s where I kind of got the bug to get into the entertainment business.

I did that as a volunteer position for several years, and then I was offered a job working for Don Romeo, who was a talent buyer and producer in Omaha. That’s how I got on the talent buying side of the business.

What happened after that?

A few years later, I left the Romeo Agency and joined my wife [Liz Cunningham]. She had started a marketing company called Neste Event Marketing. I joined her buying talent for events.

She already had an established business. We’ve been partners for 27 years. Liz handled marketing and sponsorships, and I handled talent buying. If I had a potential client, I could always pitch my wife as offering marketing or sponsorship services, which gave me a bit of an edge in the marketplace.

In 2019, we sold the company to Live Nation. I’ve been under the Live Nation umbrella since then.

Liz did not sell her portion of the business. She kept the marketing and sponsorship side, and she still runs that.

Photo: Courtesy of Cunningham

We still work together on a number of events, so we’ve kept it in the family. Our oldest daughter, Lauren, went to Ole Miss and wanted to get into the music business. Today she’s an agent at WME. We also have a UGA graduate who studied music business and marketing. Abby now works at the Live Nation office as an assistant to Andrew Fortin, the President of Neste Live.

How did you get to Nashville?

We were living in Omaha when I joined Neste Event Marketing. I had been talking to a number of agents, and they told me, “If you’re going to be in this business, you really need to move to Nashville.”

My wife and I made the decision to move from Omaha to Nashville. It ended up being great advice because it was the place to be to get fully engaged in the music business at any level you wanted. It was very rewarding for us.

We made that move in 2004.

Photo: Courtesy of Cunningham

 Can you tell me about your role now?

My current position is Chairman, and I work on a couple of major accounts. One of our biggest accounts is Country Thunder, which is probably the largest country music festival brand in the business. They operate seven festivals in North America.

I met Troy Vollhoffer, who got his start in the production business in Camrose, Alberta. We hit it off and started working together on events and haven’t looked back.

I was buying talent for a number of festivals in the States, and then he expanded into the U.S. He ended up buying the Country Thunder brand and I still buy for that group. I’ve been the talent producer for Country Thunder for over 30 years.

How would you explain the role of a talent buyer to someone outside of music?

If I had to explain what I do to someone outside the business, I would liken it to the role of movie producer. It’s my job to put all the parts and pieces together. As a talent producer, I buy the talent, arrange for production, marketing, publicity, whatever the client needs to have a successful show.

Most of the time, clients already have staff for those other areas, so we focus on talent buying. But for some events, like Headwaters Country Jam in Three Forks, Montana, we run the entire event and are involved in each aspect of the festival.

Photo: Courtesy of Cunningham

 What is the best advice you’ve ever gotten?

Pay close attention to what experienced and knowledgeable people in the business tell you. You learn a lot from professionals who have been doing it for a long time.

When I first started, I learned a lot from agents in Nashville. There were a number of agents who were very willing to help and teach me about the nuances of talent buying business from their perspective.

I also think it’s important to listen to the artists.

Who were your mentors early on?

The major mentor I had was Don Romeo, who taught me a lot about the business.

I also learned from a number of agents. Steve Dahl at Monterey Peninsula Artists was a great teacher. He was completely transparent about how the business worked from the agent’s perspective. There were others—Rod Essig, Barry Jeffrey and Lance Roberts—who were very influential in teaching me that side of the business.

The thing about this industry is that there are so many different levels like songwriting, management and publishing. You may start out operating on one level, but you realize there are many others, and you can engage across all of them.

I still learn something every day. That’s what has made it so enjoyable for me. I always tell young people who want to get into the business that you have to start at the bottom and work your way up. That’s where you learn the most.

What is your favorite part of your job?

I get the most satisfaction out of booking an artist for a client and seeing it work for everyone. When it’s successful for the artist, successful for the client and the fans love it, that’s the best feeling. You’re always focused on how to help your client be successful, and when everything comes together, that’s really rewarding.

What’s your favorite memory of working in the business?

Photo: Courtesy of Cunningham

There are a lot. Early on, I was one of the first talent buyers in my space to bring rock acts into the fair circuit. Rock bands typically didn’t play fairs.

I put Nickelback, Def Leppard and NSYNC on the fair circuit, and the success of those shows was beyond expectations. It was very satisfying to look back and think “you identified and nailed NSYNC when they first came out.” I remember booking them early on for around $12,000, and by the time they played the shows, [all their tours] were selling out.

Another moment was booking The Monkees when they reunited. MTV started re-running their original show again right before their tour, and by the time summer rolled around, every single date was a massive sellout.

I’ve really enjoyed working on festivals. At one point, we were doing more than 20 festivals in North America and that was my favorite space. I also enjoy working with smaller fairs and helping them figure out how to spend their budget wisely and be successful. I still get great pleasure from that.

What advice would you share with someone entering the business?

I think it’s important to give back. I’ve served on the IEBA board and was president of IEBA. I’ve served on the CMA board and the TJ Martell Foundation board. Those kinds of things are really important, staying engaged and giving back to the community.

Mentoring young people is also important to me. I try to provide as much guidance as I can and help them find the right direction.

CMA Celebrates Songwriting Excellence At 2026 Triple Play Awards

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CMA Triple Play Award recipients with the CMA’s Tiffany Kerns, host Jim Beavers, CMA CEO Sarah Trahern and songwriter advocate of the year Bart Herbison at CMA’s Triple Play Awards. Photo: Alyssa Barker/CMA

The Country Music Association brought together some of country music’s most accomplished songwriters Monday night (April 13) at the 2026 CMA Triple Play Awards, held at the Country Music Hall of Fame and Museum. The annual event recognizes the elite achievement of writing three No. 1 songs within a single year.

The full list of honorees includes Andy Albert, Louis Bell, John Byron, Jessie Jo Dillon, Ashley Gorley, Riley Green, Charlie Handsome, Jacob Kasher Hindlin, Ella Langley, Chase McGill, John Morgan, Blake Pendergrass, Taylor Phillips, Austin Post, Ernest Keith Smith and Morgan Wallen. Many of the honorees were in attendance, each taking a few moments to thank their families, teams and collaborators.

Jim Beavers, a CMA Board member and acclaimed songwriter, emceed the evening, infusing the event with his trademark wit and warmth. Sarah Trahern, CMA CEO, opened the ceremony with remarks, saying “CMA exists to celebrate excellence, to support and advocate for the people who make this music possible, and to help expand the reach of country music.”

Bart Herbison at the 16th Annual CMA Triple Play Awards. Photo: Alyssa Barker/CMA

CMA also honored 43 songwriters who earned their very first No. 1 hit since the last Triple Play celebration, may of whom were in attendance and received a commemorative medallion.

The annual in memoriam segment paid tribute tho those who the music community has lost over the past year, and was accompanied by a performance of The High Kings’ “The Parting Glass” performed by Cary Barlowe, Gordie Sampson and Hillary Lindsey.

One of the evening’s standout moments came as NSAI’s Executive Director Bart Herbison was honored with the 2025 CMA Songwriter Advocate Award, recognizing his decades of impact on the songwriting community. Ahead of the presentation, a video tribute featured messages from songwriters, and industry peers impacted by Herbison’s continuous advocacy for songwriters.

Before Herbison took the stage, Josh Osborne took the stage to perform one of Herbison’s favorite tunes, Keith Urban’s “John Cougar, John Deere, John 3:16.”

Taking the stage to a standing ovation, Herbison highlighted different legislation passed for songwriters and more on the horizon. He also thanked his family, team and mentors. Herbison closed with a statement that sent applause through the room: “Our trademark is ‘it all begins with a song.’ Here’s what I want it to say in a few years: ‘It all begins with a song, a song that a human wrote, a song from which they were fairly paid.’”

A surprise performance from Lee Roy Parnell followed, performing “They Don’t Know You” in honor of Herbison.

In the last surprise of the night, CMA honored Paul Overstreet for his pending induction into the Country Music Hall of Fame by bringing together four of his children, Chord, Nash, Harmony and Summer, to perform a medley of his hits. The medley captivated the room, and included hits such as Randy Travis’ “On The Other Hand,” Blake Shelton’s “Some Beach,” Paul’s own “Seein’ My Father In Me,” and many more.

Hillary Lindsey, Cary Barlow, and Gordie Sampson perform the In Memoriam tribute at the 16th Annual CMA Triple Play Awards. Photo: Alyssa Barker/CMA

Josh Osborne plays a tribute to Songwriter Advocate Award winner Bart Herbison at CMA’s Triple Play Awards. Photo: Alyssa Barker/CMA

Lee Roy Parnell plays a tribute to Songwriter Advocate Award winner Bart Herbison at CMA’s Triple Play Award. Photo: Alyssa Barker/CMA

Summer, Chord, Nash, and Charity Overstreet perform a medley in recognition of their father, Paul Overstreet at the CMA Triple Play Awards. Paul Overstreet is the 2026 Songwriter Inductee into the Country Music Hall of Hame. Photo: Alyssa Barker/CMA

BREAKING: Cindy Mabe Launches Joan Of Arc Music

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Cindy Mabe. Photo: Kevin Wimpy

Music industry veteran Cindy Mabe has launched Joan of Arc Music, a comprehensive entertainment company dedicated to preserving the legacy of country music while championing its future through artist development, label services, publishing, management, TV/film production, next generation technologies and philanthropic impact.

With her decades of proven success in developing country music’s biggest acts, Mabe has guided the careers of superstars including Carrie Underwood, Chris Stapleton, Luke Bryan, Darius Rucker, Brad Paisley, Kacey Musgraves, Keith Urban, and George Strait, among countless others.

“Country music is at a crossroads,” says Mabe, Founder and CEO of Joan of Arc Music. “We risk losing the very essence of what makes country music special—its authentic storytelling, its connection to people’s real lives, and its deep cultural roots. Joan of Arc Music exists to be warriors for creators and protect artistry.”

Joan of Arc Music includes the following four pillars: Joan of Arc Entertainment, which includes artist management, recorded music/label services, project development and marketing and publishing services; Joan of Arc Studio Works, focusing on multi-platform content creation including TV/film production, audio content and short-form monetization; Joan of Arc Ventures, offering strategic investments in innovative partnerships and equity-backed ventures; and Joan of Arc Music Preservation Foundation, a philanthropic division that protects the legacy of country music while championing its continued evolution. The company’s inaugural partnerships include the CMA Foundation, the Country Music Hall of Fame and Porter’s Call.

For distribution, Joan of Arc Music has partnered with Warner Records Nashville.

“This partnership with Cris Lacy and the team at Warner Records Nashville amplifies our mission,” shares Mabe. “Cris is a Nashville veteran whose commitment to the legacy of country music aligns with our vision of preserving the genre’s authentic storytelling while embracing innovative distribution and marketing strategies. Together, we’re creating a powerful platform for both emerging and established artists to reach global audiences.”

In addition to Mabe, Joan of Arc’s leadership team includes Lori Christian, Dawn Gates, Harper Grae, Leigh Morrison and Allison Winkler. Reach them at their emails below.

Cindy Mabe – cindy@joanofarcmusic.com
Lori Christian – lori@joanofarcmusic.com
Dawn Gates – dawn@joanofarcmusic.com
Harper Grae – harper@joanofarcmusic.com
Leigh Morrison – leigh@joanofarcmusic.com
Allison Winkler – allison@joanofarcmusic.com

Devin Dawson Climbs Into Top 20 On MusicRow Top Songwriter Chart

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Devin Dawson.

Devin Dawson has landed in the top 20 on the MusicRow Top Songwriter Chart. Ella Langley‘s “Loving Life Again” and Jordan Davis’ “Turn This Truck Around” put the songwriter at No. 19 this week.

Randy Montana takes the No. 1 spot with “Change My Mind,” “Make A Liar,” “Sleepless In A Hotel Room” and “Time’s Ticking.” Ty Myers moves to No. 2 with his solo-penned tracks “Ends Of The Earth” and “Message To You.”

Langley (No. 3), Blake Pendergrass (No. 4) and Luke Combs (No. 5) round out this week’s top five.

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

Click here to view the full MusicRow Top Songwriter Chart.

ACM Reveals Studio Recording & Industry Awards Nominations For 61st ACM Awards

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The Academy of Country Music has announced the Studio Recording Awards and Industry Awards nominations for the upcoming 61st Academy of Country Music Awards.

The winners will be announced in the coming weeks and trophies will be presented to recipients at the 19th Academy of Country Music Honors event, held annually in August in Nashville. More details including additional honorees for this year’s show will be announced in the coming months.

Studio Recording Award Nominees:

BASS PLAYER OF THE YEAR:
Eli Beaird
Tony Lucido
Steve Mackey
Mike Rinne
Jimmie Lee Sloas

DRUMMER OF THE YEAR:
Fred Eltringham
Evan Hutchings
Chris McHugh
Nir Z
Jerry Roe

ACOUSTIC GUITAR PLAYER OF THE YEAR:
Kris Donegan
Todd Lombardo
Devin Malone
Bryan Sutton
Ilya Toshinskiy

PIANO/KEYBOARD PLAYER OF THE YEAR:
Dave Cohen
David Dorn
Charlie Judge
Billy Justineau
Gordon Mote

SPECIALTY INSTRUMENT PLAYER OF THE YEAR:
Eleonore Denig
Stuart Duncan
Mike Johnson
Scotty Sanders
Justin Schipper

ELECTRIC GUITAR PLAYER OF THE YEAR:
Kris Donegan
Nathan Keeterle
Rob McNelley
Sol Philcox-Littlefield
Derek Wells

AUDIO ENGINEER OF THE YEAR:
Dave Clauss
Jim Cooley
Eric Masse
Buckley Miller
Justin Niebank

PRODUCER OF THE YEAR:
Will Bundy
Carson Chamberlain
Dann Huff
Chris LaCorte
Ben West

Industry Award Nominees:

CASINO OF THE YEAR – THEATER:
Choctaw Grand Theater – Durant, OK
Golden Nugget Lake Charles – Lake Charles, LA
Hard Rock Live (in Seminole Hard Rock Hollywood) – Davie, FL
Resorts World Theatre at Resorts World Las Vegas – Las Vegas, NV
The Venue at Thunder Valley at Thunder Valley Casino – Lincoln, CA

CASINO OF THE YEAR – ARENA:
BECU Live at Northern Quest Casino – Airway Heights, WA
Hard Rock Live at Etess Arena – Atlantic City, NJ
Mohegan Sun Arena – Uncasville, CT
Soaring Eagle – Mount Pleasant, MI
Stir Concert Cove – Council Bluffs, IA

FESTIVAL OF THE YEAR:
C2C: Country to Country Festival – London, England
CMC Rocks – Ipswich, Queensland
Stagecoach – Indio, CA
Tortuga Music Festival – Ft. Lauderdale, FL
Two Step In – Georgetown, TX

FAIR/RODEO OF THE YEAR:
Calgary Stampede – Calgary, Alberta
California Mid-State Fair – Paso Robles, CA
Cheyenne Frontier Days – Cheyenne, WY
Florida Strawberry Festival – Plant City, FL
San Antonio Stock Show & Rodeo – San Antonio, TX

CLUB OF THE YEAR:
Billy Bob’s Texas – Fort Worth, TX
Brooklyn Bowl – Nashville, TN
Cain’s Ballroom – Tulsa, OK
Joe’s Live – Rosemont, IL
The Pinnacle – Nashville, TN

THEATER OF THE YEAR:
Blue Gate Theatre – Shipshewana, IN
Grand Ole Opry House – Nashville, TN
State Theatre – Portland, ME
The Franklin Theatre – Franklin, TN
Ryman Auditorium – Nashville, TN

OUTDOOR VENUE OF THE YEAR:
CMAC – Canandaigua, NY
Fiddler’s Green Amphitheatre – Denver, CO
Floores Country Store – Helotes, TX
The Orion Amphitheater – Huntsville, AL
Red Rocks Amphitheatre – Morrison, CO
Walmart AMP (Arkansas Music Pavilion) – Rogers, AR

ARENA OF THE YEAR:
BOK Center – Tulsa, OK
Bridgestone Arena – Nashville, TN
Dickies Arena – Ft. Worth, TX
Paycom Center – Oklahoma City, OK
T-Mobile Center – Kansas City, MO

DON ROMEO TALENT BUYER OF THE YEAR:
Andrew Fortin – Neste Live!
Susan Heymann – Frontier Touring
Stacy Vee – Goldenvoice
Ed Warm – Joe’s Concerts
Del Williams – Danny Wimmer Presents

PROMOTER OF THE YEAR:
Patrick McDill – Live Nation
Brian O’Connell – Live Nation
Bob Roux – Live Nation
Rich Schaefer – AEG Presents
Adam Weiser – AEG Presents

MusicRow Weekly (News, Charts, More…)

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The latest edition of The MusicRow Weekly captures a dynamic moment across the country music industry, with major award nominations, career milestones and new ventures shaping the week’s headlines. Click here to see the full edition.

Leading the charge is the announcement of nominees for the 61st annual ACM Awards, set to take place May 17 at the MGM Grand Garden Arena in Las Vegas. Megan Moroney tops the list with nine nominations, followed closely by Miranda Lambert with eight. Ella Langley and Lainey Wilson also make an impressive mark with seven nominations each.

Beyond the awards spotlight, the industry continues to see significant professional advancements and recognitions. Big Loud Publishing has elevated Michael Giangreco to President of A&R. Meanwhile, acclaimed songwriter and producer Jordan Reynolds has been honored by Belmont University’s School of Music with the 2026 Curtain Call Award, celebrating his achievements and influence within the songwriting community.

Adding to the week’s developments, Scott Scovill, founder of Moo TV, has expanded his creative reach with the release of his new book, Tenacious: The Art of Relentlessly Pursuing Your Wildest Dreams.

At Maverick Nashville the company announced the promotion of three team members. Tori MacDonald-Nash has been elevated to Director of Artist Projects, Ashley Negrillo steps into the role of Senior Creative Director, and Grace Foster assumes the newly created position of Manager, Marketing Strategy and Fan Engagement.

Sarah Beth Watson has launched Greener Grass Public Relations. In the artist community, Dylan Gossett has signed a management deal with TMWRK, while Sam Palladio has entered a new chapter by signing with 3686 Records.

In addition, the latest MusicRow CountryBreakout Radio Chart is included. Luke Combs remains in the No. 1 spot with “Sleepless In A Hotel Room.” Explore more chart data here.

The MusicRow Weekly is delivered every Friday, featuring Nashville’s top music industry news, exclusive interviews, song reviews, radio and songwriter charts and more. Sign up for free here.

Luke Combs Remains No. 1 On The MusicRow Radio Chart

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Photo: Robby Klein

Luke Combs remains at the top of the MusicRow CountryBreakout Radio Chart this week with his song, “Sleepless In A Hotel Room.”

The track, off of his recent, sixth studio album The Way I Am, was written by Combs, Randy Montana and Jonathan Singleton.

Yesterday, nominees were unveiled for the 61st annual ACM Awards. Combs notched nominations in three different categories, Entertainer of the Year, Male Artist of the Year and Artist-Songwriter of the Year.

“Sleepless In A Hotel Room” currently sits at No. 3 on the Billboard Country Airplay chart and No. 2 Mediabase chart.

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

Tenille Townes Finds Freedom On ‘The Acrobat’ [Interview]

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Tenille Townes. Photo: Madison Rensing

For Tenille Townes, stepping into independence didn’t begin with clarity, it began with uncertainty. But on the other side of that uncertainty, she’s found something far more meaningful: creative freedom.

With the release of her new album the acrobat, Townes enters a defining new chapter, one marked by vulnerability, self-trust and a return to her artistic core.

“I feel like I’ve reached the liberating side of freedom now,” Townes tells MusicRow. “It’s been a winding journey to get to this feeling.”

After years within the traditional label system, Townes admits the initial transition to independence was disorienting. Writing and recording the acrobat became a form of healing, one that allowed her to quiet outside expectations and rediscover her own voice. “This record was very much a return to my creative autonomy,” she explains.

That return has been met with overwhelming support. A vinyl-first launch aimed at dedicated listeners quickly exceeded expectations, selling out its initial goal within an hour.

The album’s title serves as both metaphor and mission statement. For Townes, the acrobat represents the courage required to step into the unknown, especially when it means breaking long-held patterns.

“It’s about returning to that courage inside yourself and taking that leap again,” she says. “And also putting aside people-pleasing tendencies.”

The concept was born from a song she co-wrote with Lori McKenna, one of Townes’ longtime songwriting heroes. Writing from the perspective of a character allowed her enough distance to tell deeper emotional truths, truths that ultimately became the backbone of the entire project.

Townes’ connection with McKenna traces back more than a decade, to her first trip to Nashville. Townes saw McKenna play a round at the Bluebird Cafe, and it left a lasting impression. Years later, that admiration evolved into friendship, mentorship, and eventually collaboration. McKenna not only co-wrote the title track but also lends her voice to it, an addition Townes describes as deeply meaningful.

Townes self-produced the entire album from her home studio, playing instruments and handling the mix herself. The result is intentionally raw and unpolished. Recorded largely on a single microphone, the project leans into its imperfections, creating a live, intimate listening experience.

“All these lead vocals are untuned,” she says. “I just sang it until the emotion felt right.”

The album wasn’t initially intended to be self-produced. What began as simple demo recordings evolved organically into the final product. “I didn’t set out to produce this whole record,” she admits. “But I’m really proud of how it ended up.”

The emotional center of the acrobat lies in its honesty. The song “enabling,” which Townes describes as the starting point for the record, emerged from a deeply personal moment.

“It was really hard to say those things out loud,” she says, recalling a relationship dynamic she recognized in real time. Writing the song allowed her to pause, reflect, and begin untangling those patterns.

From that starting place of turmoil, the album gradually moves toward healing and release. Themes of vulnerability, surrender, and the fleeting nature of time weave throughout the project, from reflections on changing relationships to a poignant song inspired by her great-grandmother’s experience with Alzheimer’s (“she plays the piano”).

Beyond McKenna, Townes also enlisted the folk trio I’m With Her for a collaboration on “grey like Emmylou,” a song inspired in part by Emmylou Harris. The track explores a theme not often addressed in songwriting, the ending of friendships and the evolution of relationships over time.

As the album neared completion, Townes felt something was missing. That missing piece arrived in the form of “we could use a little more,” written in response to the heaviness and division she was seeing in the world.

“I really believe that the love that we’re made of is so much bigger than all of that,” she says. The song became the final addition, and the emotional anchor the project needed.

At its core, the acrobat is about returning to instinct, to truth, and to self. For Townes, making the record was transformative.

“It felt like it helped me find my way back home to myself,” she says. “An I want the record to to help somebody feel a little less alone, that’s always my biggest mission with music.”

And for artists considering their own leap into independence, Townes shared: “Trust yourself. It’s so easy to get caught up in the opinions of others, but all of that has to be secondary to what feels true to your compass.”

DISClaimer Single Reviews: Dan + Shay Share ‘Heartfelt Message’

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Dan + Shay. Photo: Robby Klein

It’s “Duo Day” at DISClaimer.

This collection of collaborations demonstrates that there is strength in numbers. It’s a growing trend, and you’ll hear why.

The Disc of the Day belongs to Dan + Shay. The Irish husband and wife team of Kirwan is our DISCovery Award act of the day.

BRAXTON KEITH & TYLA RODRIGUES / “Do I Ever Cross Your Mind”
Writer: Dolly Parton; Producer: none listed; Label: Warner Records Nashville
– We turn to Oz for this refreshing oldie revival. Keith has been touring there, and Rodrigues is an Aussie up-and-comer. He is one of my favorite new honky-tonk stylists, and she’s quite a country belter, herself. They make quite a team.

BILLY RAY CYRUS & NOAH CYRUS / “On Our Way Along”
Writer: Braison Cyrus; Producers: Braison Cyrus, Ryan Rasmussen; Label: Billion Streams Entertainment
– Billy Ray croaks his way through this slow, moody contemplation. His barely-there singing is accompanied by daughter Noah’s soft, almost buried “echo” vocal. A dense, electronic soundscape backs them. Pass.

DAILEY & VINCENT / “Moon Shines on the Still”
Writers: Bill Whyte/Laura Leigh Jones Robertson; Producer: none listed; Label: DV
– These bluegrass superstars unleash a torrent of rhythm on this rapid-fire salute to backwoods moonshiners. The thrilling tenor vocals are augmented by dazzling mandolin, banjo and guitar runs. An absolute audio delight.

DAN + SHAY / “Say So”
Writers: Dan Smyers/David Hodges/Jimmy Robbins/Shay Mooney; Producers: Dan Smyers, Scott Hendricks; Label: Warner Records Nashville
– Lushly melodic and beautifully produced, this is a heartfelt message of suicide prevention. Kudos for an outstanding performance as well as for the team’s social consciousness.

MO PITNEY & JAKE WORTHINGTON / “Wake Up and Smell the Country”
Writers: Mo Pitney/Wyatt McCubbin; Producers: Jim “Moose” Brown, Mo Pitney; Label: Curb Records
– Rollicking, twangin’ and steel soaked. Both men are stone-country stylists. Together, they’re hard to beat. Naturally, Merle Haggard and George Jones are name checked.

JENNA PAULETTE & JOHN MORGAN / “The Dirt”
Writers: Hillary Lindsey/Jenna Paulette/John Morgan/Will Bundy; Producer: Will Bundy; Label: Leo33
– Working-class romance becomes duet nirvana as these two match voices. Paulette’s penetrating lead voice is joined by a note-perfect harmony vocal by Morgan. It’s a super-strong song of lasting love made even stronger via this collaboration. Play this on repeat.

KIRWAN THE BAND & CLAY WALKER / “Detours”
Writers: Caitriona Maria Kirwan/Colm James Kirwan/Matthew Craig Johnson; Producer: Matthew Craig Johnson; Label: Kirwan Music Group
– Uplifting, encouraging and stirring. The husband-wife Kirwan duo carries this message of hope and resilience with a rumbling backbeat. Walker chimes in, but this is the Irish team’s record all the way. Recommended.

THELMA & JAMES / “Alternate Ending”
Writers: Jake Etheridge/Josh Jenkins/MacKenzie Porter/Maggie Chapman; Producer: Lonas; Label: Big Loud Records
– This young pair is currently opening for Luke Combs on tour. They have a charming sound with his heartbroken tenor blending with her aching soprano harmony. The churning, rhythm-happy track contrasts with the song’s downbeat tale. I was totally taken in by this performance. “James” is Jake Etheridge, and “Thelma” is Mackenzie Porter.

SKIP EWING & MAE ESTES / “Stronger Where You’re Broken”
Writer: Skip Ewing; Producers: Bryan Sutton, F. Reid Shippen, Skip Ewing; Label: Write! Records
– Veteran Ewing and newcomer Estes sound splendid together on this tempo tune of encouragement. It helps that he is such a masterful songwriter. She harmonizes with soft strength and perfectly placed ad libs. She should have been louder in the mix.

AVERY ANNA & SAM BARBER / “Fear in God”
Writers: Avery Anna/Sam Barber; Producer: David Fanning; Label: Warner Records Nashville
– This is the lead track of Avery Anna’s new EP. Its drowsy pace, meandering melody and muddy-sounding rock guitar don’t sound very “country.”

JESSE & NOAH / “On Again, Off Again”
Writer: Noah Bellamy; Producers: Jesse Bellamy, Noah Bellamy; Label: Usonia
– These two are the sons of David Bellamy of The Bellamy Brothers. On this honky-tonk ballad they’re joined by Tess Frizzell, who is the daughter of Shelly West & Allen Frizzell and the granddaughter of Dottie West. The pedigrees show: Both Noah and Tess display effortless grace in their vocal performance. Check out the video: It was shot at Hank Snow’s old Rainbow Ranch digs in Madison.

WILSON FAIRCHILD / “Lean On Me”
Writer: Bill Withers; Producer: Michael Sykes; Label: Gaither Music Group
– And speaking of second-generation acts, these fellows are also the children of country royalty. They are Wil Reid and Langdon Reid, the sons of Harold Reid and Don Reid of The Statler Brothers. True to their heritage, their countrified take on this Bill Withers classic is drenched in multi-part harmonies. This is a superb single. You’ll be singing along by the time they get to the penultimate, hand-clapped chorus.

MARCUS HUMMON & LEVI HUMMON / “Bless the Broken Road”
Writers: Bobby Boyd/Jeff Hanna/Marcus Hummon; Producer: Marcus Hummon; Label: 3686 RECORDS
– Papa Marcus and son Levi have been performing this classic together at various get-togethers. Their version is eloquently lovely, infused with sincerity and intimacy. Levi’s perfect tenor lead is accompanied solely by Marcus’s rippling piano work and low-harmony vocal blend. This is an acoustic jewel that warms the spirit and tugs at the heart.