MusicRow Weekly (News, Charts, More…)

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This week’s MusicRow Weekly shines a spotlight on several major developments across Nashville’s music landscape, showcasing both industry evolution and a strong commitment to community care. Click here to see the full edition.

Singer-songwriter Matt Stell has deepened his relationship with Endurance Music Group, entering into a new joint venture label deal that builds on his already successful publishing alliance with the company.

Dierks Bentley has announced the launch of the Broken Branches Fund, a multi-year commitment to bolstering mental health support for the creative and touring communities. Administered in partnership with Music Health Alliance (MHA), the fund will provide mental health grants covering outpatient counseling and structured follow-up care for qualified individuals and their families. Bentley’s move underscores a growing awareness and responsibility within the industry to address mental well-being.

Big Machine Records has promoted Rachel Burleson to Senior Director of Streaming. Spirit Music Nashville has welcomed Nick Autry to its roster through a global publishing agreement.

Marketing agency RESULTS GLOBAL revealed formation of a new Digital & Social Media division. Spearheaded by Katrina Maddox as Head of Digital & Social, the team also includes Lindsey Parrish and Tess Schoonhoven as Social Media Managers, and Conner McEuen as Paid Media Manager.

The music business sees the debut of Gutt Law, PLLC,  founded by entertainment attorney Rachel Guttmann. The Nashville-based practice is joined by attorney Victoria Powell and Morgan Brasfield, who will serve as Head of Operations.

Kenny Chesney kicked off his much-anticipated Las Vegas residency at The Sphere with star-studded surprises. The opening night featured Kelsea Ballerini, who joined Chesney for emotional renditions of their chart-topping duet “Half Of My Hometown,” the fan-favorite “You & Tequila,” and an impromptu performance of “She Thinks My Tractor’s Sexy.” Grace Potter also took the stage during the weekend, reuniting with Chesney for another powerful delivery of “You & Tequila.”

Eric Church delivered back-to-back performances at The Pinnacle on May 23 and 24, offering a celebration of his latest project, Evangeline Vs. The Machine.

In addition, the latest MusicRow CountryBreakout Radio Chart is included. Riley Green maintains his No. 1 spot for the fifth consecutive week with “Worst Way.” 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.

Taylor Swift Buys Back Her Masters, Reclaiming First Six Albums

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Taylor Swift performs onstage during night one of “The Eras Tour” at Nissan Stadium. Photo: John Shearer/TAS23/Getty Images for TAS Rights Management

Taylor Swift has bought back her master recording catalog from Shamrock Capital, giving her ownership of her six original albums.

“All the times I was this close, reaching out for it, only for it to fall through,” Swift shared in a letter on her website. “I almost stopped thinking it could ever happen after 20 years of having the carrot dangled and then yanked away. But that’s all in the past now. I’ve been bursting into tears of joy at random intervals ever since I found out that this is really happening. I really get to say these words: All of the music I’ve ever made… now belongs to me. All of my music videos. All the concert films. The album art and photography. The unreleased songs. The memories. The magic. The madness. Every single era. My entire life’s work.”

 

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Scooter Braun’s Ithaca Holdings first purchased Swift’s catalog in 2019 from Big Machine Label Group. After the purchase, Swift began to re-record the albums in an effort to regain control over the songs commercially, with Fearless (Taylor’s Version) releasing in April 2021, Red (Taylor’s Version) in November 2021, Speak Now (Taylor’s Version) in July 2023 and 1989 (Taylor’s Version) in October 2023.

According to Luminate data, Fearless (Taylor’s Version) and Red (Taylor’s Version) out streamed their originals, with Fearless earning three times more album units as the original, and Red with 10 times the original.

Over Swift’s entire catalog, she has racked up 116.77 million album units in the United States, according to Luminate, stretching back to her self-titled debut album in 2006. She has sold 54 million albums in the U.S. and has generated 70.746 billion streams.

Riley Green Holds No. 1 For Fifth Week On MusicRow Radio Chart

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Pictured: Riley Green; Photo: Jeremy Cowart

Riley Green holds onto the No. 1 position on the MusicRow CountryBreakout Radio Chart for a fifth consecutive week with his solo-written hit, “Worst Way.”

The song appears on Green’s recent, third studio album Don’t Mind If I Do, and is already certified Platinum.

Green will be busy next week at the 2025 CMA Fest (June 5-8). The artist has scheduled performances at Spotify House, Nissan Stadium and a meet and greet at the “Busch Country” experience in Ascend Park.

“Worst Way” currently sits at No. 3 on the Billboard Country Airplay chart and No. 3 on the Mediabase chart.

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

DISClaimer Single Reviews: Sister Sadie Brings ‘Tart Lyric & Swaying Fiddling’

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Sister Sadie

The country-music scene is thoughtful and contemplative today, with a solid lineup of slower fare. 

Bucking the ballad trend in this edition of DISClaimer is the all-female band Sister Sadie. Its new music sounds like a blend of bluegrass and ‘90s country, and the fusion works like gangbusters. Check out our rollicking Disc of the Day winner, “Do What You Want.”

Taking home this week’s DISCovery Award is Zach John King.

THE STEELDRIVERS / “Booze and Cigarettes”
Writers: Tammy Rogers King/Verlon Thompson; Producer: The Steeldrivers; Label: Sun Records
– The SteelDrivers dropped their new Outrun album last week, and this single from it is a bluesy bluegrass treat. The lonely guy in the bar isn’t a regular…. yet. He’s just drinking and smoking by himself, because that’s what he deserves. The brisk tempo and hearty vocals sound just fine. The band is celebrating its 20th anniversary and dedicates the new set to late, lamented group mainstay, Mike Henderson.

JOSH TURNER / “Unsung Hero”
Writers: Josh Turner; Producer: Kenny Greenberg; Label: MCA Nashville
– Turner wrote this about his grandfather, one of the “greatest generation” men who nobly fought in World War II. The rolling tempo, the swirling minor-key instrumental track and the singer’s resonant baritone give it oomph and drama.

HUDSON WESTBROOK & MIRANDA LAMBERT / “House Again”
Writers: Dan Alley/Hudson Westbrook/Neil Medley; Producers: Lukas Scott, Ryan Youmans; Label: River House Artists/Warner Music Nashville
– It’s a slow waltz with the singers swapping verses about the dissolution of a relationship and the empty house that used to be a home. The close-harmony vocal passages are twin-like. Perfectly executed.

RODNEY CROWELL & ASHLEY McBRYDE / “Taking Flight”
Writers: Ashley McBryde/Rodney Crowell; Producer: Tyler Bryant; Label: New West Records
– A wanderer’s saga, complete with missteps, heartbreak and abandonment. The detail in the lyric is super engaging. Crowell and McBryde both sound resigned and world weary as the tale slowly unfolds. Rodney Crowell plays next Wednesday (June 4) at Cheekwood in its Under the Stars concert series. Showtime is 7 p.m. Be there.

JOHN MORGAN / “Kid Myself”
Writers: John Morgan/Jordan Schmidt/Tyler Hubbard; Producer: Brent Anderson; Label: Broken Bow Records
– He fell into a relationship when he was too young to know the ropes. Now he regrets how it all went down, because he misses her. Sincere sounding. Recommended.

LAINEY WILSON / “Somewhere Over Laredo”
Writers: Andy Albert/Dallas Wilson/Edgar Yipsel Harburg/Harold Arlen/Lainey Wilson/Trannie Anderson; Producer: Jay Joyce; Label: Broken Bow Records
– The song is okay, but her expressive, beautifully shaded and perfectly phrased vocal performance of it is topflight. The production frames the performance with exquisite, understated elegance.

ZACH JOHN KING / “Lose You”
Writers: Alex Hope/Sasha Alex Sloan/Zach John King; Producer: Ryan Wilson; Label: Sony Music Nashville
– Strummy, energetic and jaunty. Devotion, sung with verve and addictive hooks. I’m in.

DUSTIN LYNCH / “Easy To Love”
Writers: Ben Johnson/Dustin Lynch/Hunter Phelps/Jon Hall/Zach Crowell; Producer: none listed; Label: BBR Music Group/Broken Bow Records
– An easy-going track accompanies a ditty about how tough it is for him to be in a relationship.

SISTER SADIE / “Do What You Want”
Writers: Dani Flowers/Erin Enderlin/Sharon Richardson; Producer: Deanie Richardson; Label: Mountain Home Music Company
– The much honored and applauded all-female bluegrass sextet returns with a totally cool, waltz-time outing of feisty, independent-female sass. A delightful listen, from the tart lyric to the swaying fiddling, from the glorious harmonies to the rowdy-gang finale. The schoolhouse video is a blast. The tune is drawn from the band’s All Will Be Well album, which drops on June 27. Can’t wait.

SHERYL CROW / “I Know”
Writer: Sheryl Crow; Producer: Sheryl Crow; Label: The Valory Music Co.
– This is Mental Health Awareness Month. In recognition, the new Rock & Roll Hall of Fame inductee offers this poignant, soothing song that addresses her struggles with depression. The gentle, acoustic-based production surrounds her flawless soprano vocal with a lovely, wafting breeze of sound. We are so blessed to have this nine-time Grammy winner in our community.

JON BELLION & LUKE COMBS / “Why”
Writers: Aaron Dessner/Amy Allen/Blake Slatkin/Jonathan Bellion; Producers: Aaron Dessner, Blake Slatkin, Jon Bellion, Pete Nappi; Label: JB
– Pop singer and top producer Bellion enlisted country powerhouse Combs to join him on this powerful meditation about the fears and joys of fatherhood. The mighty Luke does not let him down, and the two dads communicate evocatively on the ballad. Thoroughly compelling listening.

GAVIN ADCOCK / “Never Call Again”
Writers: Colton Venner/Gavin Adcock/Jack Rauton/Joybeth Taylor; Producer: Jay Rodgers; Label: Thrivin Here Records/Warner Music Nashville
– Plaintive and aching. Singing at the top of his range, he burns with heartache.

REBECCA LYNN HOWARD / “Strong”
Writers: Elisha Hoffman/Jennifer Fiedler/Rebecca Lynn Howard/Trey Smith; Producer: Elisha Hoffman; Label: Pump House Records
– ‘Keep on keepin’ on,’ sings Howard on this empowering, inspiring ballad. And does she sing. This lady remains one of our most potent country vocalists, and she shows in her comeback music that she has lost none of her fire. I was a fan when she emerged on the scene as a teenager in 1999, and I’m still a fan today. The new album, I’m Not Who You Think I Am, dropped earlier this month.

Matt Stell Signs Label Deal With Endurance Music Group

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Pictured (L-R): EMG Creative Director Courtney Kruckeberg, Rich MGMT’s Brendan Rich, EMG Co-President and Chief Creative Officer Michael Martin, Stell, EMG Co-President and General Manager Mark Ahlberg, EMG Vice President of Creative Lauren Funk and Rich MGMT’s Chase Miller

Matt Stell has expanded his long-standing publishing alliance with Endurance Music Group, signing a joint venture label deal with the company.

The first release through EMG, “Heaven & Back,” will be available everywhere on May 30.

“Matt is a truly dynamic talent and we’re excited to grow our relationship with him as he enters the next phase of his career,” says Jeremy Tucker, Chairman, Endurance Music Group. “Our mission has always been to support our artists and writers and create great music. Working alongside Matt, Brendan, and the team at Rich MGMT is a privilege and we look forward to building something exceptional together.”

“Getting to work with Endurance Music Group in this new capacity is a dream come true,” says Stell. “They believe in what I’m making as much as I do. We’ve already done amazing things together, and this is truly the next step in our journey. I couldn’t be more excited about it and what’s to come.”

With 600+ million streams and back-to-back No. 1 singles “Prayed for You” and “Everywhere But On,” Arkansas-born Stell merges candid storytelling with arena-sized hooks. His 2024 debut album Born Lonely opened at No. 2 on Apple Music Country, and his single “Breakin’ in Boots” reached country radio’s Top 15 in 2025.

John Byron Jumps Into Top 10 On MusicRow Top Songwriter Chart

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John Byron. Photo: Chris Hornbuckle.

John Byron has moved into the top 10 on the MusicRow Top Songwriter chart. Thomas Rhett’s “After All The Bars Are Closed” as well as Morgan Wallen’s “Just In Case,” “Love Somebody,” “Smile” and “Superman” all push the songwriter into the No. 8 spot this week.

Riley Green remains in his No. 1 spot with solo-penned “Worst Way.” Charlie Handsome stays at No. 2 with “I Ain’t Comin’ Back,” “I Had Some Help,” “I’m The Problem,” “Just In Case,” “Love Somebody,” “Smile” and “Superman.”

Morgan Wallen (No. 3), Ernest (No. 4) and Jessie Jo Dillon (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.

Eric Church Ignites The Pinnacle For Two Unforgettable Nights

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Eric Church performs at The Pinnacle. Photo: Jason Kempin/Getty Images for ABA

Over two nights at The Pinnacle this weekend (May 23 and 24), Eric Church delivered an epic, emotionally-charged celebration of his latest album, Evangeline Vs. The Machine, leaving fans on a high from the sheer power of his performance. Known for his live shows and uncompromising artistry, Church raised the bar even higher.

Eric Church performs at The Pinnacle. Photo: Jason Kempin/Getty Images for ABA

As the house lights dimmed, a haunting clock chime echoed through the venue, creating an atmosphere thick with anticipation. All eyes turned toward the massive stage screen, where a live hand-drawn illustration of the Evangeline Vs. The Machine album cover began to appear in real time. The artwork ticked and shifted with mesmerizing precision, counting down the final moments before the show began.

“Chief! Chief! Chief!” the crowd chanted as Church stepped into the spotlight. Dressed in black, with his iconic sunglasses on, he was backed not only by his band but also a full choir and orchestra, signaling this was no ordinary show. Without a word, Church launched into “Hands of Time,” the opening track off the new album, immediately setting the emotional tone. He followed with “Bleed on Paper,” elevated by the choir’s powerful harmonies, wrapping the audience in an almost gospel-like trance.

Then came “Johnny” and “Storm in Their Blood,” two tracks that pushed the show’s energy forward, blending story-driven lyrics with soaring instrumental swells.

Eric Church performs at The Pinnacle. Photo: Jason Kempin/Getty Images for ABA

The momentum only grew as the haunting “Darkest Hour,” which was written after Hurricane Helene in Church’s home state of North Carolina, seamlessly bled into “Evangeline.” Church didn’t need to cue the crowd, instinctively, they began clapping in sync, transforming the venue into one unified heartbeat. Then he blasted into the rollicking “Rocket’s White Lincoln.”

Church turned the energy up with a growling cover of Tom Waits’ “Clap Hands.” Then the crowd was treated to a string of hits including “Desperate Man,” “Give Me Back My Hometown” and “Homeboy.” Each song drew roars of recognition, memories bubbling to the surface. “Sinners Like Me” felt like a church sermon as fans sang every word with conviction. “Creepin’” followed, its stomping beat shaking the very floor.

Eric Church performs at The Pinnacle. Photo: Jason Kempin/Getty Images for ABA

Between songs, Church took a moment to connect with the crowd. “My favorite times as a music fan was knowing that I was seeing something live,” he said. “Not on YouTube, not on TikTok, but live. Knowing I would never ever be in that moment again.”

He pushed forward with “Knives of New Orleans,” before launching into a mashup of “Smoke a Little Smoke,” “Take Me to the River” and “Sweet Leaf.” Then came “The Outsiders,” “Hell of a View” and “Mistress Named Music,” each louder than the last. Finally, the most anticipated moment arrived with “Springsteen,” with every single ticket holder locked in to the nostalgic hit.

But Church wasn’t finished. For the encore, he returned with “Holdin’ My Own,” followed by the reflective “Those I’ve Loved.” He closed with “Like Jesus Does,” stripping things down to quiet reverence.

MusicRow Weekly (News, Charts, More…)

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This week’s edition of The MusicRow Weekly is packed with career moves, legislative advocacy and exciting new partnerships shaping the future of country music and its creators. Click here to see the full edition.

Big Loud Records promoted Tyler Waugh to Senior Vice President of Radio Promotion, recognizing his nearly decade-long impact on the label’s chart-topping success. Waugh has played an instrumental role in 30 No. 1 singles and recently made history with Post Malone and Morgan Wallen’s “I Had Some Help,” which debuted with 167 first-week adds on country radio, a record-setting feat.

The Country Music Hall of Fame and Museum honored Dolly Parton with the opening of its new exhibit, “Dolly Parton: Journey of a Seeker.” Monday’s event (May 19) featured performances from Alison Krauss & Union Station and an address by Parton herself, paying tribute to her remarkable journey and enduring influence.

On Capitol Hill, country icon Martina McBride lent her voice in support of the bipartisan NO FAKES Act during a Senate Judiciary Subcommittee hearing on May 21. Introduced by Senators Marsha Blackburn, Amy Klobuchar, Chris Coons and Thom Tillis, the bill seeks to protect individuals from AI-generated deepfakes by establishing federal rights over voice and likeness. The legislation has received widespread support from nearly 400 artists and performers.

In touring news, Alan Jackson gave a bittersweet farewell to the road as he wrapped his “Last Call: One More for the Road Tour” on May 17. During the show, Jackson announced a final concert scheduled for summer 2026 in Nashville, a city integral to his storied career.

The National Music Publishers’ Association (NMPA) is set to honor two songwriting powerhouses at its annual meeting on June 11. Kacey Musgraves will receive the prestigious Songwriter Icon Award, while Rhett Akins will be recognized with the Non-Performing Songwriter Icon Award. The event will be held at Lincoln Center’s Alice Tully Hall.

Several major music companies announced key personnel moves and new signings this week. Warner Music Nashville welcomed Paige Elliott as National Director for the WEA Radio Promotion Team and promoted Kayla Burnett to Manager, Radio. At BBR Music Group/BMG Nashville, Allan Geiger and Haley Wirthele received promotions within the Content & Creative department. Meanwhile, Big Machine Music signed rising Island Records artist Will Linley to a publishing deal.

Peermusic Nashville expanded its leadership team with Jennifer Hall joining as Senior Creative Director. The company also promoted Matt Michiels to Vice President, Creative, and Cameron Stutts to Senior Creative Coordinator. Sheltered Music Publishing launched a new creative partnership with Roger Springer, Dena Weaver and Crystal Pony Publishing, signing Will Banister as the first artist under the joint venture.

In the songwriting and publishing world, Katie Cecil joined Electric Feel Entertainment’s Nashville roster, while singer-songwriter Jordyn Shellhart also signed a global publishing deal with Kobalt.

Finally, Country Radio Broadcasters announced the leadership team for the 2025-2026 Country Radio Seminar Agenda Committee. Shelley Hargis and Krista Hayes-Pruitt return as Chair and Co-Vice Chair respectively, joined by newcomer Kevin Callahan in a Co-Vice Chair role.

This week’s MusicRow Weekly also features a conversation with FBMM’s Dan Killian.

In addition, the latest MusicRow CountryBreakout Radio Chart is included. Riley Green maintains his No. 1 spot for the fourth consecutive week with “Worst Way.” 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.

Riley Green Spends Fourth Week At No. 1 On The MusicRow Radio Chart

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Pictured: Riley Green; Photo: Jeremy Cowart

Riley Green maintains his spot atop the MusicRow CountryBreakout Radio Chart for the fourth consecutive week with his solo-penned track “Worst Way.”

The song appears on Green’s recent, third studio album Don’t Mind If I Do, and is already certified Platinum.

Green recently graced the cover of MusicRow‘s flagship directory, InCharge. This annual guide highlights some of the most influential industry executives in the Nashville music business. This year’s edition includes 370 profiles which are accompanied by contact information, career biographies and detailed board and organizational membership affiliations.

“Worst Way” currently sits at No. 5 on the Billboard Country Airplay chart and No. 5 on the Mediabase chart.

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

Tucker Wetmore Makes Triumphant Ryman Debut

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Tucker Wetmore. Photo: Chase Foster

Tucker Wetmore. Photo: Chase Foster

A sold-out Ryman Auditorium fell into a roar of cheers Wednesday night (May 21) as the lights dimmed, setting the stage for a career-defining night for country newcomer Tucker Wetmore. In his first-ever Nashville headline show, Wetmore delivered a heartfelt, high-energy performance.

As the opening sequence flashed a old film mock-up titled “The Ryman Presents: Tucker Wetmore,” fans knew they were in for a night that was uniquely his. Launching into “Break First” and “Already Had It,” Wetmore commanded the stage with confidence. “We’re at the freaking Ryman! This is absolutely insane,” he shouted between songs, visibly emotional as the crowd echoed his excitement.

“Silverado Blue” turned into a sea of swaying arms, while the live debut of “Give Her the World” offered a tender moment of vulnerability. When opener Jacob Hackworth joined Wetmore onstage for their co-written hit “Wine Into Whiskey,” the crowd took over the chorus, singing back every word.

Moments of spectacle, like climbing the stage platform for “Bad Habit,” balanced with intimate ones, such as sitting on the steps to deliver “Mister Miss Her.” He ended “Casino” with a powerful a cappella finish that left the room in reverent silence before bursting into applause.

Gavin DeGraw & Tucker Wetmore. Photo: Chase Foster

One of the most memorable stretches came during a stripped-down piano medley. “Piano was my first love,” Wetmore said, taking a seat at the keys. “So far, it’s been my only one. I wanted to play a part of my set where I just sit here and play the piano like I’m 10 years old again sitting in my living room playing for the fly on the wall.” The medley was a tour de force with a Beethoven score, a crowd-led intro to Queen’s “Bohemian Rhapsody,” a wild spin through Jerry Lee Lewis’ “Great Balls of Fire,” and a soulful take on Lionel Riche’s “Easy (Like Sunday Morning).” That transitioned into Wetmore’s “What Not To,” with the room glowing in cell phone lights.

Tucker Wetmore & his team during his plaque presentation. Photo: Chase Foster

“This is why I do music,” he told the crowd. “I know you guys come to shows to let all your worries out the door and just let loose.” That led into his rising radio single “3,2,1” and the introspective “What Would You Do?”

A surprise mini-cover set brought extra fire when a gritty version of “I Don’t Want to Be” saw Gavin DeGraw himself take the stage, followed by rowdy renditions of Georgia Satellites’ “Keep Your Hands to Yourself” and Hank Williams Jr.’s “All My Rowdy Friends Are Coming Over Tonight,” bringing the house to its feet.

As the night wound down, Wetmore took a moment to speak directly to the crowd. “Music set aside, just me and you right now, thank you for making my dreams come true every single day,” he said through tears, sharing how he moved to Nashville five years ago with a handful of songs and a dream, and a mom who never stopped believing in him. He held up plaques awarded earlier in the evening, honoring his 1 billion global career streams, as well as “Wind Up Missin’ You” achieving RIAA 2x Platinum certification.

He closed with a crowd-pleasing duo including his first No. 1 radio single “Wind Up Missin’ You” and the catchy, fan favorite “Brunette.”

Tucker Wetmore. Photo: Chase Foster

Tucker Wetmore. Photo: Chase Foster

Tucker Wetmore. Photo: Chase Foster