MusicRow’s Rising Women On The Row Brings The Community Together

MusicRow‘s Sherod Robertson interviews Lynn-Oliver Cline at Rising Women on the Row. Photo: Steve Lowry

At MusicRow‘s annual Rising Women on the Row breakfast event on Thursday (March 23), more than 500 music business professionals came out to support the 2023 class of honorees. Now in its 10th year, MusicRow honored Big Loud’s Stacy Blythe, Neon Coast’s Martha Earls, WME’s Beth Hamilton, RIAA’s Jackie Jones, Spotify’s Brittany Schaffer and Sony Music Publishing’s Anna Weisband.

Before the program commenced, attendees visited, drank coffee and took photos at the photo booth. When MusicRow Owner/Publisher Sherod Robertson took the stage, he recognized the event’s presenting sponsors, City National Bank and Loeb & Loeb, before introducing featured speaker Lynn Oliver-Cline.

Each honoree was presented their Rising Women on the Row trophy and gave a brief speech. Click here to read Bobby Karl’s recap of the event.

Rising Women on the Row honorees Jackie Jones, Stacy Blythe, Martha Earls, Beth Hamilton, Brittany Schaffer, Anna Weisband with featured speaker Lynn Oliver-Cline. Photo: Steve Lowry

Honoree Stacy Blythe with her family at Rising Women on the Row. Photo: Steve Lowry

Honoree Brittany Schaffer with her family at Rising Women on the Row. Photo: Steve Lowry

Honoree Beth Hamilton with her WME team at Rising Women on the Row. Photo: Steve Lowry

Honoree Jackie Jones with her daughter at Rising Women on the Row. Photo: Steve Lowry

Honoree Martha Earls at Rising Women on the Row. Photo: Steve Lowry

Honoree Anna Weisband with colleagues at Rising Women on the Row. Photo: Steve Lowry

MusicRow‘s 10th annual Rising Women on the Row. Photo: Steve Lowry

MusicRow‘s 10th annual Rising Women on the Row. Photo: Steve Lowry

MusicRow‘s 10th annual Rising Women on the Row. Photo: Steve Lowry

MusicRow‘s 10th annual Rising Women on the Row. Photo: Steve Lowry

MusicRow‘s 10th annual Rising Women on the Row. Photo: Steve Lowry

MusicRow‘s 10th annual Rising Women on the Row. Photo: Steve Lowry

MusicRow‘s 10th annual Rising Women on the Row. Photo: Steve Lowry

BMLG Records Signs Greylan James

Pictured (L-R, back row): BMLG’s Allison Jones, Morris Higham Management’s Brandon Morlock, Morris Higham Management’s Clint Higham, Greenberg Traurig’s Jess Rosen, BMLG’s Megan Joyce, Morris Higham Management’s Will Hitchcock; (L-R, front row): BMLG Records’ Jimmy Harnen, Greylan James, BMLG’s Scott Borchetta

BMLG Records, a subsidiary of HYBE America, has announced the signing of Greylan James, a 26-year-old from Knoxville, Tennessee. James joins the imprint’s roster which includes Lady A, Brett Young, Riley Green, Chris Janson and Shane Proffitt.

James was performing around East Tennessee by his early teenage years. Since moving to Music City eight years ago, he has earned cuts from Kenny Chesney (“Happy Does”), Chris Young (“If That Ain’t God), and Cole Swindell (“How Is She”) among others. Following his independently released EP, I Hope She Hears These, James shares his newest track “Undermine” via BMLG. He is represented by Morris Higham Management and WME in Nashville.

“When I was 14 years old, I wrote and mailed Scott Borchetta a letter that told him who I was and why he should sign me,” shares James. “For some reason, I just always had a feeling Scott was going to be part of my career. Now 12 years later, I can’t believe I get to work with him and the incredible BMLG team. “Thank you, Scott, Allison Jones, Julian Raymond, Jimmy Harnen, Ryan Dokke, Andrew Kautz and the rest of the crew for taking this chance on me. I can’t wait for the world to hear what we’re working up and hope folks enjoy ‘Undermine’ in the meantime. I know they’ve been asking for it for a while.”

“This is such an amazing signing!  Talk about ‘manifesting’… that Greylan has had the vision and desire to be with Big Machine since he was a young boy is just incredible,” says  Scott Borchetta, BMLG Chairman and CEO. “He’s become one of the best young writers in Nashville and his recording career is now lined up to follow his writing success in short order. Welcome to the Machine, Greylan!”

“We had the pleasure of having Greylan play us his huge collection of songs earlier this year and were blown away,” says Harnen, BMLG Records’ President/CEO. “He has an incredibly fresh approach to his writing, yet his body of work is so right at the core. Be sure to check out his killer live show and guitar virtuoso this spring while he’s tour with Old Dominion!”

James will appear at the Big Machine Distillery on March 24 before joining Old Dominion’s “No Bad Vibes Tour,” kicking off next Friday, March 31.

Corey Kent Earns First No. 1 On MusicRow Radio Chart

Corey Kent. Photo: Matthew Berinato

Corey Kent earns his first No. 1 song on the MusicRow CountryBreakout Radio Chart this week with his explosive single “Wild As Her.”

The tune was written by Morgan Wallen, Kelly Archer and Brett Tyler and was recently certified Platinum by the RIAA. It has garnered over 190 million on-demand streams, landed Kent his first-ever entry onto the Billboard Hot 100, reached No. 15 on the Hot Country Songs Chart and is currently inside the Top 20 on other country radio charts.

Kent was named as a CMT Listen Up Artist for 2023, a Pandora Artist to Watch and was recently nominated for an AIMP Nashville Country Awards for AIMP Rising Artist-Writer of the Year.

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

DISClaimer Single Reviews: Luke Combs’ ‘Mighty Voice Is Unfurled In Majesty’

Luke Combs. Photo: Jeremy Cowart

Is there a more country-music sounding first name than Luke? Discuss.

In the meantime, give a Disc of the Day award to Luke Combs and a DisCovery Award to Luke Grimes.

There’s a lot more to like in today’s country round-up. If you want to feel good about the genre again, I prescribe a listening session that includes Bailey Zimmerman, Carly Pearce, Tim Dugger and the two unrelated Evans folks, Morgan and Tony.

TIM DUGGER / “Buy a Bar”
Writers: Brandon Kinney/Josh Thompson; Producer: Brandon Hood; Label: Curb Records
Cleverly penned and a raucous ride. The video is wonderfully good humored and self deprecating. Recommended.

BAILEY ZIMMERMAN / “Religiously “
Writers: Alex Palmer/Austin Shawn/Bailey Zimmerman/Frank Romano/Marty James; Producers: Austin Shawn/Joel Bruyere; Label: Warner Music Nashville/Elektra
This heartache lament is the title tune of his forthcoming album. It’s his most expressive performance to date, full of the ache and woe of someone who has lost true love and won’t ever get it back.

CHARLES ESTEN / “One Good Move”
Writers: Charles Esten/Sam Backoff/Zarni DeVette/Elise Hayes; Producer: Marshall Altman; Label: none listed
The Nashville TV series alumnus is now on the hit Netflix series Outer Banks. But he continues to pursue his country-music dream in Music City. His latest begins as a soft piano ballad and builds to a super-melodic, oomphy, chesty anthem of loss and regret. Lend him your ears.

MARCUS MUMFORD & MAREN MORRIS / “Look at Us Now”
Writers: Marcus Mumford/Blake Mills; Producer: Blake Mills; Label: Atlantic
A sonic wonderland. It’s currently an Amazon exclusive that will hopefully get wider distribution.

ANN-MARGRET, T.G. SHEPPARD & PETE TOWNSEND / “Bye Bye Love”
Writers: Boudleaux Bryant/Felice Bryant: Producer: none listed; Label: Cleopatra Records
The vocals are compressed to the max, and the mix is muddy. But, hey, she’s a legend, so you know you want to hear it, right? T.G. holds up his end of the duet expertly. Townsend’s guitar gets in a few licks, especially in the finale. By the way, Ann-Margret began her recording career on Music Row.

DYLAN SCOTT & JASON CRABB / “Good Morning Mercy”
Writers: Jason Crabb/Jay DeMarcus/Caleb Ward/Jordan Ward; Producers: Jay DeMarcus; Label: Red Street Records
The song has already been a Christian-music hit for the electrifying Crabb. Teamed with Curb’s Scott, it gets a new lease on life. Crabb takes a high-harmony vocal while Scott holds down the melody, and both men take admirable solo spots.

LUKE COMBS / “5 Leaf Clover”
Writers: Luke Combs/Jessi Alexander/Chase McGill; Producers: Luke Combs/Chip Matthews/Jonathan Singleton; Label: River House/Columbia Nashville
His heart is in his throat on this beautiful song of gratitude and blessings. His mighty voice is unfurled in majesty as he soars professing love on the choruses. The production is wonderfully shaded and restrained. The new Combs album drops tomorrow, and that is where you’ll find this mini masterpiece.

THE HAMMOND BROTHERS / “Cap Guns and Skinny Horses”
Writers: Dale Hammond/Gale Hammonds; Producers: none listed; Label: Dynasty
Very enjoyable. Jangly and thumping with hearty heartland harmonies. A nostalgia-tinged reverie with warmth and spirit.”

CARLY PEARCE / “Should’ve Known Better – Live From Music City”
Writers: Carly Pearce/Jordan Reynolds/Emily Shackelton; Prodcuers: Carly Pearce/Dave Clauss; Label: Big Machine
I don’t usually review live tracks, but this is a special case — a superb country singer at the top of her game who sounds just as good in person as she does in the studio. It’s totally cool when the gals in the audience sing along.

MORGAN EVANS / “On My Own Again”
Writers: Chris DeStefano/Geoff Warburton/Morgan Evans/Zach Kale; Produced by: Chris DeStefano; Label: Warner Music Nashville 
Breezy, flowing and wafting — he’s on the road in the wake of a breakup. The guitar plucking is pretty special, too. Marvelously listenable.

TONY EVANS JR. / “Kids We Never Had”
Writers: Fred Wilhelm/Tony Evans Jr.; Producer: Ron Fair; Label: BFD
He’s a smooth, intimate-sounding baritone with a voice to get lost in. It didn’t work out between them, but sometimes he muses about what might have been. This is Evans’ second stunning performance in this column in as many weeks. Surely stardom awaits.

LUKE GRIMES / “Oh Ohio”
Writers: Jessi Alexander/Jon Randall/ Luke Grimes; Producer: Dave Cobb; Label: UMG Nashville, Warner Chappell Music
His vocal rasp is completely gripping as he slowly makes his way through this ballad of sorrowful farewell.

Bobby Karl Works The Room: Rising Women On The Row Hits An Emotional Bullseye

MusicRow‘s Rising Women on the Row Class of 2023. Pictured (L-R): Jackie Jones, Stacy Blythe, Martha Earls, Beth Hamilton, Anna Weisband, Brittany Schaffer. Photo: Steve Lowry

Bobby Karl Works The Room: Chapter 666

Rising Women on the Row celebrated its 10th anniversary in style on Thursday morning (March 23).

Staged as an annual breakfast gala by MusicRow at the Omni Hotel’s ballroom, the event honors worthy women in the Nashville entertainment business. Rising Women on the Row provided inspiration, encouragement and an emotional-support gathering for its attendees.

This event has become a key date on the music-biz social calendar, which was evidenced by a capacity crowd of 550 and sponsorship tables hosted by more than two dozen top Music City firms.

“Welcome to the 10th anniversary of ‘Rising Women on the Row,’” greeted MusicRow Owner/Publisher Sherod Robertson. “You have supported this event…and brought your positive energy.” He noted that Rising Women has honored 55 women to date who have “inspired us every step of their careers.”

Lynn Oliver-Cline speaks at Rising Women on the Row. Photo: Steve Lowry

This year’s keynote was sounded by previous honoree Lynn Oliver-Cline. During a Q&A with Robertson, the River House Artists exec advised, “You have to have a thick skin in this business. You have to learn to manage the highs and the lows. You just have to work through it. And you’re not in in alone.” When bad times come, “You’ve gotta stay strong for everyone around you. Tomorrow is a new day.”

Nearly all of this year’s speakers, including her, spoke of “having it all,” combining a successful career with raising a family.

“They represent a commitment to excellence,” said Robertson of the six 2023 honorees. He brought on MusicRow Director of Operations LB Cantrell to assist in the Rising Women presentations.

Many of the honorees brought their children to the event, including Big Loud Records promotion exec Stacy Blythe. “Stay confident in your vision, and you will achieve great things,” she advised. Blythe noted that many of her label’s department heads are female and that her own promotion department is 70% women.

Neon Coast owner Martha Earls brought her 9- and 11-year-old daughters on stage. “You can accomplish all that you want to accomplish,” she said. “Be the person now that you needed when you were younger.”

“I’ve been coming to this event for many years,” reflected WME agent Beth Hamilton. “I love it. [This community] is a daily source of encouragement.”

The RIAA’s Jackie Jones suggested, “Be kind to others and leave things better than you found them.” She, too, introduced her daughter to the crowd. “We want to make bringing our families [to work] the rule rather than the exception.”

Brittany Schaffer recently left her executive position at Spotify to become a dean at Belmont University. She grew weepy as she talked about her husband and family. “You can have it all,” she promised.

“This season, the mountains are way higher and the lows are so much lower,” said Sony Music Publishing VP Anna Weisband. “Thank you for honoring me. I love this event so much, and I always leave here so inspired. I am lifted up and encouraged.”

And that, my friends, is what it’s all about.

Erika Wollam Nichols, Shannan Hatch, Rachel Whitney, Diane Pearson, Lori Badgett, Tiffany Dunn, Leslie Roberts, Kelli Currier, Ebie McFarland, Sheree Spoltore, Preshus Harris, Caryl Atwood and many more femme fabulons attended, as did such male supporters as Rusty Gaston, Jon Platt, Mike Molinar, Woody Bomar, Charlie Cook, B.J. Hill, Jimmy Wheeler, Kerry O’Neil, Dale Bobo, Allen Brown, Jay Williams and Todd Cassetty.

Presenting sponsors City National Bank and Loeb & Loeb filled their tables with greats, as did such folks as Red Light, Warners, Tri Star, BMI, SESAC, BBR, CMA, Spotify, The AMG, Safford Motley, Oh Creative, Black River, Wrensong, FBMM, Opry Entertainment, Pinnacle and Riser House.

We all feasted on the Omni’s perfectly scrambled eggs, sausage balls, biscuits, bacon, melon, strawberries, pineapple and cheesy potatoes.

Pictured (L-R): MusicRow‘s LB Cantrell, honoree Stacy Blythe, MusicRow‘s Sherod Robertson. Photo: Steve Lowry

Pictured (L-R): MusicRow‘s LB Cantrell, honoree Martha Earls, MusicRow‘s Sherod Robertson. Photo: Steve Lowry

Pictured (L-R): MusicRow‘s LB Cantrell, honoree Beth Hamilton, MusicRow‘s Sherod Robertson. Photo: Steve Lowry

Pictured (L-R): MusicRow’s LB Cantrell, honoree Jackie Jones, MusicRow‘s Sherod Robertson. Photo: Steve Lowry

Pictured (L-R): MusicRow’s LB Cantrell, honoree Brittany Schaffer, MusicRow‘s Sherod Robertson. Photo: Steve Lowry

Pictured (L-R): MusicRow‘s LB Cantrell, honoree Anna Weisband, MusicRow’s Sherod Robertson. Photo: Steve Lowry

My Music Row Story: WME’s Beth Hamilton

Beth Hamilton

The “My Music Row Story” weekly column features notable members of the Nashville music industry selected by the MusicRow editorial team. These individuals serve in key roles that help advance and promote the success of our industry. This column spotlights the invaluable people that keep the wheels rolling and the music playing.

Beth Hamilton is a seasoned veteran in the music industry and has been with WME since 2016. In her role as an agent, she manages the daily touring opportunities for multiple artists, including Chris Stapleton, Eric Church, Luke Bryan, Dierks Bentley, Brothers Osborne, Ashley McBryde, The Cadillac Three, Caylee Hammack, Caitlyn Smith and others.

Prior to being an agent, Hamilton began her career working at music venues—notably the Lucas Theatre in Savannah, Georgia—before joining the former William Morris Agency as an assistant booking the Northeast territory. In 2008, she transitioned into artist management at Modern Management working with Josh Turner, Sara Evans and Diamond Rio before returning to the agency side of the business in 2016 to work alongside WME Nashville office Co-Head Jay Williams.

Outside of being a respected agent, she actively volunteers her time supporting the Women of Endeavor mentorship program and offering career guidance to young females aspiring to make an impact in the music business.

Hamilton will be honored as part of the current class of MusicRow’s Rising Women on the Row on March 23. 

MusicRow: Where did you grow up?

I grew up in northeast Ohio on a 200-acre farm. My grandparents lived next door. My mom still lives in my childhood home.

Photo: Courtesy of Beth Hamilton

What were your dreams then?

It was very much a small town life centered around church, family and farming, which was great in a lot of ways. But I always, from the time I was little, wanted to live in a big city. I now appreciate where I came from, but I had dreams outside of my hometown.

Were you musical as a kid?

I liked music and a lot of it was centered around church. When I was 12 or 13, I started playing piano in church. That was my musical start. I went to a few Michael W. Smith and Amy Grant concerts. I listened to a lot of rock music, but did not really get into country until college.

What did you do in college?

I got a degree in psychology, but I didn’t really know what I wanted my path to be. I just knew I wanted to do something different, something fun. I had a couple of friends who were moving to Nashville—some of them were trying to be artists and some of them were on the business side. I thought, “That actually sounds kind of fun. I’m just gonna go on a whim.” So I moved down here without a job and I didn’t really know anyone.

Photo: Courtesy of Beth Hamilton

How did you get your start?

I had a couple of temp jobs at first. I had a friend at the Dove Awards, so I worked for them for a couple of months to help with the show. I worked in the office at the Ryman as an assistant and I got to know people at the Ryman. I got a little disillusioned—I thought I would move here and would have this certain level of success really quickly and it was a little bit frustrating. I decided go back to grad school, so I actually went back to Virginia to James Madison University for a year. The second I got there, I thought I made the biggest mistake of my life. [Laughs]

Near the end of my first year, my old boss at the Ryman—Paul Couch—called me and said, “I was just offered a job and took it. I’m going to be the Executive Director of this small performing arts theater in Savannah, Georgia. If you want to come work for me, move here and you can have whatever job you want.” My immediate response was, “Yes, I’m there.”

What was that time like?

It was an old, 1920s movie theater that was turned into a 1,200 seat theater. It had been under this huge restoration project for over 12 years and it was finally going to open. Paul and I were the ones laying the groundwork to get the theater operating. I was very young and very green, but was given a tremendous amount of responsibility. For example, I was just shown a blank space in the lobby and told, “That’s going to be your box office. Figure it out.” I was the Events Manager there, but we were a really small team, so I did a little bit of everything and I loved it.

I was there a couple of years. It was operating as a nonprofit and long story short, they gave it to the Savannah College of Art & Design who brought on their own staff to run it. I loved Savannah so much and I tried to stay there, but I knew returning to Nashville would give me more opportunities to work in music.

Photo: Courtesy of Beth Hamilton

What was your next move?

Barry Jeffrey—who works at WME and has been responsible for so many hires—knew I was really interested in this side of the business. I came back to town and started as an assistant at WME, which was the William Morris Agency at the time, and was an assistant there for about three and a half years and got accepted into the agent trainee program.

Paradigm soon offered me an agent job. They were expanding their fair and festival department, so I went over there and was the first female agent in their Nashville office. After about a year, I joined Ted Greene and Modern Management to oversee touring for their clients including Sara Evans, Diamond Rio and Josh Turner. I already had great relationships with them from working with their team on the agency side.

What did you learn from your time in management that you bring into your role as an agent now?

As an agent, you are taking into account so many factors in touring. On the management side, you have a whole set of additional details to consider. You’re looking at budgets and every little expense that goes into being on the road. You are leasing buses, hiring band and crew, and you’re seeing some of the challenges we don’t see as much on this side. I was talking to production managers and tour managers all day long every day, and having to solve problems from that side of things, so coming back here I’ve gained another set of knowledge. I’m certainly not a production or technical expert, but I can talk that language.

Photo: Courtesy of Beth Hamilton

What brought you back to WME?

I will say this: from the second I left, my inner circle was either still at the agency or they were people that I had met there. I missed the people and culture. I don’t have regrets because I think things happen the way they should, but I always missed it. Keith Miller—who I worked for here and is my biggest mentor—I was still talking to him multiple times a day. I went to lunch with him at least once a week.

I got a call from Becky Gardenhire and she said, “Hey, I have this idea that I wanna throw out to you and I think you’re going to say no, but I just want you to listen and think about it. Jay Williams is in need of a right-hand person, not just another assistant. With his roster and the amount of responsibility he has, I think that you would be perfect for it and it could be the next step that you’re looking for.” I respect her so much, so I told her I would think on it, but in my mind I was concerned I’d be taking a step back. I decided to go to lunch with Jay and just talk it over. We ended up having a two-hour lunch and I left so excited. It was an amazing opportunity. So I returned to WME to work alongside Jay and then in 2019, I was officially promoted to agent. I still work really closely with him on everything, which has been a great working relationship.

Now, with Jay, you work with Chris Stapleton, Eric Church, Luke Bryan, Dierks Bentley, Brothers Osborne, Ashley McBryde and more. What was it like when you first came on?

When I started with Jay, Chris Stapleton‘s big shift was happening where he was becoming an arena and amphitheater headliner. That was really exciting to be a part of. At the time, Brothers Osborne was just in the middle of their first club tour. I’ve been able to have a big hand in their growing success as touring artists. I now also work closely with Ashley McBryde and I’ve seen her grow so much as an artist, and I’m excited to help take her headline touring to the next level.

Photo: Courtesy of Beth Hamilton

What’s a day in the life like for you?

It’s a little bit of everything. We’re working with artists on the club and theatre level, all the way up to stadiums and everything in between. I’m constantly on the phone with managers and interacting with other agents in the office. A lot of days it is putting out fires.

As an agent, we cover more than just routing tours. It’s podcasts, television, film, brand partnerships, books and more. We’re having those bigger conversations and figuring out what other paths an artist wants to explore and how we can bring those opportunities to them.

Which part of your job is most fulfilling?

When a tour you’ve been working on for months gets announced, it’s fulfilling to see everything come full circle. Going to live shows is always fulfilling too, especially when I’m surrounded by my colleagues. Everyone contributes to the success of our clients and it’s rewarding to see our hard work come to life. I am also so lucky to work with artists whose talent and music I truly admire.

Who are your mentors?

Keith Miller is by far my biggest mentor. He retired a couple of years ago from WME. I was his assistant when I worked at the William Morris Agency. To be honest, I was a little scared of him at first. [Laughs] But he quickly became one of my closest friends. He is so smart about deals and numbers. He pays attention to the smallest detail and every dollar matters to him. He remains one of my closest confidants to this day and I still go to him for guidance.

Jay Williams is one of the best in the business. He’s genuine. His relationships with his clients are like nothing I have ever seen. He’s friends with them and he knows them well. He knows music. He treats people with a great amount of respect and I feel lucky to be able to work with him every day.

What is some of the best advice you’ve ever gotten?

Have thick skin and the best advocate for you is you. Your family, your mentors and your coworkers all care about you, but you still have to advocate for yourself. You know in your gut if something is right or something is wrong. You also can’t assume that someone else knows you have a passion for something.

You will be honored as one of MusicRow‘s Rising Women on the Row tomorrow. What has your experience been like as a woman in the industry?

I will say from the time I first became an agent at Paradigm to now, it’s significantly different. It’s significantly better. There are certainly still challenges, but we have so many more women working here now and in leadership positions. Becky is a Co-Head here in Nashville and Lucy Dickins is the Global Head of Contemporary Music and Touring. I have spent a little time with her and she’s incredibly smart, a great person and a great advocate for women.

We have a mentorship program here where you’re paired with an assistant or a newer hire, and I think that’s really important, especially females supporting other females. You should always look out for the future leaders who are coming up behind you. It’s important to spend time with not only your peers in this industry, but also those aspiring to learn and grow in their careers.

Morgan Wallen & Co-Writers Swarm MusicRow Top Songwriter Chart

Pictured (L-R): Ryan Vojtesak, Morgan Wallen and Ashley Gorley.

As his new album, One Thing At A Time, impacts the country charts, Morgan Wallen and his co-writers swarm the MusicRow Top Songwriter Chart.

Wallen remains at No. 1 this week as a co-writer on 16 currently charting songs. In addition to 14 from his new album, he is also a co-writer on Keith Urban‘s “Brown Eyes Baby” and Corey Kent‘s “Wild As Her.”

Ashley Gorley, who has credit on 12 of Wallen’s charting songs, remains at No. 2. Ryan Vojtesak moves to No. 3 with 15 Wallen songs, John Byron leaps to No. 4 with 9 and Ernest rounds out the top five with 11.

Other One Thing At A Time contributors on the MusicRow Top Songwriter Chart include Blake Pendergrass (No. 6), Hardy (No. 7), Jared Mullins (No. 9), Josh Thompson (No. 10), Miranda Lambert (No. 11), Nicolle Galyon (No. 12), Brett Tyler (No. 16), Travis Wood (No. 20), Josh Miller (No. 22), Ben Johnson (No. 26), Rodney Clawson (No. 27), Rocky Block (No. 31), Ben Stennis (No. 33), Jacob Kasher (No. 38), Chase McGill (No. 41), John Pierce (No. 49), Cameron Montgomery (No. 50), Hillary Lindsey (No. 52), Taylor Phillips (No. 54), Travis Denning (No. 55) and Zach Abend (No. 59).

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.

Veteran Nashville Publicist Liz Thiels Passes

Liz Thiels. Photo: Donn Jones for the Country Music Hall of Fame and Museum

Liz Thiels, one of the founders of Nashville music publicity, died yesterday (March 19) at age 78.

Thiels ended her distinguished career with a vice presidency at the Country Music Hall of Fame. She joined the museum in 2002 as Vice President for Public Relations, and retired as a key member of its executive team in 2015.

During her tenure, she helped raise the institution’s profile and deepen the public’s understanding of its educational mission. She also served as a guiding vision for dozens of key museum events, including its annual Medallion Ceremony, which formally inducts new members of the Country Music Hall of Fame.

The Louisiana native rose to prominence in Music City as a co-founder of the historic Exit/In nightclub in 1971. This legendary nightspot hosted a who’s-who of national recording artists — Jimmy Buffett, Linda Ronstadt, Steve Martin, George Jones, Etta James, Johnny Cash, Muddy Waters, R.E.M., The B-52s, Willie Nelson, Billy Joel, Bily Crystal, John Hiatt, Buddy Rich, Jerry Lee Lewis and more. The club was featured in the 1975 Robert Altman film Nashville.

Beginning in 1974, she was a key member of the Sound Seventy management and concert-promotion team. The company staged the massively successful, annual, all-star Charlie Daniels Volunteer Jam shows in Nashville.

In 1979, Liz Thiels launched Network Ink. This was the first publicity company in Nashville to focus solely on music. Clients included Ricky Skaggs, Wynonna, Kathy Mattea, Reba McEntire, Steve Wariner, Dolly Parton, Lyle Lovett, Brooks & Dunn, Mary Chapin Carpenter, Clint Black, Nanci Griffith, WSM radio, Universal Music Group, Clay Walker and Guy Clark, among many others. During this time, she also served as a council member of the W.O. Smith Community Music School.

Thiels was born in Alexandria, Louisiana, in 1944. She attended the University of Southwest Louisiana in Lafayette, Louisiana, and Louisiana State University in Baton Rouge, majoring in advertising design.

She began her career as a newspaper reporter in Louisiana. Thiels went to Washington, D.C. as the press secretary for U.S. Congressman Speedy O. Long. After moving to Nashville in the late 1960s, she worked at Holder, Kennedy Public Relations.

Following her Exit/In and Sound Seventy stints, she helmed Network Ink for more than 20 years. Her P.R. firm trained a generation of Nashville music publicists, including Lance Cowan, Kim Fowler, Mike Hyland, Dixie Owen, Jennifer Bohler, Ellen Pryor and Kevin Lane. Liz Thiels became sole owner of Network Ink in 1985.

One of her clients there was the Country Music Hall of Fame. She was instrumental in the capital campaign that raised $18 million to build its new downtown home. She also oversaw the publicity surrounding its move from Music Row.

The Hall of Fame hired her as a full-time executive in December 2001. She closed Network Ink and assumed her new duties in January 2002.

“Liz Thiels elevated and enhanced the profile of country music in countless ways,” said Kyle Young, CEO of the Country Music Hall of Fame and Museum. “She was the consummate music business publicist — heading her own firm…and also expertly guiding public relations for the Country Music Hall of Fame and Museum, first as a PR consultant and then as a staff member, for a total of more than three decades.

“A vital figure in the museum’s successful move in 2001 to downtown Nashville, she was instrumental in strategizing for our growth and crucial in positioning the museum as both a key fixture in Nashville’s music community and an institution of national stature. I can’t imagine where the museum would be without her many years of wise counsel.”

In November 2008, Thiels was recognized at the museum’s annual Louise Scruggs Memorial Forum, which honors music industry leaders who represent the legacy of music business manager Louise Scruggs.

In honor of her love of gardening, the museum now includes a fresh herb garden onsite, the Liz Thiels Hillbilly Garden, which provides ingredients for the museum’s restaurant.

Her death came following a long illness. Funeral arrangements have not been announced.

CMA Launches New Membership Tiers

The Country Music Association has announced the launch of a new membership structure that features four tiers of membership—Student, Industry, Professional and Lifetime. With the restructure, CMA aims to offer both prospective and current music industry personnel access to professional development, educational programming, mental health resources, opportunities for intentional connection and so much more.

The Student tier is completely free and offered to high school or college students aged 16 or older (or high school/college-aged individuals) who are interested in working within the music industry, whether that is the Country Music industry or beyond. Student members will receive access to internships and apprenticeships, tailored and intentional programming (including access to CMA’s collegiate professional development program, CMA EDU), as well as opportunity for community building.

The Industry tier is offered to both current and prospective music industry professionals who don’t work the majority of time in country music. Industry members see value in being connected to CMA and have access to a portion of membership benefits. The Industry tier costs $25 annually.

The Professional tier is offered to industry professionals who primarily work within country music. Professional members receive access to research and insights, professional development opportunities, thoughtful community connection, healthcare guidance, customer/client cultivation, mentoring, CMA’s member directory, opportunities to purchase event tickets and more. Professional members are invited to vote for the CMA Awards and other industry honors if they meet additional criteria. Financial assistance is available to assist with annual dues ($100) through scholarships and individual sponsorships.

The Lifetime tier is offered to various individuals who have achieved prominent industry accolades. Lifetime members receive all benefits provided to Professional members, in addition to specialized communication and a premier level of community connection.

“As part of our strategic planning, every few years, we take a deeper look at CMA’s operations to ensure that we are set up for success,” says Sarah Trahern, CMA Chief Executive Officer. “In looking specifically at CMA Membership, we saw the need to not only create growth opportunities with our industry’s future in mind, but to also ensure our organization and what we offer our industry remains relevant. It’s important that our business recognize why CMA exists and how we can be instrumental not only in the genre’s success, but the success of each and every individual who has an investment or interest in country music. We are excited to continue to support our current members, and we look forward to welcoming new members into CMA.”

“Throughout the past several years, including the work we did to support our industry through the pandemic, we truly understand the value of listening,” adds Tiffany Kerns, Senior Vice President, Industry Relations & Philanthropy. “We cannot assume we know what our members want. What excites me most is seeing how feedback from those within country music and even music industry professionals working in other genres has directly influenced what CMA Membership has become. We recognize the importance of wrapping our arms around individuals even before they step foot into our industry, and we intend to support them throughout their careers.”

Current CMA members can access a brand-new member website by logging into CMAmember.com. Additional content and information will continue to be featured for members to frequently engage with. Prospective members are also encouraged to visit the new website to learn more about what CMA membership can offer and to find out which tier is best suited for their own professional journey.

Bailey Zimmerman Notches Third Week At No. 1 On MusicRow Radio Chart

Bailey Zimmerman. Photo: Chris Ashlee

Bailey Zimmerman marks his third consecutive week atop the MusicRow CountryBreakout Radio Chart with “Rock and A Hard Place.”

The tune was written by Heath Warren, Jacob Hackworth and Jet Harvey, and appears on Zimmerman’s first full-length release, Leave The Light On. The project became the most-streamed all-genre debut of 2022 upon release as well as the biggest streaming country debut of all time.

Zimmerman is out on the road with Morgan Wallen on his “One Night At A Time World Tour.” The 39-date trek will visit multiple legendary venues including stadium stops at New Jersey’s MetLife Stadium, Chicago’s Wrigley Field, Los Angeles’ SoFi Stadium and Boston’s Fenway Park before wrapping on Oct. 7 at Tacoma Dome in Washington.

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