Brooks & Dunn performs at Nissan Stadium on Thursday, June 5, 2025, during CMA Fest presented by SoFi in downtown Nashville.
The 52nd CMA Fest kicked off on Thursday (June 5) with a packed night of performances at Nissan Stadium, as fans from around the globe gathered for country music’s biggest party.
Singer K. Michelle opened the evening with a powerful rendition of the national anthem, setting the tone for an emotional and celebratory night.
Jason Aldean performs at Nissan Stadium on Thursday, June 5, 2025, during CMA Fest presented by SoFi in downtown Nashville.
Charles Esten was first to take the stage. The singer-songwriter and Nashville TV star welcomed former castmates Clare Bowen, Jonathan Jackson and Sam Palladio to join him for a nostalgic reunion, including a performance of “Down the Road.”
Buzzy newcomer Ella Langley followed, holding her own with stadium-ready vocals on “Paint The Town Blue,” “Girl You’re Taking Home” and “Weren’t For The Wind.” She amped up the energy by inviting Riley Green out for their chart-topping, ACM Award-winning duet “You Look Like You Love Me.”
Green kept the momentum going with a well-received set that included fan favorites “Different ’Round Here,” “There Was This Girl” and “I Wish Grandpas Never Died.” He brought a hush over the crowd with “Jesus Saves,” a solo write inspired by “a guy sitting on the side of the road here in Nashville, Tennessee.” Langley returned to join him on another duet, “Don’t Mind If I Do,” and Green closed with the swoon-worthy “Worst Way,” earning cheers from the women shown on the big screen.
Riley Green performs with Ella Langley at Nissan Stadium on Thursday, June 5, 2025, during CMA Fest presented by SoFi in downtown Nashville.
Throughout the night, fans were treated to additional performances on a satellite stage in the stadium. Sister duo Tigirlily Gold energized with “Shoot Tequila” and “Forever From Here,” while Max McNown shared his country-folk style on “A Lot More Free” and “Better Me For You (Brown Eyes).”
Scotty McCreery also took to a special stage in the middle of the stadium floor, delivering beloved hits “Five More Minutes” and “Damn Strait.”
Darius Rucker kept things warm and nostalgic with “When Was the Last Time,” “Come Back Song,” “Alright,” and “Beers and Sunshine.” He thrilled fans with the Hootie classic “Only Wanna Be With You,” and closed with his Diamond-certified smash “Wagon Wheel,” turning the stadium into a full-on singalong.
The energy climbed even higher when Country Music Hall of Famers Brooks & Dunn hit the stage. They opened with “Play Something Country” and a surprise appearance from Lainey Wilson. Their run of timeless hits—including “Red Dirt Road,” “Ain’t Nothing ’Bout You,” “Neon Moon” and “My Maria”—was full of playful moments, from the lingering last note of “Neon Moon” to the soaring falsettos of “My Maria.” In another standout moment, they brought out country-rocker Marcus King for a fiery take on “Rock My World (Little Country Girl).”
Darius Rucker performs at Nissan Stadium on Thursday, June 5, 2025, during CMA Fest presented by SoFi in downtown Nashville.
Just after midnight, Jason Aldean took the stage to close the night with a jolt of energy. He powered through hits like “Hicktown,” “Dirt Road Anthem,” “My Kinda Party,” and his new chart-topper “Whiskey Drink,” which became his 30th No. 1 just last week. He capped his set by inviting fellow Georgia native Travis Tritt to join him for a rousing rendition of “It’s a Great Day to Be Alive.”
The music continues tonight, as CMA Fest rolls on with another full day and night of unforgettable moments.
https://musicrow.com/wp-content/uploads/2025/06/fest25-thu-BERRY-HB2_5756-scaled.jpg17072560LB Cantrellhttps://musicrow.com/wp-content/uploads/2019/03/MusicRow-header-logo-Mar19B.pngLB Cantrell2025-06-06 14:21:312025-06-06 14:22:10CMA Fest 2025 Night 1: Jason Aldean, Brooks & Dunn, Riley Green & More Deliver A Big Kickoff
The latest edition of The MusicRow Weekly captures a flurry of major industry news, spotlighting significant executive shifts and landmark signings. Click here to see the full edition.
At Music Corporation of America (MCA), Rob Femia has been elevated to Chief Operating Officer, adding the title to his existing role as Executive Vice President of Business & Legal Affairs. Femia now oversees operations across the label group’s roster, which includes EMI Records Nashville, Lucille Records, Mercury Nashville, and MCA Nashville.
On the radio front, Big Loud Records has made a notable addition with the hiring of veteran broadcaster Lauren “LT” Thomas as Senior Vice President, Radio Promotion. She joins recently promoted SVP Tyler Waugh and will report directly to EVP Stacy Blythe.
WME is also making strategic moves, announcing that industry veteran Leslie Cohea will join as Partner and Music Touring Executive. Cohea officially starts on July 14.
Taylor Swift revealed that she has bought back her master recording catalog from Shamrock Capital, securing ownership of her six original studio albums. In a letter posted to her website, Swift described the acquisition as a deeply personal victory in her fight for artist control and ownership.
Country star Kane Brown is branching out into film with his feature debut in the upcoming romantic comedy The Token Groomsman. Starring alongside Taylor Lautner, Brown will play Neil, the loyal and humorous best friend who guides Lautner’s character through a chaotic weekend pursuit of money and love.
Celebrated singer-songwriter Lori McKenna has renewed her long-standing relationship with Creative Nation, extending her publishing, management, and record deals with the independent company.
Hudson Westbrook has signed a record deal with River House Artists in partnership with Warner Music Nashville, while Cole Goodwin has signed a record deal with Big Machine Records.
Leadership Music has announced its incoming Class of 2026, welcoming 46 new members to its prestigious program. Beginning in October, participants will engage in an eight-month journey to gain comprehensive insight into the music industry, fostering cross-functional knowledge and deep networking opportunities.
Post Malone is stepping further into Nashville’s cultural landscape with plans to open a massive new entertainment venue at 305 Broadway. In partnership with TC Restaurant Group, the 26,000-square-foot space will boast six bars, three stages, a full-service restaurant, and a rooftop. The site is under renovation with a focus on preserving its historic architecture, and once complete, it will feature the largest ground-floor footprint on Broadway.
On the publishing side, Micah Wilshire has inked an exclusive, global deal with Universal Music Publishing Group, while Sony Music Publishing has secured two new signees: Joe Reeves and country artist Frank Ray, who joins under a worldwide agreement. Presley Barker has also joined Universal Music Publishing Nashville with an exclusive publishing deal.
Riser House Entertainment is expanding its internal team, adding three new members across key departments. Alex Heimerman has been named Vice President, Streaming & Strategic Partnerships. Hayley Irvine comes on board as Product Manager, and Eliza Charette joins as Project and Label Relations Coordinator.
In agency news, Jayson Entertainment Group has announced the creation of a new agency division, to be led by Matt Malcolm. His leadership will guide the company’s efforts to expand its footprint in artist representation and booking.
One of the more unique partnerships this week comes from Spirit Music Group, which has launched a joint publishing venture with NFL star DeAndre Hopkins and music exec Erik Belz. The new venture, LASA Music, will be led creatively by Belz, and has announced its flagship signing: Lecade. The deal includes select catalog songs and future works, marking a bold crossover between sports and music.
In addition, the latest MusicRow CountryBreakout Radio Chart is included. Morgan Wallen takes the No. 1 spot with “Just In Case.” 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.
Morgan Wallen is back at the No. 1 position on the MusicRow CountryBreakout Radio Chart with his track, “Just In Case.”
The song appears on Wallens’ recent, fourth studio album I’m The Problem, and was written by Wallen, Alex Bak, John Byron, Jacob Kasher Hindlin, Blake Pendergrass, Josh Thompson, Charlie Handsome and Ernest Smith.
I’m The Problem has achieved historic success, debuting at No. 1 in seven countries. In the U.S., he broke his own record for the most simultaneous entries on the Billboard Hot 100, with 37 songs charting at once.
“Just In Case” currently sits at No. 11 on the Billboard Country Airplay chart and No. 11 on the Mediabase chart.
It’s the battle of the country groups today in DISClaimer.
Vying for preeminence are the Zac Brown Band, The War and Treaty, Old Dominion and the combination of Home Free with Chapel Hart. It’s anybody’s race. In a toss-up decision, Old Dominion wins the Disc of the Day award.
It’s also a group that takes home the week’s DISCovery Award—the duo of Thelma & James.
There’s plenty to enjoy in this review playlist. Dive in and create your own sounds of summer.
ASHLAND CRAFT / “Dive Bar Beauty Queen” Writer: Ashland Craft; Producers:Ashland Craft, Jess Grommet, Lee Starr; Label: Leo33
– Craft celebrated the release of her album last week at—where else?—The American Legion Hall on Gallatin Pike. Its title tune is a snappy, rowdy country rocker packed with steel and twang guitar. This gal has guts and glory in her voice.
ZAC BROWN BAND / “I Ain’t Worried About It” Writers: Channing Wilson, Chris Gelbuda, John Driskell Hopkins, Zac Brown; Producer: Zac Brown; Label: Warner Music Nashville/Home Grown Music
– What a groove, a splash-country, mellow, multi-rhythmic wave of audio delight. Vocal harmonies? Check. Merry attitude? Check. Relaxing vibe? Check. Summertime anthem? Double check.
THE KENTUCKY GENTLEMEN / “To the Moon” Writers: Brandon Campbell/Derek Campbell/Jessica Cayne/Matthew Morrisey; Producers: David Mescon; Label: River House Artists
– The twin-brother duo celebrates the release of its Rhinestone Revolution album tomorrow evening at The Blue Room in Jack White’s complex. The collection contains this slow-jam ballad begging for one last shot at ecstasy. The female voice at the top of the harmony stack in the mix belongs to Brittney Spencer. A delicious change of pace for the party guys.
BEN FULLER & CARRIE UNDERWOOD / “If It Was Up To Me” Writers: Ben Fuller/Ben Glover/Jeff Sojka; Producer: Sam Martinez; Label: Essential Records
– Christian/country singer-songwriter Fuller surprised the Opry audience on Tuesday evening when Underwood appeared to duet with him on this breezy, rushing, inspirational outing. The rhythm track chugs and strums in ear tickling fashion while the two singers swap leads and harmony vocals. Loved the line about “blisters on my soul.” An excellent production. You’ll find it on Fuller’s album Walk Through Fire, which drops tomorrow.
AMYTHYST KIAH / “Empire of Love” Writers: Amythyst Kiah/Sean McConnell; Producer: Butch Walker; Label: Rounder Records
– Kiah espouses her love of Appalachia and spirituality on this pop-rocker. The genre-resistant East Tennessean has it on her eclectic current collection, Still + Bright, recorded in Music City. Her alto voice sounds stronger than ever, and she demonstrated it on Wednesday at the National Museum of African American Music (NMAAM) when she sang “Bad Case of the Blues” at the event celebrating the 79th birthday of Black female country pioneer Linda Martell.
OLD DOMINION / “Water My Flowers” Writers: Jerry Flowers/Jordan Reynolds/Matthew Ramsey/Trevor Rosen; Producers: Old Dominion, Shane McAnally; Label: Sony Music Nashville
– Ridiculously hooky and a complete audio addiction. But what else is new? This band seems to live and breathe hooks. The restless tempo and haunting melody pull you into the swirl of questing, loneliness and doubt in the lyric. Massively wonderful.
ANA CRISTINA CASH / “Cheap Margaritas” Writers: Erika Ender/Frank Ray/Jess Cayne/Willie Breeding; Producers:John Carter Cash, Willie Breeding; Label: Avondale Records
– Kinda flirty, kinda sensuous and easy going. This goes down as smoothly at its titular mixed drink on a steamy summer night. Cash is of Cuban descent, so there is a Spanglish version available as well.
THE WAR AND TREATY / “Feels Like Home” Writers: Michael Trotter Jr./Tanya Trotter; Producers:none listed; Label: World Entertainment
– Utterly captivating. The rollicking folkie track with its rippling banjo and slapped snare quickens your pulse. Their voices are thrilling and urgent as they unspool the love lyric. A dazzling single, putting their awesome vocals in an exciting new production setting. Put this magical sound on your playlist at once. The duo performs at CMA Fest tomorrow at Riverfront. Standing ovations predicted.
SCOOT TEASLEY / “Whiskey Burns” Writers: Jon Stark/Scoot Teasley/Valerie Broussard; Producer: Nicholas Sainato; Label: Amigo Records
– Booze will destroy your relationship and numb the pain when it does. Teasley continues to impress with his youthful, powerfully sung, update on country traditions.
BAILEY ZIMMERMAN / “Comin ‘In Cold” Writers: none listed; Producer: none listed; Label: Warner Music Nashville/Elektra Entertainment
– Packed with energy. Zimmerman sounds eager and ready as he sees a heartbreaker headed his way. Highly personable. Highly listenable. Highly recommended.
HOME FREE & CHAPEL HART / “Texas Hold ‘Em” Writers: Beyoncé Knowles/Brian Bates/Elizabeth Lowell Boland/Megan Bülow/Nathan Ferraro/Raphael Saadiq; Producer: Darren Rust; Label: Home Free Records
– The five-man a cappella group Home Free joins forces with the Chapel Hart female trio to craft an irresistible cover of the Beyonce smash. Harmony vocal nirvana, plus snappy beats and whistling. This one’s a total blast.
SCOTTY McCREERY & HOOTIE & THE BLOWFISH / “Bottle Rockets” Writers: Bobby Hamrick/Brent Anderson/Darius Rucker/Dean Felber/Derek George/Frank Rogers/Jeremy Bussey/Jim Sonefeid/Mark Bryan/Monty Criswell/Scotty McCreery; Producer: Frank Rogers; Label: Triple Tigers
– Remembering a summer beach romance. He can still see and hear her in his mind, especially when he hears “their song.” It’s the Blowfish chanting their mega hit “Hold My Hand.”
THELMA & JAMES / “Happy Ever After You” Writers: Jake Etheridge/MacKenzie Porter; Producers:Lonas/Jake Etheridge/MacKenzie Porter; Label: Big Loud Records
– Married singer-songwriters MacKenzie Porter and Jake Etheridge bill themselves as “Thelma & James” on their Big Loud releases. Whatever you call them, these guys are like harmonizing songbirds on their tunes “First Love,” “Chainsmokin’ Memories” and this lovelorn lament. Fresh, folkie and fine, fine, fine.
https://musicrow.com/wp-content/uploads/2025/06/OD_LEAD_DoveShore-C_0462.R-scaled.jpg17082560Robert K Oermannhttps://musicrow.com/wp-content/uploads/2019/03/MusicRow-header-logo-Mar19B.pngRobert K Oermann2025-06-05 16:29:222025-06-06 11:04:04DISClaimer Single Reviews: Old Dominion ‘Live & Breathe Hooks’
Pictured (L-R): Joey Lee, Becky Gardenhire, Leslie Cohea and Jay Williams. Photo: Jon Plarr (WME)
Industry veteran Leslie Cohea is set to join WME as Partner and Music Touring Executive. Her first day with the company will be July 14.
Cohea has over 20 years of touring experience through her previous roles held at Sandbox Entertainment and AEG Presents. She has helped launched the careers of Kacey Musgraves, Dan + Shay, Kelsea Ballerini and Little Big Town. She has also helmed major tours such as “Soul2Soul” and “The Judds: The Final Tour.”
https://musicrow.com/wp-content/uploads/2025/06/L-to-R_-Joey-Lee-Becky-Gardenhire-Leslie-Cohea-and-Jay-Williams-scaled.jpg17072560Madison Hahnenhttps://musicrow.com/wp-content/uploads/2019/03/MusicRow-header-logo-Mar19B.pngMadison Hahnen2025-06-05 12:11:452025-06-05 12:11:45JUST IN: Leslie Cohea To Join WME As Partner & Music Touring Executive
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.
Nashville-based Wasserman Music VP Paige Maloney represents a diverse roster of popular artists, including Noah Kahan, Bob Weir, Black Pumas, Katie Pruitt, Elizabeth Cook, Emily Nenni and Kelsey Waldon.
In particular, Maloney has played an instrumental role in the remarkable success of her client, Noah Kahan. As part of his booking team since 2016, Maloney’s meticulous execution has helped to propel Kahan’s touring business to unprecedented heights. The culmination of her efforts materialized in the past two years, as he transitioned from selling out clubs and theaters to selling out arenas, amphitheaters, and headlining major festivals. In 2024, Kahan hit many career milestones, including a Grammy nomination and fully sold out tour, all culminating in his first stadium shows for two sensational sold out nights at Fenway Park.
Additionally, Maloney steers the touring trajectory of iconic Grateful Dead founding member Bob Weir, and the electrifying buzz band Black Pumas. In 2024, the Pumas played historic venues like Radio City Music Hall, the Ryman and Wolf Trap, and performed at festivals like Pitchfork, Fairwell, Newport Folk and Ohana. Maloney is renowned for her keen eye for talent and unwavering dedication to nurturing the careers of developing acts including Katie Pruitt, Elizabeth Cook, Emily Nenni and Kelsey Waldon.
MusicRow: Where did you grow up?
I’m originally from the Philadelphia area. I grew up in a suburb just outside the city.
What was your childhood like? What were you into?
I played a lot of sports and ran around with friends. I have three siblings, so it always felt like there was a lot going on.
What sports did you play?
I mostly did soccer, softball, and dance. Then in high school, I started playing ultimate Frisbee.
Paige Maloney, Kelsey Waldon and Jonathan Levine pose backstage at the Opry. Photo: Courtesy of Maloney
Were you into music too, or was it just something around you?
I tried to be. I took guitar lessons and played in elementary school band, but I wasn’t very good. So it was more about being into music as a fan. The more I learned, the more obsessed I became—going to shows and just immersing myself in it.
Do you remember your first concert?
The Spice Girls. I was probably around 10—maybe third grade—and it was obviously incredible. I went with my two best friends and one of their moms. It was at what’s now the Wells Fargo Center.
I grew up going to the amphitheater in Camden—back then it was the Tweeter Center. That was a formative place for me. We’d go to Dave Matthews shows every summer. I also saw a lot of shows at the Electric Factory (now Franklin Music Hall), the TLA and the Tower Theater in Philly. Those were my regular spots.
What was your dream back then? Did you ever imagine doing what you’re doing now?
Honestly, no. I never even thought of music as a career path—it was such a passion and hobby that I didn’t realize it could be a job. I always thought I’d work in sports or at a nonprofit. After college, I explored both, but I became a bit disillusioned. What I loved most was the live event aspect, so I started thinking about how to pivot.
I worked in the box office for the Philadelphia Eagles—game days, concerts, monster truck shows, soccer matches. That opened my eyes to the broader entertainment industry.
Was that during college or after?
That started as a college internship that I kept. I was on the game day staff for years—probably six or seven. The realization was gradual, but that job was a turning point.
So how did you go from there to officially getting into the music business?
I graduated in 2011, still during the post-2008 economic recovery, so I was juggling part-time jobs while figuring out what really lit me up. I was drawn to concerts and the live event space.
My first full-time job was at Live Nation in Philly. It was entry-level—handling contracts, ticket counts, that kind of thing—but it gave me a wide view of the industry. That’s when I had the “aha” moment. I realized how many roles existed in music, and I became obsessed. Starting at Live Nation was such a privilege. The people I worked with taught me so much, and many of them are still doing amazing things in the industry. That experience made me curious about artist development, and I became especially interested in what agents do.
At the same time, I was looking to relocate. I’d lived in the same area my whole life and wanted a change. Nashville was calling. Paradigm (now Wasserman) had my favorite roster, and when I interacted with different agencies through Live Nation, everyone at Paradigm stood out—they were personable, approachable, not robotic. Their email signatures even had names. [laughs]
Eventually, I applied for a role supporting Joe Atamian as he transitioned from Monterey to Nashville. I got the job, moved down here in 2015, and I’ve been here ever since.
Paige Maloney, Joe Atamian and Noah Kahan on the set of SNL. Photo: Courtesy of Maloney
Going back a bit—were there any agents early on who made you think, “This could be the path for me”
Honestly, everyone I interacted with here. The culture just felt different and special—especially in Nashville. It’s familial, collaborative, and not cutthroat. It’s very much “rising tides raise all ships.” A lot of that credit goes to Jonathan Levine. He came from Monterey a few years before me to help grow the Nashville office. He’s built something incredible. The people I started with—and still work with—are here for the right reasons. They believe in artistry and artist development, and I’m still inspired by them every day. Working for Joe right off the bat was a huge blessing. He’s brilliant, has incredible taste and leads with integrity. He’s calm and kind, which is rare—and I didn’t realize just how rare until later on.
What kinds of things were you doing as an assistant? Any moments that solidified this as your career path?
It was a gradual build. You start with the basics, and as you get things right, you gain more responsibility. Learning from Joe, JL, Keith Levy—seeing different ways to do this job that I could actually relate to—was huge. Because honestly, I’d often look around and think, “I’m not that, and I’m not that… so who can I be?” I’ve since learned everyone does this job differently, but your values and priorities can be a through-line.
Watching amazing artist development stories unfold around me was also a big part of it. At the time, we were working with artists like Sturgill Simpson and Tyler Childers. It really felt like a golden era in Nashville—especially in the Americana and left-of-center country scenes. We’d compare it to the early ’90s in the Pacific Northwest. It felt like we were living inside a moment—and we knew it, even then.
That same creative wave is still growing. Just look at what’s happened with Zach Bryan and Noah Kahan. I feel so lucky to have had a front-row seat.
How did your path progress from assistant to agent?
I was Joe’s assistant for a few years, then promoted to coordinator. I started working more with Jonathan and other agents. After about three years, I was promoted to agent—right around when COVID hit, which was an interesting time to transition. [laughs] It all felt like a natural progression. I’m lucky—it was a smooth path, and I got to learn from so many incredible agents along the way.
Who was the first artist you signed?
The first was a band called Animal Years—they don’t exist anymore, unfortunately. Kind of an Americana indie group that disbanded during COVID. But it was my first real “this is yours” moment—even though, of course, you’re never truly alone. One thing I love about Wasserman is that we don’t work in territories; it’s roster-based. We often co-rep artists, which allows for collaboration and idea-sharing. It’s more work but totally worth it.
You mentioned him earlier, but tell me about working with Noah Kahan.
We signed Noah in either late 2016. His managers, Drew Simmons and Ryan Langlois from Foundations, had just started working with him and brought him to us. Joe signed him, and I supported the project early on. I’ll never forget seeing his first show at the original Basement. He was 17, and the songwriting already felt so special. He was hilarious, awkward, and totally himself—which hasn’t changed. He’s been an absolute joy to work with. We took the long road, like we always do. 250-cap clubs, then 500, then 1,000. Festival slots, opening tours—no skipped steps. At one point he said, “This is all I ever wanted.” And then he launched.
What’s especially beautiful is that during COVID, he stepped away from trying to fit the Nashville pop mold and wrote the record he truly wanted to make—and that’s the one that connected. It gives me hope. I know I’m being cheesy, but that kind of honesty still works. Fans can tell when an artist is authentic, and Noah returning to himself is what made it all click. The whole team has been there since day one. It’s rare and really special.
Paige Maloney, Justin Osborne (SUSTO), Keith Levy, Marshall Hudson (SUSTO), and Carter King (Futurebirds) at Basement East after a SUSTO show. Photo: Courtesy of Maloney
What’s bringing you joy right now? What are you excited about?
So many things. I feel lucky every day to work with artists I believe in.
Katie Pruitt has a stripped-back duo tour this fall, which we’ve been talking about for a while. She also has a new EP coming—it’s just stunning. Her honesty in songwriting blows me away. Kelsey Waldon’s new record comes out in June, and I think it’s her best yet. It’s raw and personal. She’s been through a lot, and this record reflects that. There’s a young artist from Georgia named Clover County I’m excited about. Her full record drops this fall. Her talent and perspective are so impressive for her age. I’m also working with a songwriter out of LA named Tyler Ballgame. He only has a couple of songs out, but his full record floored me. His sound is totally unique—someone described it as “Roy Orbison sings Kevin Morby,” and I love that.
And on the legacy side, I work with Bobby Weir and worked with Phil Lesh before he passed. I got into music because of the Grateful Dead, so that’s incredibly meaningful. Watching these artists still create and evolve after 60 years is just… it’s the dream.
Who have been your biggest mentors?
Joe Atamian, Keith Levy and Jonathan Levine. This company is full of generous, thoughtful people, but those three have shaped me the most.
What advice would you give someone like you once were—obsessed with live music and trying to figure out how to get in?
I’d say this: It’s a fun and rewarding job, but it’s also incredibly demanding. You’ll work harder than you think you can—but if you do, the rewards are worth it. Also, it’s part hard work and part luck. You can do everything right and still not make it, which is hard to hear—but true. Same goes for artists. Sometimes great work just doesn’t connect, and there’s no clear reason why.
But if you’re passionate about this—go for it. Taking the leap was the best decision I’ve ever made. Surround yourself with good people, and be ready to grind. This job rules.
Music Corporation of America (MCA) has promoted Rob Femia to Chief Operating Officer. Femia adds COO to his duties as Executive Vice President of Business & Legal Affairs for the label group consisting of EMI Records Nashville, Lucille Records, Mercury Nashville and MCA Nashville.
Femia joined UMG Nashville in 2013 as VP of Business & Legal Affairs, was upped to SVP in 2018 then rose to EVP of BLA in 2023. In addition to leading MCA’s BLA team, Femia, now as COO, is responsible for overseeing the label group’s day-to-day operational functions, ensuring efficiency, and alignment with strategic goals and long-term growth. Femia is a graduate of Rutgers Law School with prior work history at Sony BMG, Virgin Records/Capitol Music Group/EMI Music North America, and Atlantic Records.
“Having someone with Rob’s experience on MCA’s executive team is invaluable, especially as we enter the new chapter in the company’s history,” shares MCA President & CEO, Mike Harris. “I have worked with Rob for a good portion of my own career, and he has always been knowledgeable, hardworking, and honest – which are characteristics we strive to bring to MCA’s roster of artists every day. We are very excited that Rob has agreed to take on the expanded role of COO and we look forward to him being a big part of MCA’s future.”
“I am honored that Mike is entrusting me with this expanded role at MCA as we reshape and refocus our priorities around the core of what defines us—a best-in-class record label with a deep roster of hit makers and history makers alike,” says Femia. “From today’s most talented and brilliant artists in Country music to a rich catalog representing some of the most important and influential Country music spanning generations, MCA has always stood at the heart of the genre’s legacy and evolution. I thank Mike, a friend and colleague for over 18 years, for his confidence in me and for inviting me to stand beside him as we lead MCA into this exciting new era. Together with our extraordinary team, we will continue to champion our artists, honor our history, and push the boundaries of what’s next in Country music.”
Pictured (L-R): Zebb Luster (EVP / Artist Manager, River House Artists), Cris Lacy (Co-Chair / Co-President, Warner Music Nashville), Hudson Westbrook, Gregg Nadel (Co-Chair / Co-President, Warner Music Nashville) and Lynn Oliver-Cline (Founder / Owner, River House Artists). Photo: Emma Kate Golden
Breakout Texas country artist Hudson Westbrook has signed a record deal with River House Artists / Warner Music Nashville. The news was celebrated last night (June 3) at River House Artists’ Whiskey Jam takeover at Whiskey Row, where the young artist was surprised with a plaque presentation for his newly-minted RIAA Gold certified single “House Again.”
Westbrook just announced his debut album, Texas Forever, will release on July 25. It includes his top 30-and-climbing single “House Again” as well other buzzworthy tracks like “Sober,” “Mine Tomorrow” and “Dressed Down.”
A native of Stephenville, Texas, Hudson made his debut in 2024 with his viral first release “Take It Slow,” Westbrook quickly strung together a series of grassroots hits while enrolled at Texas Tech University, including debut Texas radio single and chart-topper, “Two Way Drive” and “House Again.” Amassing 400 million global streams in his first year as an artist and averaging over 20 million streams per week, Westbrook was named Billboard’s December Country Rookie of the Month and a 2025 Artist to Watch by Country Now, Holler, The Country Wire and more.
He takes the stage across CMA Fest this week, with performances slated at the Chevy Riverfront Stage, Spotify House, Warner Music Nashville’s Heatwave House and more.
https://musicrow.com/wp-content/uploads/2025/06/HWSigningWARRHA_EmmaKateGolden-copy-scaled.jpg22992560LB Cantrellhttps://musicrow.com/wp-content/uploads/2019/03/MusicRow-header-logo-Mar19B.pngLB Cantrell2025-06-04 13:26:122025-06-04 13:26:12Hudson Westbrook Signs Record Deal
Leadership Music has unveiled 46 new members for its class of 2026. The new members will embark on an eight month program beginning in October and gives a deep exploration into the music industry with cross-function understanding and networking.
“The Leadership Music selection committee is committed to assembling a group of distinguished professionals who not only excel in their fields but also represent the rich diversity of the music industry across the country. The Class of 2026 upholds this tradition, and we’re thrilled to welcome them this fall,” says Kelli Haywood, Leadership Music Past President and Co-Chair of the Selection Committee.
Established in 1989, Leadership Music has hosted over 1,400 members and has brought together leaders from every industry sector.
“Each year, the selection committee approaches the process with intention and precision, carefully evaluating candidates based on their professional accomplishments, leadership potential, and community impact. Equally important is our commitment to building a class that reflects the diversity of the music industry,” adds Scott Gerow, Leadership Music Board President and Co-Chair of the Selection Committee. “We’re incredibly proud of the exceptional individuals chosen for our 36th class and look forward to seeing how the Leadership Music Class of 2026 comes together and makes its mark.”
Leadership Music Class of 2026:
1. Charles Alexander, Founder/CEO, ViNIL & Launcher Music
2. Brendon Anthony, Vice President, Big Loud Texas (Austin, TX)
3. Aftyn Behn, State Representative, Tennessee General Assembly
4. Ben Carter, VP, Live Events & Production, Academy of Country Music
5. Thomas Clees, SVP, Federal Public Policy, RIAA (Washington, DC)
6. Brent Daughrity, National Dir. Music Entertainment, Gallagher
7. Sarah D’Hilly, Music Business Partnerships, Apple Music
8. Stevie Escoto, Senior Managing Director, Girlilla Marketing
9. Michael Farris, Sr. Director, Business Strategy and Insights, Country Music Association
10. Kerri Fox-Metoyer, Head of Entertainment Services, Gabb
11. Anna Frick, Mastering & Restoration Engineer, Ally Sound (Niwot, Colorado)
12. Eboni Funderburk, Founder & CEO, EFG Promotions & Consulting
13. Alex Hall, Singer/Songwriter, Blue Harbor Publishing
14. Mathias John, Principal Designer, The Intellectual Phase Design Group
15. Ashley Joyce, SVP, Legal & Business Affairs, National Music Publishers’ Association (Washington, DC)
16. Joe Keeley, Principal, Keeley Law and Policy (Washington, DC)
17. Lauren Kilgore, SVP, Legal and Business Affairs, Sony Music Nashville
18. Sam Kling, Chief Creative Officer, SESAC Performing Rights (Santa Monica, CA)
19. Anna Kolander, Senior Artist Manager/Head of A&R, Activist Artists Management
20. Lee Krabel, Senior Vice President, SMACKSongs
21. Betsy Lamb, Contractor, Nashville String Machine
22. Michelle Lewis, CEO, Songwriters of North America (SONA)/The SONA Foundation (Encino, CA)
23. Wayne Linder, Chief Sales Officer, Pioneer Coach
24. Sloane Logue, Partner – Head of Client Strategy, WME
25. Zebb Luster, Executive Vice President & Artist Manager, River House Artists
26. Fount Lynch, SVP, Publicity, Warner Music Nashville
27. Xenia Manning, Director of Global Music Policy, Spotify (Washington, DC)
28. Rick Marshall, General Counsel, The MLC
29. Maynard, EVP Programming, iHeartMedia
30. Marne McLyman, Manager, Maverick Nashville
31. Rev. Moose, Managing Partner/Co-Founder, Marauder (New York, NY)
32. Kiely Mosiman, Agent, Wasserman Music
33. Katie Neal, Host of Katie & Company, Audacy
34. Mallory Pascal, Partner/Business Manager, KBFM, LLC
35. Jason Plum, Relationship Manager & Vice President, City National Bank
36. Keyana Pusey, VP and Assistant General Counsel for Intellectual Property, National Association of Broadcasters (Washington, DC)
37. Shawn Radley, Partner / Lead Buyer, Kendall Booking (Cambridge, MA)
38. Rachel Rodriguez, CEO/Artistic Director, RR Productions
39. Marc Rucker, Associate Director, Artist & Industry Relations, SoundExchange
40. Eric Scott, EVP, Rights & Royalties, BMG
41. Emily Stephenson, President, Downtown Music Publishing
42. Bryan Todd, Owner | Producer | Songwriter, BT MUSIC, LLC
43. Dave Tough, Professor, Audio Engineering Technology, Belmont University
44. Jeff vom Saal, Chief Operating Officer, Nashville Symphony
45. Reid Wick, Director, Regional Advocacy & Member Engagement, The Recording Academy (New Orleans, LA)
46. Carin Zaleski, Director of Development, Ryan Seacrest Foundation
https://music-row-website-assets.s3.amazonaws.com/wp-content/uploads/2021/08/07013707/Screen-Shot-2021-08-23-at-4.06.28-PM.png494775Madison Hahnenhttps://musicrow.com/wp-content/uploads/2019/03/MusicRow-header-logo-Mar19B.pngMadison Hahnen2025-06-04 10:41:162025-06-04 11:50:29Leadership Music Reveals Class Of 2026
Jason Aldean has reached another major milestone in his career this week, landing his 30th No. 1 at country radio with his latest single “Whiskey Drink.”
“Whiskey Drink” is from Aldean’s album Highway Desperado, and this latest chart-topper puts Aldean in an elite class of entertainers who have logged 30+ No. 1 hits throughout their career like George Strait, Tim McGraw, Ronnie Milsap, Merle Haggard, Alan Jackson, Reba McEntire and Blake Shelton.
“30 #1s is a huge milestone, and I couldn’t let it go by without thanking the fans, country radio, the songwriters, BMG and the best promo team in the business,” says Aldean. “I appreciate all the support we have gotten from everyone over the last 20 years. And, I don’t plan on going anywhere anytime soon; so, I’m working hard on getting this next round of music out and can’t wait to share it soon.”
A look back at Jason Aldean’s first No. 1 “Why” from 2006. (L-R): Lee Adams, Shelley Hargis, Jon Loba, JoJamie Hahr, Layna Bunt and Jason Aldean
“I always say icons come from the fringes and Jason Aldean exemplifies that without question,” says Jon Loba, President, Frontline Recordings, BMG Americas. “When many questioned his music early on, he was uncompromising and in the process, added an entirely new sound to the genre that many tried to chase, but none could replicate. Today, he registers his 30th No. 1, while continuing to sell out arenas and amphitheaters. We at BMG look forward to him shaping the sound of country music for years to come.”
Aldean recently kicked off his “Full Throttle Tour” with sold-out dates in Ohio, Toronto, and Saratoga Springs, and is bringing his hit-packed show to CMA Fest this week in Nashville as he closes out Nissan Stadium on Thursday night,(June 5), before heading back out on the road in July.
https://musicrow.com/wp-content/uploads/2025/06/Jason-Aldean-scaled.jpg17072560Lorie Hollabaughhttps://musicrow.com/wp-content/uploads/2019/03/MusicRow-header-logo-Mar19B.pngLorie Hollabaugh2025-06-03 16:11:392025-06-03 16:12:08Jason Aldean Lands 30th No. 1 With ‘Whiskey Drink’