DISClaimer Single Reviews: Mickey Guyton Delivers A ‘Stunning Listening Experience’

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Mickey Guyton

This sure sounds like a good weekend for music.

Four of our DISClaimer candidates are performing in Music City over the next several days—Russell Dickerson, Onoleigh, Jet Black Roses and Gary Nicholson. I recommend them all.

This is also a good week for solid, meat-and-potatoes country music. I refer you to the new sounds from Zach Top & Billy Strings, Dolly Parton, Alison Krauss & Union Station, Willie Nelson & Rodney Crowell, William Beckmann and Tucker Wetmore. This makes my heart feel so good.

William Beckmann, by the way, is our DisCovery Award winner.

The Disc of the Day is claimed by the spectacular vocal delivery of Mickey Guyton.

TUCKER WETMORE / “3, 2, 1”
Writers: Jordan Reynolds/Josh Miller/Summer Overstreet; Producer: Chris LaCorte; Label: EMI Nashville/Back Blocks Music
– Twangin’ dobro, thumping propulsion, joyous mood, cool country singer… What’s not to love? Wetmore drops his debut album next month. Based on what I’ve heard so far, it’s bound to be a winner.

MICKEY GUYTON / “You Don’t Know Me at All”
Writer: Dave Jordan; Producer: Karen Kosowski; Label: Capitol Records Nashville
– Guyton drew a standing ovation for her performance of this power ballad on Monday’s Ringo & Friends at the Ryman TV special. As a single, it’s a stunning listening experience, with goosebumps popping up all over when she rolls into that chorus. This lady can SING. Listen and believe.

GARY NICHOLSON / “What a Little Love Can Do”
Writers: Gary Nicholson/Stephen Bruton; Producers: Gary Nicholson, Kevin McKendree; Label: Qualified Records
– This Nashville Songwriters Hall of Fame member is also a performer of warmth and personality. You’ll hear it for yourself on this jangly country rocker. It’s the lead-off track of his groovy album Common Sense. Nicholson will be celebrating it with his pals on Saturday evening (March 15) at Dee’s Country Cocktail Lounge. Showtime is 9:00 p.m.

WILLIE NELSON & RODNEY CROWELL / “Oh What a Beautiful World”
Writer: Rodney Crowell; Producer: Buddy Cannon; Label: Legacy Recordings
– Pure poetry, to the accompaniment of sighing harmonica, rippling guitars and a gently rolling rhythm. This is the title tune of an album devoted to Crowell’s songs that Willie will issue as his 154th collection. It’s due next month, but while you wait, immerse yourself in this dreamy, bittersweet meditation on the passage of time. A lovely, lovely record.

BRAD PAISLEY & DAWES / “Raining Inside”
Writers: Brad Paisley/Lee Thomas Miller/Taylor Goldsmith; Producers: Brad Paisley, Luke Wooten; Label: EMI Nashville
– The country star and the rock band create a stately bluesy mood on this downbeat ballad. Stay tuned for the guitar fireworks at the finale.

TIM McGRAW & PARKER McCOLLUM / “Paper Umbrellas”
Writers: Drake Milligan/Monty Criswell; Producers: Byron Gallimore, Tim McGraw; Label: Big Machine Records
– Advice and barroom sympathy from one broken heart to another. The rolling track is terrific, and the well-crafted lyric is even better. Absolutely play this.

RUSSELL DICKERSON / “Happen to Me”
Writers: Chase McGill/Christopher LaCorte/Jessie Jo Dillon/Robert Hazard/Russell Dickerson; Producers: Chris LaCorte, Josh Kerr, Russell Dickerson; Label: Triple Tigers
– Tap your foot. This one’s a good-time banger with energy that doesn’t let up. Perfect for a springtime playlist. Born showman Dickerson plays at the new venue The Pinnacle tomorrow evening (March 14).

DOLLY PARTON / “If You Hadn’t Been There”
Writer: Dolly Parton; Producers: Gregg Perry, Kent Wells; Label: Butterfly Records
– Our hearts are heavy for our beloved Dolly, who has lost her life’s companion. She pours her heart out in this tender eulogy for Carl. I choked up. There is love behind every tear-stained note of this performance.

ONOLEIGH / “Bottomless Tears”
Writers: Ally Sou/Emile Ghantous/Josh Goode/Onoleigh Pommier/Sam SZND; Producer: Emile Ghantous; Label: Onoleigh
– Raising a glass to a busted love affair. She sings this with remarkable force and confidence, crushing the message with clarity and emotional directness. She sounds like a total pro. The lady performs this evening (March 13) at 6:00 p.m. at The Analog. It’s a release party for her EP First Rodeo. I am told that she puts on a great show.

ALISON KRAUSS & UNION STATION / “Granite Mills”
Writer: Timothy Eriksen; Producer: Alison Krauss & Union Station; Label: Down The Road Records
– Esteemed bluegrass star Russell Moore has joined Union Station, and he takes the gripping lead vocal on this tragic, factory-fire story saga. This is a traditional tune, based on the 1874 burning of a textile mill in New York State. Heart and soul in every note of this thrilling tenor’s singing. This will be on the group’s comeback album, Arcadia, which drops on March 28.

WILLIAM BECKMANN / “Honky Tonk Blue”
Writers: Chris Stapleton/William Brice Long; Producer: Jon Randall; Label: Warner Music Nashville
– The title says it all. Magnificently country. This is the real stuff, folks. Can I get a loud, “Amen!”

ZACH TOP & BILLY STRINGS / “Don’t Cheat in Our Hometown”
Writers: Ray Pennington/Roy Eugene Marcum; Producer: Carson Chamberlain; Label: Leo33
– Hillbilly nirvana. These two one-up each other in awesome honky-tonk vocal slides and dazzling guitar-string tickling as they navigate this Stanley Brothers bluegrass classic made famous by Ricky Skaggs in 1984. Music to warm your country heart.

JET BLACK ROSES / “Psychoboogie Hoochiecoo”
Writers: none listed; Producer: Greg Archilla; Label: JBR
– Funky, horn-punctuated Southern rock with some built-in grease. Other tracks show that the group is equally at home in country settings. This outfit will be jamming at Dierks Bentley’s Whiskey Row on Lower Broadway tonight (March 13) at 8:00 p.m.

David Fanning Launches Off Road Records [Exclusive]

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David Fanning, Dylan Davidson and Jamie Graves. Photo: Sam Aldrich

Hit songwriter, producer and music industry executive David Fanning has launched Off Road Records, in partnership with Reservoir Media, Inc.

Dedicated to empowering the creators behind the music and nurturing the development of artists into sustainable careers, Off Road Records finds Fanning as President. Industry veteran Jamie Graves will serve as SVP of Marketing and Promotion and report directly to Fanning. Both are partners in the company.

“Since I decided to pursue a music career, starting a label that changes the economics for the stakeholders has been a dream of mine,” Fanning says. “Everything I have accomplished up to this point has given me the confidence to build an artist and songwriter-focused label that compensates the creators.

“Reservoir is led by visionaries like President and COO Rell Lafargue and John Ozier (EVP, Creative), and this would not be possible without their partnership,” Fanning continues. “I couldn’t be more excited to start this alongside my longtime and talented friend Jamie Graves and the support and belief of the Reservoir team.”

Off Road Records will distribute and market releases via Reservoir’s label platform, Reservoir Recordings, which will also provide other label services.

“As David’s publisher for the last three years, we have seen his ability to identify and support rising talent and drive it straight to the top. We are excited about his vision for Off Road Records and look forward to helping bring it to life,” Reservoir’s Lafargue adds. “This investment is also a great opportunity to continue growing Reservoir’s recorded music business together with creators we believe in.”

The first artist signed to Off Road Records is singer-songwriter Dylan Davidson. Raised in Tennessee with a deep love for the arts, Davidson blends vivid storytelling with soaring melodies, using music to process life’s complexities and inspire others. He will release his debut single, “Wine Night,” on Friday, March 14.

My Music Row Story: BBR Music Group/BMG’s Katie Kerkhover

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Katie Kerkhover

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.

Joining BMG in 2020, Katie Kerkhover currently serves as SVP, A&R, North America, a position she was elevated to in December 2024. Her first position at BMG was as Senior Director, Creative, in music publishing, where she managed BMG’s Nashville roster of songwriters, including Kurt Allison, Tully Kennedy, Stephen Wilson Jr., Emily Landis and Chayce Beckham, among others, while also signing and developing new songwriters and artists.

Kerkhover was promoted to VP, A&R, Frontline Recordings for BMG Nashville in 2022, where she was responsible for BBR Music Group’s (BBRMG) roster of recording artists across its imprints Broken Bow Records, Stoney Creek Records and Wheelhouse Records, as well as scouting, signing and developing new talent. Since leading A&R for BBRMG, she’s worked with Jelly Roll, Lainey Wilson, Jason Aldean and Beckham and is working with Blake Shelton’s team on his BMG Nashville debut.

Previously, Kerkhover served nearly three years as a Creative Manager at Sony/ATV and garnered experience as A&R, Creative at CAM Creative. Before jumping behind the scenes of the music industry, she spent years on the road as a performing musician often playing fiddle, guitar or providing backing vocals for acts like Sara Evans and Rebecca Lynn Howard.

Kerkhover will be honored as part of MusicRow‘s Rising Women on the Row class of 2025 on March 20 at the Omni Nashville Hotel. Read more about the event here.

Photo: Courtesy of Kerkhover

MusicRow: Where did you grow up?

I’m from a very small town in southern Illinois called Rockwood. When I moved away, the population was 47 people. It’s actually classified as a village, not even a town, because there are so few residents.

Wow. Did you go to school there?

No, we didn’t have a school. I had to go to the neighboring town. When I was a kid, there was one little school bus that would come through and pick everybody up. It was all rock roads. Even now, my parents still don’t have city water. They have to have water hauled in.

That’s a small town. What was your childhood like?

I’m the youngest of three, but with my siblings being 11 and 16 years older than me, I basically grew up as an only child.

Photo: Courtesy of Kerkhover

My mom started me in violin lessons when I was four, and every week, we’d drive an hour and a half each way for my lessons. Growing up, I was a total tomboy. I did everything with my dad—baling hay, driving the truck, and picking up hay bales by the time I was nine. We didn’t have central heat, so we relied on a wood-burning stove to get through the winter. In the fall, I was out with my dad, cutting firewood.

Life on the farm was typical, ours was a grain farm. And then, of course, there was music. I started with the Suzuki method but quickly got into bluegrass because I just wanted to play fast songs.

We’d go to church picnics and town festivals, and I’d find local musicians to play with. Our house became a gathering place for musicians, and Sundays turned into big jam sessions. We’d put food out, and people would start showing up to play music.

Photo: Courtesy of Kerkhover

How did you start to make a name for yourself as a performer outside of your hometown?

My mom started taking me to violin lessons when I was four. Violin came naturally to me, and I constantly wanted to learn new songs.I started to get asked to play at church functions—first at church picnics and town festivals, then I’d get invited to perform in the next town over, and from there, another town. Before I knew it, I was doing these little tours as a kid.

We started making trips to Nashville, about four hours away. When I was 12, I started playing in the bars on Broadway with my bluegrass band. I’d play from 10 a.m. to 2 p.m. at one place, then another from 2 p.m. to 6 p.m. At six, I’d get kicked out because I wasn’t 21.

That’s when I started meeting a lot of people in Nashville. One of the first was John Carter Cash. When I was 15, I made a CD with John Carter at Cash Cabin, which led to a Kennedy Center honor and a chance to perform at the Kennedy Center. By 16, I got my first offer to go on a country tour as a fiddle player and background singer, but my parents were like, “No way.” [Laughs]

Photo: Courtesy of Kerkhover

Then what?

When I was 17, I met Buddy Cannon. He recorded an EP with me and started shopping me as an artist. That’s when I first felt the challenge and constant judgment that comes with being in the industry as a songwriter and artist. At 17, that didn’t sit well with me.

After that, I went on the road with Rebecca Lynn Howard, then toured with Billy Currington for a bit. Then I got offered the Sara Evans tour, and I was with her for about three or four years. After being on the road, I realized touring wasn’t what I wanted to do for my entire career.

I left the road and started a teaching business, which funded my daily life, and I started another band. Then labels and managers started reaching out again, and I did another round of label meetings. But once again, I got to that same point where, in the pit of my stomach, it didn’t feel right.

So, I left the band. I stopped chasing that. Instead, I focused on playing demo sessions, side gigs and teaching. That’s when I met Jon Nite [through a gig]. He was one of the first people to ask me, “What do you want to do with all of this?”

Photo: Courtesy of Kerkhover

What was your answer?

By then, I was in my late twenties, and I told him, “Now that I’ve been through the experience of having people try to tell me who I am and what I should create, I’d love to be in a position where I can prevent that from happening to others. I want to help artists bring their vision to life—to be an advocate for them.”

And he said, “You need to meet my team at Sony.” So I met Josh Van Valkenburg, Troy Tomlinson and the team at Sony. Josh and Troy took me to lunch to talk about a Manager position. At the end of the meeting, I told them, “If you give me six months in the job, and I don’t create value, learn fast enough or achieve the goals you expect, you won’t have to fire me—I’ll leave. Just give me a shot.”

You got the job. What did you discover in that transition from live music to the business side of things?

I had never worked for someone else in a corporate setting before, so I had to learn a whole new set of rules. I also had to really understand what their goals were and figure out how I could be a connector. No matter what role I’ve had, I’ve always seen myself as an advocate for songwriters, artists and producers. I just happened to have the chair inside the company that allowed me to push their vision forward.

Once I figured some of the business out, I got excited because I was surrounded by people who genuinely loved music and songs. Carol Ann Mobley hired me for some A&R work before I worked at Sony, and I’ll never forget she told me, “In publishing, you never have to give up on a song.” That was very useful advice for me when I got into the business, learning that if you’re excited and passionate about something, you don’t have to let it go.

Photo: Courtesy of Kerkhover

After a few years, you transitioned to BMG. Tell me about that.

During the pandemic, Jon Loba and Chris Oglesby called and asked if I’d be interested in joining their team. For me, it was an opportunity to grow and take on an expanded role. I moved to BMG in 2020 and started in publishing. I worked with Stephen Wilson Jr. and worked closely with Chayce Beckham on his first project.

You’ve moved through the ranks, first to VP, A&R for the Nashville office and then to Sr. VP of A&R, North America.

Yes, Sara Knabe was fantastic to work with. Through Chayce Beckham’s project, I started getting a look behind the curtain at the label side. When Sara decided to leave, she graciously recommended me for her position, and when Jon and I talked about it, I told him, “I know how to make records, and I love songwriters, but I don’t know much about the other side. If you teach me the rest, I’ll deliver the best projects for you.”

One of the first albums I was honored to be a part of was Jelly Roll’s Whitsitt Chappell. After that, I just had to keep figuring things out, realizing what I didn’t know, asking questions—getting thrown into the deep end over and over again. The best part is that Jon always leads with the music. Everything is about the music and letting that guide decisions.

Photo: Courtesy of Kerkhover

Eventually, the North America A&R position opened up. Jon asked if I wanted it, and I told him no. [Laughs] I was in the middle of Jelly’s next record and said, “I can’t take on more and risk not delivering at the highest level.” Once I got through that album, we revisited the conversation and here I am!

What’s your favorite part of your job now?

It’s always finding “THAT ONE” song. The other part of it is reaching the finish line—for an artist’s vision to finally be an album and not just live in their head. They create it, I’m just next to them in the weeds, trying to cut the path to the finish line.

Photo: Courtesy of Kerkhover

Who have been your mentors along the way?

Carol Ann Mobley, Troy Tomlinson, Josh Van Valkenburg and Jon Loba have been amazing mentors. JoJamie Hahr, Cris Lacy and Kerri Edwards have always been there when I needed advice or a tequila night. [Laughing]

What’s the best advice you’ve ever gotten?

Troy once told me, “Don’t be afraid of something just because someone else sees your potential before you do.”That really stuck with me. Jon always says, “Stay humble, hungry and curious.”

What are you most proud of?

It’s hard to pick just one moment or project, but one of the people I’m most proud of is Trannie Anderson. She was the first songwriter I signed at Sony. She was so hungry to learn and grow. We’d have long talks about her goals. Watching her achieve them is incredible.

Photo: Courtesy of Kerkhover

What has your experience been like as a woman in the business?

I’ve been fortunate to have amazing women pave the way. I’ve also been surrounded by great people in general. There have been times I’ve felt pre-judged coming into situations, but once I’ve had the opportunity to share my perspective, it’s always been met with respect. I also think we’re in a different time now. Women have raised the bar and set high expectations, and I’m honored to be part of that.

What advice would you give to someone who wants to do what you do?

It’s about passion, it’s about commitment and it’s about being an advocate for others. This job isn’t about you. It’s about elevating other people’s visions. And when you do that, it’s fulfilling in ways you can’t imagine.

Mackenzie Carpenter Shimmers Into The Spotlight With Debut Album [Interview]

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Mackenzie Carpenter. Photo: Harper Smith

Rising singer-songwriter Mackenzie Carpenter is making a commanding entrance with her full-length debut, Hey Country Queen, released Friday (March 7) via The Valory Music Co. With this 13-track collection, she isn’t just introducing herself—she’s making it clear that Nashville has been missing out.

Carpenter, who co-wrote every song on the album, delivers a confident, dynamic project packed with standout tracks, including the previously-released fan-favorites “Dozen Red Flags,” “Sound of a Heartbreak,” “Only Girl” and “Jesus, I’m Jealous.” While each of these songs showcases the Georgia native’s sharp songwriting and vocal prowess, the full body of work cements her place as a country star on the rise, ready to claim her lane.

She kicks things off with the biting wit of “Dozen Red Flags,” a rollicking anthem that counts off all the ways a man has revealed his true colors—red, to be exact—while cheekily admitting, “man, he was cute and, damn, he was funny.” The track perfectly encapsulates Carpenter’s knack for blending humor and heartache, a skill that has helped her carve out a space in country music.

That songwriting prowess has been on display for years. Carpenter first turned heads by co-writing Lily Rose’s 2021 No. 1 hit “Villain” and has since penned multiple tracks for Megan Moroney, including the top 15 single “I’m Not Pretty” as well as “Indifferent” and “28th of June.” Now, with Hey Country Queen, she steps into the spotlight as an artist in her own right.

Carpenter keeps the energy high with “Boots On,” a playful, sultry invitation to a lover, written alongside the album’s producer Brandon Hood as well as Rhett Akins and Ben Williams. With a wink and a nudge, she delivers a flirty romp that recalls the suggestive charm of Trace Adkins’ 1996 hit “I Left Something Turned On at Home,” balancing sensuality with just the right touch of restraint.

That same mischievous edge takes a darker turn with “Gone Fishing,” a cleverly twisted revenge tale penned with Mia Mantia and SJ McDonald. The song follows a scorned woman who sends her cheating husband to the depths of Nashville’s Percy Priest Lake—and hints that the same fate is coming to his mistress for good measure.

“I was thinking about what my album was missing, and it was my female rage murder song. I needed my ‘Goodbye Earl’ and my ‘Before He Cheats,'” Carpenter quips. “I brought that idea in a couple times to people and nobody was really going for it. Then I took it into my girl’s SJ and Mia and we had so much fun writing it.

“As for the ending, why murder one person and when you could murder two?”

One of the album’s undeniable highlights is its current single, “I Wish You Would” featuring Midland. Carpenter’s smoky, honeyed vocals melt seamlessly into the group’s signature barroom twang, creating a slow-burning waltz that captures the tension between two potential lovers. She says that the tune—written with Jonathan Hutcherson, Jamie Moore and Chris Tompkins—helped her dial in her sound.

“It’s so classic but so unique. It’s given me an exciting thing to look toward and know that I’m really digging in and finding my thing.”

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Elsewhere, Carpenter lays bare her vulnerability with “Jesus, I’m Jealous,” a gut-wrenching barroom prayer whispered between sips as she watches her ex dance with someone new. She turns up the volume with “Sound of a Heartbreak,” a full-throttle anthem made for highway speeding and on-stage hair-flipping. On “Guys Like You,” she flips the script with a female-to-female perspective on the pitfalls of comparison, delivering her message with sincerity and strength.

“Sonically this record is very unique, but that’s how I listen to music,” she says of the collection. “When I’m in the car, I’m listening to SZA and then Shania Twain and then Megan [Moroney]. It could be anything from Sabrina Carpenter to Toby Keith. I wanted my record to have different sounds, but obviously like my love is for country music, so that’s the through-line.”

Another standout moment comes with “Red Wine Blue,” co-written with Luke Laird and Anna Vaus. The song’s heartbreak-laden lyrics swirl around Carpenter’s rich, expressive vocals, perfectly capturing the haze of sorrow and Cabernet. The song, Carpenter says, came to her as a gift from a “country queen” in a dream.

“Dolly Parton came to me in a dream and gave me the song idea. She has no clue, but to me, it’s very real,” Carpenter says with a laugh. “After I woke up that morning, I came downstairs and started writing it on my great-grandmother’s old piano. Then I took it into a write with Luke and Anna—it became such a beautiful song.”

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She brings the album to a fitting close with “Country Queen,” a feel-good anthem that serves both as an empowering message to listeners and a tribute to the trailblazing women in country music who paved the way.

“I wanted to pay tribute to the country queens that raised me—all the ladies in my life that made me who I am, the country queens on the radio that inspired me to write music and all my best friends that I get to do life with and keep me going.”

Recently named one of MusicRow’s Next Big Thing Artists for 2025 as well as other industry recognitions, Carpenter makes good on that promise with Hey Country Queen. Whether she’s belting out a stadium-sized anthem or laying her heart bare in a ballad, she proves that the magic happens when an artist fully embraces the messiness of emotion—and turns it into country gold.

Jessie Jo Dillon Enters Top 15 On MusicRow Top Songwriter Chart

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Jessie Jo Dillon

Jessie Jo Dillon has hit the top 15 on the MusicRow Top Songwriter Chart this week. “Am I Okay?,” “Baggage,” “Friday Night Heartbreaker,” “Happen To Me” and “Nobody Likes Your Girlfriend” worked to put the songwriter at No. 12 this week.

Riley Green remains in the No. 1 spot with solo-penned “Don’t Mind If I Do” and “Worst Way.” Ashley Gorley stays at No. 2 with “Fix What You Didn’t Break,” “I Had Some Help,” “Liar,” “Love Somebody,” “Park,” “She Hates Me” and “This Town’s Been Too Good To Us.”

Charlie Handsome (No. 3), Zach Bryan (No. 4) and Taylor Phillips (N0. 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.

My Music Row Story: Back Blocks Music’s Rakiyah Marshall

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Rakiyah Marshall

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.

Rakiyah Marshall is the Founder and CEO of Back Blocks, a full-service publishing, management and artist development company. Under her leadership, Back Blocks has guided the careers of Blake Pendergrass, Ashley Cooke, Tucker Wetmore and Lily Rose. Marshall and her team recently celebrated major milestones, including Cooke and Wetmore’s first No. 1 hits.

Before founding Back Blocks, Marshall built a strong foundation in pop promotion at Republic Records in NYC, including time at UMG’s classical division (now Verve). She later brought her expertise in radio, streaming, marketing, and artist development to Nashville, working at Cornman Music under hall of fame songwriter, Brett James and BMG under Kos Weaver. There, she advocated for writers, placed notable songs and bridged Nashville with the global creative community.

Now, Marshall continues to shape Back Blocks into a leading force in the industry, driving success for her roster through innovative strategies and dedicated advocacy.

Marshall will be honored as part of MusicRow‘s Rising Women on the Row class of 2025 on March 20 at the Omni Nashville Hotel. Read more about the event here.

Photo: Courtesy of Marshall

MusicRow: Where did you grow up?

I’m from Long Island, New York. I was born in Queens but moved to Long Island when I was about four. I lived there after college until about 2014, then moved to Manhattan before making my way to Nashville.

What was your childhood like? What were you into?

I was really into sports. I played basketball and ran track, which took up a lot of my time. I had a great childhood. Long Island, at least where I grew up, is very suburban, so we spent a lot of time outside. You could just run around the neighborhood without a parent hovering. I’m still friends with most of the people from my street.

I practically lived at my grandmother’s—she was still in Queens while I was in Long Island, so I feel like I had two childhoods. Queens was a little more tough, and Long Island was where I built my foundation of friendships and family. But I loved both.

Photo: Courtesy of Marshall

Were you into music?

Music was always in my household. My grandfather had a basement where he played records—lots of Caribbean music because my grandparents were from the islands. There was also a lot of Motown and hip-hop from my dad. Growing up in New York, Broadway and Madison Square Garden were like my backyard. I saw every Broadway play and went to a lot of concerts with my mom. I was in band for a short time—I played the drums—and I was in chorus, but neither felt right. Once it wasn’t a requirement, I was out. Sports were more important to me.

Photo: Courtesy of Marshall

Do you remember any standout concerts at MSG?

I saw Usher on his birthday, which was a big one. I also saw a lot of shows at Nassau Coliseum since it was closer to my house.

I also saw Plain White T’s at my local mall. Justin Bieber actually ended mall concerts for all of us—so many people showed up that they had to stop hosting them.

That’s so fun. So, you went to college and then full speed ahead?

Not quite. Freshman year, I focused on partying. [Laughs] My mom was like, “I’m not paying for this for nothing.” So sophomore year, I got serious, started caring about my classes and went to the career center. I knew I loved entertainment—sports, TV, film, music—but didn’t know where I fit. I applied to Universal thinking it was just a film company, and I also applied to sports jobs. Universal was the first to call me back, along with the Staten Island Yankees. I almost took the Yankees job, but the first day, I realized it wasn’t for me.

Photo: Courtesy of Marshall

Universal kick-started everything. Walking into their building on Broadway was nuts. It was eight floors of pure energy, and I knew I wanted to be part of it. That’s when my drive really started. I loved taking the train every day, and it put a pep in my step. I changed my major, basically making up my own since we didn’t have a music history major. I also interned at MSG, which filled my sports void, but nothing matched how the record label felt.

What was your trajectory within Universal?

I started as an intern, then temped for about a year before moving to Classics/Verve for another year. Then I went back to Republic. I basically never left the building—I temped in any department I could. I even temped for Steve Gawley, who’s now the lawyer I’ve worked with. I started at Universal before I was 21 and left at 25.

Photo: Courtesy of Marshall

What was next?

I moved to Nashville and went to Cornman Music with Brett James. That was an amazing experience. I worked with some incredible songwriters—Caitlyn Smith, Steven Lee Olsen, Brett himself, Josh Mirenda, Josh Miller, Kip Moore. I got to see all types of writers, and it gave me range. Then I went to BMG eight months later.

Tell me about that time.

I worked for Kos Weaver, and he was amazing. I was there for about two and a half years until he left. He was a great boss—he really focused on the individual and results. He asked, “What do you want?” I told him I never wanted to run a company—which is ironic now—and that I just wanted to be a VP of a publishing company and build my roster. That’s what we worked toward.

My first signing was Emily Landis, who wrote “The Good Ones” with Gabby Barrett. She had just been dropped from her last deal, and we set a two-year goal to get a single on the radio. And two years later, we got it. That was a huge moment. I also worked with Russell Dickerson, Lindsay Ell, Nate Cypert, Busbee’s writers and a lot of pop writers. We were building a team, and then—the pandemic.

Photo: Courtesy of Marshall

Yeah, that thing.

I tried doing the Zoom thing, but I’m a visual learner. Sitting on a laptop for hours pitching songs wasn’t fulfilling. I felt myself drifting, and I told my husband, “I don’t think I need to be here anymore.”

Around that time, I met Ashley Cooke, and she was open to ideas I suggested and learning along with me. I told her, “You have all these TikTok followers but they have nothing to listen to—let’s fix that.” We put out one song together before I left BMG. Then I met Blake Pendergrass and Lily Rose, and that’s when I left and started my company. It happened fast—I left BMG on a Friday, and on Monday, Back Blocks Music was born.

That’s so brave.

Yeah, I think it surprised everyone, but that’s what makes it fun. You have to love what you’re working on. I only take risks on people I believe in. I only want to work with people who want to work with me. That’s the difference between being independent and working for a corporation. You’re personally invested. That’s why I pass on a lot and sign slow.

Photo: Courtesy of Marshall

When did you first feel validation that it was going to work?

I think when Ashley got On The Verge—that really felt like a big win. Even though so many things happened before that, it felt like radio believed in her. And that’s such a big hurdle for females. Tucker [Wetmore’s] success has been validating, too, because it was really important to me to break a male artist.

Seeing how much the town has loved on Blake Pendergrass. He is the kind of talent that reminds you why hard work always wins. His relentless drive, sharp instincts and pure dedication to the craft have been undeniable. Part of being a songwriter isn’t just about landing the perfect line or cut—it’s about rebooking the room. Blake is the pure definition of that, showing up with full ideas, verses, and choruses, ready to connect with artists and writers across all genres. And without fail, I always get a call after a session saying the same thing: We need to write with him again. Not just for one song but to help create the album. His work ethic doesn’t just push him forward; it reinforces what Back Blocks stands for—championing the ones who show up, outwork the rest and keep the bar high.

Photo: Courtesy of Marshall

What would you say is your favorite part of your job now?

The beginning is still my favorite. I love that raw, vulnerable stage—when there’s no music recorded yet, just learning each other, figuring out what works.

There are so many fun moments after that, but that early stage—before they become a butterfly—that’s my favorite. Late nights, talking about dreams, their favorite venue to play, who they want to collaborate with. We put it all on a wall and start working toward it. It’s a beautiful process.

Who have been your mentors?

My bosses at Republic were huge for me—Gary Spangler, Monte Lipman and Avery Lipman, and more —they’ve all been part of my career forever.

Shani Gonzalez was a major influence on me. Even though we didn’t spend years together, seeing her presence at BMG was everything. It was the first time I saw a reflection of myself, and I thought, “I want to be like her.” In the time we did have together, I was constantly learning. She taught me how to handle things, what deals to make, what deals not to make.

It might sound cliche, but my husband is a mentor to me too. Ben Vaughn was great to me. I’m really thankful for Brett James taking a chance on me. I love talking to Candice Watkins, because we have a lot in common and she is someone I really admire.

Photo: Courtesy of Marshall

You became a mom around the same time you launched Back Blocks. What’s it been like juggling everything?

It’s been hard but rewarding. I didn’t plan to get pregnant back-to-back while starting a company, so it was a lot all at once. Meeting the artists’ needs while making sure I’m present as a mom is tough—you’re either missing out on music class but making the music video, or skipping the music video to be at music class.

Postpartum didn’t exist for me—I went right back to work. No pats on the back, no grace period. That was really hard. I’m getting better at the balance, knowing what I need to be at and what I don’t. Having clients who understand is huge.

Moms and work need to be a bigger conversation. We’re still expected to show up, even if our kid just threw up on us five seconds before the meeting. I’ve breastfed at every artist event I’ve been to. It doesn’t stop, but I think I’m better for it.

When you look to the future, what do you see for yourself?

I hope my company’s still buzzing. I want to have every department grown out. I live very much in the moment, so I don’t look too far ahead. I’d like to think if you look too far, you can get lost in the future. And I’m not guaranteed to be here in five years, so I focus on the now more.

Photo: Courtesy of Marshall

But I do want my company to grow. I want to have more artists, continue to be a strong representation for country music, and have a staff that stands on their own and proud to work at back blocks

What advice would you give someone if they wanted to do what you do?

Confidence is key. If you dream it, believe it, and say it out loud. Don’t let anyone tell you otherwise—especially men.

Remember, someone is always watching you. Be a great example. That’s what I tell myself—especially when people may push buttons. [Laughs] I remind myself that there’s a girl coming up who needs to see me doing this.

MusicRow Weekly (News, Charts, More…)

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This week’s edition of The MusicRow Weekly is packed with major industry moves, milestone celebrations and exciting events on the horizon for Nashville. Click here to see the full edition.

Rachel Whitney has exited her role as Head of Editorial, Nashville at Spotify, announcing plans for a sabbatical. Whitney joined the company in 2020, leading the Nashville-based editorial team through a transformative period for streaming and playlist curation.

Sony Music Nashville & Provident Entertainment has tapped Lauren Kilgore as Senior Vice President, Legal and Business Affairs, effective immediately. Kilgore brings years of expertise in entertainment law to her new role, where she will oversee legal and business strategy for the label group. Jody Williams Songs (JWS) is celebrating its fifth anniversary with two key promotions. Nina Jenkins Fisher has been elevated to Vice President/General Manager, while Tenasie Courtright steps into the role of Creative Director.

Peachtree Entertainment has expanded its leadership team with the addition of Marty Elliott as Vice President of University Relations and Andrew Goldberg as Vice President of Strategic Partnerships.

A longtime presence in the business management sector, Becky Harris has rebranded her firm under the new name Harris, Huelsman, Barnes & Company. The transition follows the recent retirement of CPA Donna Huskins, who focused on tax services for the company’s clientele. Now led by Harris and her new Principals, John Huelsman and Morgan Barnes, the firm remains a trusted partner for artists and executives navigating financial strategy.

The legacy of Randy Travis is set to be honored in a new film, Forever And Ever, Amen, celebrating the country icon’s life and career. Meanwhile, Nashville is gearing up to welcome its first-ever Professional Rodeo Cowboy’s Association event, as the Music City Rodeo makes its debut at Bridgestone Arena on May 29-31.

Country superstar Luke Combs will finally take his place among Nashville’s greats when he is inducted into the Music City Walk of Fame on March 20. Originally scheduled for last fall, his induction was postponed due to a scheduling conflict, but the moment will be well worth the wait for fans and industry peers alike.

This week’s My Music Row Story features insightful conversations with two influential women in the industry: Amazon Music’s Michelle Tigard Kammerer and Warner Chappell Music’s Jessi Vaughn Stevenson. Their interviews dive into their journeys, career highlights and perspectives on the evolving music landscape.

In addition, the latest MusicRow CountryBreakout Radio Chart is included. Zach Top notches another week at No. 1 this week with “I Never Lie.” Explore more chart data here.

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.

Zach Top Secures Second Week At No. 1 On MusicRow Radio Chart

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Zach Top. Photo: Citizen Kane Wayne

Zach Top maintains the No. 1 position on the MusicRow CountryBreakout Radio Chart with his track “I Never Lie.”

The tune is a part of Top’s debut studio album Cold Beer & Country Music and was written by Top, Carson Chamberlain and Tim Nichols.

Last weekend, Top took the historic Ryman Auditorium stage for two sold-out shows. He was joined by Jake Worthington on Friday (Feb. 28) and Cole Goodwin on Saturday (March 1), who served as his opening acts.

“I Never Lie” currently sits at No. 10 on the Billboard Country Airplay chart and No. 7 on the Mediabase chart.

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

DISClaimer Single Reviews: Carly Pearce Is ‘Country Music Eloquence’

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Carly Pearce. Photo: Allister Ann

Tomorrow, March 7, is International Women’s Day, and DISClaimer salutes that with an all-female playlist today.

Leading the charge is Disc of the Day winner Carly Pearce. Her excellent “No Rain” is joined by first-class new music from Dasha, Tigirlily Gold and Sarah Borges.

Newcomer Caroline Owens wins this week’s Disc of the Day award. She’s so promising that the current issue of Bluegrass Unlimited devoted a feature story to her before she’d released any music.

FIMONE / “Woman”
Writer: Janelle Faiman; Producer: Greg Magers; Label: Fimone
– This feminist anthem features her drawling, bluesy voice accompanied solely by her snarling electric guitar. The lyric demands equal rights, addressing bodily autonomy, pay parity and an end to systemic oppression. In other words, “r.e.s.p.e.c.t.” Kinda preachy but kinda cool, too.

CARLY PEARCE / “No Rain”
Writers: Carly Pearce/Emily Weisband/Jordan Reynolds/Lauren Hungate; Producers: Carly Pearce, Dave Clauss; Label: Big Machine Records
– When you’re going through hardship, remember that without rain, there are no flowers. Pearce’s vocal is beautifully phrased, and the strings-and-guitar accompaniment is simply poetic. Country music eloquence.

CARTER FAITH / “If I Had Never Lost My Mind”
Writers: Carter Faith/Jen Stegall/Lauren Hungate/Tofer Brown; Producer: Tofer Brown; Label: UMG Nashville
– Her plaintive soprano vocal covers an impressive range, up into falsetto acrobatics, as she wends her way through this heartache power ballad. An oomphy production adds to the dynamics. Impressive.

SIERRA HULL / “Spitfire”
Writer: Sierra Hull; Producer: Sierra Hull; Label: SH
– Singer, songwriter and mandolin virtuoso Sierra Hull gives this story song a wafting lilt. The ballad’s lyric is about her strong and resilient grandmother. Her performance of it is surrounded by a silky cushion of acoustic sound, anchored by her own deft guitar playing. Hull is booked to perform tomorrow night (March 7) at Brooklyn Bowl.

TIGIRLILY GOLD / “Forever From Here”
Writers: Kendra Slaubaugh/Krista Slaubaugh/Pete Good/Shane McAnally; Producer: Pete Good; Label: Monument Records
– She has a vision of their future together, as in, “I can see forever from here.” The rippling, sparkly track is full of energy and sunshine. So is the harmony-soaked duet performance. This effervescent single is their finest to date.

MADDIE & TAE / “Kissing Cowboys”
Writers: Laura Veltz/Luke Dick/Maddie Font/Taylor Kerr; Producer: Josh Kerr; Label: Mercury Nashville
– The duo bops though this rollicking, good-time tune with joyous moxie to spare. I bet this one is a blast in concert.

CAROLINE OWENS / “You’ve Still Got It”
Writers: Jerry Salley/John Pennell; Producers: Darin Aldridge, Jerry Salley; Label: Billy Blue
– She sings this lovely ode to addictive romance in a sky-high mountain soprano. This works super well when the male harmony vocals are stacked beneath it. Dazzling mandolin picking and sighing fiddle add to the magic. Bluegrass on the wing in full flight.

DASHA / “Not at This Party”
Writers: Anna Dasha Novotny/Ashley Gorley/Ben Johnson; Producers: Ben Johnson, Johnny Reno; Label: Warner Records
– To state the obvious right away: This is brain meltingly catchy, ridiculously lovable and a rhythm happy carnival ride. While the beats drop around her, Dasha advises us that she’s physically at the party, but her mind is on him. Get up and dance.

HAILEY WHITTERS & MOLLY TUTTLE / “Prodigal Daughter”
Writers: Bryan Simpson/Hailey Whitters/Paul Sikes; Producer: Jake Gear; Label: Big Loud Records
– This rocks. Whitters wails righteously of her lost innocence amid a frothing, percussive track. Bluegrass star Molly Tuttle provides guitar and harmony-vocal support.

RUNAWAY JUNE / “To Be Yours”
Writers: Aaron Eshuis/Jennifer Wayne/Natalie Stovall/Ron Fair/Stevie Woodward; Producer: Ron Fair; Label: Quartz Hill Records
– Sugary sweet. The trio adopts a soft, caressing vocal tone for this lovey-dovey tune. It’s as delicious as an ice cream sundae and as lovely as a pastoral watercolor, but I like them better when they are feisty and bopping.

SARAH BORGES / “Mercy of the Moon”
Writers: Jay Godfrey/Jeremy Tepper; Producer: Eric “Roscoe” Ambel; Label: Lakeside Lounge Records
– This is a rumbling honky tonker delivered by a sturdy roadhouse alto. Twang guitars,  slamming drumming and band-member support vocals give it a pleasingly garage-y sound. The totally country song was co-written by Jeremy Tepper, the Diesel Only Records man who died too young and is much missed.

AVERY ANNA / “Mr. Predictable”
Writers: Avery Anna/Ben Williams/David Fanning; Producer: David Fanning; Label: Warner Music Nashville
– There is something about her voice that has me hanging on every line. This aching performance about being in love with a cheater has dramatic shifts in tone, from solo intimacy to furiously electronic roaring. Fascinating listening.

LILY ROSE / “I Know What I Want”
Writers: Andy Albert/Emily Weisband/Jaxson Free/Lily Rose/Paul DiGiovanni/Taylor Phillips; Producer: Paul DiGiovanni; Label: LR
– This perennial rule breaker leans in a pop/hip-hop direction on this snappy slab of sass. The lyric is quite simple and quite repetitive.

My Music Row Story: Warner Chappell Music’s Jessi Vaughn Stevenson

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Jessi Vaughn Stevenson

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.

Jessi Vaughn Stevenson is VP, A&R and Digital at Warner Chappell Music (WCM) Nashville, where she strategizes innovative opportunities and guidance for songwriters and artists. With a proven track record of success, Stevenson has helped advance the careers of influential country music creators, including Jessi Alexander, Aaron Raitiere, Rhett Akins, Parker McCollum, Riley Green, Hailey Whitters, Morgan Wallen, Randy Montana, Will Bundy, Lee Miller and Little Big Town, among others.

Born and raised in Nolensville, Tennessee, Stevenson honed her industry acumen during her time at Belmont University, where she earned a bachelor’s degree in Music Business and gained valuable experience through roles at CMT, Warner Brothers Records, Bill Silva Entertainment and SoundExchange. In 2015, she founded JV Writer Management, successfully supporting the careers of award-winning songwriters Jessi Alexander and Jon Randall.

At WCM, Stevenson champions diverse talent across genres, identifying and developing the next generation of hitmakers. While dedicated to her professional endeavors, Stevenson finds her greatest joy in motherhood and family.

Stevenson will be honored as part of MusicRow‘s Rising Women on the Row class of 2025 on March 20 at the Omni Nashville Hotel. Read more about the event here.

Photo: Courtesy of Stevenson

MusicRow: Where did you grow up?

I grew up in Nolensville, about 30 minutes from here.

What was your childhood like?

Very normal. My parents are married, I have two older brothers. My mom’s a nurse, and my dad worked for the post office. Very blue-collar, normal family.

Were you musical?

No. My oldest brother can do anything he puts his mind to, so he taught himself to play guitar. Music was a big part of my life, like it is for everyone, especially in your formative years. But my real interest came from discovering new music in film and television.

When we were young, we didn’t have digital platforms, so music discovery happened through the radio or film and TV. I loved learning about new indie bands and obscure songs that were featured. I originally thought I wanted to do music supervision.

Photo: Courtesy of Stevenson

How did you know what that was?

I think I Googled it. I wanted to know who picked out the songs, so I looked it up. That was probably around 2008 when I started digging into it. I did well in school because I worked really hard, but I wasn’t naturally great at any subject. I was always bossy and very organized, and I loved music, so I thought I could combine those things and work on the business side.

I grew up next door to a man named George A. Collier—he was an executive at Capitol Records in L.A. in the ’60s. He and his family retired in Nolensville. Growing up close to Nashville, I always knew the music business was a thing.

Photo: Courtesy of Stevenson

So you were ready to pursue it by the time you got to college?

Yes. I really wanted to go to school in L.A. because of the music supervision angle. I loved country music, but L.A. felt like the place for that career. I had family there, so I visited often and toured Pepperdine, but something felt off. Then I visited Belmont and immediately knew it was the right place. Belmont had the Belmont West program, so I could do both Nashville and L.A. It was perfect.

What was college like for you?

Belmont was great. I lived on campus my freshman year and was determined to have a career in the music industry. At the time, you couldn’t intern until you’d taken an internship lab class, which wasn’t until later in college. I didn’t want to wait, so I found my own opportunities.

My roommate won a singing competition to perform with Brett James and Hillary Lindsey. I went with her to the show and met Brett, who introduced me to his cousin, Charles Dixon. Charles ran an event series called Music City Hit Makers, and I asked him for a coffee meeting. I offered to assist him for free, and that led to me helping with their shows. Through that, I met Jessi Alexander and started babysitting for her.

Photo: Courtesy of Stevenson

When I went to Belmont West in 2015, Jessi called and asked if I’d work for her and her husband, Jon Randall. He didn’t have a publishing deal at the time, and needed help with his calendar, catalog and corporate gigs, and Jessi needed assistance with things her publisher didn’t cover. I had no idea what I was doing, but I said yes.

How did that transition into your career?

After that summer, I was offered another internship at CMT, but I told Jessi and Jon I’d rather focus on them full-time if they could help me meet my financial needs. They agreed, and I took on more responsibilities. Eventually, I wanted to move away from the family side of the job and focus more on music. They introduced me to other writers, and I started assisting Connie Harrington and doing production assistant work for Chris DeStefano. I was building a writer management career before I even graduated.

Then Jessi signed with THiS Music and introduced me to Rusty Gaston and Anna Weisband. They had an open position, but I wasn’t sure it was the right fit. Rusty told me I should meet Ben Vaughn at Warner Chappell, and coincidentally, Jessi had already set up a meeting for me with him. Before the meeting, Ben’s assistant quit, so what was supposed to be an introduction turned into an informal interview. We hit it off, and he offered me the job.

Photo: Courtesy of Stevenson

What do you remember about becoming Ben’s assistant?

I remember they cleaned out a closet—truly remodeled a closet. [Laugh] The team was growing. When Ben got there, he got his lay of the land, and then a few years in, he was focused on growth. I remember I could not get the hang of the phones. If I was in charge of transferring a call from the front desk, I was going to drop it.

Ben had just signed Rhett Akins to Warner Chappell, and Rhett didn’t really know anybody on the creative staff because he’d been at Sony for so long, so Ben was going to be his point person, which made sense in theory but wasn’t practical when you’re running a company. So he pulled me in, and suddenly I was handling Rhett’s co-write calendar just a few weeks into this job, which was pretty wild. Eventually Ryan Beuschel got pulled in to help on creative, and we worked really well together. Ben’s whole thing was sink or swim—he’d hand you stuff and see what you did with it.

You eventually moved into the creative side of things.

I originally did not want to be on the creative team. I just wanted to do administrative stuff. I don’t know why the idea of being on the creative team scared me, but it became clear pretty quickly that I was better at building relationships with writers than transferring phones.

Photo: Courtesy of Stevenson

The transition was very natural. The cool thing about being at Chappell as long as I have is that people have come and gone, and through that process, I’ve inherited a roster of really great writers while also signing new ones. At first I was a coordinator for everybody on the team—which is crazy to think about now because we have three people in that role. I remember getting the opportunity to help with Aaron Raitiere’s calendar, then Lee Thomas Miller. Then Alison Junker and I got the opportunity to sign Seaforth.

I didn’t sign Parker McCollum—Randy Rogers brought him to Chappell through Alicia Pruitt. But when Alicia left, I raised my hand because I was a big fan of his music and just liked him. He wasn’t “Parker McCollum” yet—no record deal, no management in Nashville. It was really fun. We’re about 18 months apart in age, so we became friends.

One of the first sessions I put together for him was with Rhett, and “To Be Loved By You” came out of that. That was one of those moments where I thought, “Okay, maybe I can do this.”

Photo: Courtesy of Stevenson

What’s one of your proudest song pitches?

One of the proudest moments in my career was “Don’t Think Jesus” for Morgan Wallen. Jessi, Chase McGill and Mark Holman wrote it, and it would’ve found its way to Morgan, but I had built a relationship with him over the years and I sent him that song while I was on a girls’ trip in New York. Within 24 hours, he had learned it and posted it on Instagram. It was one of the first things he posted post-controversy, and it blew up.

What has your experience as a woman in publishing been like?

I have been insanely fortunate. There’s no one else I’d want to work for in town besides Ben. He created a culture of no internal competition. I never felt like I was up against anything because I was a woman—internally. Externally, the world is what it is. As women, we have to fight harder to be taken seriously, but I do think women are naturally wired to be nurturing, which songwriters really respond to. That helps in this job.

Photo: Courtesy of Stevenson

Who have been your mentors?

Alicia Pruitt, hands down, is the reason that I have stayed at Chappell and moved up. She was banging her hands on her desk for me from day one, just championing me, advocating for me and helping me believe in myself. Ryan Beuschel has been that for me, too. We’re true friends. Katie Jelen is incredible. Ben was obviously huge for me. Phil May is hands down one of my favorite people in the world.

Jessi Alexander, Jon Randall and Lee Miller have all been around doing this a lot longer than I have and they’ve guided me through a lot of scenarios.

All of the women that have gone before me inspire me‚ from Cindy Forman to Allison Jones to Cris Lacy. When I got pregnant, the only other moms in corporate publishing were Cindy and Synnovea Halsel—both of them were really reassuring.

Photo: Courtesy of Stevenson

What was becoming a mother like in this business?

Terrifying. My daughter is the best thing that ever happened to me, but it was a big surprise. I struggled with people thinking I was off my game because I was pregnant, and I was. Pregnancy was miserable. Everyone tells you, “You can have it all,” but you can’t—not every day at the same time. I’ve learned that some days, I’m not the best at my job, and some days, I’m not the best mom, but it balances out.

What’s the best advice you’ve ever gotten?

“You’re not that hot when you’re hot, and you’re not that not when you’re not.” Basically, don’t think too highly or too lowly of yourself. Also, I learned from Ben that if I messed up and owned it immediately, he had my back. That’s something I want to be for other people.