When Two Worlds Collide: A Look Inside Hardy’s Genre-Defying ‘The Mockingbird & The Crow’ [Interview]

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Hardy. Photo: Tanner Gallagher

Music City—the beloved nickname of Nashville, Tennessee—has never felt like a more appropriate moniker for the bustling musical metropolis than it has become in recent years.

Though primarily famous for its outpouring of country and folk music, fit with the acoustic guitars, fiddles, mandolins and more to match, the rapidly expanding city has also served as home to a variety of other genres and sounds over the last century, including jazz, blues, reggae, R&B, rap and even some more recent experiments with K-pop.

Over the last couple of years, though, Music Row has doubled down on fostering Nashville’s growing rock community as labels like Big Machine and Big Loud have opened up rock-specific imprints. As Music City continues to evolve and expand, artists from all over have begun blending the lines between the plethora of sounds found around town, creating and embracing a genre of music all their own.

Hardy. Photo: Ryan Smith

Enter: Michael Hardy.

Better known by simply his last name, Hardy has been paving his own lane since first entering the scene in 2018 when he signed with Big Loud Records. In addition to establishing himself as one of country’s most in-demand songwriters, the Mississippi native has also made waves with his own music.

Since releasing his 2020 debut album, A Rock, Hardy has undoubtedly displayed a unique sound that pushes the boundaries of country music and borders on the fringes of alternative rock. Over the last two years, the reigning ACM Songwriter of the Year has also dropped a couple of rock-leaning songs, including 2022’s “Sold Out,” as well as a stirring cover of rock band Puddle Of Mudd‘s “Blurry.”

As Hardy was busy indulging the rock influences of his adolescence, he was unintentionally prepping for what would become his newest project, The Mockingbird & The Crow.

Marking his sophomore effort, this dichotomous, 17-track record is split neatly down the middle, encompassing eight songs of organic, modern country—The Mockingbird—and another eight of staunchly electric rock tracks—The Crow. The two styles stunningly collide at the record’s midpoint with the biographical title track.

But Hardy didn’t originally set out to make his second album with this unique concept in mind. On the other hand, it was quite serendipitous.

“It was a very gradual process, and it was unintentional,” Hardy shares with MusicRow. “Once my management and label told me to start thinking about record two, I definitely didn’t sit down and say, ‘I want to do a half country, half rock record.’

“I wrote ‘Jack’ and turned it in thinking it would be cool for the next project. Then I wrote ‘I In Country’ and turned that in, then I wrote ‘Kill Sh!t Till I Die,’ then ‘Screen.’ It just kept going back and forth until I had 10 songs on hold, and half of them were rock and half were country.” He recalls, “We all looked at each other and said, ‘Maybe we should do this half and half thing.’ It was really organic and I think that took the pressure off of writing songs… It made it a lot more fun.”

A decorated songwriter who has celebrated an impressive 12 No. 1 singles since 2018, Hardy is unsurprisingly credited on each of the album’s 17 tracks, as well as 23 co-writers, who he explains make up his “core group of collaborators.”

Within The Mockingbird & The Crow, the 2022 BMI Country Songwriter of the Year is joined by some of Music City’s writing royalty, such as Ashley Gorley, Rhett Akins, David Garcia, Hillary Lindsey and more, as well as some of Nashville’s newer hitmakers, including Hunter Phelps, Jessie Jo Dillon, Jordan Schmidt, Ben Johnson, Renee Blair, Matt Dragstrem, Brett Tyler, Will Weatherly and others.

Hardy. Photo: Ryan Smith

“Everybody that I love collaborating with the most has a song on the record,” the 2x AIMP Songwriter of the Year notes. “There’s a few of those people that I truly love writing with and I have hits outside of myself with those people, too. They’re people that I write well with.” He continues, “They bring out the best in me and they throw out stuff that my brain would have never thought of. They make me a better writer in general and they inspire me every day.”

Though there are nearly two dozen writers throughout the record, there is one song that sees Hardy put pen to paper on his own.

Found on the project’s country side, “Happy” personifies the idea of happiness in a rather rudimentary way. Giving happiness character and boiling it down, the track slightly touches on mental illness while also pumping some hard-learned optimism into the lyrics. The track marks Hardy’s first solo country write in a decade.

“‘Happy’ is really special to me,” he admits. “I hadn’t written a country song by myself since 2013 when I wrote a song called ‘Dog Years.’ That was a song that essentially got me my first publishing deal, so [‘Happy’] is really special in a lot of ways.” He adds, “I’m also just really proud of the song and the message that it has. I’m stoked to have a song I wrote by myself on this record, and hopefully it will inspire me to do more of that. It’s good to challenge yourself and see if you can try to get something great with just your own brain.”

Hardy performs onstage during Morgan Wallen’s “The Dangerous Tour” at Madison Square Garden. Photo: John Shearer

Elsewhere on the album’s first half, the CMA award-nominated entertainer offers up some classic country concepts. Whether it’s the love letter of sorts written from the perspective of beer on the opening track, the thought-provoking “Here Lies Country Music” taking on the form of a eulogy, his take on a traditional story-song alongside Lainey Wilson on “Wait In The Truck,” or his deliverance of some of country music’s signature patriotism on the hit-bound “Red” with labelmate Morgan Wallen, Hardy brings out all the bells and whistles that Nashville and country music are synonymous with.

One of the core standouts on The Mockingbird is undeniably “Screen.” Cleverly written alongside Dillon, Dragstrem and Phelps, Hardy makes a familiar statement with a simple but powerful acoustic backdrop. Opening with depictions of some of the sobering images that have become commonplace in our culture these days, “Screen” brings a much needed breath of fresh air as it reminds us of the beauty at work all around us if we just look up.

“A lot of these songs have a deep message and speak on humanity and where we are in the world, and there’s a lot to unpack with ‘Screen,’” he explains. “I don’t want it to ever come off judgy because I’m just as guilty as anybody else, but I would love for people to take a second and say, ‘Damn, I look at my phone a lot when there’s a lot of beautiful world going on out there.’ Hopefully, that song really conveys that message to everybody.”

Hardy. Photo: Tanner Gallagher

Conversely, on the record’s second half, Hardy breaks out some of the heavy-hitting production and edgy vocals often associated with the alternative rock space. On The Crow, you’ll find the intentionally chaotic “Jack,” which touches on the weight and isolation associated with addiction and alcoholism; “.30-06,” which could be sonically reminiscent of iconic band Blink-182; the quintessential modern rock song in “I Ain’t In The Country No More;” and the arena-ready anthem of “The Redneck Song,” which is just begging to be played as an encore.

The Crow also sees Jeremy McKinnon, lead singer of veteran band A Day To Remember, lend his vocals on a track called “Radio Song” that once again sees the convergence of the album’s two genres. Serving as one of the most gleefully confusing songs in recent memory, McKinnon delivers some spoken word verses behind rock production while Hardy provides a definitively country chorus.

With the project now circling out into the stratosphere and beyond, Hardy hopes that the heart behind the groundbreaking record doesn’t get lost. Though it isn’t an inherently country album through and through, The Mockingbird & The Crow truly captures the multi-faceted and nuanced nature of the rising singer-songwriter.

“I’m obviously trying to push my own boundaries and I guess ‘crossover’ a little bit into rock ‘n’ roll, if you will, but I also want people to know that I’m not leaving country music by any means,” Hardy sums. “The record is not an announcement that I’m exiting country music, but I think it really describes who I am as a person. Every song goes through what’s going on inside my brain—the thoughts that I have, the way that I grew up, the music I listen to, and my values. It’s just an all-encompassing encapsulation of who I am as a person.”

Among his biggest hopes for this album, Hardy shares, is to spawn a No. 1 on both country radio and rock radio. With “Jack” currently sitting in the top 15 at rock radio and its country counterpart “Wait In The Truck” residing in the top 10, the Mississippi boy’s dream may just become a reality.

Hardy performs onstage during Morgan Wallen’s “The Dangerous Tour” at Madison Square Garden. Photo: John Shearer

“A big goal of mine is to have a hit in both genres.” He adds, “That would be really cool, especially on rock radio. That, to me, is a full seal of approval from the rock ‘n’ roll community. The fact that I have been so accepted in that means a lot, and to have a hit at rock radio would be a huge milestone for me as an artist.”

As he begins this new chapter of his artistry, Hardy will ring in his album release with a special, double-header concert event on Jan. 23 in LA as he plays each of the record’s halves at two iconic venues—The Mockingbird at the Troubadour and The Crow at The Roxy.

He will later embark on his sold-out “The Mockingbird & The Crow Tour” on Feb. 16 in Indianapolis. Spanning across 16 dates, the trek’s support will also reflect the nature of the album as country singer-songwriter Jameson Rodgers and rock risers Blame My Youth come along for the ride.

Hardy’s one part country and one part rock concoction is available everywhere now.

Beyond The Row: MusicRow’s Sherod Robertson Climbs Mount Kilimanjaro

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MusicRow‘s Sherod Robertson stands in front of Mount Kilimanjaro as he begins his hike to the summit. Photo: Sherod Robertson

In early January, MusicRow Publisher/Owner Sherod Robertson successfully climbed Mount Kilimanjaro, reaching the summit, the highest point on the dormant volcano.

Embarking on a 7-day hike on the Lemosho route, Robertson reached Mount Kilimanjaro’s Uhuru Peak on Friday, January 6, 2023 at 8:34 a.m. East Africa Time.

Located in Tanzania, Mount Kilimanjaro is the highest mountain in Africa and the highest free-standing mountain in the world, reaching a peak of 19,341 feet above sea level. Uhuru Peak is the tallest summit on Kibo’s crater rim, the highest of the three dormant volcanic cones that make up Kilimanjaro.

Made up of ash, lava, and rock, Kilimanjaro is one of “The Seven Summits,” which also include Mt. Everest in Asia, Aconcagua in South America, Denali in North America, Mt. Elbrus in Europe, Puncak Jaya/Mt. Carstensz in Australia, and Mt. Vinson in Antarctica.

 

Why did you want to climb Mount Kilimanjaro?
Climbing Mount Kilimanjaro was never on my bucket list. However, when I was approached by a friend as something to consider, I honestly couldn’t find a reason not to do it. I guess you could say the mountain summoned me and I had to oblige.

I also saw it as an opportunity to help define how I age. While I can’t stop the aging process, I do have control on how I define aging and how I evolve as I get older. As it turns out, our first day on the mountain was January 1, 2023 and this year is a big milestone birthday for me. So it all seems a little poetic on how the timing of this adventure turned out.

Mount Kilimanjaro. Photo: Sherod Robertson

What did your training involve? How did you prepare for such a challenge?
I hiked around 100 miles here in Middle Tennessee in the months leading up to the expedition in Tanzania. I thought I was ready. In hindsight, I probably should have incorporated more strength and endurance training. Lifting weights to increase muscle strength and jumping rope to build endurance would have really helped. Those are key when you are tackling something as difficult as Mount Kilimanjaro. But it all worked out in the end and I’m really pleased with how my body responded under those conditions.

What was the most unexpected aspect of your adventure?
The first surprise was before I even got to the mountain. This was the first time I had ever been to Africa, and although I was visiting a strange land, it seemed very familiar on a deep and spiritual level, almost like I was home. Strange, isn’t it? I sure didn’t expect that. However, I have learned that many scientists believe humans originated from a single point in Africa and then migrated across the world. So perhaps on some level, I was home after all.

As for Mount Kilimanjaro, the danger of this trek had completely escaped me. I knew it would be difficult and I mentally planned for that. I knew there were people like former tennis star Martina Navratilova who was hospitalized in 2010 after her publicized attempt to climb Kilimanjaro was cut short when she experienced high-altitude pulmonary edema (HAPE). This is something every climber is aware of since it’s a potentially fatal form of altitude sickness. She only made it to 14,800 feet, so I knew this was not going to be an easy hike up a mountain. I also knew the success rate reported across all climbers is around 65%, so I was mentally prepared for the challenge and knew my success was something I was going to have to earn.

However, any danger had fallen off my radar. Despite all of the planning, research, and training, it never crossed my mind that this was dangerous, but I became very aware of it once I was on the mountain.

The sun rises above the cloud line while standing on Mount Kilimanjaro. Photo: Sherod Robertson

How so? Did you really feel you were in danger during the climb?
In a word, yes. Now granted, the death rate of those climbing Mount Kilimanjaro is extremely small. Out of some estimated 30,000 people attempting to climb the mountain each year, the average reported deaths are somewhere around 10. Those are pretty good odds.

But on the fourth day when the trek included climbing Barranco Wall, I became very aware of the danger. The Barranco Wall is 843 feet high and located on the side of Mount Kilimanjaro. Climbers refer to it as a scramble, meaning it does not require mountain climbing skills; however, you do have to use your hands and upper and lower body strength to traverse the boulders. Perhaps it was my age, my physical fitness, or my fear of heights, but this was a real challenge for me. Many consider this challenge their favorite day; however, I couldn’t escape knowing that if you fall, you don’t simply break a bone or fall on your ass. You are very high on the mountain and there’s nothing to catch you if you slip and fall. There are no safety nets, no cables to hold onto. It really got in my head. And it was raining that day which added another element. I knew one slip of a misplaced hand or foot could be tragic and I just couldn’t mentally get past it. But I did what I had to do. I faced those fears, I showed up, and I did the work. I actually ended up doing really well that day, but I found that day particularly stressful.

As I reflect, I think the real danger is what occurs in your head and how you process and manage it. It’s a fascinating experience to see how your body and mind react to being pushed to their limits. I found that process really interesting.

(L-R): Longtime friends Jay Krenson, Sherod Robertson, and Rachel Fontenot pause for photo at Lava Tower on Mount Kilimanjaro. Photo: Sherod Robertson

Who all were you hiking with? What was camping like each night?
This adventure included two of my very best friends in the world, Rachel Fontenot and Jay Krenson. We have known each other for many years and were very supportive of each other throughout the climb. That goes a long way. Although we were hiking together, we all had very different experiences. That’s what makes this journey so incredible. We successfully climbed the mountain together and supported one another, but the experience became very personal on many levels.

Each day, we stayed in a new area on the mountain as we slowly made our way to the top. The three of us had a team of 32 people which included guides, porters, a chef, a camp manager, and many others who helped us on our journey. They are the real heroes. Without them, there is no summit. They would break down our tents each morning and move them to the next camp each day, bypassing us along the way. They cooked our meals, carried our supplies, and performed daily medical assessments. They were our biggest cheerleaders and by the end of the adventure, we all had formed very strong bonds. They taught me so much about their land and culture. I will always remember them fondly.

Did you ever feel like quitting and stopping the climb?
No, never. I would have died on that mountain before I retreated. I’m not sure why, but I had never been more committed and determined to do something in my life. Even as my body felt like it was shutting down, it never occurred to me that stopping was an option. I was aware the guides had the power to call off the climb if my health deteriorated too much or if I required oxygen. Their goal was to get me to the top in a safe manner. My goal was to keep climbing. Fortunately, our goals aligned and I made it to the top.

MusicRow‘s Sherod Robertson reflects at Mount Kilimanjaro’s Stella Point. Photo: Sherod Robertson

About two hours before reaching the summit, it felt like my body was shutting down. I wasn’t gasping for air and my breathing wasn’t particularly labored, but we had been hiking for many hours up a very steep ascend and I was exhausted. If I’m being perfectly honest, I thought that might be the end. I remember looking down at the ground and wondered if this is how I was leaving this world. It may sound dramatic, but during those moments, I felt very disconnected from life. I had never pushed my body to those extremes before so this was new territory. With the high altitude and exhaustion, my body was at its limit. All I could do is focus on that next single small step, nothing more. And that is what gave me the ultimate victory. Such a metaphor for life, isn’t it? One step at a time.

What are some of the lessons you learned on this adventure?
Wow, there’s so many. And the most profound lessons are deeply personal and probably things I’ll keep to myself. You’ll find that people who reach the summit often describe their experience as transformative and life changing. I am no exception. I will still be learning from this experience in the months and years to come. When you are young, you feel invincible. Then you grow up and know better. I feel like I’ve tapped back into that innocent state of feeling invincible and it’s a great feeling to revisit at this age.

I also now have a deeper understanding and respect of how my story ends. An adventure like this really makes you reflect and take stock of your life and purpose. Hopefully, there are still some empty pages in my life’s book to be completed, but if I skip to the end of the book and take a peak, I know what happens to me. I don’t make it. I die in the end. I realize that’s an obvious observation, but once you really understand that, in a deep and profound way, it becomes both grounding and liberating. It has taught me to swing big. After all, I have nothing to lose.

How did it feel once you finally reached the summit? What were your first thoughts?
For me, it was very emotional. As I approached the summit, I wasn’t in the best shape physically or mentally on that particular day. I wasn’t really speaking to anyone at that point. And with any break offered, I would immediately sit down and retreat inside my head. I was aware of my surroundings but I had such little energy, I wasn’t interacting with the others. It wasn’t by choice, I just couldn’t. I was in survival mode.

MusicRow‘s Sherod Robertson and porter Athumani Ally celebrate reaching the summit of Mount Kilimanjaro. Photo: Sherod Robertson

Before you reach the summit, you first arrive at Stella Point. It has an altitude of 18,885 feet and is one of three official summit points on Mount Kilimanjaro. The views are breathtaking. All climbers who reach this level receive the official Kilimanjaro climbing certificate. When I reached Stella Point, I was at one of my lowest points. It’s about an hour from the summit. We stopped there to take photos, take a break, and drink hot tea. I remember being so exhausted I could barely communicate with the guides because it was a challenge for me to speak. I recall being encouraged to drink tea. The guides ran over and poured glucose powder in the tea and encouraged me to drink it quickly. I did as I was told. While others were taking photos, I knew I didn’t have the strength to get my phone out so I just sat on a rock with my head down. Fortunately my personal porter, Athumani Ally, came over and unzipped the pocket on my pants and took out my phone. I was able to put my finger on the phone to unlock it and he started taking video so I would have some documentation of reaching this point. That’s the level of attention Athumani gave me throughout this expedition. He was by my side every step of the way and was an integral part of my success, along with the other guides and porters. My gratitude for them is enormous.

After the break, I continued onward and I’ll never forget how I felt as I finally reached the summit at Uhuru Peak. It’s very difficult to describe in words. I felt depleted but a wave of renewed energy flowed over and through me. I spoke very little but there was a crystal clear clarity that I had never felt before in my life. Through the tears, I realized I had been successful at the single hardest thing I’ve ever done in my life. It’s such a surreal and overwhelming feeling. I will cherish that feeling forever. The much needed adrenaline brought some life back into me and I was able to slowly walk around, take photos and be fully present in this transformational moment in my life.

MusicRow‘s Sherod Robertson walks by shrinking glaciers and ice fields on the summit of Mount Kilimanjaro which are projected to disappear between 2025 and 2035. Photo: Sherod Robertson

After reaching the summit, you still had to come back down the mountain? How was that process for you?
We couldn’t stay at the summit very long because the oxygen is so low at that altitude. So after twenty minutes, we started our descent. You would think if I was barely hanging on physically and mentally to reach the summit, I wouldn’t have any energy to descend. But it’s actually the exact opposite. With each step down the mountain, there is more oxygen and your body reacts very positively to it and becomes more energetic. Two of the guides, one on each side, decided to show me how they go down the mountain by taking enormous strides and alternately landing on the heel of each foot and sliding until you naturally stop. After an hour or so, they suggested I was doing well enough to descend on my own and unassisted. It was the most liberating feeling I’ve ever experienced. What had been a tortuous path slowly ascending to the top, turned into an energy-filled, fast-trek trollop down the mountain. The juxtaposition of the two was quite an experience.

MusicRow‘s Sherod Robertson looks down on the clouds from Mount Kilimanjaro’s summit. Photo: Sherod Robertson

Would you recommend others climb Mount Kilimanjaro? Would you ever do it again?
The experience I received is priceless and my life will never be the same. It is without a doubt the greatest gift I have ever given myself. If you are called to climb Mount Kilimanjaro, you should do it. The company I used was Altezza Travel and I would use them again. They were amazing to work with. However, I have to point out that this is not an expedition you take lightly or treat as a vacation or casual adventure. It takes a high level of mental and physical fortitude to do something like climb Mount Kilimanjaro.

Would I ever do it again? I can’t say it’s completely off the table. It would be interesting to see how I could improve my mental and physical experience. Maybe a second trip for another milestone birthday? Who knows? But if a compelling reason for me to climb Mount Kilimanjaro appears, I may indeed find myself on that mountain again.

If you had to sum up your experience in just one statement, what lasting life lesson did this experience give you?
The level of strength and determination that I had to tap into not to just reach the top of the mountain, but to simply survive and keep moving forward, were elements that I didn’t know I possessed. It’s an amazing discovery that I never knew existed. It took me traveling across the globe to discover what I always had right here inside of me. Life can be funny like that.

MusicRow‘s Sherod Robertson reached Mount Kilimanjaro’s Uhuru Peak on Friday, January 6, 2023 at 8:34 a.m. East Africa Time. Photo: Sherod Robertson

The rain forest on Mount Kilimanjaro. Photo: Sherod Robertson

Luke Combs Goes No. 1 On MusicRow Chart With ‘Going, Going, Gone’

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Luke Combs earns another MusicRow CountryBreakout No. 1 this week with “Going, Going, Gone.” The tune was written by Combs alongside Ray Fulcher and James McNair.

Combs recently announced he will release a brand new, 18-track album on March 24. The project will follow 2022’s Growin’ Up, which debuted at No. 1 on Billboard’s Top Country Albums chart last summer.

He is nominated for three trophies at next month’s Grammys, including Best Country Song, Best Country Album, and Best Country Duo/Group Performance.

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

DISClaimer Single Reviews: Jordan Davis Gets ‘Steamy & Sexy’ On Newest Release

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Sex always sells.

Just ask Jordan Davis, who is heading straight to the top by giving his image a sensual makeover with “No Time Soon.” It is our Disc of the Day.

One nice trend in today’s playlist is the presence of female-centric lyrics. You’ll find them by Walker County, Brei Carter and Priscilla Block. Add a touching performance by the late Jody Miller, and you have some real woman-music power.

Speaking of Miller, we have welcome tracks by two other veterans today. One of them is Shenandoah’s. The other belongs to Willie Nelson. How awesome is it that he’s turning 90 this year and still making music this great?

BLANCO BROWN / “I’ll Never”
Writers: Blanco Brown/Keith Justice/Allen Arthur; Producers: Blanco Brown/Bizkit & Butta; Label: BBR
–Country, country, country–from the steel-drenched track to the everlasting-love sentiment. Brown’s plaintive vocal drips with sincerity as he unspools the romantic message. He’s never sounded better.

SHENANDOAH / “Revival”
Writers: Corey Crowder/Tyler Hubbard/Brian Kelley/Josh Miller; Producer: Noah Gordon; Label: 8 Track Entertainment
–The band is as tight as ever, and Marty’s still one of our finest country singers. The peppy, FGL-penned tune is a catchy toe-tapper with faux-gospel flavor that describes country buddies reuniting and reminiscing. I’ll bet audiences clap along when they hear this live.

PRISCILLA BLOCK / “Me, Pt. 2”
Writer: Priscilla Block; Producers: Jake Curry/Justin Johnson/Robbie Artress; Label: Mercury
–The “My Bar” and “Off the Deep End” songstress returns with a heartache ballad. Block sings with enormous emotion as she describes the new lover her ex has found. This lady really communicates, which is to say she’s a superb country-music artist. Take her into your heart.

DIERKS BENTLEY / “Same Ol’ Me”
Writers: Dierks Bentley/Jon Randall/Luke Dick; Producers: Dierks Bentley/F. Reid Shippen/Jon Randall/Ross Copperman; Label: Capitol
–Bentley’s debut as a record producer is a solid country rocker with just the right touch of twang. An electric guitar sizzles, a mandolin tinkles, a drummer pounds and the singer barks. Radio ready.

FILMORE / “Mean Something”
Writers: Will Weatherly/Michael Whitworth/Filmore; Producer: Zach Abend; Label: Curb
–The title tune of Filmore’s second album is a yearning ballad. He has given up a lot for his music, so he hopes that in the end it will mean something to his listeners (“because it means everything to me”). Fans, this one’s for you.

DUSTIN LYNCH / “Stars Like Confetti”
Writers: Josh Thompson/Thomas Rhett/Zach Crowell; Producer: Zach Crowell; Label: Broken Bow
–You can’t help but smile. This good-time banger captures being dizzy in love so marvelously. Get up and bop around the room. Or turn it up on the open road.

CALLISTA CLARK & JIMMIE ALLEN / “Wish You Wouldn’t”
Writers: Callista Clark/Emily Falvey/Lalo Guzman; Producer: Nathan Chapman; Label: Big Machine
–His performance is more country than hers is. But there’s very little that’s “country” about this melodically meandering and overly wordy song. She’s only 19, so there’s still plenty of time for her to transition to pop, where her heart seems to be.

WILLIE NELSON / “Busted”
Writer: Harlan Howard; Producer: Buddy Cannon; Label: Legacy
–Previously a country hit for Johnny Cash (1963), a Grammy-winning R&B performance by Ray Charles (1963) and a country hit again for John Conlee (1982), this blue-collar evergreen now gets the behind-the-beat Willie treatment. Mickey Raphael’s harmonica wailing underscores and answers every line. The superstars’s distinctive guitar, a punchy rhythm section and some sighing soul organ complete the perfectly mixed track. Totally groovy.

WALKER COUNTY / “Mirror Mirror”
Writers: Sophie Walker/Ivy Walker/Autumn McEntire/Jennifer Schott; Producer: AJ Prius; Label: Warner
–I love this beautifully produced and performed single. The duo hits an emotional bullseye with this sweet, female-empowerment song. It’s about how hard and self-critical a woman can be. Instead of negativity, look in the mirror and tell the image how beautiful and strong she is. Essential listening.

JORDAN DAVIS / “No Time Soon”
Writers: Jacob Davis/Jordan Davis/Matt Jenkins/Josh Jenkins; Producer: Paul DiGiovanni; Label: MCA
–Mr. Davis gets all steamy and sexy on this rumbling, compelling country rocker. He advises his paramour to lay down for some love making that won’t quit for quite some time. This one’s going straight to the top with no stops.

JODY MILLER / “I Can’t Even Walk Without You Holding My Hand”
Writers: Colbert Cross/Joyce Croft; Producer: Justin Trevino; Label: Heart of Texas
–This great, Grammy-winning Okie vocalist passed away in October after battling Parkinson’s Disease. Her last recordings are now being released on an album titled Wayfaring Stranger. Listening to this track tugs at the heartstrings, given the debilitating disease she was battling when she recorded it. Her lustrous alto rings with truth and authenticity.

BREI CARTER / “Stronger Than That”
Writers: Brei Carter/Wayne Burton; Producer: Jason Wyatt; Label: BC
–This lady’s songwriting is always admirably female-centric, and this midtempo single from her second album is no exception. These lyrics find her rising above trials and difficulties to emerge victorious. I would add a little echo to her vocal to give it more oomph.

Reminder: Nomination Period For MusicRow’s Rising Women On The Row Closes Friday

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Nominations for MusicRow’s 10th annual Rising Women on the Row will close on Friday, Jan. 20 at 5 p.m. CT.

MusicRow will honor six deserving businesswomen during Rising Women on the Row breakfast ceremony on March 23 at the Omni Nashville Hotel. The event will recognize the selected Nashville music industry professionals who have become substantial contributors and visionary leaders.

Click to view MusicRow‘s official Rising Women nomination form.

Submissions will be considered only through the official nomination process, which closes Friday, Jan. 20. Candidates nominated in previous years will need to be resubmitted. Multiple nominations do not increase likelihood of being selected, but you may nominate as many individuals as you like with separate forms. Self-nominations are welcome.

The 2023 class of Rising Women on the Row will be announced in the coming weeks, along with event details. Tickets will open in the coming weeks as well.

Past honorees include—2020/2022: Jen Conger, JoJamie Hahr, Mandy Morrison, Missy Roberts, Jennie Smythe, Stephanie Wright; 2019: Janine Ebach, Kelly Janson, Meredith Jones, Lenore Kinder, Sandi Spika Borchetta, Jennifer Turnbow; 2018: Faithe Dillman, Leslie DiPiero, Becky Gardenhire, Lynn Oliver-Cline, Annie Ortmeier, Janet Weir; 2017: Tatum Allsep, Virginia Bunetta, Kerri Edwards, Kella Farris, Laura Hutfless, Juli Newton-Griffith; 2016: Abbey Adams, Amanda Cates, Cris Lacy, Leslie Roberts, Risha Rodgers; 2015: Kele Currier, Tiffany Dunn, Dawn Gates, Jensen Sussman, Lou Taylor; 2014: Julie Boos, Caryl Atwood, Ebie McFarland, Alicia Pruitt, Kelly Rich; 2013: Cyndi Forman, Cindy Hunt, Beth Laird, Cindy Mabe, Brandi Simms; 2012: Shannan Hatch, Mary Hilliard Harrington, Heather McBee, Denise Stevens, Carla Wallace.

CMT Marks 10 Years Of Next Women Of Country With New Class Of 16 Rising Females

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Pictured (L-R, back row): Pillbox Patti, Prana Supreme and Tekitha of O.N.E The Duo, Angie Keilhauer, Roberta Lea, Catie Offerman, Georgia Webster and Kimberly Kelly; (L-R, front row): Kasey Tyndall, Alana Springsteen, Mackenzie Carpenter, Carter Faith, Avery Anna, Ashley Cooke, Julie Williams, Megan Moroney and MaRynn Taylor. Photo: Catherine Powell/Getty Images for CMT

Marking the 10 year anniversary of CMT’s landmark Next Women of Country (NWOC) program, CMT has unveiled its largest class in program history with 16 new female artists joining the fold.

Among the rising stars named to the Class of 2023 are Alana Springsteen, Angie K, Ashley Cooke, Avery Anna, Carter Faith, Catie Offerman, Georgia Webster, Julie Williams, Kasey Tyndall, Kimberly Kelly, Mackenzie Carpenter, MaRynn Taylor, Megan Moroney, O.N.E The Duo, Pillbox Patti and Roberta Lea.

The 2023 class was revealed last night (Jan. 17) at City Winery Nashville to a crowd of industry and VIP guests, alongside NWOC alums Brittney Spencer (2021), Brooke Eden (2015), Caitlyn Smith (2017), Ingrid Andress (2019), Kelsea Ballerini (2015), Maddie & Tae (2015) and Mickey Guyton (2015) as well as songwriter-artist-producer Nicolle Galyon.

CMT Next Women of Country: 10-Year Anniversary & Class of 2023 reveal at City Winery Nashville. Photo:Catherine Powell/Getty Images for CMT

“Each year, it’s extremely gratifying to welcome a new wave of fiercely independent females to our Next Women of Country program, all of whom are blazing their own paths and playing by their own rules,” Leslie Fram, SVP of Music & Talent, CMT explained. “Tonight we’re introducing our largest class of inductees ever as we celebrate with the return of our first in-person event in over three years—and this group of accomplished artists is absolutely worth the wait!” She continued, “Reaching this historic 10th anniversary milestone with CMT Next Women is a testament to the hard work of those gatekeepers in our industry who have locked arms and worked tirelessly toward a level playing field for women. I’m so proud of this franchise for continuing to be at the forefront of this imperative dialogue and look forward to continuing our fight toward greater progress and true equity for all underrepresented voices in country music.”

Over the next year, the new class will receive cross-brand support for their music and videos across the CMT platform and social channels as well as cross-promotional opportunities for Paramount Media’s MTV Entertainment Group brands, such as live events, the Paramount Times Square NYC Billboard and more. As part of the brand’s CMT Equal Play initiative, the class will also be given access to social impact and artist advocacy opportunities designed to assist them in supporting charitable causes and social issues. CMT will also partner with City Winery Nashville to continue a series of fan-focused showcases featuring NWOC throughout the year.

CMT first launched its Next Women of Country campaign in 2013 to support and expose developing female talent, both signed and unsigned, in a male-dominated format. The initiative has grown since its inception, showcasing emerging female artists across all CMT screens, various digital series and seven tours anchored by superstar acts including Jennifer Nettles, Martina McBride, Sara Evans, Tanya Tucker and Maddie & Tae.

This year’s 2023 class marks a total of 111 female acts that have been named as part of the program, including notable alumni such as Ashley McBryde, Brandy Clark, Spencer, Eden, Smith, Carly Pearce, Gabby Barrett, Andress, Kacey Musgraves, Ballerini, Lainey Wilson, Lauren Alaina, Lindsay Ell, Madeline Edwards, Maren Morris, Guyton, Morgan Wade, Miko Marks, Tenille Arts and more.

CMT’s flagship series, CMT Hot 20 Countdown, hosted by Cody Alan and Rissi Palmer, will air a dedicated Next Women of Country three-hour special episode introducing the Class of 2023 with exclusive interviews and performances from each new inductee. The episode is slated to air Feb. 11 at 7 a.m. CT with an encore presentation on Feb. 12 at 8 a.m. CT on CMT.

Zach Bryan Leads The Way On First MusicRow Top Songwriter Chart Of 2023

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Zach Bryan

It’s a clean slate this week as we mark the first MusicRow Top Songwriter Chart of 2023. However, this week’s top five includes a familiar crop of hitmakers.

Leading the way, and continuing steam from sitting atop the chart for the last 13 weeks of 2022, is Zach Bryan. The Oklahoma native has five of his own songs currently at play on the chart, including “Something In The Orange,” “Oklahoma Smokeshow,” “Sun To Me,” “The Good I’ll Do” and “Burn, Burn, Burn.” As the only writer on each of the tracks, he receives all of the points earned from airplay, digital download track sales and streams on the Songwriter Chart.

Following at No. 2 is Morgan Wallen with seven entries this week, including his own “One Thing At A Time,” “Tennessee Fan,” “Thought You Should Know,” “Wasted On You” and “You Proof.” The Big Loud singer-songwriter also has a co-writing credit on Keith Urban’s “Brown Eyes Baby” and Corey Kent’s “Wild As Her.”

Filling out the remainder of the top five are Ashley Gorley (No. 3), Ernest Keith Smith (No. 4) and Luke Combs (No. 5).

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.

Jake Basden To Exit Big Machine Label Group

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Jake Basden

Jake Basden, the Senior Vice President of Communications at Big Machine Label Group, will exit the company after a nearly 12-year tenure. The only music business executive named to PR Week’s coveted 40 Under 40 list will be seeking new opportunities.

The University of Oklahoma graduate joined BMLG from the New York offices of Edelman, the world’s largest public relations firm, where he served as a Director in their Sports and Entertainment division.

A CMA Publicist of the Year, he had a hand in a variety of media campaigns, including the Grammy-nominated trio Midland re-opening the legendary Palomino, the Academy Award-nominated Glen Campbell… I’ll Be Me documentary, Jennifer Nettles’ “I Can Do Hard Things” video, Carly Pearce’s CMA and ACM Female Artist of the Year campaigns, and more.

“Jake came to us right when I needed him most-right as Big Machine was exploding. He has been my communications foil and strategist and we’ve had an incredible run together”, says BMLG Chairman Scott Borchetta. “Jake always presented me and the label group in very creative ways that caught the attention and landed very important pieces in Fortune, Fast Company, Rolling Stone, the Wall Street Journal and so many more. I’m very proud of all that he’s accomplished here and I’m sure he will continue to reach new heights in his next adventure. He will always be part of the fabric of Big Machine.”

“The trouble with working with Scott Borchetta and a company as dynamic as the Big Machine Label Group is, honestly, there is no reason to leave,” Basden shares. “There comes a moment when you realize you must seek new horizons. You can get very comfortable working with incredible acts, these teams, and Scott’s many endeavors. Something I learned during my years in New York is don’t ever stop growing and reaching for new challenges. The culture at Big Machine always encouraged me to aggressively go in new directions.”

He continues, “With over 30 artists and multiple label imprints spanning country, Americana, hip-hop, rock and pop, every day was a fresh set of prospects to explore. I’ve gone places I once only dreamed of and worked with some of the best media, marketing, and brand people in not just America, but the world. I’m forever grateful for Scott, the BMLG family, artists, managers, agents, and media people who’ve made this decade one that flew by. It inspires me, knowing wherever I’m going, it’s going to be a foundation unlike any other to build from.”

Ben Kline & Cris Lacy Begin New Era Of Leadership At Warner Music Nashville

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Warner Music Nashville staff. Photo: Alan Poizner

Warner Music Nashville Co-Chairs / Co-Presidents Ben Kline and Cris Lacy ushered in a new era of leadership at the label with the beginning of 2023.

In June of 2022, the music industry veterans were announced as successors to the beloved John Esposito, who remained Chairman & CEO through the remainder of the year. Esposito is now officially Chairman Emeritus, and Lacy and Kline are in charge. The two launched the new year last week (Jan. 11) alongside the full WMN team with a day of culture building and informational programming at a company-wide off-site meeting.

“I’m honored to lead WMN with Cris in what is an exciting time of change and opportunity for this business,” Kline shared of the transition. “We are committed to continuing our leadership position within that change by being laser focused on our incredible artists, their powerful music and their creative visions.”

Lacy added, “Let’s be honest, this is a time of great change in the world at large too. When culture shifts, music ignites, it bridges, it covers, it uncovers. We are here for all of that, and proud to be the Nashville contingent that amplifies those stories to all parts of the globe.”

Kline joined WMN in 2014 as VP of Revenue. In 2017, he was named SVP of Global Revenue & Touring, and was upped to EVP/General Manager years later where he oversaw radio & streaming, artist development, touring, and international. In his three decades in the music industry, Kline’s previous posts have included EVP of Sales & Marketing at Universal Music Group and SVP of Global Sales & Marketing at Ingrooves. He also founded and served as CEO of Brazenhead Entertainment and VP of Sales and Marketing at Rostrum Records.

Lacy joined WMN in 2005, following posts at Tom Collins Music Publishing, Rick Hall/FAME Publishing, Island Bound Music, and WMG’s Warner Chappell Music. At WMN, she was upped to SVP of A&R in 2017 and EVP of A&R two years later. Lacy has been the driving force behind the signing of many of the label’s most prominent artists, including Kenny Chesney, Zac Brown Band, Cole Swindell, Ashley McBryde, Cody Johnson, Chris Janson and Gabby Barrett.

Warner Music Nashville was established in 2009 under the direction of Esposito to expand Warner Music Group’s presence in Music City. Since then, the division’s artists have spent more than 107 weeks at No. 1, earning 74 chart-topping singles and more than 300 Gold and Platinum RIAA certifications, along with Grammy, CMA, ACM, Billboard, AMA, and People’s Choice awards.

Morgan Wallen Peaks On MusicRow CountryBreakout Radio Chart

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Morgan Wallen is crowned this week’s No. 1 on the MusicRow CountryBreakout Radio Chart with “Thought You Should Know.” The single gained +241 spins and follows his three-week No. 1, “You Proof.” It was written by Wallen with Miranda Lambert and Nicolle Galyon.

In March, Wallen will hit the road on his headlining “One Night At A Time World Tour” with Hardy, Ernest, Bailey Zimmerman and Parker McCollum serving as support. Due to high demand of the initial 39 dates, Wallen added 14 more shows in 13 cities.

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