Dylan Gossett Lets His Performing Power Shine At Ryman Auditorium Debut

/by

Dylan Gossett during his Ryman Auditorium performance. Photo: Jessie Addleman

Just six months after his sold-out show at Exit/In, Dylan Gossett stepped onto the historic Ryman Auditorium stage to headline for the first time Wednesday night (Oct. 23) in front of another sold-out crowd as part of his “The Back 40 Tour.”

To open up the night, country singer James Tucker treated fans to his crafty and soul-stirring original songs, including “Parts Of Me,” “The Light” and “October.” After amping everyone up with his opening three tracks, he flawlessly covered Tyler Childers’ “Whitehouse Road,” before singing two songs he wrote for his wife, “Stay Home Tonight” and “Take Me As I Am.”

Dylan Gossett during his Ryman Auditorium performance. Photo: Jessie Addleman

With the audience fully engaged, Tucker began to perform his unreleased “Raised Us,” which he wrote in his grandparents home while sheltering from the recent hurricanes. After the emotional performance, Tucker ended his set showing off his vocals with “Those Days” and “Man I Am,” before leading a sing along to Bob Dylan’s “All Along The Watch Tower” to end his set.

Anticipation was buzzing around the auditorium as fans eagerly awaited Gossett to take the stage. When the lights went out, the singer’s band led a short jam session before the Big Loud Texas/Mercury Records singer appeared with his guitar and opened the night with “Stronger Than A Storm,” off the soundtrack for Twisters.

After addressing the crowd, Gossett pulled out his signature Texas sound with “Lone Ole Cowboy.” A roar of approval ripped through the room, and the singer-songwriter paused to take in the moment.

“This might be one of the most special shows we’ve ever played,” he said. “This is our first time ever playing here at the Ryman, and it sure is special. Thank you all for being here and selling this place out. It blows our minds.” The heartfelt moment set Gossett up to go into the track that started it all for him, “To Be Free.”

Dylan Gossett during his Ryman Auditorium performance. Photo: Jessie Addleman

Entertainment was already at a high, but Gossett turned it up just a little bit more by pulling out his harmonica for “Tree Birds,” which had everyone singing and clapping along. After “If I Had A Lover” and “No Better Time,” Gossett treated attendees to an unreleased song.

“We wrote this song earlier in the year when we were touring in the spring. We were in a sprinter van that wasn’t too big in the back,” Gossett explained. “We couldn’t really fit a guitar back there, so we went to Guitar Center and found the cheapest, smallest, portable guitar, and we wrote some songs on it in the back of that van.” The crowd approved of the track “Song About You,” once again proving the songwriting power of the breakout artist.

The next track was a special one to Gossett, as he wrote it about his wedding day. After serenading with “Beneath Oak Trees,” he played another unreleased track, “Back 40,” which pays homage to his hometown and old job.

“Flip A Coin” had every single person singing along and another unreleased track, “Hanging On,” was well-liked, too. Gossett then led the ultimate country music jam session inside the Mother Church with a stunning cover of Johnny Cash’s “Folsom Prison Blues.”

Pictured (L-R): Brett Saliba (UTA), Patch Culbertson (Big Loud Records), Jon Randall (Big Loud Texas), Sara Knabe (Big Loud Records), Tyler Arnold (Mercury Records), Matthew Morgan (UTA), Sam Katz (Homebase Management), Chloe Brake (Mercury Records), Miranda Lambert (Big Loud Texas), Justin Hill (UTA), Shawn McSpadden (Range Media Partners Nashville), Dylan Gossett, Federico Morris (Range Media Partners), Jake Levensohn (Mercury Records), Matt Graham (Range Media Partners), Candice Watkins (Big Loud Records), Alex Coslov (Mercury Records), Mario Vazquez (Mercury Records), Kelsey Miller (Mercury Records) and Lucy Bartozzi (Big Loud Records). Photo: Jessie Addleman

A soul-stirring performance of “Finally Stop Dreaming” kept the attention of the dedicated audience, which Gossett capitalized on by playing fan-favorite “Better Winds.”

As the night was winding down, Gossett took one more chance to thank the Nashville crowd for an amazing night. “I wasn’t playing or pursuing music like I thought I should last year. I was just working my job until I found the Lord had different plans for me. I’m not much of a talker if y’all can’t tell,” he quipped. “But thank y’all very much from the bottom of my heart.” He topped off the speech with his viral, newly RIAA-certified Platinum hit “Coal,” bringing the whole building to their feet.

Gossett and his band left the stage, but no one in the Ryman’s pews hit the door. After chanting for more, the singer-songwriter came back on stage for an encore performance. He ended the shining night with a rock and roll style cover of The Animal’s “House Of The Rising Sun,” before closing with his own “Somewhere Between.”

Gossett’s “The Back 40 Tour” continues until Nov. 23 with stops scheduled for Atlanta, Toronto, Chicago and more.

Thomas Rhett Tops The MusicRow Radio Chart With ‘Beautiful As You’

/by

Thomas Rhett tops the MusicRow CountryBreakout Radio Chart this week with his song “Beautiful As You.”

The track is a part of his seventh studio album About A Woman, and was written by Rhett, Jacob Kasher Hindlin, John Henry Ryan, Julian Bunetta, Alexander Izquierdo, Joshua Emanuel Coleman and Zaire Kelsey.

Last month, Rhett announced his upcoming “Better In Boots Tour” slated for June 2025. This 30-city run will see the singer visit St. Louis, Buffalo, Virginia, Philadelphia and more through September.

“Beautiful As You” currently sits at No. 12 on the Billboard Country Airplay chart and No. 9 on the Mediabase chart.

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

DISClaimer Single Reviews: Ringo Starr’s Country Debut Is A ‘Simply Lovely Record’

/by

Ringo Starr.

Let’s get Latin today.

It has been too long since the country stardom of Johnny Rodriguez, Freddy Fender, Emilio, Rick Trevino and the like. Stepping into this void are veteran Stephanie Urbina Jones and newcomer Moriah, both of whom have excellent new singles.

The biggest current star of the format is on hand today with new music from Morgan Wallen. But even superstars must take a back seat when there’s a Beatle in the house. Ringo Starr wins the Disc of the Day prize.

Taking home a DISCovery Award is Neil Perry with his debut solo release.

RYAN LARKINS / “Buzzin”
Writers: Brad Warren/Brett Warren/Jordan Minton/Ryan Larkins; Producer: Paul Sikes; Label: Red Street Records
– “Nothin’ gets me buzzin’ like you do,” sings Larkins. MusicRow’s Breakthrough Songwriter 2024 awardee is a dandy record maker, too. He sings in a rich, low baritone and conveys warmth and personality with every note. He’s nominated for a CMA Award this year as the co-writer of Cody Johnson’s “The Painter.”

JUSTIN MOORE & DIERKS BENTLEY / “Time’s Ticking”
Writers: Jeremy Stover/Justin Moore/Randy Montana/Will Bundy; Producers: Jeremy Stover, Scott Borchetta; Label: The Valory Music Co.
– Seize the moment and savor it. Don’t put things off—stop and smell the roses, tell folks you love ‘em, “make a memory not just money.” All set to a toe-tapping beat. Well worth your spins.

MÕRIAH / “Hasta Mañana”
Writers: Mõriah/Paul Duncan/Paul Mabury; Producer: Paul Mabury; Label: F2 Entertainment Group
– It’s Hispanic Heritage Month, and it’s high time we had a Latina country star. This breathy, sensuous vocalist puts in her bid with this tuneful bopper. She’ll be releasing a Spanish-language version next week in conjunction with the Day of the Dead holiday.

CLARENCE TILTON & MARTY STUART / “Fred’s Colt”
Writer: Christopher Weber; Producer: none listed; Label: 7814467 Records
– The singing of the Clarence Tilton band’s Chris Weber probably won’t win any awards, but there is a raggedy, rumpled charm in this uptempo outing, enlivened by some red-hot electric guitar picking. Americana programmers take note.

RUNAWAY JUNE / “New Kind Of Emotion”
Writers: Jennifer Wayne/Natalie Stovall/Paul Sikes/Stevie Woodward; Producer: Kristian Bush; Label: Quartz Hill Records
– You just can’t beat this act’s delicious, three-part harmony singing. On this pop track, the trio weaves a lovely audio tapestry of budding romance. “This is what a love song feels like,” they sigh together. It certainly is.

MORGAN WALLEN / “Love Somebody”
Writers: Ashley Gorley/Charlie Handsome/Elof Loelv/Jacob Kasher Hindlin/John Byron/Martina Sorbera/Morgan Wallen/Nicholas Gale/Shaun Frank/Steve Francis Richard Mastroianni/Yaakov Gruzman; Producers: Charlie Handsome, Joey Moi; Label: Big Loud Records/Mercury Records/Republic Records
– This is a breezy, upbeat change of pace for this champ hit maker. He’s looking for love while the Latin-tinged track burbles merrily along. The guitar solo is terrific.

SAM WILLIAMS / “Scarlet Lonesome”
Writers: Ben Roberts/Nathan Sexton/Sam Williams; Producers: Ben Roberts, Nathan Sexton; Label: Mercury Nashville
– The torrid power ballad is about being drawn into an obsessive love. The video illustrates that this is a gay romance.

RINGO STARR / “Time On My Hands”
Writers: Daniel Tashian/Paul Kennerley/T Bone Burnett; Producers: Bruce Sugar, Daniel Tashian, T Bone Burnett; Label: UMG Nashville
– At 84, Ringo still sings splendidly. Sharing the spotlight on this mid tempo meditation is a brilliant, crystal-clear production featuring breathtaking steel guitar work by Paul Franklin. A simply lovely record.

STEPHANIE URBINA JONES / “La Reina De Los Angeles Cielto Lindo”
Writers: Mark Marchetti/Stephanie Urbina Jones; Producers: Preston ‘Shoes’ Sullivan/Stephanie Urbina Jones; Label: Global Eyes Entertainment/Casa Del Rio Records
– Jones and her Honky Tonk Mariachi Band are the sound of joy on this delightfully rhythmic prancer. It practically commands you to get up and go into a happiness dance. I have always loved this good-vibes performer, and never more so than now. The song ends with a coda of “Cielito Lindo,” which I always assumed was a folk song. How pleasant to find out that it has a composer.

WARREN HAYNES, LUKAS NELSON & JAMEY JOHNSON / “Day Of Reckoning”
Writers: Lukas Nelson/Warren Haynes; Producer: Warren Haynes; Label: Fantasy Records
– The track conjures a swampy, bluesy mood while the three voices swap soulful, apocalyptic lines about coming together in brotherhood. Kinda left field, but totally groovy, in an optimistic, Civil Rights anthemic sorta way. Haynes is the frontman for the Americana band Gov’t Mule. This is drawn from his solo album Million Voices Whisper, which drops on Nov. 1.

HARPER GRACE / “Jolene”
Writer: Dolly Parton; Producers: Cooper Bascom, Tedd T.; Label: Curb Records
– The smoky-voiced American Idol alumnus tackles the often-sung Parton classic with vivacious verve. She really rocks it. So much so that she sounds like she’s ready to punch Jolene’s lights out.

NEIL PERRY / “If You Can’t Don’t”
Writers: Neil Perry/Jet Harvey/Jackson Nance; Producers: Nathan Chapman, Neil Perry; Label: NP
– He was always overshadowed as a vocalist in The Band Perry. With his debut solo outing, Neil Perry claims the spotlight he deserves. The take-me-as-I-am song is about loving an imperfect man. The electronic production is loaded with dramatic tension and dynamics that mirror the shifting tones of the vocal. Excellent work.

BRANTLEY GILBERT & ASHLEY COOKE / “Over When We’re Sober”
Writers: Brantley Gilbert/Brock Berryhill/Jason Bradley DeFord/Justin Wilson; Producers: Brock Berryhill, Brantley Gilbert, Scott Borchetta; Label: The Valory Music Co.
– They broke up, but they keep hooking up after they’ve been belting whiskey in the club at night. The song is cool and they both sing great, but the record sounds busy and over produced. Gilbert & Cooke will perform this on tomorrow’s telecast of The Kelly Clarkson Show.

My Music Row Story: Buchalter’s Lauren Spahn

/by

Lauren Spahn

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.

Lauren Spahn is a Shareholder in Buchalter’s Nashville office and a member of the Intellectual Property practice group whose practice operates at the intersection of music, media and technology. She represents the legal and business interests of creators, music and technology companies, including recording artists, songwriters, publishers, executives, record labels, brands, entrepreneurs and other entertainment industry clients. Her practice has a particular emphasis on the live performance industry, where she routinely serves as an outside general counsel to numerous music promoters, talent buyers, venues, events and festivals, as well as advising on international live touring and related vendor deals.

Spahn also handles complex transactional and pre-litigation matters related to copyright, trademark and intellectual property law. She has experience managing international trademark portfolios and advises her clients on branding, sponsorship, marketing and complex licensing matters, as well as infringement claims. In addition, she consults with clients on the development of new businesses and provides advice regarding corporate formation, trademark and intellectual property protection, non-disclosure and confidentiality agreements, employment agreements and other related corporate documents.

Spahn is a regular in Billboard’s Top Music Lawyers list, has been named to MusicRow’s InCharge list each year since 2021 and was named to The Tennessean’s Nashville 30 Under 30 in 2018. She is a University of Miami Distinguished Alumni (2021) and was named to the Leadership Music Class of 2019 and the Grammy NEXT Class of 2019. Spahn is also a member of the Nashville Bar Foundation Leadership Class of 2016-2017 and the 2016 recipient of the Nashville Bar Association President’s Award.

MusicRow: Where did you grow up?

I grew up in Palm City, Florida, about half an hour north of Palm Beach.

Photo: Courtesy of Spahn

Were you into music growing up?

Yes. I played classical piano and sang classical voice from elementary school on. Performing, being in choir and taking lessons really developed my love of music. I played piano and sang through college. It was an integral part of my childhood and shaped what I do today.

Did you always know you wanted to work in music?

Actually, I wanted to be a lawyer. When I was seven, I told my dad I wanted to be the first lady president. No political aspirations now, though. He told me presidents often go to law school, so I decided at seven to become a lawyer. That I stayed with me. When I toured colleges, I saw music business programs. It showed me that I could have a career as a lawyer combined with my passion for music. That solidified my path to becoming an entertainment attorney.

Photo: Courtesy of Spahn

Where did you go to undergrad?

I ended up at Elon University in North Carolina. I was originally a double major in music and political science. I auditioned for the music program and got in, but I quickly realized I didn’t need a music degree to become a lawyer. The workload of being a dual major was overwhelming because the classes didn’t overlap, so I dropped the music major to a minor and focused on the pre-law track.

I had some great internship experiences during undergrad. A key one was with CMT the summer between my junior and senior year, where I interned in music media and licensing business affairs. That really solidified that entertainment law was what I wanted to pursue, and it confirmed that Nashville was where I ultimately wanted to live and work.

How did you come across that internship?

It was hard to find entertainment law experience at the undergraduate level. I’d interned at a law firm and for the Attorney General in DC, but combining law and entertainment was tougher. I focused on cities that had music and positions that combined both things. I did the traditional application for CMT, did the interviews and got the position. It was a great summer that really made me fall in love with Nashville.

Photo: Courtesy of Spahn

Do you have any special memories from that internship that affirmed your career choice?

Definitely the excitement around the CMT awards and CMA Fest. Being submerged in the country music scene here and seeing how fans connect to the music made Nashville feel like a special place.

What was next? Where did you go to law school?

I applied to law schools all over but ended up at the University of Miami. I had no intentions of coming back to Florida, but they had started a joint degree program where you could get a master’s in music business alongside your law degree. It allowed me to get music business experience while getting my law degree, which was perfect way to be able to jump into an entertainment law career.

What stands out from that chapter?

The real-world experience in the music business program—learning how royalties are calculated and diving into the business side, while also getting my law degree. I had great experiences in Miami—I interned for Warner Music Latina and AEG Live—but my heart was still in Nashville.

Photo: Courtesy of Spahn

How did you transition to Nashville?

During my third year of law school, I took a trip to New York and then to Nashville, networking and meeting people. My trip to Nashville ended up being very successful and eye-opening. One of the law firms that I met with asked me how soon I could be here.

I only had one semester left, so I thought creatively and was able to figure out that I could do a visiting semester at Vanderbilt for my last semester and still graduate from the University of Miami. So, I spent my last semester of law school living in Nashville, going to Vanderbilt and interning for an entertainment law firm. Then I spent the summer studying for the Tennessee Bar exam so I could practice here.

What was next?

I passed the bar the first time but struggled to find an entertainment law position. The jobs were scarce and were never posted, and there weren’t as many Nashville companies that were hiring lawyers. So I did volunteer legal work and then landed a job at an IP firm to gain practical law experience. I kept networking, and eventually, Jim Zumwalt from Shackelford, Bowen, McKinley & Norton, LLP, who I’d met multiple times, called me when an associate gave him their notice.

Photo: Courtesy of Spahn

I had dinner with him that night. I flew to a Dallas to interview with the firm three days later and got the job a couple days after that. That job was never posted, it was just an opportunity I got through networking and maintaining relationships. Jim took a chance on a young attorney. That was 11 years ago.

I moved from associate to partner in 2019. Our Nashville office left Shackleford and joined Buchalter in May this year, where I’m now a shareholder.

When you first became an associate, was there anyone who helped you learn the ropes?

I’ve been fortunate to have multiple people champion and mentor me. Mark Robinson, who was in-house at Warner Music at the time, was instrumental in helping me meet Jim Zumwalt. Ever since I was a law student, Mark has been someone who I’ve been able to go to for advice. When I started at Shackleford, John Bider was a great technical lawyer, and I could always go to him with questions. His office was right across from mine. Jay Bowen is also a mentor, he’s a brilliant lawyer. I still go to him for advice.

Photo: Courtesy of Spahn

Do you have a story from early in your career when you realized you were really doing it?

When you’re first starting out as an associate, you do a lot of work for other people, but when you celebrate the success of your own client, it’s special. One that stands out is Ian Munsick. We developed a relationship early on, and I believed in his music from the beginning. He has a very unique brand and is true to who he is—I was a true fan from day one. He made a record that was self-funded, and I helped him and his wife and manager, Caroline Munsick, set up meetings and navigate things. I made the connection with Universal and he ended up getting his first publishing deal. I was subsequently on the team to help facilitate and put together his record deal with Warner Music Nashville. Now he’s having amazing success. It’s been incredible to be part of that journey.

[Another client of mine is] Redferrin. I did his first deal with Tree Vibez and have been a fan of his work from the start. I’m so proud of his success, especially in the past year. Also, Wild Rivers, a Canadian band I’ve worked with for seven or eight years. They’ve gone from playing in front of 20 people to selling out the Ryman, and that’s been amazing to witness.

Photo: Courtesy of Spahn

What are some of your favorite deals to work on?

I love working on the creative artist side when I have that passion, but I’m selective because music is personal to me. A lot of what I do now is on the company side, representing music tech companies, publishers, labels and live event companies. I have a lot of fun in that capacity because I enjoy helping them put all the pieces together and shape their agreements and company structures. It allows me to be creative while staying true to the business side.

What are you excited about with your new firm?

Buchalter has offices across the U.S. We’re not just entertainment litigators and transactional attorneys, so it’s exciting to have access to 500+ lawyers across many practice areas. If a client of mine is interested in starting a wine label or wants to get into NFTs, we have experts in all those fields. We might be looking at tax issues or visa issues with touring overseas. It’s a great resource for me and my clients.

What’s your favorite part of your job?

I love my clients. Eight of my top 10 biggest clients have been with me for six or seven years. I’ve been able to grow with them and be part of their success, which I love.

Photo: Courtesy of Spahn

It sounds like you’ve always been a go-getter. What drives you?

Probably my passion for what I do. Music has always been personal for me. I hated performing, but I loved being part of it behind the scenes. Now, I get to be involved in music in a way that suits my personality and strengths—putting the deals together and helping shape how music is consumed.

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

To be true to myself. As a lawyer, everyone has different negotiation styles. To be effective, you need to be authentic to who you are and how you do business. Knowing that has been key to my career.

ASCAP Executive John Titta Passes After Cancer Battle

/by

John Titta. Photo: Courtesy of ASCAP

John Titta, Executive Vice President and Chief Creative Officer at ASCAP, has died following a two-year battle with cancer.

Titta has worked at the PRO since 2013, where he served in the executive role until his passing. At ASCAP, he led the entire membership team and was responsible for signing and working with all of the organization’s members, including the top names in music across genres and generations.

“All of us at ASCAP are heartbroken,” shared ASCAP President & Chairman, songwriter Paul Williams. “John Titta was one of a kind, and truly one of the most beloved music industry executives I have known, with deep ties to songwriters across genres and generations. John—you had a song in your heart always, and you will always be in our hearts. I miss you already.”

ASCAP CEO Elizabeth Matthews added, “John Titta’s warmth, his humor, his kindness, his love of family, and his passion for music were infectious. He was a north star for me personally, and for all of us at ASCAP. John was instrumental in the success of so many songwriters throughout his storied career, and he shared his love of music and songwriters so freely that we all felt the joy. All of us in the ASCAP family are devastated by his passing. Titta—we love you.”

Titta, a lifelong resident of Staten Island, started his career as a musician, songwriter and music teacher. He got into publishing with a job at Screen Gems/EMI Music as Professional Manager, signing such acts as Surface and The Smithereens. He eventually worked with legendary songwriters Carole King and Lou Reed, and had songs covered by Tina Turner, Grover Washington Jr., Alice Cooper, Joan Jett and Dave Edmunds.

Titta then moved to PolyGram Music Publishing, where he was named Vice President of A&R. There, he signed iconic artists like Bon Jovi, Richie Sambora, Pearl Jam, Brian McKnight, K.D. Lang, Billy Ray Cyrus and songwriter Jimmy Webb.

During this time, he was also responsible for individual hit songs including “Save The Best For Last” by Vanessa Williams and “The Folks That Live On The Hill” by Tony Bennett, and he oversaw A&R work on the compilation album Two Rooms, A Tribute To Elton John and Bernie Taupin and multiple movie soundtracks, such as Young Guns II: Blaze of Glory, Days Of Thunder, Scream, Bruce Almighty, Varsity Blues and more.

Titta served as Senior Vice President / General Manager of Warner Chappell Music, Inc. in New York from 1993 to 2006, where he signed such acts as Trey Songz, Fat Joe, Missy Elliott, Kid Rock, Collective Soul, India.Arie, Gavin DeGraw, Cassandra Wilson, Dan Wilson (Semisonic), Uncle Kracker, Shaggy, Simple Plan, Duane Eddy and Bruce Hornsby. He scored with hits such as the Grammy Award-winning “Smooth” by Santana, “Cry Me A River” by Justin Timberlake, “Lean Back” by Terror Squad,” “Waiting For Tonight” by Jennifer Lopez, “One Of Us” by Joan Osborne, “I Love You Always Forever” by Donna Lewis, “Pon De Replay” by Rihanna and many more, including songs recorded by Celine Dion, Ricky Martin, Patty Loveless and Marc Anthony.

Titta started MPCA Music Publishing and Recordings in 2006. The independent company featured the catalog of Blues legend Robert Johnson and songs by Sammy Cahn and Jack Wolf, among others, with songs recorded by Led Zeppelin, Frank Sinatra, Billie Holiday, John Mayer, Bob Dylan, Cyndi Lauper, Aretha Franklin and more.

He joined ASCAP in 2013, where his impact has been indelible.

Also a musician, Titta performed on albums by Ringo Starr and Gizelle D’Cole and played with Michael McDonald, The Doobie Brothers, Duane Eddy, Richie Sambora and Omi. He spent time with Bon Jovi keyboardist David Bryan on the Tony Award winning musical Memphis, and did production and A&R work on albums by Dionne Warwick, Todd Rundgren, Melinda Doolittle, Smash Mouth and Donny & Marie Osmond.

Titta is survived by his wife Lana Titta, his sons Alex and Julian, his daughter Martine, grandson Mason and his brother Michael. The family is planning a private service to be followed by a memorial at a later date.

In lieu of flowers, donations can be made to the John and Rose Titta Fund at The ASCAP Foundation, which Titta set up in memory of his parents to help children on the Autism spectrum through music programs. Donations can be made here or by sending a check to The ASCAP Foundation, 250 West 57th Street, New York, N.Y. 10107. In the memo section write: John and Rose Titta Fund.

Academy Of Country Music Names 2024-2025 Board Of Directors

/by

The Academy of Country Music has selected its Board of Directors for the 2024-2025 term.

Previously-announced officer roles for the Academy of Country Music for the 2024-2025 term are Chair Randy Bernard, Vice-Chair Cris Lacy, Vice-President Jeff Krones, Treasurer Carmen Romano, Sergeant-at-Arms Gayle Holcomb, Parliamentarian Duane Clark and Secretary Tommy Moore.

This year, 11 of the 13 qualifying professional categories were elected by the Academy’s membership. In addition to those elected, director-at-large positions have been appointed by the Chair, Vice-Chair and Vice-President. Directors are elected from each category based on the number of members in that category. Each director serves a staggered two-year term.

Newly-elected members of the Board of Directors include Adam Weiser, Becky Gardenhire, BJ Hill, Cameo Carlson, Chandra Laplume, Cyndi Forman, Deana Ivey, George Couri, Jon Loba, Kristie Sloan, Lee Thomas Miller, Marcel Pariseau, Margaret Hart, Meredith Jones, Scott Scovill, Tim Roberts and Ward Guenther. Martha Earls and Scot Calonge have been elected to a one-year term to fill a previous vacancy.

Newly-appointed director-at-large members of the Board of Directors include Aaron Spalding, Andy Moats, Benson Curb, Candice Watkins, Chris Lisle, Cindy Mabe, Curt Motley, Emily Falvey, Howie Edelman, Jeremy Holley, Matt Cottingham, Rod Phillips, Sally Seitz, Shawn McSpadden, Storme Warren and Tim Foisset.

“As we enter into a milestone year with the 60th ACM Awards on the horizon on May 8, 2025, this will be a year of reflection on the impact the Academy has made on our industry, and a year to look forward on what the next sixty years will look like for the Academy and country music,” shares Damon Whiteside, CEO of the Academy of Country Music. “With the guidance of these leaders in our industry and on our board, I have no doubt that the ACM will have one of the most exciting, impactful, and successful years to date, and with this dedicated group of individuals, the sky is the limit.”

The complete board is listed below.

Academy of Country Music Board of Directors 2024-2025:

OFFICERS:
Chair of the Board: Randy Bernard, RWB Management
Vice-Chair: Cris Lacy, Warner Music Nashville
Vice-President: Jeff Krones, CAA
Treasurer: Carmen Romano​, FBMM
Sergeant-at-Arms: Gayle Holcomb, WME
Parliamentarian: Duane Clark, FBMM
Secretary: Tommy Moore, Academy of Country Music

AFFILIATED:
Scot Calonge, Richards & Southern
Ward Guenther, Whiskey Jam
Deana Ivey, Nashville Convention & Visitors Corp
Scott Scovill, Moo TV

ARTIST/MUSICIAN/PRODUCER/ENGINEER:
Gena Johnson
TJ Osborne
Carly Pearce
Derek Wells

DIGITAL MARKETING/ DISTRIBUTION:
Cameo Carlson, mTheory
Margaret Hart, YouTube

MANAGER:
George Couri, Triple 8 Management
Enzo DeVincenzo, 377 Management
Martha Earls, Neon Coast
Kerri Edwards, kpentertainment

MEDIA/PUBLIC RELATIONS:
Marcel Pariseau, True Public Relations
Kristie Sloan, The GreenRoom PR

MUSIC PUBLISHER/PRO:
Cyndi Forman, UMPG
Shannan Hatch, SESAC
BJ Hill, Warner Chappel Music

RADIO:
Mike Moore, Cumulus Media
Tim Roberts, Audacy

RECORD COMPANY:
Jon Loba, BMG
Katie McCartney, Monument Records
Annie Ortmeier, Triple Tigers
Jennifer Way, Sony Music Nashville

SONGWRITER:
Lee Thomas Miller

TALENT AGENT:
Becky Gardenhire, WME
Meredith Jones, CAA

TALENT BUYER/PROMOTER:
Adam Weiser, AEG Presents

VENUE:
Jason Kane, Houston Livestock Show & Rodeo
Kevin Ream, Cheatham Street Warehouse
Troy Vollhoffer, Premier Global Production

VISUAL CONTENT:
Chandra LaPlume, Sandbox Productions

DIRECTORS AT LARGE:
Jake Basden, Sandbox Entertainment
Breland
Ryan Beuschel, The Neal Agency
Johnny Chiang, SiriusXM
Buffy Cooper, Morris Higham Management
Matt Cottingham, Lewis Brisbois
Benson Curb, Curb | Word Entertainment
Howie Edelman, Durango Artist Management
Emily Falvey
Tim Foisset, Spotify
Rusty Gaston, Sony Music Publishing Nashville
Jeremy Holley, FlyteVu
Beth Laird, Creative Nation
Chris Lisle, CLLD, LLC
Cindy Mabe, UMG Nashville
Shawn McSpadden, Range Media Partners
Daniel Miller, Fusion Music
Andy Moats, Pinnacle Bank
Mike Molinar, Big Machine Music
Patrick Moore, Opry Entertainment
Curt Motley, UTA
Chris Parr, MAVERICK
Rod Phillips, iHeart Media
Ryan Redington, Amazon Music
Mike Rittberg, Big Machine Label Group
Shannon Sanders, BMI
Sally Seitz, Apple Music
Aaron Spalding, Live Nation
Randi Tolbert, QPrime
Storme Warren, The Big 615
Candice Watkins, Big Loud
Erika Wollam Nichols, The Bluebird Cafe

PAST CHAIRS:
Chuck Aly, Country Aircheck
Lori Badgett, City National Bank
Duane Clark, FBMM
Ebie McFarland, Essential Broadcast Media
Ben Vaughn, Warner Chappell
Ed Warm, Joe’s Live

EX OFFICIO PAST CHAIRS:
Paul Barnabee, FBMM
Charlie Cook
Rod Essig, CAA
Mark Hartley
Darin Murphy, CAA
Ken Tucker, Wheelhouse Records
Butch Waugh, Studio2bee

Post Malone Weaves Genres Together At Career-Defining Show

/by

Post Malone performs onstage at his his F-1 Trillion Tour. Photo: Kevin Mazur/Getty Images for Live Nation

Culminating his whirlwind year, Post Malone hit the stage at Nissan Stadium on Saturday night (Oct. 19) for an unforgettable, sold-out show, marking his first NFL stadium concert.

With the sun already set and fans ready to go, country-rock singer Dan Spencer took the stage to warm up the crowd, beginning with “Weepin’ Weekend.” Spencer continued to rock out with originals such as “Eternal Platitude,” “Fat Vampire” and “Tennessee Buddha.” After thanking Post for allowing him to open, he closed up with “Coffee Shop Cowboy Blues.”

Fans were then treated to a stunning set from country duo Muscadine Bloodline. Kicking off their high energy performance with “Rattlesnake Ridge” and “Weyerhaeuser Land,” the two had fans clapping along from the start. After encouraging everyone to “sit back, relax and enjoy the show,” they continued the party with “Dyin’ For A Livin’” before slowing it down for their first-ever RIAA Platinum hit “Porch Swing Angel,” where a sea of cellphone lights illuminated the stadium. 

Gary Stanton of the duo then started to add some old school sounds in, pulling out a harmonica for “Mary Riley” and “Earle Byrd From Mexia,” breaking the stadium out into the ultimate jam session. The duo slowed it down once more for emotional “10-90,” before taking the crowd to Monroe County, Alabama performing their high energy “Devil Died In Dixie.” Stanton and Charlie Muncaster took the crowd back in time with the first song they ever wrote together “Ginny,” before closing the set with “Me On You.” 

As everyone was waiting for the man of the hour to take the stage, there was a sense of unity felt around the crowd. Whether you were a fan of his hip-hop hits or an avid listener of his country F-1 Trillion album, everyone was there to see the superstar perform a decade of music. Starting the night off with “Wrong Ones,” Post instantly made the crowd feel welcome. Fireworks and sparkler display lit up the sky throughout the tune, and continued throughout the night. After finishing “Finer Things,” Nashville welcomed him with a “Posty” chant, making the singer, and fans, feel emotional already.

Post shared that it was his first NFL stadium show, and then took the crowd back to 2019 with “Circles,” before switching back to country with “What Don’t Belong To Me.” While taking in everything that was happening, he continued to express his gratitude to every person in the audience, bringing his emotions to the forefront again. He then continued the hits with “Guy For That.” 

After a stellar vocal performance of “Chemical,” Post brought the honky-tonk vibes with “California Sober” and “M-E-X-I-C-O,” spotting some fans doing the letter dance to the latter. After taking the time to introduce his band on stage and singing happy birthday to one of them, Post electrified the stage with “Candy Paint.” 

“I want to treat you guys to a special cover tonight,” Post stated as applause was still roaring. “I want to honor someone who made me want to come to Nashville and make music.” He got the stadium roaring for the late Toby Keith before acoustically covering his “What I Didn’t Know Then.” 

In a special moment, Post invited his fan Winter onto the stage. The superstar gave Winter a guitar at a show last year, and since then, Winter had been practicing his song “Stay.” Post gave Winter a seat and a guitar, and the two flawlessly performed the track together. You could hear a pin drop in the audience. 

With everyone in the audience captivated by his every move, Post performed a three-track run of some of his biggest hits, including “I Fall Apart,” “Better Now” and “Psycho,” where fire and flashing lights punctuated the moments, adding to the star’s incredible performances. He then switched back to F-1 Trillion’s “Dead At The Honky Tonk.”

“We’d like to dedicate this next song to anyone out there who feels like even when in a crowded room, you’re all by yourself. I just want to let you know, keep rocking, keep rolling, keep being yourself and if you’re a loser, welcome to the show,” Post shared before going into “Losers.” 

 

View this post on Instagram

 

A post shared by @postmalone

“I remember sitting on my bed when I was a kid and trying to learn chords, learn how to make beats and how to be a musician,” began an emotional Post. “I sat down on the edge of my bed and said, ‘one of these days I’m going to be a musician.’ Thanks to y’all, we made it happen.” 

After the cheers of the crowd swept through the stadium, he than began to talk about his family, including his three-year-old daughter, whom he wrote the next tune for. After shouting out all the parents in the crowd, Post captured everyone’s heart with “Yours,” before turning the dial back up with “White Iverson.” 

With the bevy of Nashville stars on his album, fans were eagerly wondering if anyone was going to join Post for the party. Just in time, he welcomed Blake Shelton out onto the stage to perform their hit “Pour Me A Drink.” 

To continue honoring Nashville stars, he covered Brad Paisley‘s “I’m Gonna Miss Her,” before firing up the crowd with “Go To Hell.” As soon as the notes started for the next track, excitement filled the stadium as Post sang his recording-breaking hit “I Had Some Help,” closing the country chapter of the night.

As the set began winding down, there was still more to give. After an enthralling performance of “Rockstar,” Post wanted to share one more note of encouragement with his fans.

“It seems like a lot of the time, you look around in this world and there’s not enough love,” he began. “To anyone who feels like they’re alone, you are not alone. You rock so much and no one on this planet can tell you what to do with this life. It does not matter what you want to do in this world, do it the best you can, do it the hardest you can, because no one can stop you from living your dreams.” 

After filling their hearts with hope and gratitude, Post gave fans the ultimate closing of the show with “Congratulations” and “Sunflower.” 

The “F-1 Trillion Tour” will wrap up this week in Post’s home state of Texas with two shows in Houston and two shows in Austin.

Taylor Phillips Re-Enters MusicRow Top Songwriter Chart Top 10

/by

Taylor Phillips

Taylor Phillips has re-entered the MusicRow Top Songwriter Chart, sitting at No. 7 this week. “Fix What You Didn’t Break,” “I Am Not Okay,” “Liar” and “This Town’s Been Too Good To Us” all helped the songwriter jump five spots.

Zach Bryan remains in the No. 1 spot for the seventh consecutive week with “28,” “American Nights” and “Pink Skies.” Chris Stapleton stays at No. 2 with “Think I’m In Love With You.”

Ashley Gorley (No. 3), Riley Green (No. 4) and Jessie Jo Dillon (No. 5) round out this week’s top five.

The weekly MusicRow Top Songwriter Chart uses algorithms based upon song activity according to airplay, digital download track sales and streams. This unique and exclusive addition to the MusicRow portfolio is the only songwriter chart of its kind.

Click here to view the full MusicRow Top Songwriter Chart.

Country Music Hall Of Fame Inducts John Anderson, James Burton & Toby Keith

/by

Pictured (L-R): John Anderson, James Burton and Tricia Covel attend the Class of 2024 Medallion Ceremony at Country Music Hall of Fame and Museum. Photo: Terry Wyatt/Getty Images for Country Music Hall of Fame and Museum

Three more outstanding record-makers were added to the historic Country Music Hall of Fame last night (Oct. 20) during a star-studded Medallion Ceremony in the Hall’s CMA Theater. John Anderson, James Burton and Toby Keith became the 153rd, 154th and 155th members of the esteemed institution.

CEO of Country Music Hall of Fame and Museum, Kyle Young speaks onstage at Class of 2024 Medallion Ceremony. Photo: Terry Wyatt/Getty Images for Country Music Hall of Fame and Museum

Each inductee was honored with heartfelt remarks and performances of some of their enduring songs. The Hall of Fame’s CEO Kyle Young welcomed the crowd of supporters and industry member’s with a Merle Haggard recording from the museum’s archive, as each inductee had a personal connection to Haggard.

Young recognized the Hall of Fame members who had been lost since last year’s ceremony, including Keith, Kris Kristofferson and Joe Bonsall. He also welcomed the Hall’s Circle Guard, including Board chair Jody Williams, who spoke, as well as the Hall of Fame members who were in attendance to support the new additions to the family.

CMA CEO Sarah Trahern shared a few words about giving the news to the inductees, and spoke about finding out that Keith had been selected for induction the day that the news broke that he had passed.

Del McCoury Band performs onstage at the Class of 2024 Medallion Ceremony. Photo: Jason Kempin/Getty Images for Country Music Hall of Fame and Museum

John Anderson was the first to be heralded. A career video recounted his journey from Apopka, Florida to Nashville, where he made a mark with his unique vocal stylings. Influenced by Country Music Hall of Fame members Lefty Frizzell, Merle Haggard and George Jones as well as Levon Helm of the Band, Anderson fashioned his own breathy, note-bending vocal approach, and created iconic country hits like “Seminole Wind,” “Straight Tequila Night” and his top-selling “Swingin.” Between 1981 and 1995, Anderson notched 20 top 10 country singles and five No. 1 hits.

To honor him, Shawn Camp lended his voice to Anderson’s “I Just Came Home to Count the Memories,” the Del McCoury Band thrilled with a delightfully-bluegrass take on “Would You Catch a Falling Star” and Lucinda Williams shared a favorite of hers, “Wild and Blue.”

Bobby Braddock, John Anderson and Kyle Young pose onstage Class of 2024 Medallion Ceremony. Photo: Jason Kempin/Getty Images for Country Music Hall of Fame and Museum

Anderson’s medallion was presented by Country Music Hall of Fame member Bobby Braddock, who shared funny stories about working with the fellow Floridian and commented on his dedication to making his own way in the music industry.

Anderson was emotional and full of gratitude when he stepped up to the podium. He thanked everyone in his village, from his family to friends, band members, business partners and even the doctors who take care of him.

“I can’t say how much this means to me. For an old boy, who took off from his hometown with a guitar and $40, it’s been a long and winding road,” Anderson said. “It’s one of the greatest honors that anybody in our profession could ever have, to be on this stage. I want to thank the good Lord up above for giving me a love of music that has sustained me and kept me living, dreaming and working. I hope I never have to quit.”

Post Malone performs at the Class of 2024 Medallion Ceremony. Photo: Terry Wyatt/Getty Images for Country Music Hall of Fame and Museum

Next, it was time to honor Toby Keith. His video highlighted the Oklahoma native’s consistency as a hit-maker for his nearly 30-year career. Between 1993 and his death in 2024, Keith notched 42 top 10 country hits and 20 chart-toppers, and he sold more than 40 million records. His expertise as a songwriter was frequently underlined, with most of his material being written or co-written. His propensity for the tough, tender and humorous side of life yielded such hits as “As Good as I Once Was,” “Courtesy of the Red, White and Blue” and “Hope on the Rocks.” Keith’s patriotism was also celebrated. A savvy businessman, he launched his own successful record label and publishing company.

Post Malone thrilled the CMA Theater with the first performance honoring Keith. He humbly took on “I’m Just Talkin’ About Tonight,” sharing his love for the icon throughout the performance. Eric Church then appeared and did a beautifully touching cover of “Don’t Let The Old Man In” and Blake Shelton wrapped it up with a delightful mash-up of “I Love This Bar” and “Red Solo Cup,” which turned into a full-hearted sing-along.

Tricia Covel and Randy Owen at the Class of 2024 Medallion Ceremony. Photo: Jason Kempin/Getty Images for Country Music Hall of Fame and Museum

Hall of Fame member Randy Owen gave the Medallion presentation, sharing emotional words about how much love Keith shared for the Alabama group.

Keith’s widow Tricia Covel shared words about her husband in his honor. She did a beautiful job, letting the crowd in on his dedication to songwriting, to the troops, his family and resisting to play the Nashville game and sticking to his guns. The crowd supported her, wiping tears from their eyes.

“Thank you to the Country Music Hall of Fame for honoring him with this induction. He didn’t get the chance to hear the news that he had been inducted,” Covel said with a soft cry. “I have a feeling, in his words, he thought ‘I shoulda been.’ Toby, we know you know—you are in the Country Music Hall of Fame.”

Brad Paisley performs at the Class of 2024 Medallion Ceremony. Photo: Terry Wyatt/Getty Images for Country Music Hall of Fame and Museum

Finally, it was time to honor James Burton. The guitar slinger’s impact on musicians, regardless of genre, was made clear in his career video. By age 14, Burton counted himself as a Louisiana Hayride staff musician and created the memorable guitar lick for “Susie-Q” by Dale Hawkins. He then impressed a young star on the rise, Ricky Nelson, and joined his band where he crafted influential rockabilly licks and solos on more than 40 hits. As an in-demand studio picker, he played on records for artists ranging from Merle Haggard to the Beach Boys. He then led Country Music Hall of Fame member Elvis Presley’s band from 1969 to 1977, followed by stints backing John Denver, Country Music Hall of Fame member Emmylou Harris and others in bands and on records.

To honor him, Elvis Costello and John Jorgenson rocked out on “Believe What You Say.” Brad Paisley, who commended Burton for making Paisley guitars cool, showed off his skills with “Workin’ Man Blues.” Country Music Hall of Fame members Vince Gill and Emmylou Harris along with Rodney Crowell shared their admiration with “Til I Gain Control Again,” and then Gill and Harris reappeared with none other than Keith Richards for a infectiously fun performance of “I Can’t Dance.”

Emmylou Harris, Keith Richards and Vince Gill perform at the Class of 2024 Medallion Ceremony. Photo: Jason Kempin/Getty Images for Country Music Hall of Fame and Museum

Gill had the honor of presenting Burton’s Medallion. He told funny stories about Burton, and also emotionally shared how much working with the guitar hero has meant to him.

Burton approached the podium with two of his grandchildren. He kept it short and sweet, sharing his shock and gratitude for the honor.

“All the guys I worked with are my heroes. Thank you God for giving me a small part to be with these people,” Burton said. “I’m so honored.”

The ceremony concluded with a performance of “Will the Circle Be Unbroken,” led by Country Music Hall of Fame member Tanya Tucker.

The Medallion All-Star Band consisted of Jen Gunderman (keyboards), Tania Hancheroff (vocals), Mike Johnson (steel guitar), Rachel Loy (bass), Jeff King (electric guitar), Jerry Pentecost (drums), Deanie Richardson (fiddle and mandolin), Mica Roberts (vocals), Biff Watson (bandleader and acoustic guitar) and Charlie Worsham (acoustic guitar, banjo and vocals).

Morgan Wallen Notches Third Week At No. 1 On MusicRow Radio Chart

/by

Morgan Wallen notches a third week at No. 1 on the MusicRow CountryBreakout Radio Chart with “Lies Lies Lies”.

The track was written by Jessie Jo Dillon, Josh Miller, Daniel Ross and Chris Tompkins.

In partnership with Hangout Music Festival and AEG Presents, Wallen has announced a three-day Sand In My Boots Festival coming to Gulf Shores, Alabama on May 16–18. The event coincides with the Hangout Festival’s 15 year anniversary and will feature Wallen’s closest friends, favorite artists and musical influences.

“Lies Lies Lies” currently sits at No. 9 on the Billboard Country Airplay chart and No. 5 on the Mediabase chart.

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