Jessie Jo Dillon and Jessi Alexander
Two of the five nominees for Songwriter of the Year at the 67th annual Grammy Awards are Music Row hitmakers with more than just a name in common: Jessi Alexander and Jessie Jo Dillon.
Alexander is credited with penning some of the year’s biggest hits, including the Grammy-nominated “Ain’t No Love In Oklahoma” by Luke Combs, which became the theme for the Twisters movie, and the No. 1 hit “Chevrolet” by Dustin Lynch and Jelly Roll. Dillon, meanwhile, has made her mark this year with standout tracks like Morgan Wallen’s “Lies Lies Lies,” Keith Urban’s “Messed Up As Me” and Kelsea Ballerini’s “Sorry Mom.”
The pair also collaborated with rising star Megan Moroney, contributing to her hit “No Caller ID” as well as the Twisters soundtrack standout “Never Left Me.”
Alexander and Dillon’s friendship and mutual respect play a big role in their creative success. The two first connected years ago at a wedding, bonding over their shared love of country music and similar work ethics.
“We’re both grinders,” Alexander shares. “We bring that heart and honesty into every song.”
Pictured (L–R): Lainey Wilson, Nicolette Hayford, Jessi Alexander and Jessie Jo Dillon
The women’s relationship deepened when they committed to doing night writes together, after the hustle of the 9-5 hours on Music Row, where they could set aside commercial concerns to create music that speaks to them personally.
This bond was evident in their collaborative writing with Moroney. Though Dillon had connected with the young star on her reflective “Girl In The Mirror” track, Alexander and Connie Harington joined the two on a writing trip when Moroney was making her sophomore album Am I Okay?
On the same day, the foursome wrote “No Caller ID” and “Noah,” both of which landed on the album.
“Meg is like us, too. She’s a grinder and she loves songs,” Dillon says. “The best thing about writing with her is it comes from a pure place as a songwriter—you are helping somebody to tell their narrative.”
“It’s not about making her a hit,” Alexander adds.
The two, Harrington and Moroney also came together to write her Twisters tune, “Never Left Me,” which was both Alexander and Dillon’s first of two tracks they each wrote for the film.
Pictured (L–R): Jessi Alexander, Jessie Jo Dillon and Morgane Stapleton
Dillon later joined Jesse Frasure, Hillary Lindsey, Blake Pendergrass and Jelly Roll for his track on the Twisters album, “Leave the Light On” featuring Alexandra Kay.
Alongside Jonathan Singleton and Combs, Alexander co-penned the movie’s fiery theme “Ain’t No Love In Oklahoma,” which became Combs’ 19th consecutive No. 1 hit months later. Alexander recalls trekking through a snowstorm to write that song.
“I just barely got to to that write,” she says. “Luke had the director and producer on speed dial, which is very rare for songwriters [writing for film and television]. We typically write the song and then we move on, but we had the guy right there so that we could make any tweaks. He said we nailed it.
“We had time after that, so we ended up writing ‘Remember Him That Way’ for Luke’s Fathers & Sons album. It was a great day.”
Another project Dillon put her mark on this year was Post Malone‘s country album. With her dad, Country Music Hall of Famer Dean Dillon and a few other collaborators, she co-wrote Post’s “Two Hearts” and “Go To Hell.” She is one of the only female writers on the project.
“He’s so sweet. Jelly introduced me to him and I said, ‘You should write with girls.’ So we ended up writing with my dad on Father’s Day,” Dillon says. “Post is super nice. He’s from Texas, and he loves country music. He has a real reverence for writers and the music. He’s not just wearing the clothes.”
With the wide variety of artists Alexander and Dillon have crafted hits with over the years, it’s safe to say they can write with anyone. Their songbooks are a testament to their versatility as songwriters, blending traditional country roots with fresh, modern storytelling.
For Alexander, who has balanced her career with family life, stepping back and focusing on quality over quantity has been a game changer. Dillon echoes that sentiment, emphasizing the importance of bringing raw emotion into the writing room.
“We’re craftsmen, but we also bring our own perspective into every room,” Dillon explains.
Pictured (L–R): Jessi Alexander, Miranda Lambert, Jessie Jo Dillon and Stevie Frasure
Their Grammy nominations come at a time when women are still underrepresented in country music. Both Alexander and Dillon say they were surprised by the news that Ella Langley just became the first female artist to top the country radio charts in 2024.
“It’s disheartening to see so few women in the charts,” Dillon says. Despite this, they’ve found ways to thrive, often collaborating with other talented female artists like Moroney. “We need more artists like Megan, Kelsea, Ella and Lainey to change the narrative,” Alexander adds.
Both writers acknowledge the unique challenges women face in the industry, from being excluded from writing camps to battling the perception that there’s only room for one “girl” in the writer room. Still, their success proves that determination, talent and a strong support system can defy the odds. Their advocacy for others, through choosing to write with women and cheering on their peers who are breaking through, continues to inspire.
Deservedly so, both are looking forward to representing Music Row in the Songwriter of the Year category at the Grammys in February.
Looking ahead beyond the Grammys, they are excited about the projects on the horizon. Both are passionate about mentoring younger songwriters and continuing to push the boundaries of what country music can achieve on a global stage.
“We’re in such an exciting time for country music,” Alexander says. “The return of authentic storytelling and classic country sounds is bringing a new energy to the genre.”
Their excitement isn’t just about their own success—it’s about the stories they’ve helped bring to life. Dillon and Alexander’s wide-ranging work reflects their ability to transcend sounds while staying rooted in authentic emotion. And as Alexander notes, “the best is yet to come.”
