Thomas Rhett Pushes To No. 1 On MusicRow Radio Chart

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With 19 career No. 1’s under his belt, Thomas Rhett adds another MusicRow achievement to his list. “Half Of Me,” which features Riley Green, claims the top spot of the MusicRow CountryBreakout Radio Chart this week. 

Rhett wrote the single with Rhett Akins, William Bundy and Josh Thompson. Rhett also earned a MusicRow No. 1 in August for his co-write on Cole Swindell’s “She Had Me At Heads Carolina.”

Rhett is currently on his headlining “Bring The Bar To You Tour” with Parker McCollum and Conner Smith through October. The tour was also extended to include 10 Canadian dates which will take place in February 2023. Jordan Davis and Kameron Marlowe will serve as support on the Canadian leg. 

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

My Music Row Story: BBR Music Group’s JoJamie Hahr

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JoJamie Hahr

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.

JoJamie Hahr serves as Senior Vice President of BBR Music Group, where she guides and supervises day-to-day operations of the label group, its imprints and its roster of artists, including ACM Artist of the Decade Jason Aldean, as well as Dustin Lynch, Chase Rice, Craig Morgan, Blanco Brown, Jimmie Allen, Parmalee, Lainey Wilson, Jelly Roll and more.

Hahr began her career in radio in Florida before moving to Nashville to work in promotion at WSIX. Her career stops include time at MCA Records and the The Valory Music Company. BMG acquired BBR Music Group in 2017 and Hahr was promoted to Sr. VP of the label group in November of 2020.

Hahr will be honored as part of the current class of MusicRow’s Rising Women on the Row on Oct. 20. For more details about the class and the event, click here.

MusicRow: Where did you grow up?

I grew up in Inverness, Florida. It was a really small town in Citrus County, Florida that was about two hours from Orlando. I went to college in Orlando at the University of Central Florida.

Photo: Courtesy of Hahr

How did you start your career?

I went to college early. I was 17 and had done two years of dual enrollment in school. I was already taking PR and advertising classes for my major in my first semester. One day I was walking in the communications hall and saw a flyer. It said “If you love country music and want to have fun, call Mike Moore at K92 FM.” I called him and got an interview for an internship. I remember for two weeks leading into my internship interview, I wouldn’t let any of my friends change the radio station. I wanted to know everything that was going on and study.

My last day of my internship, I remember all day I was trying not to cry because I did not want to leave. I loved it so much. Mike called me into his office and he was like, “We’re able to hire you part-time, but we can only give you like six hours a week.” I just started bawling. He said it was the first time somebody has cried when he hired them, not fired them. [Laughs]

Those six hours went up to like 14 hours, then 16 hours and 20 hours. Throughout college it went up to 39 hours. They put me on the morning show when I was like 18 or 19. I was the events coordinator in the promotion department. I was working two other jobs and going to school full-time at the same time.

Did you know then that you wanted to stay in the music business?

Yes. I wasn’t one of those kids that wanted to be in the music business—I didn’t even know this existed growing up. It’s like the flyer said: “If you love country music and want to have fun…” I just fell in love with the business.

Photo: Courtesy of Hahr

How did you get to Nashville?

Mike Moore, who my story starts with, left and went to Hartford to be the program director. I stayed in Florida. We stayed really good friends because he’s really more like family to me. Right after Hartford, he went to WSIX in Nashville. He was asking me for months to come to Nashville. At the time, my family was all in Florida and I just wasn’t quite ready to leave.

The morning after a Tim McGraw concert in Orlando, I was the only person out in the garage and I was unloading the promotion truck. I thought, “It’s time for me to grow.” I called Mike from the garage and was like, “Hey, I’m ready to come.” That was May of 2003 and I was here by Memorial Day Weekend. I took over the promotion director job at 23.

What was next?

I was at WSIX for a little over a year and then Mike left again. He went to Portland, Oregon to be the program director there. By that point, I knew I wanted to be on the records side, probably as a regional promotion rep. I was meeting with people all over town to try to get my foot in the door at a label.

I met Jimmy Harnen and he gave me the best advice I’ve ever gotten. He said,”In your free time, sit and think about what you would do if you were a promotion rep at Broken Bow or MCA. Put together those ideas and start sending them to the VPs of the labels.” I was like, “I can’t do that. What if they think I’m stupid?” He said, “They’re not going to think you’re stupid. People see initiative or an idea much more than they see a resume. I’ll also look at your ideas before you send them out.” He was such a big mentor.

Scott Borchetta hired me at MCA as the promotion coordinator. I did that for almost two years. Then Jon Loba hired me to be promotion regional at Broken Bow. We had Craig Morgan, Megan Mullins and this new guy Jason Aldean, who nobody knew. Jason didn’t do a traditional radio tour, but he went and played full band shows for radio. I remember the first show I took him to, he played for three people in Alabama.

Photo: Courtesy of Hahr

Then you went to Big Machine.

I was at Broken Bow for two years as a regional and then Jon and I both left and went to Big Machine to help start The Valory Music Co. We were there the opening day in 2007. I was in southeast promotion and Jon was VP of Promotion. Three years into that, Jon left and came back to Broken Bow and opened all of BBR Music Group. I stayed another three years, so I was at Big Machine for six years. We started with Jewel and Justin Moore [on Valory] and then we signed Thomas Rhett and Brantley Gilbert.

What brought you back to BBR?

After my last part of my contract was up, I called Jon Loba and I called John Esposito in March. Espo didn’t have anything for me until October, and Jon created a VP of Promotion job for me, so I came back over here.

Now you’re Sr. VP of the label group. In your experience, how has the label changed over the years?

We have always felt like Broken Bow/BBR Music Group was the little label that could. We just kept chugging along. We have had so much heart. We have been that label, I hope, that has done well by everybody. We’ve made friends, we’ve built relationships. We haven’t always had the biggest artists. We’ve always had Jason and his trajectory has just been so big, but for a long time we were just known as the Jason label. Within the last two to three years, we feel so proud that we’ve also become the Jimmie Allen label, the Jelly Roll label, the Lainey Wilson and Blanco Brown label. On and on.

Photo: Courtesy of Hahr

How do you think you guys were able to grow like that?

We always go back to the artists. It’s about the artists that we’ve been able to sign and promote their work and vision. That also goes back to BMG acquiring us. We had a lot of heart and a lot of soul—we probably could have continued to chug along, but when BMG acquired us, it gave us resources and more global reach. It’s given us a diversity of resources which has led to a diversity of roster.

What was an early career moment you’ve had that you’ll always remember?

Jason was up for ACM’s New Male Vocalist and Craig Morgan was too. Benny Brown, our owner at the time, had paid for everybody at the label to have a ticket to go to the awards since it was our first nomination. Every single person. Our seats were literally the very last row all the way at the top, but we were so happy to be there. Jason won and I just remember everybody standing up and holding hands. It’s so cheesy, but I feel like that’s the epitome of Broken Bow. From then to now, I feel like we’re all still arm in arm.

Photo: Courtesy of Hahr

You will be honored at MusicRow’s Rising Women on the Row breakfast on Oct. 20. What is some advice you would give young women who are starting their careers?

Woman or a man, I go back to the advice that Jimmy Harnen gave me. Depending on the job you’re looking at wanting to do, don’t just send a resume and hope that someone sees you. Think as if you were doing that job and come up with ideas to present yourself in that way. Mine were silly radio promotion ideas that I was sending every week, and it took me about eight months to get noticed, but I persevered. I find that people, especially young people, are so worried about looking stupid. Luckily I’ve never cared about looking stupid. [Laughs]

What is your definition of success?

Happiness, passion, and excitement. We all get bogged down in the pattern of life, but if I ever get to a point where I’m not excited or I’m burned out, I don’t want to do this anymore. To me, my version of success would be being happy and excited still to come to work every day.

DISClaimer Single Reviews: Little Big Town Give Yet Another ‘Exquisite Performance’

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Fall is in the air in Music City, and with the new season comes a flood of new country sounds.

Leading the charge today is Little Big Town with what is surely their umpteenth Disc of the Day winner, “Three Whiskeys and the Truth.”

Galloping right along are Breland, Randy Houser. Ashley McBryde and the new collab by Joy Oladokun and Chris Stapleton. Happy listening while the leaves tumble down.

DAILEY & VINCENT / “I’ll Leave My Heart in Tennessee”
Writer: Karen Staley; Producer: Paul Worley; Label: BMG
–The bluegrass superstars jog into the country idiom with their just released Let’s Sing Some Country collection. Its lead single has already been voted a state song by the legislature. It’s a lilting ballad with lotsa sentiment about the Volunteer State. And no matter what genre you call them, these guys are sensational vocalists.

SHANIA TWAIN / “Waking Up Dreaming”
Writers: David Stewart/Jessica Agombar/Shania Twain; Producer: David Stewart; Label: Republic
–Shania’s comeback single is pop, pop, pop all the way. It’s also an ultra cute and catchy dance bopper. And I dig her singing nowadays in a lower, huskier register.

DALTON DOVER / “Damn Good Life”
Writers: Dalton Dover/Alex Maxwell/Jaxson Free; Producer: Matthew McVaney; Label: Droptine
–This time around, the promising country youngster adopts some hip-hoppy rhythm touches. The bouncy song’s lyric is a classic country message: Money can’t buy happiness. It’s pleasant, but he has done better.

NATE SMITH / “I Found You”
Writers: Chris Gelbuda/Kyle Schlienger/Nate Smith; Producers: Lindsay Rimes; Label: Sony
–He sings with so much passion. This torrid power ballad is yet another showcase for his vocal gift. Get on board.

LITTLE BIG TOWN / “Three Whiskeys and the Truth”
Writers: Karen Fairchild/Kimberly Schlapman/Hillary Lindsey/Lori McKenna/Liz Rose; Producer: Little Big Town; Label: Capitol
–Are there any finer harmony vocalists in contemporary country music than these four? This is an exquisite performance, with their brilliant voices bathed by echo, heartbeat percussion and twanging guitar. I got lost in it. You will too.

JOY OLADOKUN & CHRIS STAPLETON / “Sweet Symphony”
Writers: Joy Oladdkun/Ian Fitchuk/Shae Jacobs; Producers: Joy Oladokun/Mike Elizondo/Ian Fitchuk; Label: Amigo/Verve Forecast/Republic
–Joy’s folkie, conversational singing style blends beautifully with Chris’s blue-eyed soul emoting on this deliciously romantic ballad. And the warm, enveloping production supports both vocalists at every turn. Essential listening.

ASHLEY McBRYDE / “Straight Tequila Night”
Writers: Debbie Hupp/Kent Robbins; Producers: Dan Auerbach/David Ferguson; Label: Easy Eye/Concord
–Something Borrowed, Something New: A Tribute to John Anderson is an album that should be on everybody’s playlist. Eric Church, Brothers Osborne, John Prine, Jamey Johnson, Sturgill Simpson, Luke Combs and more all take a swing at Anderson’s fabulous song catalog. Ashley McBryde is perfect for this iconic song, and her performance strongly suggests that it would be an excellent addition to the female-country repertoire.

BRELAND / “For What It’s Worth”
Writers: Daniel Breland/Greylan James/Jacob Durrett/Rocky Block; Producers: Sam Sumser/Sean Small/Jacob Durrett; Label: Bad Realm/Atlantic/Warner
–Enchanting. His tender-hearted tenor cracks and breaks sweetly as he looks over a failed relationship with regret and enduring love. Absolutely radio ready.

RANDY HOUSER / “Rub a Little Dirt on It”
Writers: Randy Houser/Jeff Hyde/Ryann Tyndell; Producers: Randy Houser/Blake Chancey; Label: Magnolia Music Group
–Steel guitar and dobro swirl and twirl while this master stylist unspools life lessons learned from daddy, football, fishing, beer and the natural environment. Country music as it was meant to be.

JULIE ROBERTS & JAMEY JOHNSON / “Music City’s Killing Me”
Writer: Ray LaMontagne; Producer: Shooter Jennings; Label: ONErpm
–Roberts is bluesy and drawling on this mid-tempo moaner while sighing strings drag slowly by. Johnson is resigned and weary on his verses. Singing together, they blend warmly in a dual ache.

TYLER HUBBARD / “Inside and Out”
Writers: Tyler Hubbard/Jordan Schmidt/Trevor Rosen/Brad Tursi; Producers: Tyler Hubbard/Jordan Schmidt; Label: EMI
–It’s a pretty simple message: You’re so beautiful. The end.

ALEXANDER LUDWIG / “Faded on Me”
Writers: Ross Copperman/Jon Nite/Josh Osborne; Producers: Kurt Allison/Tully Kennedy; Label: BBR/BMG
–Recommended. Rocking and stomping, it’s an ode to being a good ol’ boy. Canadian Ludwig is also a TV and movie actor of note.

Chris Janson Signs With Big Machine Label Group

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Pictured (L-R, back row): Kelly Janson, Big Machine Label Group’s Julian Raymond, Big Machine Label Group’s Megan Joyce; (L-R, front row): Big Machine Label Group’s Scott Borchetta, Chris Janson, BMLG Records’ Jimmy Harnen. Photo: Nick Rau

Chris Janson has signed with Big Machine Label Group Records, in partnership with Janson’s Harpeth 60 Records.

Janson’s breakout No. 1, debut single “Buy Me A Boat” claimed iHeartRadio Music Awards’ Country Song of the Year, and was certified triple Platinum. The multi-instrumentalist followed that success with a string of Gold No. 1s, including “Fix A Drink,” “Good Vibes” and “Done,” as well as his award-winning “Drunk Girl,” which was voted MusicRow Song of the Year and received the ACM Video of the Year trophy. Janson has earned more than 7.4 billion airplay impressions to date, and racked up more than 1.7 billion career streams.

Also an avid outdoorsman, Janson was presented with The Tennessee Wildlife Federation’s Dan and Cherie Hammond Sharing the Harvest Award for outstanding volunteer service. He has also partnered with Bass Pro Shops to find ways to give back to meaningful causes.

“Chris has always been a force of nature and he’s coming to BMLG at the perfect time to take his career next-level,” shares Big Machine Label Group Chairman & CEO Scott Borchetta. “His experience, determination, and vision for what he wants to do next completely aligns with our long-term label group ideal and continued artist development. Did I mention he blows a mean harp?”

“I am so proud to be teaming up with Scott Borchetta, Jimmy Harnen and the team at Big Machine Label Group. This opportunity is an absolute dream come true and I’m honored to be working with such a talented crew and roster of artists,” says Janson. “Julian Raymond and I are hitting the studio for this first album, and we are on the fast track for great new music! This whole partnership just feels right, and I couldn’t be happier.”

The entertainer joins the imprint alongside other BMLG roster artists such as Lady A, Brett Young, Riley Green and Janson’s protégé, Shane Profitt.

Nashville Industry Members Celebrate Scotty McCreery, ‘A Country Song’s Best Friend’

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Pictured (L-R): Kevin Herring (Triple Tigers), Rusty Gaston (Sony Music Publishing), Producer Aaron Eshuis, BMI songwriter Trent Tomlinson, Scotty McCreery, BMI songwriter Jim Collins, Producer Derek Wells, Brooke Burrows (Mucho Love Publishing), BMI’s David Preston. Photo: Steve Lowry for BMI

Industry members gathered in the BMI lobby on Monday afternoon (Sept. 26) to celebrate Scotty McCreery‘s Gold-certified No. 1 song, “Damn Strait,” which pays homage to some of country icon George Strait‘s masterful hit songs.

Notching the Triple Tigers recording artists’ fifth trip to the top, BMI’s David Preston also noted that the track is the second longest run at the top of the Billboard Country Airplay chart at three consecutive weeks behind Luke Combs’ 14 weeks. Written by Trent Tomlinson and Jim Collins, the song also marks another outside cut that has skyrocketed to the peak at country radio.

Hosted by Preston, the celebration kicked off with CEO of Mucho Love Brooke Burrows taking the stage to share her thanks for Collins, Tomlinson and McCreery, as well as Triple Tigers’ SVP, Promotion Kevin Herring and his team for getting the song all the way to the top.

“We are so proud to be a part of ‘Damn Strait’ with Trent and Jim. Thank you so much, Scotty, for making it a big ole hit for us,” Burrows offered. “We’re just so proud to be a part of this.”

Pinnacle Bank’s David DeVaul was also on hand to offer his congratulations to McCreery. On behalf of Pinnacle, he also shared that they would be making a donation to St. Jude’s Children’s Hospital in honor of the song.

Herring took the microphone next to dote on his history with Tomlinson, noting that the pair first met when the Arkansas native was signed to Lyric Street years ago. “We got a couple of hits, but we never made it to the pinnacle so it’s really special that Trent played this song for me and we were able to take it all the way,” he explained. “It’s really special for me to get to have a No. 1 record with Trent.”

Herring gave a shoutout to McCreery’s management team at Triple 8, including founder George Couri and day-to-day manager Scott Stem. He also thanked the Triple Tigers promotion staff and the label’s President Norbert Nix. Finally, he turned his attention to the man of the hour.

“Scotty, you’re the greatest. We always ask and you always say yes.” He added, “Back in the ‘60s and ‘70s, Conway Twitty was a country song’s best friend. I think that in the 2020s, you are a country song’s best friend,” to which the room happily agreed.

Next, it was time to hear from the writers.

Collins opened the floor, thanking McCreery and the record’s producers, Frank Rogers, Derek Wells and Aaron Eshuis. The Texas Songwriter Hall of Fame member then made note of all the writers of the songs mentioned in “Damn Strait” that contributed to its storyline, including Bob DiPiero, John Jarrard, Mark Sanders, Aaron Barker, Bill Anderson, Buddy Cannon, Jamey Johnson, Gary Harrison, Keith Stegall, Frank Dycus and Dean Dillon.

The two-time Grammy nominee also took a moment to honor his attorney Mike Milom and Wayne Milligan who helped track down all of those writers and get the licenses needed to use them in “Damn Strait.”

“The writers gave us permission to use their songs in our storyline. I wanted to recognize them, but in order to do that, I had to get a little help so I have a couple of plaques I want to give out. The first one is to Wayne Milligan, who helped me put my company together.” Collins continued, “[The second person] has been my attorney since I moved to town. [Mike] was a big part of this whole thing and made sure that we could do all this stuff.”

Tomlinson followed, first offering his sentiments to McCreery for believing in the song and singing “his butt off on it.” He then turned the attention to his co-writer, sharing how sweet it is for one of their songs to finally have its day in the spotlight. Tomlinson echoed Collins’ thanks to the original Strait songwriters, saying “I want to thank all the songwriters that wrote the songs that we weaved into our storyline to make this work. If it wasn’t for those songs, there wouldn’t be this one.”

Tomlinson also thanked Herring for his continuous belief in him over the years, and for finally achieving their first No. 1 together after 20 years. He also thanked his BMI family for their support and for all the work they do on behalf of songwriters.

Finally, McCreery addressed the writers, thanking them for writing an amazing song.

“Nashville is a songwriter’s town and I felt so honored to get to sing this. I’ve recorded a lot of songs in the last 11 years and this is right up there with my favorites that I’ve done,” he recalled. “I’ve been fortunate to have songs that have worked on the radio in the last few years, but this one is different.”

McCreery then moved to his team, starting with BMI and rolling through his label, management, his publicists at EBM, the Universal Publishing team, his attorney David Crow, FBMM, his producers, his wife, and his band and crew.

“It takes a village. I’ve always said that, and I have the best village in Nashville,” he said with a smile. “But again, today is Jim and Trent’s. Thank you for writing an awesome song and thank you for sending it to me. I’m looking forward to singing this song for many, many years to come.”

Weekly Register: Koe Wetzel Makes Top Debut On Country Streaming Songs & Albums Charts

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Koe Wetzel. Photo: Jody Domingue

Columbia Records’ Koe Wetzel made some waves on the top country album and streaming songs charts this week.

His newest record, Hell Paso, notches the top debut at No. 3 on the albums chart with 24.5K in total consumption (3.2K album only/26 million song streams). Wetzel also makes the top streaming song debut as “Cabo” from the project comes in at No. 21 with 4.7 million first-week streams, according to Luminate data.

After eight weeks, Morgan Wallen‘s “You Proof” falls from the top spot, making way for Zach Bryan‘s “Something In The Orange.” The newly crowned top streaming song racks up 12 million streams this week, while “You Proof” takes second with 11.5 streams. Wallen can also be found in the No. 5 spot as “Wasted On You” tallies 8 million streams. Luke Combs‘ “The Kind Of Love We Make” maintains the third spot with 11 million streams, and Bailey Zimmerman‘s “Rock And A Hard Place” rises up one to No. 4 with 8.5 million streams.

Though losing the top spot on the songs chart, Wallen keeps his seat atop the country albums chart with Dangerous: The Double Album adding another 48K in total consumption (1.8K album only/59 million song streams). Bryan’s American Heartbreak follows in second with 25K in total consumption. Kane Brown‘s newly-released Different Man falls to No. 4 with 21K, and Combs’ Growin’ Up moves down one to No. 5 with 19K in total consumption.

Morgan Wallen Nabs Three-Week MusicRow No. 1

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For the third consecutive week atop the MusicRow CountryBreakout Radio Chart, Morgan Wallen’s “You Proof” regains +68 spins edging out Thomas Rhett’s “Half Of Me” by only 3 spins. Wallen co-wrote “You Proof” with Ashley Gorley, Ernest Keith Smith, and Ryan Vojtesak.

The single remains No. 1 on the country streaming songs chart for an eighth consecutive week. Wallen also keeps his spot at the peak of the country albums chart. Dangerous: The Double Album adds 50K in total consumption this week

Wallen is set to headline iHeartRadio Music Festival this weekend and Pepsi Gulf Coast Jam in 2023. 

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

DISClaimer Single Reviews: Zac Brown Band & Ingrid Andress Produce Vocal Dynamite On New Track

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Zac Brown Band. Photo: Danny Clinch

For-real country music returns with a vengeance in this week’s DISClaimer column.

It doesn’t come any better than Gene Watson & Willie Nelson. Youngsters Brandon Ratcliff, Jon Pardi, Sunny Sweeney and Kelsea Ballerini are flying the country banner high as well.

So is Larry Fleet, who takes home the DISCovery Award.

The audio-nirvana collaboration between the Zac Brown Band and Ingrid Andress is this week’s Disc of the Day.

AVERY ANNA / “Narcissist”
Writers: Ben Williams/David Fanning/Andy Sheridan/Avery Anna Rhoton; Producer: David Fanning; Label: Warner
–Wafting and appealing. The well-produced ballad features layers of soprano vocal, echoey ambiance and pointed lyrics toward a self-centered guy. Lovely listening, if not exactly hit bound.

KELSEA BALLERINI / “If You Go Down”
Writers: Shane McAnally/Julian Bunetta/Kelsea Ballerini; Producers: Julian Bunetta/Shane McAnally; Label: Black River
–“Heartfirst” remains the single, but this new video is so jaunty, flirty and enticing it must be consumed at once. The track bops delightfully with tasty mandolin licks, fiddle embellishments and snappy brushed drumming while her vocal verve rides on top. Ballerini is spreading her wings like never before and making the best music of her career to date. Her new Subject to Change collection drops tomorrow (Sept. 23).

KANE BROWN & KATELYN BROWN / “Thank God”
Writers: Josh Hoge/Jaxson Free/Kyle Fishman/Christian Davis/Jared Mullins; Producer: Dann Huff; Label: RCA
–Mr. and Mrs. Brown get all lovey dovey on a dull ballad.

LARRY FLEET / “Where I Find God”
Writers: Connie Rae Harrington/Larry Fleet; Producer: Joey Moi; Label: Big Loud
–Beautifully done. His conversational vocal is perfectly phrased on this moving ode to homespun spirituality. Exquisitely country. There is also a live duet version of the song with Morgan Wallen.

KYLIE MORGAN / “Bridesmaids”
Writers: Kylie Morgan/Sam DeRosa/KK Johnson; Producers: Ben Johnson/KK Johnson; Label: EMI
–Life imitates art in this outing, since co-writer DeRosa is one of the bridesmaids in Morgan’s upcoming nuptials. The thin-sounding, upbeat ditty with her lilting singing has evidently exploded on TikTok.

ZAC BROWN BAND & INGRID ANDRESS / “Any Day Now”
Writers: Zac Brown/Clay Cook/Josh Dunne/Ray Fulcher/Ben Simonetti/Jonathan Singleton; Producers: Zac Brown/Ben Simonetti; Label: Warner
–The Georgia band’s The Comeback (Deluxe) album drops a week from Friday. It is packed with celebrity collaborations, including guests Cody Johnson, Blake Shelton, James Taylor, Marcus King, Jamey Johnson and, on this heartbroken track, Andress. The group’s trademark harmonies kick it off, then her piercing soprano underlines the chorus message of regret. Next, they begin singing together, and the result is gorgeously melodic dynamite. The band’s Ryman concert is tonight (Sept. 22).

SUNNY SWEENEY / “Poet’s Prayer”
Writers: Monty Holmes/Buddy Owens/Sunny Sweeney; Producer: none listed; Label: SS
–Sunny sang this on the Opry last weekend, and it blew everyone away. It’s an acoustic ballad that wishes safe travels for gypsy troubadours everywhere. Her current live album includes the moving anthem. She is so pluperfectly country that everything she sings grips me. But this song is something special. It is also apparently somewhat magical: The only two shows when she didn’t sing it, she was in car accidents.

JON PARDI / “Mr. Saturday Night”
Writers: Benjy Davis/Reid Isbell/Joe Ragosta; Producers: Bart Butler/Ryan Gore/Jon Pardi; Label: Capitol
–The title tune of Pardi’s new album maintains the winning formula of his chart-topping “Last Night Lonely.” Which is to say, it is unapologetic honky-tonkin’ hillbilly. The power ballad moans with roadhouse heartache as he drawls the yarn of a good-time guy who hides his blues. So country. So very, very good.

DOLLY PARTON & KELLY CLARKSON / “9 To 5”
Writer: Dolly Parton; Producers: Shane McAnally/Sasha Sloan/King Henry; Label: SmackSongs/
Atlantic
–Dolly’s Oscar-nominated, Grammy-winning 1980 classic gets a complete makeover in this choppy, echoey, hip-hop influenced pop production. Kelly takes the pensive, melancholy lead with Dolly offering harmonies and vocal interjections. The track is drawn from the soundtrack of the documentary Still Working 9 To 5, which explores the impact of the film as well as the ongoing issues faced by women in the workforce.

MADDIE & TAE / “Spring Cleaning”
Writers: Maddie Font/Taylor Kerr/Josh Kerr/Tayla Parx; Producers: Derek Wells/Josh Kerr; Label: Mercury
–Delightfully feisty. Of course, it’s about kicking the bum and all of his shit out. The duo’s saucy vocals are backed by a punchy rhythmic track and roaring guitars. Fun on the hoof. You’ll find it on the eight-tune Through the Madness Vol. 2, which drops tomorrow (Sept. 23).

BRANDON RATCLIFF / “Tale of Two Towns”
Writers: Brandon Ratcliff/Pete Good/Josh Jenkins; Producers: Pete Good/AJ Babcock; Label: Monument
–This has a folkie, bluegrassy texture that ripples with authenticity. His sincere tenor rides atop a crystalline, acoustic track that enchants with every note. He expresses gratitude for his small-town upbringing while rejoicing in escaping it. I simply love this performance.

GENE WATSON & WILLIE NELSON / “Wonderful Future”
Writer: Willie Nelson; Producer: Dirk Johnson; Label: GW
–Two of country’s greatest vocalists create chillbumps in their first duet. Willie kicks it off. Then Gene’s peerless twang takes a turn, while the soaked-in-steel, piano tinkling production waltzes you through the profoundly sad, profoundly country lyric. As they swap verses, the hillbilly heavens open wide. You’ll find it on Gene’s just-released album Outside the Box, which also features a duet with his Opry peer Rhonda Vincent.

MusicRow Taps Cris Lacy As Featured Speaker For ‘Rising Women’ Event

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Cris Lacy

Warner Music Nashville Co-President Cris Lacy will be the featured speaker at MusicRow‘s Rising Women on the Row breakfast on Thursday, Oct. 20 at 8:30 a.m. at the Omni Nashville Hotel.

Attendees will be treated to insights from Lacy during an on-stage interview with MusicRow Publisher/Owner Sherod Robertson.

The ninth annual celebration will honor the next class of Rising Women on the Row honorees: Jen Conger (FBMM, Business Manager), JoJamie Hahr (BBR Music Group/BMG, Sr. VP), Mandy Morrison (City National Bank, Vice President/Senior Relationship Manager), Missy Roberts (Universal Music Publishing Group, VP, A&R), Jennie Smythe (Girlilla Marketing, CEO) and Stephanie Wright (UMG Nashville, Senior VP, A&R).

Presenting sponsors for this year’s Rising Women on the Row are City National Bank, Loeb & Loeb, and Tri Star Sports & Entertainment Group.

Tickets can be purchased here.

Alongside Co-President Ben Kline, Lacy guides the highly successful country division of Warner Music Group that includes chart-topping artists such as Blake Shelton, Kenny Chesney, Dan + Shay, Brett Eldredge, Cole Swindell, Zac Brown Band, Ashley McBryde, and an array of skyrocketing artists who represent the genre’s next generation such as Ingrid Andress, Cody Johnson, Gabby Barrett, Bailey Zimmerman, and Ian Munsick.

Lacy graduated from Vanderbilt with a degree in English before beginning her first full-time industry job at Tom Collins Music Publishing. She continued her publishing experience at Rick Hall / FAME Publishing, Island Bound Music and Warner Chappell Music before accepting an A&R position at Warner Music Nashville in 2005.

She rose through the ranks at the label, and was promoted to SVP of A&R in 2017 and EVP of A&R two years later. While leading A&R at Warner Music Nashville, Lacy was 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 and Gabby Barrett.

Lacy’s honors include multiple spotlights on Billboard’s Country Power Players and Women in Music lists, as well as MusicRow‘s Rising Women on the Row honor in 2016.

My Music Row Story: FBMM’s Jen Conger

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Jen Conger

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.

Jen Conger quickly moved up the ranks to become a business manager at FBMM after becoming the first female associate business manager in the firm’s history and doing so at a record pace of under 10 years. In Conger’s almost two decades of experience within the music industry, she has mentored a broad list of accomplished artists who have collectively received 17 Grammy Award wins, along with many ACM, CMA, Billboard and Golden Globe awards. She is a member of the ACM, the CMA, SOURCE, The Recording Academy and The Country Music Hall of Fame Troubadour Society, as well as an alumna of the Society of Leaders in Development (SOLID) and a member of the Leadership Music’s Class of 2020.

Conger played an integral role in the development and execution of seven sold-out concerts held at Bridgestone Arena, in which the proceeds—over $4 million to date—benefited the Country Music Hall of Fame. For the last nine years, she has organized a clothing and instrument donation on behalf of her clients, with donated items totaling over $110,000 given to the W.O. Smith Music School, and in 2018, was involved in the preparation of a sold-out benefit concert in October of that year, which raised over $700,000 net for various music industry-oriented charities, including MusiCares.

Conger will be honored as part of the current class of MusicRow’s Rising Women on the Row on Oct. 20. For more details about the class and the event, click here.

MusicRow: Where did you grow up?

I grew up in a small town called Greensboro, Georgia. I went to high school in Athens, Georgia. My parents would drive an hour each way to take me to school there. I ended up going to college in Nashville at Vanderbilt.

Photo: Courtesy of Jen Conger

What did you study?

I studied U.S. history and English and minored in film studies. I wanted to be in film director. I got accepted to NYU, but my parents didn’t want me to go too far away. I came here and didn’t know anything about the music industry.

What did you do after graduation?

I had gotten an internship at a music video production company. They made music videos for country artists. I had been the executive assistant to one of the owners and the bookkeeper left soon after I started. I raised my hand because I was a struggling kid right out of college trying to make ends meet. I thought, “I don’t necessarily know accounting, but I’m good with math and money, so how about I try out this whole bookkeeping thing.” I just fell into it, but had a knack for it. I thought if this was something I was interested in, I needed to focus on a place that actually does this.

Is that how you ended up at FBMM?

Yes. A friend of mine let me know about a job opening at FBMM. That was 18 years ago, I’ve been here ever since. I fell into it, went back to school and got my masters in accounting, and just have been learning as I go along the way.

What did you learn right away when you fell into business management?

People need financial advisors. Unfortunately, you’re not being taught this in school. So often we have musicians who suddenly have all this fame, but the reality is that the money comes long after the fame. Having a team in place that’s being a good steward to your money is so important. So is having people on your team who know the music industry versus someone who is not well versed on royalties and touring, et cetera. It can get artists in a lot of trouble.

Photo: Courtesy of Jen Conger

Since you didn’t originally set out to be in the music industry, when did you feel like you were in the right place?

Probably two years into working at FBMM. I went out on tour with a client and loved it. I loved seeing how the bills that I was paying were reflected on tour. The video bill, the trucking bill, the bus bill… Seeing it coming together live. That’s when I realized this was going to be a career for me.

Business managers are unsung heroes of the music industry. What are some of your proudest moments that you’ve worked on behind the scenes?

We’re not in the limelight and that’s okay. We get the work done. I think sometimes we make it look too easy. We’re getting the work done so that the artist isn’t having to worry about it, but the artist isn’t seeing the mountains that we’re moving every day to get those things done.

I have one client in particular that has put on multiple shows benefiting the Country Music Hall of Fame. I’ve been at the forefront of that, organizing it and haggling with vendors to try to get as much money to the Country Music Hall of Fame as possible. At the end of the night, being able to let the Hall of Fame know that we’ve got three quarters of a million dollars heading their way is pretty cool.

What advice would you give a new business manager?

The devil is in the details. It’s important to check your decimal points. (Laughs) Be accountable. When you screw up, chances are you’re going to think that it’s way worse than it actually is. There’s probably a long line of people who’ve made the same mistake, so be accountable and own it. Most importantly, learn from that mistake so you don’t repeat it. I tell new hires some of the really big faux pas that I made moving up. [Through my errors], they’re able to understand that even though I may have made a huge error, I’m still here because I learned from it and I grew from it versus trying to be defensive.

Who have been some of your mentors?

From a personal standpoint, my mother is amazing. Her sacrificing for us and being our chauffeur. (Laughs) She had cancer in her early thirties with two young kids; and she sacrificed and did what she needed to do for her family. From a personal level, I’m always trying to emulate that. I’ve got two kids and try to be a fraction of the kick ass mom that she was.

Professionally, Chuck Hull has been a great mentor. He is a tour manager for one of my artists. He’s been in the business for 40 something years. He has worked with some no names you’ve probably never heard of like Elvis Presley, Paul McCartney, and John Hiatt. He has taken me under his wing for the last 20 years and has educated me about the touring world—both the historical side of things and how things have changed over time. He’s like a surrogate father to me.

Photo: Courtesy of Jen Conger

What do you think are some of the best qualities about our industry?

That it’s constantly evolving. The technology is constantly evolving. The revenue streams are constantly evolving. There’s not a cookie cutter idea of what an artist should look like anymore. It used to be cookie cutter but we’re definitely moving away from that and I think that’s a wonderful thing.

What’s a moment you’ve had that your little kid self would think is so cool?

I got a shout out at an award show when my client won Entertainer of the Year. Business managers are never in the limelight, and we’re definitely never mentioned in acceptance speeches, so that was a big deal. [Laughs] And then meeting Dolly Parton.

What is something people might not know about you?

I know a lot of film trivia. My favorite movies are Goodfellas and The Godfather: Part II. My favorite Christmas movie is Die Hard.

You will be honored at MusicRow‘s Rising Women on the Row breakfast on Oct. 20. What has your experience been like as a woman in the industry?

Being a woman in the music industry is not easy. It’s still very much a good ol’ boys club. Again, I think we’re moving away from that, which is wonderful.

As women, we have to look out for each other. I’ve seen too many times this hazing mentality of, “It wasn’t easy for me, so I’m not going to bend over backwards to help this next generation.” We need to erase that mentality from our brains because it’s not helping. It’s only making the issue worse. We have to all work with each other and cheer for each other along the way.