Jackson Dean Threads The Needle On ‘Magnolia Sage’ [Interview]

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Jackson Dean. Photo: Sean Hagwell

On his third studio album, Magnolia Sage, Jackson Dean isn’t just refining his sound, he’s redefining the way he tells stories. The project arrives at a pivotal moment in his career, shaped by relentless touring, personal growth and a creative process that demanded both urgency and reinvention.

“You have your whole entire life to make your first record, six months to do record two, and then hardly any time to do record three,” Dean explains to MusicRow. That compressed timeline forced a departure from traditional methods. “This was a very different process than our usual,” he says, noting that constant travel left him piecing together ideas across time zones and head spaces.

What emerged is an album that feels expansive geographically, emotionally and sonically. Initially, Dean considered centering the project around a single motif. “I had ‘Hey Mississippi’ and I was going to go with Magnolia Moon. But there’s so much more on this record than just Magnolia.” The turning point came late in the process, when a final track reshaped the concept entirely. “That chorus is just so impactful, and that’s where the Sage came from.” The fusion of the two ideas gave the album its title and its identity.

Rather than beginning with a rigid concept, Dean discovered the album’s duality as he built it. The “Magnolia” and “Sage” halves, loosely representing contrasting emotional and geographic landscapes, weren’t pre-planned. “It’s always a fun time to needle through not only the sequencing, but to conceptualize it all,” he says. “It’s always fun threading the needle through all of that and telling the stories.”

That storytelling instinct extends to how the record unfolds. Dean approached sequencing like crafting a live show. “I always look at it like a set list coming off the top with tempo and then vibing and wildfires in the middle there. And then the back half is pretty epic.” The result is a dynamic listening experience that mirrors the energy of his performances.

At its core, Magnolia Sage reflects a life spent in motion. “I’ve been to a lot of places since Back of My Dreams came out, and this is very much an American record,” Dean says. With location references scattered throughout, the album captures both the pull of home and the ache of distance.

Personally, Dean admits he gravitates toward one side of that divide. “I’m a Sage leaning guy. I really am,” he says, laughing about his preference for drier climates over Southern humidity. Still, the album thrives in the tension between those worlds, never settling fully into one or the other.

Sonically, that duality becomes even more pronounced. While Dean’s foundation remains rooted in country, Magnolia Sage stretches into looser, groove-driven territory, pulling from R&B and soul influences. “It is way more laid back,” he says. Yet the musicianship remains front and center with tight band interplay, expressive guitar work, and arrangements designed to translate seamlessly to the stage.

Among the artists shaping that sonic palette are Leon Bridges and Ralph Stanley. “Bridges is a soulful guy,” he says, while praising Stanley’s deeply rooted, organic sound. The goal wasn’t to mimic either influence, but to absorb their essence and push into “new territory.” As Dean puts it, “There’s no two songs the same on this record. They’re all their own thing in their own right, which is healthy and the goal.”

That sense of individuality extends to the songwriting, which balances intimate moments with universal themes. The earliest track written for the album, “Something Easy,” carried particular weight. “I held that song close to the vest for a while,” Dean says, recalling how its meaning crystallized after meeting his fiancee Shannon.

For Dean, that realization underscores a broader philosophy about music’s purpose. “Music is supposed to be presented in a way for the listener to put themselves in the song and see their own life in it,” he says. It’s less about delivering fixed narratives and more about creating space for connection.

Behind the scenes, Dean collaborated closely with producer Luke Dick. “I don’t ever really want to stop working in a studio,” he says. “I will go take after take after take to get it perfect with no autotune.” That dedication manifests in layered vocal stacks and richly textured recordings that feel both polished and raw.

Magnolia Sage represents growth, not just artistic, but also personal. “I’m not 18 and pissed off anymore,” Dean says candidly. Years of travel and experience have reshaped his worldview. “I’ve definitely gone more places than I ever dreamed of going. My perspective on the world has changed drastically.”

It’s an album born from chaos, but grounded in clarity of purpose. As Dean reflects on the process, one realization stands above the rest: “Once you pour your focus into something and give it all, it can really center you and bring you back to your middle.”

DISClaimer Single Reviews: Carly Pearce Is ‘Delightfully Snarky & Sassy’

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Carly Pearce. Photo: Luke Rogers

Ballads dominate this edition of DISClaimer, but a few of the country stars are making toe-tapping sounds as well.

Our balladeers include Riley Green, Reba McEntire and Braxton Keith. Willie & Shooter are emoting so mellow that they’re nodding off.

For tempo tunes, turn to Shaboozey, Vincent Mason and the team of Ella Langley & Morgan Wallen. Not to mention feisty Carly Pearce, who wins the Disc of the Day award.

Returning to ballad mode, we welcome Steven McClintock as our DISCovery Award winner this week.

VINCENT MASON / “Don’t Ask Me”
Writers: Hillary Lindsey/Jack Rauton/Luke Laird/Vincent Mason; Producers: Brett Truitt, Jake Gear, Vincent Mason; Label: MCA Nashville/Music Soup/Interscope Records
– Nominated as New Male Artist by the ACM, Mason has a new uptempo ditty that exudes boyish charm. The acoustic-based track bubbles along with jaunty innocence while the lyric paints a picture of a heartbroken fellow who has no one to blame but himself.

KIP MOORE / “Faith in the Wind”
Writers: Andrew DeRoberts/Kip Moore/Luke Preston; Producers: Andrew DeRoberts, Kip Moore; Label: KM
– A solitary soul sings of his journey into a mystery future while a lustrous, echoey track surrounds his meditation. He’s on a quest, but does not know his destination in life. Haunting and highly listenable.

ASHLEY McBRYDE / “Lines in the Carpet”
Writers: Caroline Watkins/Lauren Hungate/Lori McKenna; Producer: John Osborne; Label: Warner Records Nashville
– “What If We Don’t” remains the single. But McBryde continues to tease her forthcoming album Wild (due May 8) with this driving, urgent cry of the heart. A woman continues doing her day-after-day domestic chores feeling trapped and miserable, but her husband is oblivious. McBryde continues her unbroken reputation for quality country.

SHABOOZEY / “Born to Die”
Writers: none listed; Producer: none listed; Label: American Dogwood
– Shaboozey’s next album will be a concept collection that tells a tale of western revenge. Its lead single rushes forward with rhythmic energy. “Raise a glass to always living life like we ain’t born to die,” he sings in the dark party anthem. Arguably the most innovative and creative sonic personality in contemporary country music. Long may he sing.

ELLA LANGLEY & MORGAN WALLEN / “I Can’t Love You Anymore”
Writer: Ella Langley; Producer: none listed; Label: Columbia/SAWGOD
– These two red-hot stars team up for a stirring, breezy, rhythmic duet with swapped verses and Wallen harmonizing nicely on the choruses.

RILEY GREEN / “My Way”
Writer: Riley Green; Producer: Dann Huff; Label: Nashville Harbor Records & Entertainment
– Anticipating his role on TV’s Marshals (airing this Sunday), Green issues a baritone ballad of sad resignation over a failed romance. His fluid, intimate, expressive delivery is framed by gently plucked guitar, bass, dobro and strings. Country eloquence. The song will be featured during Green’s episode of the CBS-TV hit.

STEVEN McCLINTOCK / “To You From Me”
Writers: Richard Addrisi/Steven McClintock; Producer: none listed; Label: SM
– Record promo veteran Bill Wence has been boosting indie artists for 52 years. His latest discovery sings this sweet, melodic love song in a soft tenor that is earnest and sincere. Piano and steel accompaniment add to the romantic mood. Co-writer Addrisi (1941-2025) was best known for penning the evergreen “Never My Love.”

CARLY PEARCE / “You Can Have Him”
Writers: Carly Pearce/Carter Faith/Lauren Hungate/Tofer Brown; Producer: none listed; Label: Blue Highway Records
– Delightfully snarky and sassy. Addressing the gals around her, Pearce tells them they’re welcome to a dude with loose morals and a wandering eye. Packed with attitude and personality, not to mention twangin’ steel.

BRAXTON KEITH / “Don’t No More”
Writers: Braxton Keith/Liz Rose/John Pierce; Producer: Alex Torrez, David Dorn; Label: Warner Records Nashville
– She’s left him behind. Evidently, she’s quite good at completely blocking out their past, and he reports it all in this yearning ballad. Pristinely produced, well written and sung with heart.

SHOOTER JENNINGS & WILLIE NELSON / “When I’m Stoned”
Writer: Jason Phillip Boland; Producer: Shooter Jennings; Label: HELL PONY ARCHIVES
– These two celebrated 4/20 this week as the annual weed-awareness date with this ditty. It’s way beyond “laid back” and sounds like they recorded it in an oil drum. Both vocalists seem to be meandering around looking for the melody. The band is Jason Boland & The Stragglers, whose original version is better.

CORB LUND & HAYES CARLL / “Much Too Young (To Feel This Damn Old)”
Writers: Garth Brooks/Randy Taylor; Producer: none listed; Label: New West Records
– These two Americana stars have a strikingly effective arrangement of the Garth Brooks classic. It’s just their voices, an acoustic guitar and a cello, and it is absolutely brilliant and stunning. The broken rodeo man in the lyric comes truly alive here. Open your ears for something utterly refreshing, and play this.

REBA McENTIRE / “One Night In Tulsa”
Writers: Kylie Frey/Neal Coty/Thom McHugh; Producer: Dave Cobb; Label: Rockin’ R Records/MCA
– Country heartbreak in the throat of a Great. Every singer in this industry needs to listen to this ballad for a lesson in excellence.

SHAWN CAMP / “Sis Draper”
Writers: Guy Clark/Shawn Camp; Producer: Shawn Camp; Label: Truly Handmade Records
– Shawn is at No. 1 on the bluegrass chart this month with the title tune of his The Ghost of Sis Draper concept album. Draper was a fiddle hero of Camp’s when he was growing up in Arkansas. His homage to her is a ethereal, bluesy lament with fiddle notes weaving in and out of the mix. His misty, moody vocal is exquisitely dramatic. Essential listening.

My Music Row Story: BBR Music Group/BMG Nashville’s Peter Strickland

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Peter Strickland

Peter Strickland oversees the financial and daily operations of BBR Music Group/BMG Nashville, streamlines distribution channels and physical-product sales as well as spearheads the label’s comedy initiatives.

Throughout his tenure, he has served several executive-level roles at Warner Music Nashville such as VP of Sales, VP of Sales & Marketing, Sr. VP of Brand Management & Sales, Executive Vice President/General Manager and Chief Marketing Officer.

In addition to the roles at WMN, he also created two successful comedy imprints and executive produced Jimmy Fallon’s 2013 Grammy Award-winning comedy album, Blow Your Pants Off, before opening his management company, Marathon Talent, in 2018.

MusicRow: Where did you grow up?

I grew up in a town called Shrewsbury, Massachusetts.

Photo: Courtesy of Strickland

What were you into as a kid?

As a kid, I always wanted to buy music. I had a paper route, and with whatever money I had, I would go out to the record store and just buy music. By the time I was around 12 years old, I already had a pretty decent record collection. As I got older, I found myself turning my friends on to songs, so I was an early record promoter.

When I was 17, the whole club scene was going on in New England and across the country. The drinking age was 18 at that time, so I was trying to figure out how I could get into the club scene. I just took a handful of records and went up to the doorman and said, “Hey, I’m bringing these up to the DJ.” He said, “Go right ahead,” so every week I’d go up to the DJ in that nightclub and say, “You’ve got to check this out. Have you heard this song?”

Eventually, the club owner came up to me and said, “Hey, do you know how to spin those things?” I didn’t, but I told him I did. He said, “Can you come spin on Thursday nights?” So that was kind of my entry into what I guess was part of the business. Eventually, I took over all those nights and then started my own DJ business doing parties.

Photo: Courtesy of Strickland

Wow! How did you get further along into the business?

At one point, I was spending a lot of money buying music, so I needed to find something to do during the day. I applied to work at a record store called Strawberry Records, which is no longer around, but they were a chain of stores that dominated the New England area. Even though I had a lot of experience in a nightclub, the manager thought I should actually work in the warehouse. I said, “Okay, as long as I can still get my discount on music purchases.”

I got more than a discount. What ended up happening is they put me in a buying role for the whole chain of stores for R&B and dance singles. So I’d have all the distributors coming in and pitching to me. Eventually, I got hired out of there to work for WEA distribution in Boston.

Tell me about that.

That was my intro to the real music industry. I elevated quite quickly through the ranks there. I came in as a junior salesperson and won Sales Rep of the Year by my second year. In my fourth year, I got promoted to sales manager position, leap frogging a number of people who had been there for a long time, so that was a challenge—learning to manage people.

Eventually, the role became a little stagnant for me because it was all about pick, pack and ship. There was nothing creative about it. I heard through the grapevine through distribution that Warner Bros. Records in Nashville was looking for a salesperson. I knew a number of the people down here because part of my job in New England was to promote country music.

Photo: Courtesy of Strickland

I applied for that job. I really wanted to move here and get into a label to absorb everything that happens there. How do they make the decision to sign an artist? How do they make decisions about songs? How does radio work?

I got the job, and I spent a good portion of my first decade here just learning everything I could about the industry at a record label level. During that time, the digital revolution happened, and it started to have a serious effect on Music Row. Half of the labels on Music Row went away overnight. Warner Bros. absorbed Giant, Elektra, and Atlantic, so there was a big cleansing that took place during that time.

A key part of a shift in my career was when Blake Shelton was one of the artists we took on from Giant. When he came over, there was really no one in marketing. I raised my hand to help with sales and marketing on Blake, and that unveiled a talent I didn’t know I had.

Photo: Courtesy of Strickland

Tell me more about that.

As time went on, other artists started getting added to my marketing responsibilities, like Faith Hill, Dwight Yoakam and Big & Rich. Eventually, it was Hunter Hayes, Brett Eldredge and Jana Kramer etc. It was one of the most rewarding time periods of my career because all of a sudden I was doing all the stuff that I really enjoyed. I moved from VP of Sales to SVP, then EVP of Marketing, and eventually CMO at Warner.

I started the comedy division there and brought Jeff Foxworthy back. That led to the whole Blue Collar Comedy Tour coming to Warner Bros. in Nashville. I ended up signing a number of comedians including Larry the Cable Guy, that record ended up debuting higher than the Red Hot Chili Peppers the same week.

Later on, Jimmy Fallon called my office mentioning he had just taken over the late-night show and wanted to do a comedy record. He had gotten my name from people in the industry, so we ended up doing it together. It won a Grammy and was certainly one of the biggest highlights of my career.

What was next for you?

When I left Warner, I wasn’t sure what I was going to do from that point. I took about six months off and decided to start a management company, Marathon Talent. The excitement of that led to me signing artists rather rapidly. I signed some incredibly talented artists, but I felt I was moving too fast, trying to prove that I could build something in a short period of time, which we all know doesn’t happen overnight.

Photo: Courtesy of Strickland

Just as things started to uptick, COVID hit, and it really put a huge damper on the management company. At the time, I felt like the industry was abandoning me as well. That wasn’t the case, but it felt like it. I was at a pivotal point, asking, “What’s next?” My wife was very supportive, so I stayed at it. I struggled, struggled, struggled, and then Jon Loba called and said he wanted me to manage a comedian who was an employee of his who wanted to quit what he was doing to become a comedian.

I said I would help him out and help build that for him. In the meantime, I started consulting for BMG under the radar and was helping out in marketing while they had a couple of people out, and one on maternity leave. Soon, Jon brought me on full-time as GM. I didn’t think I’d ever want to go back into the corporate space, but being able to see what I was getting into through consulting with BMG allowed me to make a better decision about whether that was what I wanted to do.

Photo: Courtesy of Strickland

What have you enjoyed about being back in the label system?

I’ve enjoyed being able to work with a different group of people after spending so many years at one company. A lot of things don’t change. We’re all challenged with the same things we’ve faced for years, but getting to know and work with more people has been very rewarding. I never put myself on a pedestal, but hearing people say they enjoy working with me and learning from me is, at the end of the day, the most rewarding part of what I do. Sharing my experiences and knowledge to help someone else grow and better themselves in the business is incredibly fulfilling.

Do you have any mentors?

There have been so many people who have positively affected my career it’s hard to single out one. When I first moved here, I came down for an interview with Jim Ed Norman, who was the CEO of Warner Bros. Nashville at the time. Neal Spielberg actually ended up hiring me. Jim Ed, Neal and I met and talked about the job. I asked how the interview was going, and he said, “Oh, you’ve got the job. I just wanted to get to know you.” He is such a warm and kind human being. He cared a lot about how my family would feel about moving here.

What’s one of the coolest moments you’ve had in your career?

Winning the Grammy Award for the Jimmy Fallon album. That’s something I never dreamed would happen, and it was never a goal.

BREAKING: Shania Twain Tapped As 61st ACM Awards Host

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Shania Twain is set to host the 61st ACM Awards, taking place May 17 at MGM Grand Garden Arena in Las Vegas. This will be Twain’s first time hosting the ACM Awards.

Twain is crowned the top-selling female country-pop artist of all time, and is celebrated around the world for her songwriting, artistry and performances. She is a three time ACM award winner, as well as a five time GRAMMY winner. To date, Twain has sold 100 million albums globally.

“I’m thrilled to be hosting the 61st ACM Awards in Las Vegas, a place that feels like home.” shares Twain. “It’s such an honor to be part of this incredible night celebrating Country Music’s biggest stars, especially with so many talented women leading nominations this year. I can’t wait to welcome all of the fans and artists out for this unforgettable night.”

“We are honored to welcome global music superstar Shania Twain as our host this year,” adds ACM CEO Damon Whiteside. “We couldn’t imagine a more perfect icon to follow our previous iconic hosts, Dolly, Garth, and Reba, blending one of the most important nights in Country Music with the excitement of Las Vegas . Shania has an impressive history on the ACM Awards stage including her win of the coveted ACM Entertainer of the Year trophy and receiving the ACM Poet’s Award honoring her prolific songwriting career.”

The 61st ACM Awards will stream live on May 17 on Prime Video at 7 p.m. CT. The broadcast will also be available on the Amazon Music channel on Twitch, as well as in the Amazon Music app. Throughout the night, performances will be held from Cody Johnson, Kacey Musgraves, Lainey Wilson, Little Big Town, Miranda Lambert, and Riley Green, with more to be announced.

ACM will also host a variety of events leading up the the award show, including Whiskey Jam Welcome Party on May 14, “ACM Lifting Lives Country on the Green: Riley Green & Friends” on May 15, and “ACM Next Wave: Country’s Beach Bash” on May 16.

Riley Green Kicks Off ‘Cowboy As It Gets Tour’ With Sold-Out Stop At Bridgestone Arena

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Riley Green. Photo: Austin Screws

Riley Green kicked off his 2026 “Cowboy As It Gets Tour” last week, wrapping the first weekend with a sold-out show at Nashville’s Bridgestone Arena on Saturday night (April 18).

Before Green took the stage, Mackenzie Carpenter, Drake White and Justin Moore set the tone for the night.

The lights dimmed down as Green made his entrance with “Different Round Here” before launching into the unapologetic “Damn Good Day To Leave” and reflective “If It Wasn’t For Trucks.”

Photo: Austin Screws

Unveiling his first surprise of the night, Green called Jamey Johnson to the stage. The pair moved into “Where Corn Don’t Grow” and “In Color.”

“Watching him do what he has done all these years and stay true to himself – I’ve looked up to him so much. I’m so glad to be friends with him, and even more so that we’ve gotten here tonight,” Green shared about Johnson, a fellow Alabama native.

After “Georgia Time,” Green brought White back to the stage for a duet on “Hell Of A Way To Go.” He moved through “Rather Be” and “When She Comes Home Tonight.”

With another surprise up his sleeve, Green brought Carly Pearce to stage for a rendition of their recent release, “If I Don’t Leave I’m Gonna Stay.”

Photo: Austin Screws

As the night progressed, he continued with “Make It Rain” and “Change My Mind.” The crowd roared as Green broke into covers of Toby Keith’s “Should’ve Been A Cowboy” and “Courtesy Of The Red White And Blue.”

“I’ve gotten to play a lot of great shows over the years, but I have to tell y’all, this means a lot. Thank y’all so much for a sold-out show at Bridgestone Arena. One thing I’ve never gotten tired of is playing country music for folks who love country music,” he shared.

Green made his way to the B-Stage for a stripped-back moment that included “Jesus Saves,” “My Way” and a duet with Carpenter on “Don’t Mind If I Do.”

Back on the main stage, Green quickly picked the energy back with fan-favorites “There Was This Girl,” “You Look Like You Love Me” and “Worst Way.”

After a short break, he returned for an encore of the fan-favorite “I Wish Grandpas Never Died” and brought the openers out again for a crowd-singalong of “Dixieland Delight” to wrap the night.

Green is set to appear this weekend at Stagecoach before continuing the “Cowboy As It Gets Tour” on May 7 in Charlotte, North Carolina.

Chase McGill Moves Into Top Five On MusicRow Top Songwriter Chart

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Chase McGill

Chase McGill has moved into the top five on the MusicRow Top Songwriter Chart. Morgan Wallen’s “20 Cigarettes” and “I Got Better,” Tucker Wetmore’s “Brunette,” Ashley Cooke’s “the hell you are,” Greylan James’ “Water At A Wedding” and the HARDY, Eric Church, Wallen & Tim McGraw collaboration “McArthur” all put the songwriter at No. 5 this week.

Randy Montana maintains the No. 1 spot with “Change My Mind,” “Make A Liar,” “Sleepless In A Hotel Room” and “Time’s Ticking.” Blake Pendergrass takes the No. 2 spot with “20 Cigarettes,” “Ain’t A Bad Life,” “Brunette,” “Don’t We,” “I Got Better” and “Wish You Well.”

Ella Langley (No. 3) and Luke Combs (No. 4) 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.

Now Open: Applications For MusicRow’s 2026 Artist Roster Company Directory

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Applications for MusicRow‘s upcoming Artist Roster print issue are now being accepted through Friday, May 1, 2026 with the official form below. Previously included companies will also be solicited separately.

This ultimate artist resource edition includes the Artist Roster company directory, featuring contact information and artist rosters for Nashville record labels, managers, publicists, lawyers, talent agents, publicity, artist services companies (business managers, digital music, legal, marketing, radio promotion and organizations), media and banking.

Applications for Artist Roster have closed.

For advertising opportunities in the Artist Roster print issue, email Sherod Robertson at srobertson@musicrow.com. Rate card information is available here. For questions regarding directory, please email directory@musicrow.com.

Scotty McCreery & Hootie & The Blowfish Celebrate ‘Bottle Rockets’

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Pictured (L-R, back row): Abbey Watson, Kari Barnhart, Derek George, Annie Ortmeier, Bobby Hamrick, Mike Sistad, Jeremy Bussey, Tom Luteran, Shannon Sanders, Brent Anderson, AJ Burton, Monty Criswell, Kevin Herring and Troy Tomlinson. (L-R, front row): Hootie & The Blowfish’s Dean Felber, Jim Sonfeld and Darius Rucker, Scotty McCreery and Frank Rogers. Photo: Larry McCormack for BMI

Scotty McCreery and Hootie & The Blowfish celebrated their No. 1 track “Bottle Rockets” on Thursday (April 16) at BMI’s Nashville headquarters.

The track marked McCreery’s seventh No. 1, and marked Hootie & The Blowfish’s first ever chart-topper. Triple Tigers Records unveiled during the party that the single had just been RIAA certified Platinum.

Hosted by BMI, ASCAP and SESAC and emceed by BMI’s Shannon Sanders, Sanders welcomed McCreery, three of the four Hootie & The Blowfish members Darius Rucker, Dean Felber, Jim Sonefeld, along with Spirit Music co-writers Monty Criswell, Derek George, Bobby Hamrick, Frank Rogers, Brent Anderson and Jeremy Bussey to the stage. SESAC’S Abbey Watson, ASCAP’s Mike Sistad, Sony Music Publishing’s Tom Luteran, Triple Tigers’ Kevin Herring and UMPG’s Troy Tomlinson each took the microphone to honor the team behind the song.

Pictured (L-R, back row): MusicRow‘s John Nix Arledge, Derek George, Bobby Hamrick, Jeremy Bussey, Brent Anderson, Monty Criswell and MusicRow‘s Sherod Robertson. (L-R, front row): Dean Felber, Jim Sonfeld, Darius Rucker, Scotty McCreery and Frank Rogers. Photo: Courtesy of BMI

Sponsored by Studio Bank, Kari Barnhart made a special donation presentation on behalf of McCreery and the songwriters in support of the Opry Trust Fund.

Rogers, who served as a publisher, producer and writer on the track, shared the story of surprising McCreery with vocals from Hootie & The Blowfish during the recording session.

Each co-writer reflected on how many people it takes to bring a song to the top of the charts, from publishers and management to radio and beyond, sharing their gratitude for everyone involved in that journey. Many also shared that they had been longtime fans of Hootie & The Blowfish, making this collaboration feel even more special.

“There is a glue in the middle of [this song] that made it work, and is it Darius [Rucker] and Frank [Rogers]. Without their direction this wouldn’t be happening,” Sonefeld shared.

“It’s very rare, especially when you’ve been in the business for 40 years like we have, to get something that is a first. It’s pretty great to have our first No. 1,” Rucker added.

“I don’t know what I did to deserve to be up here on this stage,” McCreery said, closing out the evening. “There is a lot of talented people just down the street on Broadway and a lot of talented folks writing on Music Row, so the fact that I get to be up here today–I’m humbled and grateful.”

BREAKING: Miranda Lambert Inks With MCA

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Pictured (L-R): Stephanie Wright (EVP/Head of A&R, MCA), Mike Harris (President & CEO, MCA), Miranda Lambert, Katie McCartney (EVP/General Manager, MCA), Rob Femia (COO/EVP Business & Legal Affairs, MCA), Damon Moberly (SVP Promotion, MCA).

Miranda Lambert has signed with MCA.

Across her career, Lambert has amassed seven No. 1 solo albums, 10 No. 1 radio singles, more than 80 awards and many RIAA certifications. Lambert is a TIME100 honoree and perennial best-of-the-year list maker at the New York Times, TIME, Rolling Stone, Billboard, Stereogum, People and more. The most-awarded artist in Academy of Country Music history, she is among the most-nominated at this year’s ceremony, with eight nods recognizing her contributions as an artist, songwriter and producer.

“Miranda is a generational artist whose influence and artistry continue to shape modern music,” says Mike Harris, MCA President & CEO. “We are honored to work alongside her as she enters this next chapter and we look forward to building something truly special together.”

“Throughout my life and career, I have found that the common thread in every chapter is finding the right people—songwriters, musicians, collaborators, and team members—to match the moment,” adds Lambert. “I am honored to join a roster and a team with such a rich history of championing artistry. I look forward to sharing this new music with the world under their banner.”

Lambert continues in her role as Founder of Big Loud Texas, where she remains actively involved in her business partnership and ongoing artist development efforts across the label and its publishing company.

Jessi Alexander Inks With Warner Chappell Music & Perfect Game Creative

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Pictured (L-R): Austen Adams (WCM), Jessi Alexander, Jessi Vaughn Stevenson (Perfect Game Creative) and Phil May (WCM).

Grammy-nominated hitmaker Jessi Alexander has signed a worldwide publishing deal with Warner Chappell Music Nashville and Perfect Game Creative. This deal marks Alexander as the flagship signing for Perfect Game Creative, launched by industry veteran Jessi Vaughn Stevenson last year.

A Tennessee native, Alexander has penned 10 No. 1 hits throughout her career, including Luke Combs’ “Ain’t No Love In Oklahoma” and Morgan Wallen’s “Don’t Think Jesus.” Additional cuts include Megan Moroney’s “No Caller ID,” Dustin Lynch & Jelly Roll’s “Chevrolet,” Blake Shelton’s “Mine Would Be You” and “Drink On It,” Scotty McCreery’s “In Between,” Lee Brice’s “I Drive Your Truck,” Cole Swindell & Lainey Wilson’s “Never Say Never,” and Justin Moore & Priscilla Block’s “You, Me, and Whiskey.”

Alexander is also behind the global hit “The Climb” performed by Miley Cyrus, which earned an MTV Movie Award for Best Song from a Movie.

“So grateful I still get to have my dream job of being a songwriter
 and getting to continue my partnership with Austen, alongside my longtime collaborator Jessi Vaughn, feels like a dream come true,” shares Alexander. “I couldn’t be more excited to walk into this next chapter of my career with people that feel like family – and who believe in me every step of the way.”

“Jessi Alexander is undoubtedly one of the all-time greats in country music,” says Austen Adams, President, WCM Nashville. “She’s a powerhouse songwriter with a deep catalog of hits that spans generations, leaving a lasting impact on the genre. Our relationship goes back over twenty years, and I’m happy to partner with her once again. The entire Warner Chappell team is honored to continue this journey alongside Jessi A and Jessi Vaughn as we work together to further elevate her global impact.”

“To say this moment feels full circle is an understatement,” adds Vaughn Stevenson, Founder, Perfect Game Creative. “I began my career working alongside Jessi, and over the past decade we’ve continued that relationship in different capacities. To now launch something of my own, in partnership with my home for many years and to have a singer-songwriter of her caliber trust me enough to step into this next chapter together feels both incredibly special and deeply strategic. We have spent years building momentum together, but in a lot of ways this feels like we are just getting started.”

Her recent awards include MusicRow’s Female Songwriter of the Year for two consecutive years (2023 and 2024) and NMPA Gold & Platinum Gala Top Female Songwriter (2024). She also notched a GRAMMY nomination in 2025 for Best Song Written for Visual Media with “Ain’t No Love In Oklahoma” and a Songwriter of the Year nomination at the 60th ACM Awards.