My Music Row Story: UTA’s Elisa Vazzana

Elisa Vazzana

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.

Elisa Vazzana is an Agent in the Music department at United Talent Agency, where she unites ideas, opportunities and talent. Based in the Nashville office, Vazzana represents many of the world’s leading musicians, including Megan Moroney, Chayce Beckham, Logan Crosby and Adam Doleac, among others.

She started her career at CAA in 2008, was later promoted to the trainee program in Los Angeles in 2012. Due to her sharp attention to detail and tenacity, Vazzana rose to Agent in 2013. After a nearly 14-year tenure, she was tapped to lead UTA’s Fair & Festival department, making her influential in booking the agency’s music clients at numerous events in the eastern territory of the United States and eastern Canada.

Vazzana has been at the center of major deals for her clients, including Moroney’s debut tour that sold out in minutes as well as appearances on ESPN’s College GameDay and The Paul Finebaum Show and more. Reaching beyond the traditional booking agent role, she was also responsible for Moroney’s first DSP playlisting on Apple Music, which launched the signing of a historic record deal with Sony Music Nashville and Columbia New York.

Devoted to helping others, Vazzana is heavily involved in charitable organizations. She serving meals to the homeless as a  Nashville Rescue Mission volunteer and works with the Pencil Foundation, which serves underfunded schools and their teachers. Vazzana is also a member of Justice Now, an internal task force within UTA’s Music department that aims to address systemic racism in the industry through four pillars of education, mentorship, empowerment and fearless imagination, as well as La Femme Majeure, a UTA event series that connects and empowers music’s next generation of women leaders. In 2009, she founded the Nashville chapter of Rhythm of Hope, a partnership between The Lollipop Foundation and Vanderbilt Children’s Hospital that brought songwriters and pediatric patients together to create one-of-a-kind songs.

MusicRow: Where did you grow up?

I was born in Mandeville, Louisiana, which is right outside of New Orleans. I moved to Phoenix in the fifth grade.

Megan Moroney & Elisa Vazzana. Photo: Courtesy of Vazzana

Were you into music?

I was. My dad exposed me to a lot of classic rock, and my mom exposed me to a lot of hot AC. My grandfather was a symphony composer, and my aunts all played in their respective symphonies in their cities. I was the only one in my family that listened to country.

How did that happen?

I went on a camping trip with some family friends when I was around seven or eight years old, and my neighbor had the Patsy Cline Greatest Hits CD and a Mary Chapin Carpenter album. I remember singing “The Bug” and just really latching onto that. Absolutely obsessed with the genre, I came back from that trip as the only kid who listened to country.

Pictured (L–R): Taylor Krebs (UTA), Elisa Vazzana, Hayley Corbett (PunchBowl Entertainment), Tali Canterbury (No Rules Management) and Logan Crosby. Photo: Courtesy of Vazzana

Did you always know you wanted to pursue a career in it?

I knew I loved music and live shows, but I had no idea that being an agent was a job. As a kid, my dad kept telling me I should be an attorney, which made sense because I’m a great negotiator—I’m very direct and I’m aggressive. So I thought I could an entertainment lawyer. That’s as close as I thought I would get to it. Then when I was in middle and high school, I learned what A&R was from a How to Break Into the Music Business DVD. I really dug into that because I’m a sucker for a great song and a great voice. I wanted be the person that helps find the songs, create the album and identify the talent, but that’s not what I ended up doing.

How did you find your way into the business?

I went to school in Denver on a full-ride scholarship for soccer. I was working at a bar the summer before my freshman year for extra money and met an agent. I asked him what I should major in if I wanted to work in music. He said, “You don’t need a college degree. If you get to Nashville and you want help getting a job, you just give me a call.” So I left school.

When I got to town, I called him. He said, “You left school?” I said, “Yes, I am here. I don’t have any money. I don’t have a job, but you told me that you would help me if I got here. So I’m here.”

He said, “Oh my God. I can’t believe you did this. My brother has a band. They’re doing a music video and need a production assistant. Let me see if he’ll hire you to do that.” I think he felt terrible that I followed his advice, but that’s how I got here. [Laughs]

Elisa Vazzana & Brandi Brammer (UTA). Photo: Courtesy of Vazzana

That’s incredible. How did you make it off the ground?

I started working as a production assistant in addition to bartending, waiting tables, cleaning houses and anything else I could possibly do to survive from the age of 19 to 22.

In that time, I was networking through these connections. A friend of mine called me and said, “Are you still looking for a job? My buddy at CAA needs an assistant.” I went in for an interview. It was $10 an hour, but you had full healthcare, so I said, “Sign me up!”

I thought I was going to use it as a launching pad to do something else because they’re so connected with every part of the business. Then I found a mentor there, Stan Barnett. He told me, “Look, I can’t teach you to know how well a song is written, or how to identify something at a writers’ round or hear something on a work tape and understand what it could be when it’s fully produced, but I can teach you deal math. I can teach you the basics of what we do. I think you would be very unique on the booking side because you can A&R from an agent’s perspective.”

Stan taught me how to be an honest agent without being a bully. He would say, “To be a great agent, you don’t have to lie and you don’t have to yell.” He didn’t look at it as sales. He looked at it as negotiating and enlightening people to what you believe is great. If not for Stan Barnett, I would not be an agent.

Pictured (L–R): Jensen Sussman (Sweet Talk Publicity), Hayley Corbett (PunchBowl Entertainment), Elisa Vazzana, Juli Griffith (PunchBowl Entertainment) and Megan Moroney. Photo: Courtesy of Vazzana

How long were you an assistant?

I was Stan’s assistant for probably a year and a half. At that point, leadership at CAA came to me and asked if I wanted to be an Agent. I was booking dates for the $2,500 acts on his desk. I remember begging people to send me $500 support slots for Kip Moore and Old Dominion. So I [took them up on becoming an Agent], but I wanted to do it in the soft-ticket world because I felt like that was where I could really use my A&R brain.

I wanted to enlighten these buyers 12–18 months in advance on something that I thought was going to pop by the time their event played. I was able to build up a rapport with a lot of buyers where they would ask me who I thought was next. I was able to help them curate lineups in a way that I thought was really interesting as a fan of the genre. That’s how I got into it, and I’ve stayed in the soft-ticket space because I love it. You can expose your artists to a giant audience they wouldn’t have otherwise and show that audience what’s next.

Pictured (L–R): Scott Clayton (UTA), Brent Shows (ALTAR MGMT), George Pippen, Emily Clark (ALTAR MGMT), Elisa Vazzana and Wells Williams (ALTAR MGMT). Photo: Courtesy of Vazzana

What did you book during that time that you’re proud of?

I booked Sam Hunt at Tortuga on a tiny stage. I remember the buyer saying, “You’re asking for too much for where this is today.” We were arguing over $2,500 or something at the time. I said, “Dude, I’m telling you… It’s going to be huge.” We get to the show and there were 15,000 people in front of this matchbox-size stage. That was the first time that I thought, “Oh, shit. I’m right about some of this stuff.” That was a really fun moment.

Tell me about your time as an Agent at CAA.

I became an Agent relatively quickly compared to the time that it usually took at the company. I got promoted right after I came back from maternity leave. I had my daughter, came back and went full speed ahead, but at that point, I was a single mom as well as a new agent. I really enjoyed my time there. I learned a lot.

How did you get to UTA?

Scott Clayton and Brandi Brammer went to join UTA. Brandi is my daughter’s godmother and one of my mentors. At the same time, we had just been through the pandemic and I didn’t know if I was burned out on being an agent, but I thought the only way I could find out is to go and do it somewhere else. I had friends and former colleagues at UTA, and there were people there that I think are just great humans. I met with Jeffrey Hasson and I talked to Brandi about coming over to UTA , and it was just the right move for me.

Elisa Vazzana & daughter Tatum Vazzana. Photo: Courtesy of Vazzana

It was perfect timing. I had Megan Moroney in my back pocket, and I was working on a couple of other clients, but I decided to just bet on myself. I took Megan and walked into a place that felt familiar, new, comfortable and very team-oriented. I think when you bet on yourself, you get big rewards.

You and Megan have had quite a ride. How did you find her?

A lot of my friends in the early days were publishers and writers, so [her manager] Juli Griffith is a 20-year friend of mine. She and I have very similar tastes when it comes to artists, especially females.

Juli called me one day and said, “I’ve got an artist for you.” I said, “What’s her name? What’s her Instagram?” She goes, “I’m not telling you. Just listen to this song.” She sent me “Wonder” and “Hair Salon.” It stopped me in my tracks. I was leaving the gym and Juli said, “Can you meet us at Del Frisco’s right now?”

Megan had a few songs, but still had one foot in the influencer world while trying to break into music. I said, “I can advise you all day long, but if you don’t have anything for people to go listen to, it won’t do you any good if I put people in front of you.” She took that to heart, and Juli started getting her in the right rooms and creating the right music. She came back to me with the songs and I was like, “I’m in.”

I came over to UTA and found her some opportunities with Chase Matthew. Then we put her on Jamey Johnson, which was an incredible look for her from a credibility standpoint. Then it was really just hustling.

Megan Moroney & Elisa Vazzana. Photo: Courtesy of Vazzana

You guys sold out her first headlining tour in minutes. Now Megan is opening for Kenny Chesney. What are you currently focused on?

She is absolutely crushing stadiums, including her Nissan performance during CMA Fest this year. It was one of the best performances I’ve seen from her. Before the show, I said to Scott Clayton, “If she didn’t have the Kenny stadium experience, this might be terrifying for her because it’s the first time she’s played to a crowd this big.” She got off the stage and and was like, “If I didn’t have Kenny, I would be terrified.” [Laughs] She’s been a student of his show every night.

I’m so focused on building her as a global artist. She’s doing 5,000-capacity rooms that are sold-out around the Kenny dates, and is about to go on her second run in the United Kingdom. We’re then expanding into mainland Europe and Australia. I think there’s a big market for her in Asia. She just has such a mass appeal. It’s really endless for her, because we know what she’s capable of creatively.

What else do you do at UTA?

I’m Head of the Fair & Festival department. I was initially hired to start it, as it wasn’t a formal department yet. My old assistant at CAA ended up coming over and now works with me in this department as a coordinator. I love being able to build from a clean slate.

In addition to Megan, I work with some young acts like Logan Crosby, George Pippen and Ian Harrison, all of whom I’m very excited about. I’m not a collector of artists—I don’t have a large roster by design. One of the things Stan told me that always stuck with me was, “Don’t sign anything that you wouldn’t quit your job tomorrow to manage for free.” That’s how much you have to love it.

Do you have other mentors?

Brandi and Stan are two that I’ve gone to a lot. I love Scott Clayton. He’s such a great sounding board for me as a human, a parent and an agent. I also learn a lot from my daughter, who is 10. I believe there are so many things that being a parent teaches you, and I don’t necessarily think that mentors have to be older than you.

What is the best piece of advice you’ve ever gotten?

Don’t take a “no” from someone who can’t give you a “yes.”

How have you balanced being a mom and a businesswoman?

I don’t know. [Laughs] You just do it. I’m stubborn enough to think I can do anything. When that is channeled in a positive direction, it’s awesome. All you have to do is tell me I can’t do something and I will prove to you that I can.

DISClaimer Single Reviews: George Strait ‘Knocks It Out Of The Park’

George Strait. Photo: Peggy Sirota

Traditional country music asserts its lasting appeal in this week’s DISClaimer column.

There’s not a pop-country note to be sounded in the new tracks by Josh Turner, Joe Nichols, Brett Young, Jeannie Seely or Jamey Johnson. Towering over them all is King George. That’s right: all-time hit monarch George Strait has the Disc of the Day.

We turn to folk music for our DISCovery Award as John Lomax III officially becomes the oldest artist to ever nab this prize.

JEANNIE SEELY / “Suffertime”
Writers: Bill West/Dottie West; Producer: Steve Wariner; Label: Cheyenne Records
– With the retirement of Wanda Jackson, Jeannie Seely becomes the oldest still-active female country artist. That’s not a put down; she’s proud of it. She’s still hosting her Sundays With Seely on Sirius/XM and performing on the Opry regularly. In fact, she has now sung on the show more times than anyone in history. The 84-year-old legend recorded this homage to her late dear friend Dottie West at historic RCA Studio B with West’s discovery Steve Wariner producing. Seely and Wariner take West’s 1966 heartache song in a groovy, bluesy direction. An instant country classic.

MADDIE & TAE / “Free Like”
Writers: Casey Brown/Deric Ruttan/Maddie Font/Parker Welling; Producer: Josh Kerr; Label: Mercury Nashville
– Delightful. It’s a bouncing, bopping, merry kiss-off tune with saucy attitude in abundance. Twin-harmony vocals and snappy beats are the hallmarks of this rockin’ little ditty.

JOSH TURNER / “Somewhere With Her”
Writers: Josh Miller/Rhett Akins/Will Bundy; Producer: Kenny Greenberg; Label: MCA Nashville
– Languid and dreamy. He’s not paying attention because he’s lost in a romantic reverie. Do not operate heavy machinery while listening.

DYLAN MARLOWE / “Devil On My Shoulder”
Writers: Beau Bailey/Dylan Marlowe/Kyle Fishman/Rocky Block; Producer: Joe Fox; Label: Sony Music Nashville
– This breakup isn’t going well for him. No matter what he tries to get over her, “it ain’t doing jack.” Pleading and insistent. Very hooky, although a tad over produced and mucho electronic.

GEORGE STRAIT / “Three Drinks Behind”
Writers: Benjamin Gaither/Jeff Silvey/Kim Williams; Producers: Chuck Ainlay, George Strait, Tony Brown; Label: MCA Nashville
– I dig the chugging rhythm and mellow melody of this barroom ditty. Delivered with a smile from a Country Music Hall of Famer who can still knock it out of the park. Put this mini masterpiece on repeat pronto.

TIERA KENNEDY / “Cry”
Writers: Cameron Bedell/Jared Scott/Justin Timberlake/Scott Storch/Tiera Kennedy/Timothy Mosley; Producer: Cameron Bedell; Label: TK
– This sprightly tune is already being used in a McDonald’s commercial. Kennedy will officially release it as her new single next week. It is quite pert, catchy and attractive. The song samples Justin Timberlake’s pop hit “Cry Me a River,” so he gets a songwriter credit.

JOE NICHOLS / “Bottle It Up”
Writers: Dan Isbell/Josh Kear/Paul Sikes; Producers: Derek George, Mickey Jack Cones; Label: Brown Sellers Brown
– It turns out that I’m not the only who’s into this peerless country vocalist: Post Malone has proclaimed himself a fan. This good humored, twanging tempo tune is one more reason to applaud our enduring favorite.

JOHN LOMAX III / “I Was Born 10,ooo Years Ago”
Writer: Public Domain; Producer: Matthew “Buster” Allen; Label: Orchard
– Lomax is a member of the distinguished American folk-music family. At age 80, he is releasing his very first album. It’s chock full of traditional tunes, including this hearty, amusing old boasting song, produced with just acoustic-guitar accompaniment. Smiles all around.

BRETT YOUNG / “Goodnight Into Good Morning”
Writers: Brett Young/Jimmy Robbins/Jon Nite; Producer: Jimmy Robbins; Label: BMLG Records
– He’s always so good with romantic material. This swirling, spinning, sensuous outing is a love-at-first-sight come-on with undeniably hypnotic appeal. Hit bound.

JOSH ROSS & JULIA MICHAELS / “Want This Beer”
Writers: Hillary Lindsey/Julia Michaels/Michael Hardy/Zach Abend; Producers: Matt Geroux, Zach Abend; Label: Core Entertainment
– Moody and kinda dizzy, the ballad is a pop confection in the throats of two highly expressive vocalists. Be careful you don’t get a bloody nose when the thing ends with a sudden wall of silence in mid lyric.

DENETIA / “Gettin’ Over”
Writers: Brad Allen Williams/Denitia Odigie; Producer: Brad Allen Williams; Label: County Road
– Her sweet voice. Some twinkling steel guitar notes and the toe-tapping beats make this working-gal’s lament sound deceptively jaunty. Her songwriting seems to be growing more assured and authentically country as the months roll by.

JAMEY JOHNSON / “What A View”
Writers: Jamey Johnson/Randy Houser/Rob Hatch/Dallas Davidson; Producer: The Kent Hardly Playboys; Label: Big Gassed Records
– This drops tomorrow as Johnson’s new single, and it’s dandy. The swaying, breezy vibe evokes a Caribbean idyll, as well as classic Strait. Jamey remains a masterful country singer, and has never sounded warmer or more engaging than he does here. Essential listening.

Miranda Lambert To Send ‘Postcards From Texas’ On New Album In September

Photo: James Macari

Miranda Lambert plans to unveil her first Republic Records album, Postcards from Texas, on Sept. 13. She shares latest track “Alimony” today (July 24), officially setting the tone for the Lone Star State-inspired album.

Relocating to Austin’s Arlyn Recording Studios, the acclaimed artist united with fellow Texan and Grammy winner Jon Randall to produce the 14-track collection of ballads, rockers, acoustic numbers and steel guitar-soaked tunes. Drawing from Lambert’s childhood, “Alimony” aims to take fans to the dance floor.

Laughing, she notes, “My parents were private investigators in Dallas, Texas who worked a ton of divorce cases in highfalutin parts of town, so this wasn’t hard to write. I’d heard about it my whole life.”

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Lambert penned the new song, as well as the unreleased “Looking Back on Luckenbach,” alongside Shane McAnally and Natalie Hemby.

“We were out in my barn; I was showing Shane and Natalie the horses, and I asked if he had any other titles,” she recalls. “He said he had one, and I was like, ‘What is it? Because your last one was ‘Looking Back on Luckenbach,’ which I didn’t think you could top. He said, ‘Well, ‘If you’re gonna leave me in San Antone, remember the Alamo-neeeee…’’ Natalie and I were like, ‘Alright, Shane! Stop showing off.’

“We went back to the house and got the guitars,” Lambert continues, “and I specifically was like, ‘I want a shuffle, man.’ I love to shuffle so much, and this record needed a shuffle! I knew I wanted one in my set, because I haven’t done one in a while—and everybody loves a shuffle.”

She and Randall rounded up electric guitarists Jedd Hughes and Ethan Ballinger, keyboardist Bukka Allen, bassist Rachel Loy and drummer Conrad Choucroun to help bring the track to life.

Now available for preorder, Postcards from Texas also features previously-released singles “Wranglers” and “Dammit Randy” as well as a collaboration with Parker McCollum and more.

Postcards from Texas Track Listing:
1. “Armadillo” (Aaron Raitiere, Jon Decious, Parker Twomey)
2. “Dammit Randy” (Miranda Lambert, Brendan McLoughlin, Jon Randall)
3. “Looking Back on Luckenbach” (Miranda Lambert, Shane McAnally, Natalie Hemby)
4. “Santa Fe (feat. Parker McCollum)” (Miranda Lambert, Jesse Frasure, Jessie Jo Dillon, Dean Dillon)
5. “January Heart” (Brent Cobb, Neil Medley)
6. “Wranglers” (Audra Mae, Evan McKeever, Ryan Carpenter)
7. “Run” (Miranda Lambert)
8. “Alimony” (Miranda Lambert, Natalie Hemby, Shane McAnally)
9. “I Hate Love Songs” (Miranda Lambert, Jack Ingram, Jon Randall)
10. “No Man’s Land” (Miranda Lambert, Luke Dick)
11. “Bitch On The Sauce” (Miranda Lambert, Jaren Johnston)
12. “Way Too Good At Breaking My Heart” (Miranda Lambert, Jon Randall, Jesse Frasure,
Jenee Fleenor)
13. “Wildfire” (Miranda Lambert, Jack Ingram, Jon Randall)
14. “Living On The Run” (David Allen Coe, Jimmy L. Howard)

BREAKING: BMG Promotes Jen Morgan

Jen Morgan

BMG has promoted Jen Morgan to VP, Global Content & Creative.

Morgan will be entrusted with the creative vision and execution of content creation initiatives for BMG artists, ensuring their music is represented and amplified through various mediums worldwide. This elevated role combines creative leadership with a global perspective to drive engagement, visibility and success for the artists across diverse platforms.

Having spent over a decade with BBR Music Group/BMG, Morgan will continue to lead a dynamic team of content creators and designers, overseeing the ideation, production and distribution of compelling content as well as the underlying processes and infrastructure. She will also handle the development and execution of comprehensive marketing and sales content strategies aligned with BMG’s artist roster and global objectives, including artwork creation, social media content, advertising content, DSP content and other multimedia initiatives.

“I’m thrilled to welcome Jen and her global team to our centralized Marketing Organization. It feels like two teams finally came together, just as it was always meant to be,” says Christopher Ludwig, BMG’s SVP, Global Digital Partnerships & Strategy. “I’m very excited about the innovative and inspiring contributions Jen and her team will bring to the Global Marketing and DSP Sales Teams to propel our Frontline and Catalogue campaigns to great success.”

Morgan can be reached at jen.morgan@bmg.com.

Old Dominion Guitarist & Hit Songwriter, Brad Tursi, Delivers First Solo Album [Interview]

Brad Tursi. Photo: Marina Chavez

As part of the award-winning, multi-Platinum-selling country band Old Dominion, musician and songwriter Brad Tursi has traveled the world, notched multiple No. 1 hits and won plenty of industry awards.

As one of the group’s chief songwriters and guitarist—as well as a celebrated writer with songs recorded by Kenny Chesney, Luke Bryan, Cole Swindell and more—Tursi is living the dream. Though the music he makes with his band fulfills him, the Connecticut native has found himself needing another creative outlet through the years.

While growing up, Tursi was forged by the music of Guns N’ Roses, James Taylor, The Allman Brothers Band, The Black Crowes, Stevie Ray Vaughan and Phish. He found his dad’s guitar in the attic when he was a preteen, beginning his lifelong passions of playing guitar and songwriting.

“I was in a band in college and then another band after college. Then after that, I almost quit music altogether,” Tursi tells MusicRow. “I moved to Nashville to be a songwriter, swearing I would never be in another band.”

Old Dominion celebrates one billion streams among other recent successes. Photo: Mason Allen

He realized he wasn’t going to keep that promise he made to himself when he reconnected with Whit Sellers, who was in a new band called Old Dominion. Tursi joined the group in 2012, and just a few years later, Old Dominion started their spree of hits with “Break Up with Him.” Thus, he and his bandmates were on the fast track to becoming seven-time ACM and six-time CMA Group of the Year winners.

All the while, Tursi started collecting songs that didn’t quite fit the Old Dominion sound. Some of them he pitched to other artists, while some felt like songs only he could sing. On Friday (July 19), he delivered 10 of those songs on his first-ever solo album, Parallel Love, via Sony Music Nashville with the band’s full support.

“Over the years, I just had all these songs that I knew were not right for the band. There was no pressure on me to do it or anything, it was just a passion project,” Tursi says.

He shares that making Parallel Love has been good for him personally, as well as for his position in Old Dominion. “Because a band is such a democracy, you have to compromise a lot. It’s nice to have this other outlet that actually allows you to be more open to compromise in the band setting.”

Parallel Love features co-writes with Stephen Wilson Jr., Dan Isbell, Jessi Alexander, Matt Jenkins and Ben West. Tursi produced the entire project as well, with West and Marc Scibilia co-producing select tracks.

“Church Bells and Train Whistles,” written with Wilson Jr. and West, was pitched around town before Tursi called it his own.

“That song has been pitched around to everyone and their mother. It’s the most commercial one, but I just love that song. I love the production. That’s the only one that I didn’t re-record, that’s just a demo mixed.”

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A stand-out track on the project is “Question The Universe,” a song about meeting someone and watching the potential of a relationship fall apart because of life’s circumstances. Tursi wrote it by himself.

“A buddy and I were at Red Door one fateful night and he met a girl. The next morning, we woke up and they had fallen in love. But that coming weekend, the girl was supposed to move to L.A. to be with her boyfriend who was out there getting everything set up,” Tursi says of his inspiration for the song. “My buddy and her spent the whole week together and then she left.

“She actually ended up breaking up with the dude, and coming back after I wrote the song,” he notes. “I think a lot of people have experienced meeting someone that they wish they could pursue, but it’s just not going to happen for a myriad of different reasons.”

Brad Tursi celebrates new solo album release in Nashville. Pictured (L–R): Sony Music Nashville’s Randy Goodman, Morris Higham’s Buffy Cooper, Brad Tursi, SMN’s Ken Robold, Morris Higham’s Dustin Stout and Clint Higham. Photo: Mason Allen

Another song, “Oh Darlin’,” is broken up into three parts, weaved throughout the album’s 10 tracks. It’s one of Tursi’s oldest songs from the collection, and covers a musician’s fear of irrelevancy once the stage lights go dim.

“I think that’s a fear of a lot of musicians, especially when you’re successful. You ask yourself, ‘Do people like me for me or do they like me because of what I’m doing or who they think I am?'”

Tursi was inspired to write the title track for Parallel Love from a self-help book. “We’re like two wild flowers growing towards the sun. You next to me, me next to you. Lord, I love to watch you bloom, growing in a parallel love,” he sings in the song’s chorus.

“A lot of people think that once they find someone, that’s it—they’re together and everything they do has to be together. The fact of the matter is that people grow separately at different times. That person is there for you to lean on, but at some points, they might be ahead of you or behind you [in their personal growth],” Tursi explains. “I wrote that with Dan Isbell, who’s an old friend of mine. He’s a salt-of-the-earth kind of guy, so he definitely brought some country elements to the song.”

Another standout track from the project is another solo-write, “Lover and a Friend.”

“That one took me a long time to finish. I started it on the guitar, and I just couldn’t finish it. When I finally started playing it on the piano, the tune kind of changed in my mind. It’s nice because it’s just a straightforward lyric—it’s not super metaphorical or anything.”

When looking at his first solo body of work, Tursi is proud of what he’s created as well as excited to continue to carve a new lane where can express his creativity.

“I hope that it’s the start of another little journey. Old Dominion has been so crazy, we’ve accomplished so many things. But the fact that I’m going on tour with this record with my own band in October is crazy. There are [opportunities] I haven’t even thought of, and I’m excited to continue the insane journey of music and life.”

Catch Tursi on the road for his “Parallel Love Tour” starting Oct. 3 in Atlanta, Georgia. Dates for the trek are below.

“Parallel Love Tour” Dates:
*on sale July 26
Oct. 3 – Variety Playhouse (Atlanta, GA)
Oct. 4 – Lexington Opera House (Lexington, KY)
Oct. 10 – Gramercy Theatre (New York, NY)*
Oct. 12 – The Levitt Pavilion for Performing Arts (Westport, CT)
Oct. 13 – Big Night Live (Boston, MA)
Oct. 16 – Egyptian Room (Indianapolis, IN)
Oct. 17 – Carol’s Pub (Chicago, IL)
Oct. 19 – Barnato (Omaha, NE)
Oct. 20 – Gothic Theatre (Denver, CO)
Oct. 25 – The Newberry (Great Falls, MT)
Oct. 27 – Wachholz College Center – McClaren Hall (Kalispell, MT)
Oct. 29 – McMenamins Spanish Ballroom at Elks Temple (Tacoma, WA)
Oct. 30 – Tower Theatre (Bend, OR)
Nov. 1 – Uptown Theatre (Napa, CA)*
Nov. 2 – Carmel-by-the-Sea (Carmel, CA)*
Nov. 3 – Fremont Theater (San Louis Obispo, CA)
Nov. 5 – El Rey Theatre (Los Angeles, CA)*
Nov. 7 – Rialto Theatre (Tucson, AZ)

Ryan Vojtesak Enters Top 10 On MusicRow Top Songwriter Chart

Ryan Vojtesak

Songwriter and producer Ryan Vojtesak has moved into the top 10 on the MusicRow Top Songwriter Chart this week. “Cowgirls,” “I Had Some Help,” “This Town’s Been Too Good To Us” and “Whiskey Whiskey” all helped him claim the No. 10 spot. 

Zach Bryan sits at No. 1 for the second consecutive week with 20 songs on the chart, including “28,” “American Nights,” “Better Days” and more off his new The Great American Bar Scene album, as well as continuing fan favorites “I Remember Everything,” “Nine Ball” and “Pink Skies.” Ashley Gorley is at No. 2 this week with “Bulletproof,” “Cowgirls,” “I Am Not Okay,” “I Had Some Help,” “This Town’s Been Too Good To Us,” “Whiskey Whiskey” and “Young Love & Saturday Nights.”

Josh Phillips (No. 3), Jessi Alexander (No. 4) and Hunter Phelps (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.

Morgan Wallen & Ernest Top The MusicRow Radio Chart With ‘Cowgirls’

Morgan Wallen takes the No. 1 position on the MusicRow CountryBreakout Radio Chart with “Cowgirls” featuring Ernest. The track appears on Wallen’s One Thing at a Time album and was written by Ernest, Ashley Gorley, James Maddocks, Rocky Block, Milan Modi and Charlie Handsome.

Earlier this month, Wallen set yet another record as he performed for 50,000 fans at London’s Hyde Park. This debut marked the United Kingdom’s largest country concert ever. Currently, Morgan is on the road headlining his “One Night At A Time Tour” and is joined by guests such as Jelly Roll, Nate Smith, Bryan Martin, Bailey Zimmerman and more.

“Cowgirls” currently sits at No. 2 on the Billboard Country Airplay chart and No. 2 on the Mediabase chart.

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

Execs Talk The Country-Packed ‘Twisters’ Soundtrack [Interview]

Ian Cripps (SVP of A&R, Atlantic Records), Twisters: The Album, Rachel Levy (EVP, Film Music for Universal Pictures)

Twisters, the current-day chapter of the 1996 blockbuster, hits theaters July 19. Starring Daisy Edgar-Jones, Glen Powell and Anthony Ramos, the film has been highly anticipated. But perhaps equally as anticipated has been its accompanying soundtrack, Twisters: The Album, a 29-song opus featuring only country music artists.

The project was first revealed in May with the release of leading track, “Ain’t No Love In Oklahoma” recorded by genre-leading superstar Luke Combs.

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After the track list was announced, it was shared across major media outlets and social media accounts everywhere, impressing most everyone from casual country listeners to high-brow genre purists due to its expansive list of artists. Present are established commercial hitmakers like Combs, Miranda Lambert, Kane Brown, Lainey Wilson, Thomas Rhett and Jelly Roll alongside rising stars Megan Moroney, Bailey Zimmerman, Conner Smith, Warren Zeiders, Tucker Wetmore and Tanner Adell. Also included are artists that find themselves on the outskirts of the mainstream like Tyler Childers, Sam Barber, The Red Clay Strays, Charley Crockett and Tanner Usrey.

It was clear that whoever put Twisters: The Album together did their homework.

Universal Pictures tapped experts for the challenge, with the album being produced and overseen by multi-Grammy  winner and Atlantic Records West Coast President Kevin Weaver, among others at Atlantic Records and Universal Pictures.

Lainey Wilson and team with Twisters execs at the film’s premiere. Photo: Erick Frost

Two of those experts, Atlantic Records’ SVP A&R Ian Cripps and Universal Pictures’ EVP, Film Music Rachel Levy, recently spoke to MusicRow about the project.

According to them, the musical landscape was in the mind of the film’s director, the Oscar-nominated Lee Isaac Chung, early on. Chung, who grew up in Arkansas, wanted the soundtrack to be as authentic to Twisters‘ setting in Oklahoma as possible.

“We started with the idea of placing existing country songs,” says Levy. “It all very quickly turned into a much broader conversation based on Isaac’s willingness to really feature music in the film, Atlantic Records enthusiasm and shared vision to make something big—and also based on the excitement and interest from the artists and songwriters we reached out to initially.”

Once the team had fleshed out what kind of sound the scenes would need, they were off to the races. They made a list of their top picks and started there first.

“I have immense respect for Nashville’s creative community, and was excited to collaborate with these amazing artists and their teams,” shares Cripps. “First order of business was to come up with ideas of who would be the best fit for each scene, and then we started making calls to those artists. Everyone was super excited to be a part of the film, which made the process of getting 29 songs much easier.”

The first songs the Twisters team received back were Combs’ exhilarating “Ain’t No Love In Oklahoma,” written by the artist alongside Jessi Alexander and Jonathan Singleton; Wilson’s gorgeous “Out of Oklahoma,” which she penned with Luke Dick and Shane McAnally; and Moroney’s reflective “Never Left Me,” written by Moroney, Alexander, Connie Harrington and Jessie Jo Dillon.

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Once those were in, they knew the Twisters album was going to be big.

“Everyone’s process was different,” says Cripps. “Some artists met with their core teams to write together, others wrote solo. Luke Combs was at his cabin with some of his writing partners and us on a Zoom. We discussed the scene and a few days later he sent us ‘Ain’t No Love In Oklahoma.’ That was an incredible moment.”

To build anticipation for the film, songs continued to roll out after Combs’ kicked off the excitement. In addition to Wilson and Moroney’s tracks, Rhett dropped the infectious “Feelin’ Country,” Childers delivered the heartfelt “Song While You’re Away,” Adell released the party-ready “Too Easy” and Zimmerman dropped the powerful “Hell or High Water.” Exciting newcomer Wetmore rolled out “Already Had It” and a collaboration with Smith, “Steal My Thunder.” Each track seemed to feature the artist’s unique sound in an elevated way, bringing a lot of focus to the movie and its tunes.

Cripps and Levy give a lot of props to the Nashville music industry for the caliber of music and its stellar marketing.

“The Nashville community of writers, producers, artists and managers were genuinely fantastic to work with, and everyone turned in incredible work,” says Levy, adding a special shout out to Allison Jones at Big Machine Label Group and Sophie Hopkins at Warner Chappell as well as all of the clearance and sync teams at the major publishers for helping to make it happen.

“Every song is so special to me, and I’m so excited for everyone to hear the full body of work,” Cripps shares. “We’re so thankful for everyone’s involvement and we’re so proud of the album that’s been put together.”

Twisters, and its excellent accompanying album, are both out now.

Twisters: The Album Track Listing:
1. “Ain’t No Love In Oklahoma” – Luke Combs (Jessi Alexander, Luke Combs, Jonathan Singleton)
2. “Ain’t In Kansas Anymore” – Miranda Lambert (Jenee Fleenor, Jesse Frasure, Miranda Lambert)
3. “Steal My Thunder (feat. Tucker Wetmore)” – Conner Smith (Ben Johnson, Matt Jenkins, Blake Pendergrass, Conner Smith)
4. “Feelin’ Country” – Thomas Rhett (Ashley Gorley, Chris LaCorte, Chase McGill, Thomas Rhett, Parker Welling)
5. “The Cards I’ve Been Dealt” – Warren Zeiders (Warren Zeiders, Charlie Worsham)
6. “Never Left Me” – Megan Moroney (Megan Moroney, Connie Harrington, Jessi Alexander, Jessie Jo Dillon)
7. “Out of Oklahoma” – Lainey Wilson (Luke Dick, Shane McAnally, Lainey Wilson)
8. “Hell Or High Water” – Bailey Zimmerman (Ashley Gorley, Austin Shawn)
9. “Dead End Road” – Jelly Roll (Brock Berryhill, Jason DeFord, Jaxson Free, Taylor Phillips)
10. “Country Classic” – Kane Brown (Jon Capeci, Gabe Foust, Jaxson Free)
11. “Tear Us Apart” – Sam Barber (Sam Barber, Ben Johnson, Eddie Spear)
12. “Song While You’re Away” – Tyler Childers (Tyler Childers)
13. “Already Had It” – Tucker Wetmore (Johnny McGuire, Grant Vogel, Tucker Wetmore)
14. “Chrome Cowgirl” – Leon Bridges (Amy Allen, Leon Bridges, John Ryan)
15. “Death Wish Love” – Benson Boone (Benson Boone, Philip Plested, Morten Ristorp, Johnny Simpson, Madi Yanofsky)
16. “Boots Don’t”  – Shania Twain & Breland (Daniel Breland, Steph Jones, Jimmy Robbins, Sean Small, Sam Sumser, Theron Thomas, Shania Twain)
17. “Stronger Than A Storm” – Dylan Gossett (Dylan Gossett)
18. “Chasing The Wind” – Lanie Gardner (Cleo Tighe, Rollo Spreckley, Ryan Linvill)
19. “Leave The Light On (feat. Alexandra Kay)” – Jelly Roll (Jason DeFord, Jessie Jo Dillon, Jesse Frasure, Hillary Lindsey, Blake Pendergrass)
20. “Before I Do” – Wyatt Flores & Jake Kohn (Wyatt Flores, Jake Kohn)
21. “Caddo County” – The Red Clay Strays (Dave Cobb, Brandon Coleman, Matthew Coleman, Eric Erdman, John Hall, Andrew Nix)
22. “Blackberry Wine” – Tanner Usrey (Tanner Usrey, Beau Bedford, Aaron Raitiere)
23. “Too Easy” – Tanner Adell (Tanner Adell, Akil King, Stephen McGregor, Jared Mullins, Will Weatherly)
24. “Shake Shake (All Night Long)” – Mason Ramsey (Mason Ramsey, Dan Fernandez)
25. “New Loop” – Tyler Halverson (Tyler Halverson)
26. “Touchdown” – Flatland Cavalry (Cleto Cordero, Dwight A. Baker)
27. “Driving You Home” – Nolan Taylor (Nolan Taylor, Ehren Ebbage)
28. “Wall of Death”  – Wilderado, Ken Pomeroy, & James McAlister (Richard Thompson)
29. “(Ghost) Riders In The Sky” – Charley Crockett (Stan Jones)

DISClaimer Single Reviews: Harper Grace & Kelsey Hart Impress With New Duet

We’ve got big country stars on tap today, but the listening session shows that the most innovative sounds are coming from the upstarts.

Jason Aldean, Miranda Lambert and Thomas Rhett are batting a thousand with their new releases. But Dasha, Kashus Culpepper, Kassi Ashton and Charley Crockett might have the most ear-catching new releases.

I’m a sucker for a great country duet, and we have one here. It’s “Freedom” by Curb’s Harper Grace and Kelsey Hart, and it wins the Disc of the Day.

The DisCovery awardee also sounds fresh and novel. It’s a cowboy named Mike Schikora. Lend him your ears.

HARPER GRACE & KELSEY HART / “Freedom”
Writers: Kelsea Ballerini/Justin Ebach/Charles Kelley; Producers: Cameron Jaymes, Ben West; Label: Curb
– They’ve broken up, but are far from over one another. Both singers sound simply splendid on this ultra-tuneful, ultra-rhythmic, pulsating rush of sound. The luscious harmonies and soaring melody alternate with conversational bits that catch your ear. I would love to hear this in my car on the radio. A lot.

THOMAS RHETT / “Overdrive”
Writers: Thomas Rhett/Jacob Kasher Hindlin/John Ryan/Julian Bunetta; Producers: Dan Huff, Julian Bunetta, John Ryan; Label: Valory
– The wooshing breeze of summer romance wafts through this bopping ride in the back of a pickup truck. Rhett’s effortless vocal exudes mellow confidence while the country-pop track thumps and crashes around him. Audio excellence.

KASHUS CULPEPPER / “Who Hurt You”
Writers: Kashus Culpepper/Mark Addison Chandler; Producer: Brian Elmquist; Label: Big Loud
– Armed with just his guitar and an extraordinary voice, this guy completely touches your heart. His lyric about an emotionally wounded guy whose parents divorced, whose lover left him and whose government sent his friends to war aches with honesty and believability. This guy is among the most traditionally “country” of the more than two dozen Black country artists now emerging. He shares that status with Dalton Dover, Scoot Teasley, Chapel Hart, Julie Williams, Aaron Vance and only a handful of others.

GRETCHEN WILSON / “Little Miss Runner Up”
Writers: Gretchen Wilson/Rivers Rutherford/George Teren; Producer: Gretchen Wilson; Label: Redneck Records
– A trashy hussy is on the loose and she’s after your man, so look out. Wilson is singing with as much moxie as ever, but I don’t like the muddy, messy, cluttered way this is mixed.

GRAHAM BARHAM / “Shoot the Lock”
Writers: Graham Barham/John Pierce/Lindsay Rimes/Michael Whitworth; Producers: none listed; Label: Sony
– Who thought it was a good idea to put this hillbilly vocal with hip-hop beats? Irritating to my ears.

JASON ALDEAN / “Whiskey Drink”
Writers: John Edwards/John Morgan/Kurt Allison/Tully Kennedy; Producer: Michael Knox; Label: BBR/BMG
– A broken hearted man begs “Jack,” his whiskey drink, to blot out his thoughts and memories about her. Very well written: Roaring desperation and barroom misery have never sounded better.

KASSI ASHTON / “Son of a Gun”
Writers: Kassi Ashton/Jason Nix/Driver Williams; Producers: Luke Laird, Kassi Ashton; Label: MCA Nashville/Interscope
– Rollicking country rock with a charming tomboy lyric. This gal has always had the goods, vocally. Now she’s found a sound that suits her pipes.

MIRANDA LAMBERT / “Ain’t In Kansas Anymore”
Writers: Miranda Lambert/Jesse Frasure/Jenee Fleenor; Producers: Jesse Frasure; Label: Atlantic
– This crunchy, dynamite blast plays under the end scene of the new cinema thrill ride Twisters. Love the whirling production as well as her feisty vocal. This much-awarded woman still rules my heart.

CHARLEY CROCKETT / “America”
Writers: Billy Horton/Charley Crockett; Producers: Billy Horton, Charley Crockett; Label: Son of Davy/Thirty Tigers
– Crockett has been hitting the road with superhuman energy for years, as well as recording more prolifically than any other country act. He issues his 14th album in less than a decade this month. Meanwhile, we have this excellent, bluesy, horn-embellished meditation on his home. The lyric waits patiently for America to make good on her promises while the singer traverses the land. Also: His cover of “(Ghost) Riders in the Sky” is on the Twisters soundtrack. Crockett’s two Ryman shows next weekend (July 26 and July 27) are both sold out.

MIKE SCHIKORA / “Last Rose of Summer”
Writers: Mike Schikora/Rory Payne; Producers: Michael Bonagura, Kathie Baillie; Label: MS
– Vocal harmonies by Baillie & The Boys and wafting harmonica accents embellish this gentle waltz. It’s a sweet, simple, touching marriage proposal that is very emotionally affecting. Also check out Schikora’s light yodeling on his equally nice track “Back Under Montana Skies.”

T. GRAHAM BROWN & ZACH WILLIAMS / “When a Man Loves a Woman”
Writers: Calvin Lewis/Andrew Wright; Producers: T. Graham Brown, Cole Johnstone, Billy Lawson; Label: Warner/ADA
– Brown’s upcoming album is titled From Memphis to Muscle Shoals. It features collaborations with Wynonna, Dwight Yoakam, Randy Houser, Delbert McClinton and previously-reviewed Tanya Tucker (”Dark End of the Street”), as well as a cluster of soul stars. This new Opry member is always worth listening to. Here, he swaps lines effectively with CCM star Zach Williams on a 1966 Percy Sledge classic, previously brought to the country hit parade by John Wesley Ryles in the 1970s and by Narvel Felts in the 1980s.

DASHA / “Didn’t I”
Writers: Ben Johnson/Emily Weisband/Anna Dasha Novotny; Producer: Ben Johnson; Label: Warner
– Against her better intentions, she’s back with the lousy guy she already dumped. Written with wit. Produced with merry banjo plunking and thumpy dance beats. Very clever pop country. Her dance moves in the video are ace, too. The irresistibly catchy “Austin” remains the single, and its video has her out on the dancefloor as well. I have a hunch she’s big fun in concert.

JUST IN: 2024 Nashville Songwriters Hall Of Fame Nominees Revealed

The 2024 nominees for the Nashville Songwriters Hall of Fame (NaSHOF) have been announced. The new group will be among those honored at the 54th Anniversary Nashville Songwriters Hall of Fame Gala on Wednesday, Nov. 6 at the Music City Center.

In the Contemporary Songwriters category, the nominees are Al Anderson, Shawn Camp, Desmond Child, Jim Collins, Gordon Kennedy, Frank J. Myers, Annie Roboff and Liz Rose. Those in the Contemporary Songwriter/Artists category are Steven Curtis Chapman, Brad Paisley, Phil Vassar and Lucinda Williams.

“We congratulate this year’s nominees in our contemporary categories. Their nominations are so well deserved,” says NaSHOF Executive Director Mark Ford. “We look forward in several weeks to announcing those who will be inducted this fall as members of our Class of 2024.”

A total of two songwriters and one artist-songwriter will be elected from the contemporary categories by members of the Hall of Fame along with other professional songwriters and artists from a variety of genres who are prominently identified with Nashville and who have written/co-written at least one original and significant Nashville song.

In addition, three more will be named to the Class of 2024. A separate body of veteran voters will elect a Veteran Songwriter, a Veteran Songwriter/Artist and a Legacy Songwriter/Artist (deceased), all of whom experienced their first significant songs at least 30 years ago. As part of that process, nominees in those categories are not announced.

For biographical information on the 2024 nominees, see below:

Category 1 – Contemporary Songwriters

AL ANDERSON
“Big Al” Anderson was born in Windsor, Connecticut. Raised by his piano teacher mother and a radio that would get WWVA in Wheeling, West Virginia, late at night, he devoured all genres of music. He was a member of The Wildweeds in the late 1960s. From 1971 to 1993 he was lead guitarist in the Rock band NRBQ, also releasing several solo albums. He was recognized as one of the top 100 guitar players of the 20th Century by Musician magazine. In the 1990s, Al shifted his focus to country music. In 1993 Al celebrated his first major hit as Carlene Carter took their co-written “Every Little Thing” to No. 3 country. Among Al’s best-known songs are “Should’ve Asked Her Faster” by Ty England, “All You Ever Do Is Bring Me Down” by The Mavericks w/ Flaco Jiménez, “Unbelievable” by Diamond Rio, “Powerful Thing” by Trisha Yearwood, “Big Deal” by LeAnn Rimes, “The Cowboy In Me” by Tim McGraw, “Trip Around The Sun” by Jimmy Buffett & Martina McBride (also No. 1 Bluegrass in 2024 for Bronwyn Keith-Hynes w/ Dierks Bentley), “Love’s Gonna Make It Alright” by George Strait, and “Loving You Easy” by The Zac Brown Band. Al was named 2000 BMI Country Songwriter of the Year.

SHAWN CAMP
Shawn Camp grew up on a farm outside of Perryville, Arkansas. Shawn picked up a guitar at age five and by age 20 had moved to Nashville, where he found work in the late ’80s as a fiddle player in backing bands for The Osborne Brothers, Jerry Reed, Alan Jackson and Trisha Yearwood. After charting a pair of self-penned singles in 1993 as a Warner Bros. recording artist, Shawn turned his attention to writing songs for other artists—earning his first No. 1 hits in 1998 with “Two Piña Coladas” by Garth Brooks and “How Long Gone” by Brooks & Dunn. In 2006, he had top 5 singles with “Nobody But Me” by Blake Shelton and “Would You Go With Me” by Josh Turner. Shawn also co-wrote Turner’s “Firecracker,” as well as “River Of Love” by George Strait and “Love Done Gone” by Billy Currington. Shawn’s songs have also been hits for Bluegrass artists such as Ricky Skaggs, The Lonesome River Band and Don Rigsby. Shawn’s “We Know Where He Is” by The Del McCoury Band was a 2007 Gospel Music Association (GMA) bluegrass song nominee and his “My Quiet Mind” by The Gibson Brothers was a 2018 Society For The Preservation of Bluegrass Music of America (SPBGMA) song nominee. Shawn’s “My Love Will Not Change” by Aubrie Sellers with Steve Earle was an Americana Music Association (AMA) song nominee in 2020.

DESMOND CHILD
Desmond Child was born in Gainesville, Florida, but grew up in Miami. By the mid-1970s his obsession with music led him to New York City, where early co-writes with Paul Stanley of KISS yielded 1979’s “I Was Made For Loving You.” By 1986, Desmond’s co-writes with Bon Jovi provided the band with two of their biggest hits—“You Give Love A Bad Name” and “Livin’ On A Prayer.” Desmond continued his ’80s rock/pop success with songs such as “Dude Looks Like A Lady” by Aerosmith and “I Hate Myself For Loving You” by Joan Jett (tweaked in 2013 to become the NBC Sunday Night Football theme). Moving to Nashville in the early ’90s, Desmond celebrated more hits, including “Crazy” by Aerosmith, “Where Your Road Leads” by Trisha Yearwood and Garth Brooks, “Nobody Wants To Be Lonely” by Ricky Martin and Christina Aguilera and “Waking Up In Vegas” by Katy Perry. “Livin’ La Vida Loca” by Ricky Martin was named 2000 ASCAP Pop Song of the Year and Billboard’s 1999 Latin Pop Track of the Year. Desmond is a 2008 inductee into the Songwriters Hall of Fame in New York and a 2022 inductee into the Latin Songwriters Hall of Fame.

JIM COLLINS
Jim Collins grew up on a dairy farm in Nacogdoches, Texas. Gifted his first guitar at age 10, he played his first professional gig at 12, later moving on to various rock bands throughout high school. In the 1980s Jim began playing country music and writing original songs. He played the Texas music scene until 1995, when he moved to Nashville. Within a few months he had a publishing deal and was an in-demand demo singer. His first cut came in 1997 and his first top 10 two years later. By 2000 Jim had his first No. 1 song with “Yes!” by Chad Brock. Jim’s particular success with Kenny Chesney has yielded hits such as “She Thinks My Tractor’s Sexy” and “Everybody Wants To Go To Heaven,” as well as “The Good Stuff,” which was named the 2002 Academy of Country Music (ACM) Single of the Year and the 2003 ASCAP Country Song of the Year. Other hits written by Jim include “Then They Do” by Trace Adkins, “It Just Comes Natural” by George Strait, “Big Green Tractor” by Jason Aldean, “I Don’t Feel Like Loving You Today” by Gretchen Wilson (a 2006 Grammy nominee for best country song), “Are You Gonna Kiss Me Or Not” by Thompson Square (a 2011 Grammy nominee for best country song) and “Damn Strait” by Scotty McCreery. Jim is a 2020 inductee into the Texas Heritage Songwriters Hall of Fame.

GORDON KENNEDY
Born in Shreveport, Louisiana, Gordon Kennedy moved with his family to Nashville at age one. He grew up spending time at recording sessions with his father, musician/producer Jerry Kennedy. Receiving a Fender Telecaster at age 15, Gordon played his first recording session and wrote his first song while in high school. In 1984 he joined the Christian rock band White Heart, writing five of their top 5 hits, including “Fly Eagle Fly” and “Eighth Wonder.” By the mid-90s, he was a co-writer on the international hit “Change The World” — first recorded in 1995 by Wynonna, then again by Eric Clapton for the 1996 film, Phenomenon. The song spent 13 weeks at No. 1 and earned the 1997 Grammy for Best Song (and also for Record of the Year). Among Gordon’s dozen-plus Garth Brooks cuts are “You Move Me,” “Love Will Always Win” (duet with Trisha Yearwood), “Lost In You” and “It Don’t Matter To The Sun” (the latter two by Brooks’ alter ego Chris Gaines). Gordon has Adult Contemporary singles by Bonnie Raitt (including the top 15 “I Can’t Help You Now,”), as well as bluegrass singles by Ricky Skaggs (“You Can’t Hurt Ham” and “Return To Sender,” a Grammy Gospel song nominee).

FRANK J. MYERS
Frank J. Myers grew up in Dayton, Ohio. His father taught him to play guitar, and by age 14, Frank had formed a band with his brother. After moving to Nashville in 1981, Frank was hired by Eddy Raven as a guitar player—later becoming Raven’s band leader and road manager. During that time, Frank co-wrote 10 top 10 singles for Raven, including “Bayou Boys,” “I Got Mexico” and “Sometimes A Lady.” In 1982, Frank’s “You And I” became a hit for Eddie Rabbitt and Crystal Gayle. Other hits from Frank’s catalog include “My Front Porch Looking In” by Lonestar, “Come In Out Of The Pain” by Doug Stone and “Once Upon A Lifetime” by Alabama. The John Michael Montgomery version of “I Swear” earned a slew of awards—1994 Grammy for Best Country Song, 1994 Academy of Country Music (ACM) Song and Single of the Year, 1994 Country Music Association (CMA) Single of the Year, 1994 NSAI Song of the Year, 1995 ASCAP Country Song of the Year—with the All 4 One version topping the Pop chart for 11 consecutive weeks. “I’m Already There” by Lonestar was the 2002 ASCAP Country Song of the Year and the 2002 BMI Country Song of the Year. “Tomorrow” by Chris Young was the 2011 SESAC Country Song of the Year.

ANNIE ROBOFF
Born in Greenburgh, New York, Annie Roboff began her music career writing songs for her bandmates in New York City a cappella group The Bondinis. When the group parted ways, Annie began writing/arranging sports themes for ABC. Soon she was creating music for TBS, CBS and ESPN (the original SportsCenter theme), as well as the Olympics and the wedding of Prince Charles and Lady Diana. Relocating to Los Angeles, Annie shifted her focus to writing songs. Following several pop and R&B cuts, she was signed to Almo/lrving Music in 1994. Later that year, after a writing trip to Nashville, she made the move to Music City and co-wrote her first hit, “Walking Away” by Diamond Rio. By 1998, Annie celebrated several more hits, including “Happy Girl” by Martina McBride, “There Goes My Baby” by Trisha Yearwood, “To Have You Back Again” by Patty Loveless and the multi-genre smash “This Kiss,” by Faith Hill which was honored as 1998 Academy of Country Music (ACM) Single of the Year, 1999 Country Music Association (CMA) Song of the Year and 1999 ASCAP Country Song of the Year. Other hits from Annie’s pen include “That’s The Way” by Jo Dee Messina, “If I Fall You’re Going Down With Me” by the Dixie Chicks, “Unbroken” by Tim McGraw and the Faith Hill hits “If My Heart Had Wings” and “One.”

LIZ ROSE
Dallas-born Liz Rose was raised in Irving, Texas. A non-songwriter at that time, she moved with her songwriter husband to Nashville, where she found work as a songplugger. Encouraged by songwriters and other friends, Liz began writing songs at age 37, and by 2004 she had her first top 20 single, “Songs About Rain,” by Gary Allan. By mid-decade, Liz’s co-writes with newcomer Taylor Swift yielded her debut hits “Tim McGraw” and “Teardrops On My Guitar,” which was named 2008 BMI Country Song of the Year. Their collaborations span nearly 20 cuts, including “You Belong With Me” (2010 BMI Country Song of the Year), “White Horse” (2010 Grammy for Best Country Song) and the 2022 Grammy-nominated “All Too Well (10-minute version from the short film).” Other hits from Liz’s catalog include “Cry Pretty” by Carrie Underwood and the 2019 Grammy-nominated “It All Comes Out In The Wash” by Miranda Lambert. “Crazy Girl” by Eli Young Band was named 2011 Academy of Country Music (ACM) Song of the Year. “Girl Crush” by Little Big Town earned the 2016 Grammy for Best Country Song, the 2015 Country Music Association (CMA) Song and Single of the Year, and the 2015 NSAI Song of the Year. Liz was the 2007 SESAC Country Songwriter of the Year. She is a 2018 inductee into the Texas Heritage Songwriters Hall of Fame and a 2023 inductee into the Songwriters Hall of Fame in New York.

Category 2 – Contemporary Songwriter/Artists

STEVEN CURTIS CHAPMAN
The most awarded artist in Christian music history, Steven Curtis Chapman grew up in Paducah, Kentucky, where he learned to play guitar at a young age by hanging out in his father’s music store. Following a brief college career as a pre-med student, Steven moved to Nashville to pursue music. The 1987 release of his debut album, First Hand, launched a flood of awards for his self-penned hits, including “His Eyes” (the Gospel Music Association’s (GMA) 1989 Pop/Contemporary Song of the Year), “His Strength Is Perfect” (the GMA’s 1990 Inspirational Song of the Year), “The Great Adventure” (the GMA’s 1993 Song of the Year and Pop/Contemporary Song of the Year), “Go There With You” (the GMA’s 1994 Pop/Contemporary Song of the Year), “Heaven In The Real World” (the GMA’s 1995 pop/contemporary Song of the Year), “Let Us Pray” (the GMA’s 1998 Pop/Contemporary Song of the Year) and “Dive” (the GMA’s 2000 pop/contemporary Song of the Year). Other award-winning songs from Steven’s catalogue include “I Can See The Hand Of God” by The Cathedrals (the GMA’s 1990 Southern Gospel Song Of The Year) and “Voice Of Truth” by Casting Crowns (the GMA’s 2005 Inspirational Song of the Year). One of the most-honored artists in the history of Christian music, Steven is a 10-time winner of the GMA’s Songwriter of the Year award (1989, 1990, 1991, 1992, 1993, 1994, 1995, 1997, 1998 and 2009), as well as NSAI’s 1999 Songwriter/Artist of the Year. A four-time BMI Christian Songwriter of the Year (2001, 2003, 2004, 2010), he is the first Christian music songwriter to receive the BMI Icon Award (2022). In 2023, “Don’t Lose Heart” became his 50th self-penned No. 1 single as an artist.

BRAD PAISLEY
Brad Paisley was born and raised in Glen Dale, West Virginia. He received his first guitar from his grandfather, who taught him to play at eight years old. At age 13, Brad wrote his first song, which he performed publicly, and which eventually led him to an eight-year stint performing on Wheeling’s Jamboree USA. After high-school graduation and two years at West Liberty State College, Brad was awarded a fully-paid ASCAP scholarship to Belmont University in Nashville where he majored in music business. A week after graduating from Belmont, Brad signed as a writer with EMI Music Publishing. Following cuts by David Kersh, David Ball and Tracy Byrd, Brad signed with Arista Nashville and soon began to record his own songs. As an artist, he has placed 33 self-penned top 20 songs on the Billboard charts, including 15 No. 1s and 14 more in the top 10. Among those compositions are “He Didn’t Have To Be,” “Alcohol,” “I’m Gonna Miss Her (The Fishin’ Song),” “Celebrity,” “Ticks,” “Letter To Me,” “Then,” “This Is Country Music,” “Water,” and his duet with Carrie Underwood “Remind Me.” A member of the Grand Ole Opry since 2001, Brad was ASCAP’s 2004 Country Songwriter/Artist of the Year. He was NSAI’s Songwriter/Artist of the Year in 2002 and 2005.

PHIL VASSAR
Phil Vassar was born in Lynchburg, Virginia. During college, he began playing piano and singing in local clubs. Moving to Nashville, Phil found the going slow until 1997 when some of his initial songs were recorded by Blackhawk, Skip Ewing, and The Sons of the Desert. Then in 1998, Phil’s songs started gaining traction as singles for a variety of artists. During the next two years, he garnered six chart-topping hits from Collin Raye, Alan Jackson, Jo Dee Messina (including the #1 “Bye, Bye”) and Tim McGraw (including the No. 1 “My Next Thirty Years”). During that time, he was named NSAI’s 1998 Songwriter of the Year and ASCAP’s 1999 Country Songwriter of the Year. In late 1999, Phil signed a record deal with Arista Nashville. Released the following year, his debut album generated the self-penned hits “Carlene,” “Rose Bouquet,” “Six-Pack Summer,” “That’s When I Love You” and “Just Another Day In Paradise,” Phil’s first No. 1 as an artist. Propelled by that success, he was named ASCAP’s 2001 Country Songwriter/Artist of the Year. Other hits by Phil as an artist include “American Child,” “In A Real Love” and “Last Day Of My Life.” He was named NSAI’s 2006 Songwriter/Artist of the Year.

LUCINDA WILLIAMS
Born in Lake Charles, Louisiana, Lucinda Williams began writing songs at age six, playing guitar at age 12 and performing on stage at age 17. Dropping out of college to pursue music full-time, she played venues in Austin and Houston before moving to Jackson, MS, in 1978 to record her first album of cover songs. Her second album featured all original songs and her landmark self-titled third album produced three hits. The first, her breakout “Changed The Locks,” reached No. 16 rock in 1988 and would become a No. 20 rock hit for Tom Petty nearly a decade later. The second, “The Night’s Too Long,” became a No. 20 country hit for Patty Loveless in 1990. The third, “Passionate Kisses,” became a No. 4 country hit for Mary Chapin Carpenter and earned Lucinda the 1994 Grammy for Best Country Song. By 2001, she charted again as an artist with the No. 9 alternative hit “Essence.” She earned AMA nominations for her songs “Righteously” (2003), “Are You Alright?” (2007) and “East Side Of Town” (2015). She earned Grammy nominations for “Come On” (2007), “Kiss Like Your Kiss” (2010) and “Man Without A Soul” (2020). Lucinda was awarded the 2011 Americana Music Association (AMA) Lifetime Achievement Award (songwriting) and the 2022 BMI Troubadour Award. In 2021, she was inducted into the Austin City Limits Hall of Fame.