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.

Tim Foisset joined Spotify as the Head of Label Partnerships, Nashville & Canada, in late 2023. His team recently spearheaded impactful new release campaigns for Post Malone, Jelly Roll, Lainey Wilson, Tucker Wetmore, Kelsea Ballerini and more.

Prior to Spotify, he spent 13 years at Warner Music Nashville, most recently as SVP Commercial Partnerships, where he worked with WMN’s partners in streaming, digital retail, physical retail, e-commerce and D2C to drive strategic marketing and revenue. He’s guided new release strategies for artists including Blake Shelton, Kenny Chesney, Dan + Shay, Bailey Zimmerman, Ashley McBryde, Gabby Barrett, Ingrid Andress, Cole Swindell, Cody Johnson and more.

Foisset began his career in NYC and moved to Nashville in 2011 to join Warner Music Nashville.

MusicRow: Where did you grow up?

I grew up in a tiny town called Shushan, New York, right on the New York–Southern Vermont border. I could basically throw a baseball from my backyard into Vermont. It was rural. My parents had 30 acres off a dirt road in the woods. The town had more cows than people. I graduated high school with 42 kids in the same building where I’d gone to kindergarten.

What were you into? What was your childhood like?

We didn’t have cable TV, so my younger brother and I were outside a lot. I spent a lot of time by myself, but I was also one of those kids who fit in with every group. I played football and baseball, did theater, hung out with the snowboarders and the stoners. I was in all the school plays—I was Daddy Warbucks one year—bald cap and everything. I bounced around, in a good way.

Did you like music then?

I did. I was lucky to grow up near an independent radio station called WEQX. That place changed everything for me. My formative years were the late ’80s and early ’90s. WEQX introduced me to cool music—The Replacements, Talking Heads, Jane’s Addiction, Pixies. And being from Vermont, I’m legally obligated to be a huge fan of Phish. I saw my first Phish show in ’92 and have been a fan ever since.

So when did you know this was the path?

Pretty much right away. In high school, I did some announcing for our girls’ basketball team. We had a state-level team, and I’d do the mic work. And being inspired by WEQX, radio felt like a realistic path. That was always the goal.

When I was visiting colleges, I only cared about the campus radio station and that led me to SUNY Geneseo in western New York. They had a professionally run station called WGSU. I started with overnight shifts on Friday and Saturday nights. While everyone was partying, I was on the air. I still have the tapes. By sophomore year, I was the music director. It wasn’t a freeform station, we programmed it. I was picking the music, talking to record labels. Back then, labels had college promo teams, so I was building relationships with reps at Capitol, Interscope—people probably not much older than me. By senior year, I was running the station. I managed the staff, hired DJs, programmed shows. That’s where I got the leadership bug.

We were six hours from New York City, and every fall we’d go to this festival called CMJ Music Marathon, kind of like New York’s version of SXSW. I’d meet the labels, crash on couches, and see insane shows. I saw Johnny Cash open for Wilco. I saw Sleater-Kinney and Nine Inch Nails in tiny clubs. It was peak post-Nirvana alternative boom. That music’s in my DNA.

I’m sure the industry cared a lot about college radio then.

Totally. Every station was flipping to alternative formats. We were trying to stay even more cutting-edge, playing artists like Pavement, Built to Spill, Liz Phair, PJ Harvey and Superchunk. I remember getting a new R.E.M. single—“What’s the Frequency, Kenneth?”—on CD in the mail and putting it on the air right away before we even listened to it. It was exciting.

And I built my community there. Some of my best friends today came from those years. I met my partner Michele through the station. She and her roommate used to listen to my show.

What happened after college?

After graduation, I mailed cassette tapes to radio stations, trying to get a job. It didn’t work. Michele and I moved to New York City a few months after graduation, that was always the goal. I got a college promo job at an indie label. I was the one calling college radio stations, just like people used to call me.That kicked off my career in New York.

Tell me about that. What was it like?

We moved to Brooklyn in 1997, back when it was still cool. But it was a struggle. I was making $200 cash under the table for that job. I did it for about eight months, then landed an opportunity at Burly Bear Network—a TV network owned by Lorne Michaels’ Broadway Video. We produced shows for college students—a cooking show called Half Baked and a music news show called Shuffle. We’d send VHS tapes to college TV stations to air. I programmed the music video show, which meant I was still talking to record labels—just about videos this time. I’d put together video playlists and send them out.

This was right at the dawn of the internet, and we had the brilliant, slightly illegal idea to stream those videos on our website.

So, you invented YouTube.

Basically, yeah. [Laughs] That kicked off my interest in the digital side of the music business.

How long did you do that?

A few years. Then I ended up at Fuse TV, which was also focused on music videos and was a competitor to MTV. I worked on their marketing team for shows like Steven’s Untitled Rock Show and Uranium. I spent the summer of 2004 on the Warped Tour as part of the team managing our on-the-ground activations.

I had some friends who worked at Razor & Tie. They were looking for someone to manage their new partnership with Apple—this brand-new thing called iTunes. I jumped. Right place, right time. Back then, we were mailing CDs to iTunes so they could ingest them. I was making sure our albums were featured in the early version of the iTunes store.

I did that job for about six years. And like every New Yorker, eventually we were ready to leave. After 14 years in the city, we moved to Nashville so I could manage the iTunes account for Warner—and also Word, their Christian division.

How did you learn all of it in the early days?

I’ve always tried to be on the front end of new things. I cared about digital before most people did. At Razor & Tie, iTunes was such a small part of the business—most of it was still CDs, sold through 1-800 numbers and TV commercials. That gave me room to experiment, build relationships, fail, try again. Nobody cared yet. It was the same with streaming. At first, nobody was paying attention, which gave us time to figure things out.

Music used to come out Monday nights, and I’d stay up to make sure our albums dropped on iTunes at midnight. Sometimes it just didn’t show up—and there was nothing you could do. The systems weren’t built for it yet. That never happens now.

Do you have a favorite memory from that time?

One of our biggest brands at Razor & Tie was Kidz Bop. I was the first to suggest we put our music on Myspace, and I told my boss we should be on YouTube too. This was before Google owned it. I uploaded the Kidz Bop version of Kelly Clarkson’s “Since U Been Gone” to YouTube. I always tell people to go watch it—it’s the greatest Kidz Bop video of all time.

That felt exciting. We knew we were doing something new. Streaming videos was still a novelty.

Tell me about moving to Nashville.

I knew nothing about Nashville. I found the Warner job through LinkedIn—managing the iTunes account for Warner and Word. I figured out the hiring manager was Jeremy Holley. Between LinkedIn and Facebook, we had 75 mutual contacts, so I messaged every one of them asking if they’d reach out on my behalf. Eventually Jeremy called. His first words were, “I hear I need to meet you.”

He happened to be in New York, so we met up. Once I got the offer, my partner, Michele—who’d never even been to Nashville—and I flew down the next day. We sat in a honky tonk on Broadway that doesn’t exist anymore and said, yeah, we could do this. I didn’t grow up on country music. I moved here in 2011, the same year The Voice started. I didn’t even know who Blake Shelton was.

I had to learn quickly. But I’d already worked on genres I didn’t personally love, like children’s music and heavy metal. To me, the fun part is figuring out how to connect with the people who do love it. Whether it’s a mom buying music for her kid or a metalhead with a crumpled $10 bill, the challenge is the same—how do you reach that person? That same mindset applied to country and Christian music, and it really fueled me.

Take me through that chapter at Warner.

I was at Warner for 13 years. The first five or so, I was working on things nobody really cared about. Spotify launched about a year after I started, and I became the unofficial Spotify person, trying to get our artists and team to care. I convinced Dan + Shay to release their debut album two weeks early on Spotify. That would never happen now, but we were just trying things. Back then, people only cared about iTunes chart position.

Eventually, streaming became a big enough revenue source that everything shifted. One day, suddenly John Esposito knew my name—and then I was in his office every day. When streaming passed 50% of our revenue, priorities changed. And again, I was lucky to be in the right place. Kristen Williams really fought for me and helped me build a team. By the time I left, I’d built and rebuilt two great teams. Most of them went on to even bigger jobs. I’m really proud of that.

Then Spotify came calling.

Spotify approached me when Brittany Schaffer left during CRS in 2023. It was a long process. I wasn’t sure at first because I really loved Warner, but this was the one job I would leave for. Warner was supportive, and I joined Spotify in November 2023. After 13 years, I wanted new problems to solve, new people to meet. And it’s been exactly that—new fire drills every day, in a good way. Even a year and a half in, things still come up I’ve never dealt with. I’m using different parts of my brain. I love that.

The team was in transition when I joined, but I really connected with them. We built a culture based on teamwork. That’s the best part—watching them work together to crush an event like [Spotify House], or the Morgan Wallen or Jelly Roll releases. That’s what lights me up. I’ve learned this later in my career, but what I really love is leading people. Helping them succeed, clearing a path, helping them prioritize. And when they win, shouting it from the rooftops so they get the credit they deserve. That’s my favorite part.

What are you most proud of when you look back?

That I was right… multiple times! [Laughs] But seriously, I’m proud of recognizing the moment, showing up and taking the swing.

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

Ben Kline once told me: “Report the news.” Meaning—just be honest. If something’s on fire, say it. If something’s going great, say that too.

One thing I always tell my team is: stay steady. Don’t get too high, don’t get too low. We experience this every Friday. One person’s thrilled, the next is furious. You have to stay even. That’s something I’ve really learned with time.

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.

Nashville-based Wasserman Music VP Paige Maloney represents a diverse roster of popular artists, including Noah Kahan, Bob Weir, Black Pumas, Katie Pruitt, Elizabeth Cook, Emily Nenni and Kelsey Waldon.

In particular, Maloney has played an instrumental role in the remarkable success of her client, Noah Kahan. As part of his booking team since 2016, Maloney’s meticulous execution has helped to propel Kahan’s touring business to unprecedented heights. The culmination of her efforts materialized in the past two years, as he transitioned from selling out clubs and theaters to selling out arenas, amphitheaters, and headlining major festivals. In 2024, Kahan hit many career milestones, including a Grammy nomination and fully sold out tour, all culminating in his first stadium shows for two sensational sold out nights at Fenway Park.

Additionally, Maloney steers the touring trajectory of iconic Grateful Dead founding member Bob Weir, and the electrifying buzz band Black Pumas. In 2024, the Pumas played historic venues like Radio City Music Hall, the Ryman and Wolf Trap, and performed at festivals like Pitchfork, Fairwell, Newport Folk and Ohana. Maloney is renowned for her keen eye for talent and unwavering dedication to nurturing the careers of developing acts including Katie Pruitt, Elizabeth Cook, Emily Nenni and Kelsey Waldon.

MusicRow: Where did you grow up?

I’m originally from the Philadelphia area. I grew up in a suburb just outside the city.

What was your childhood like? What were you into?

I played a lot of sports and ran around with friends. I have three siblings, so it always felt like there was a lot going on.

What sports did you play?

I mostly did soccer, softball, and dance. Then in high school, I started playing ultimate Frisbee.

Were you into music too, or was it just something around you?

I tried to be. I took guitar lessons and played in elementary school band, but I wasn’t very good. So it was more about being into music as a fan. The more I learned, the more obsessed I became—going to shows and just immersing myself in it.

Do you remember your first concert?

The Spice Girls. I was probably around 10—maybe third grade—and it was obviously incredible. I went with my two best friends and one of their moms. It was at what’s now the Wells Fargo Center.

I grew up going to the amphitheater in Camden—back then it was the Tweeter Center. That was a formative place for me. We’d go to Dave Matthews shows every summer. I also saw a lot of shows at the Electric Factory (now Franklin Music Hall), the TLA and the Tower Theater in Philly. Those were my regular spots.

What was your dream back then? Did you ever imagine doing what you’re doing now?

Honestly, no. I never even thought of music as a career path—it was such a passion and hobby that I didn’t realize it could be a job. I always thought I’d work in sports or at a nonprofit. After college, I explored both, but I became a bit disillusioned. What I loved most was the live event aspect, so I started thinking about how to pivot.

I worked in the box office for the Philadelphia Eagles—game days, concerts, monster truck shows, soccer matches. That opened my eyes to the broader entertainment industry.

Was that during college or after?

That started as a college internship that I kept. I was on the game day staff for years—probably six or seven. The realization was gradual, but that job was a turning point.

So how did you go from there to officially getting into the music business?

I graduated in 2011, still during the post-2008 economic recovery, so I was juggling part-time jobs while figuring out what really lit me up. I was drawn to concerts and the live event space.

My first full-time job was at Live Nation in Philly. It was entry-level—handling contracts, ticket counts, that kind of thing—but it gave me a wide view of the industry. That’s when I had the “aha” moment. I realized how many roles existed in music, and I became obsessed. Starting at Live Nation was such a privilege. The people I worked with taught me so much, and many of them are still doing amazing things in the industry. That experience made me curious about artist development, and I became especially interested in what agents do.

At the same time, I was looking to relocate. I’d lived in the same area my whole life and wanted a change. Nashville was calling. Paradigm (now Wasserman) had my favorite roster, and when I interacted with different agencies through Live Nation, everyone at Paradigm stood out—they were personable, approachable, not robotic. Their email signatures even had names. [laughs]

Eventually, I applied for a role supporting Joe Atamian as he transitioned from Monterey to Nashville. I got the job, moved down here in 2015, and I’ve been here ever since.

Going back a bit—were there any agents early on who made you think, “This could be the path for me”

Honestly, everyone I interacted with here. The culture just felt different and special—especially in Nashville. It’s familial, collaborative, and not cutthroat. It’s very much “rising tides raise all ships.” A lot of that credit goes to Jonathan Levine. He came from Monterey a few years before me to help grow the Nashville office. He’s built something incredible. The people I started with—and still work with—are here for the right reasons. They believe in artistry and artist development, and I’m still inspired by them every day. Working for Joe right off the bat was a huge blessing. He’s brilliant, has incredible taste and leads with integrity. He’s calm and kind, which is rare—and I didn’t realize just how rare until later on.

What kinds of things were you doing as an assistant? Any moments that solidified this as your career path?

It was a gradual build. You start with the basics, and as you get things right, you gain more responsibility. Learning from Joe, JL, Keith Levy—seeing different ways to do this job that I could actually relate to—was huge. Because honestly, I’d often look around and think, “I’m not that, and I’m not that… so who can I be?” I’ve since learned everyone does this job differently, but your values and priorities can be a through-line.

Watching amazing artist development stories unfold around me was also a big part of it. At the time, we were working with artists like Sturgill Simpson and Tyler Childers. It really felt like a golden era in Nashville—especially in the Americana and left-of-center country scenes. We’d compare it to the early ’90s in the Pacific Northwest. It felt like we were living inside a moment—and we knew it, even then.

That same creative wave is still growing. Just look at what’s happened with Zach Bryan and Noah Kahan. I feel so lucky to have had a front-row seat.

How did your path progress from assistant to agent?

I was Joe’s assistant for a few years, then promoted to coordinator. I started working more with Jonathan and other agents. After about three years, I was promoted to agent—right around when COVID hit, which was an interesting time to transition. [laughs] It all felt like a natural progression. I’m lucky—it was a smooth path, and I got to learn from so many incredible agents along the way.

Who was the first artist you signed?

The first was a band called Animal Years—they don’t exist anymore, unfortunately. Kind of an Americana indie group that disbanded during COVID. But it was my first real “this is yours” moment—even though, of course, you’re never truly alone. One thing I love about Wasserman is that we don’t work in territories; it’s roster-based. We often co-rep artists, which allows for collaboration and idea-sharing. It’s more work but totally worth it.

You mentioned him earlier, but tell me about working with Noah Kahan.

We signed Noah in either late 2016. His managers, Drew Simmons and Ryan Langlois from Foundations, had just started working with him and brought him to us. Joe signed him, and I supported the project early on. I’ll never forget seeing his first show at the original Basement. He was 17, and the songwriting already felt so special. He was hilarious, awkward, and totally himself—which hasn’t changed. He’s been an absolute joy to work with. We took the long road, like we always do. 250-cap clubs, then 500, then 1,000. Festival slots, opening tours—no skipped steps. At one point he said, “This is all I ever wanted.” And then he launched.

What’s especially beautiful is that during COVID, he stepped away from trying to fit the Nashville pop mold and wrote the record he truly wanted to make—and that’s the one that connected. It gives me hope. I know I’m being cheesy, but that kind of honesty still works. Fans can tell when an artist is authentic, and Noah returning to himself is what made it all click. The whole team has been there since day one. It’s rare and really special.

What’s bringing you joy right now? What are you excited about?

So many things. I feel lucky every day to work with artists I believe in.

Katie Pruitt has a stripped-back duo tour this fall, which we’ve been talking about for a while. She also has a new EP coming—it’s just stunning. Her honesty in songwriting blows me away. Kelsey Waldon’s new record comes out in June, and I think it’s her best yet. It’s raw and personal. She’s been through a lot, and this record reflects that. There’s a young artist from Georgia named Clover County I’m excited about. Her full record drops this fall. Her talent and perspective are so impressive for her age. I’m also working with a songwriter out of LA named Tyler Ballgame. He only has a couple of songs out, but his full record floored me. His sound is totally unique—someone described it as “Roy Orbison sings Kevin Morby,” and I love that.

And on the legacy side, I work with Bobby Weir and worked with Phil Lesh before he passed. I got into music because of the Grateful Dead, so that’s incredibly meaningful. Watching these artists still create and evolve after 60 years is just… it’s the dream.

Who have been your biggest mentors?

Joe Atamian, Keith Levy and Jonathan Levine. This company is full of generous, thoughtful people, but those three have shaped me the most.

What advice would you give someone like you once were—obsessed with live music and trying to figure out how to get in?

I’d say this: It’s a fun and rewarding job, but it’s also incredibly demanding. You’ll work harder than you think you can—but if you do, the rewards are worth it. Also, it’s part hard work and part luck. You can do everything right and still not make it, which is hard to hear—but true. Same goes for artists. Sometimes great work just doesn’t connect, and there’s no clear reason why.

But if you’re passionate about this—go for it. Taking the leap was the best decision I’ve ever made. Surround yourself with good people, and be ready to grind. This job rules.

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.

Tyne Parrish serves as a Co-Owner of The GreenRoom and has played a role in shaping the careers of some of country music’s most notable artists, including current clients Dierks Bentley, Bobby Bones, Brooks & Dunn, Russell Dickerson, Caylee Hammack, Lady A, Jon Pardi, Rascal Flatts, Reba, Thomas Rhett, CBS’ New Year’s Eve Live and Live Nation Entertainment.

Through strategic planning and execution of album/single/tour campaigns, securing national traditional and new media, tour publicity, international press plans, special events and charitable initiatives, her goal is to solidify and elevate client profiles.

Working in tandem with top management teams, label groups and music industry leaders over the last two decades, she enjoys sharing music and telling stories with some of the brightest people in business. Her honors include 2020 and 2024 CMA Publicist of the Year.

MusicRow: Where did you grow up?

We moved nearly every four years growing up. I spent the first 10 or so years in Michigan and Ohio, then moved to Alabama and eventually to Nashville in high school.

What was your childhood like—what were you into?

My mom loved country music and my dad loved oldies, so music was an every day thing around the house and in the car.

Where we grew up wasn’t rural, but it was very small-town Michigan where all spent a lot of early childhood. My grandparents had this DIY lake house—no drywall, no AC or heat —but we made so many memories there with extended family. We had a carefree, outside-all-day kind of childhood. But I didn’t know anyone else who listened to country music, which made me feel like I was in on something different and special. I’ve always been drawn to things that are against the flow of the crowd, a little left of center.

Did you go to concerts as a kid?

Many! My mom loved Earl Thomas Conley—his was my first concert. I remember cutting out a blue moon from cardboard to give him. We went to a lot of concerts as a family—Trisha Yearwood, Sawyer Brown, Lori Morgan, Tim McGraw and George Strait’s summer stadium tours every year as I got older. I wish I still had all the merch from those ’90s shows!

So did you always know this is what you wanted to do?

Not PR specifically, but I always had an interest in what went into music. On car rides, I’d bring tapes and read liner notes. I’d figure out which songwriter wrote for which artist and what that crossover was. But I didn’t see it as a job until we moved to Nashville. Then it clicked—people really do this for a living. Belmont was nearby, so I started the music business program.

What was Belmont like?

I loved it. It was full of creative people who came from across the country for music, but there were other programs too, like nursing and sports, so it felt balanced enough for me. I had come from a fairly homogeneous high school, so meeting people from different walks of life was really enjoyable.

Then I transferred to NYU thinking, “When else can you move to New York?” But as much as I liked to visit, I figured out quickly that it wasn’t where I wanted to plant my roots. I knew I wanted to work hard and be good at whatever I did, but I enjoyed space and the pace of Nashville. I wanted to enjoy my career, work hard, and also have the time to enjoy/prioritize other parts of life.

So I moved back to Belmont and switched to psychology. I thought, “Only a handful of people will land in the music industry—maybe I should be practical.” Before I graduated, I got a receptionist position at Erv Woolsey‘s office.

What was that chapter like?

I learned so much—mainly how to just be available to work. I was on the front porch answering phones. There was a door between me and the rest of the office. We didn’t really use cell phones yet except for emergencies, so I answered basically all incoming calls for the whole office. I got to know people like Ben Farrell and Terry Calogne just by being the first point of contact. Even George Strait called the main line.

Eventually, I moved up—off the porch and inside. [Laughs] I just did my job and tried to do it well.

What was the next job?

I became the assistant to Danny O’Brian, George’s booking agent, and to Scott Kernahan, who managed Dierks Bentley at the time. That’s how I met Mary Hilliard—she was Dierks’ publicist. When she was hiring, she called Kernahan for any recommendations, and he was suggested me.

I had taken one PR class. I didn’t know anything. I asked Scott, “What should I do?” And he said, “Mary Hilliard’s one of the most fun people I know and I learn something new from her every day.” That’s all it took for me to jump in nearly blind, but I knew without a doubt that experience with Mary was something I should pursue.

What was it like to jump into PR?

I was young and just naïve enough to believe I could do it. Mary told me to write a press release, and I’m pretty sure I asked what goes in a press release—you couldn’t just google everything then! It was just the two of us and trial by fire, but she was so patient and encouraging.

Do you remember an early win—or maybe a fail?

I remember an early mistake (I’m sure there were many more prior to this). I sent a program blurb for an artist opening for Kenny Chesney and wrote their single was Gold instead of Platinum. I was mortified when I caught the error.

But, I owned it and Mary walked me through it. I told the manager, and he laughed and said, “Go tell the artist.” I was so nervous. But the artist said something like, “I don’t even know what you’re talking about. I think it’s going to be okay.”

That taught me—own your mistakes. Fix what you can. That’s how you get better.

What about a win?

I remember getting my first magazine cover—it was for Lady A. I pitched it, and I saw it through. I remember thinking, “We have a moment. Let’s go.” It was a women’s magazine so they obviously wanted Hillary on the cover, but we had to figure out how to include the guys but still have it make sense. Working through that with the magazine and the Lady A team—it was just a really fun challenge.

After becoming a leading publicist, you became an owner of The GreenRoom with Kristie Sloan. Tell me about that.

We bought the majority of The GreenRoom from Mary in 2015. She could’ve taken a big check and walked—but she instead offered us the opportunity to set up and every single client stayed. She gave us the foundation and let us take it from there.

Kristie was pregnant at that time, and my husband and I had started the adoption process. It felt a lot like, “When it rains, it pours.” But, we figured it out and had a lot of support from the GreenRoom team and our clients’ teams. Since then, Kristie and I have had four babies combined, taking turns flip-flopping carrying the full load of the company every time. It’s easily one of my life’s greatest gifts to both be able to lead a company and trust that it’s in good hands so that I could step away to be with family during that precious time.

What’s your favorite part of what you do now?

Watching my team win. Today, a manager sent a group text, and one of my teammates replied exactly what I was in the process of typing out. That moment—seeing her gut line up with mine—is the best.

And the work itself—I still love it. We market music via humans, and that unpredictability keeps it fun. The media landscape constantly shifts. No two days are the same.

With country music continuing to gain national attention, there’s more awareness and excitement for it than ever. But even when pop culture shifts, country music is not going anywhere. We build lifelong stars and have career-long fans. Our fans are so invested. And we know how to connect with them.

Who would you say are your biggest mentors?

Mary Hilliard Harrington for sure. Clarence Spalding‘s advice always surprises me in the best way. He helps me see things I didn’t consider. My dad, too. He gave me a book about women climbing Everest when I was little. His advice was never “you can do anything,” it was “if you work hard, you can do something you enjoy.”

What is the best advice you’ve ever gotten?

My dad always said, “Dress for the job you want.” While he partially meant it literally, it’s always reminded me to try and do more than just what’s expected…think ahead, see the gaps and jump in to fill them.

I also love what Thomas Rhett says, “Be where your boots are.” That helps me reset when I’m stressed or trying to regulate some amount of balance between work and personal life.

How do you have a life outside of the demands of being a publicist?

A great team. And, Kristie and I tag in and out. We try to model boundaries in a realistic way. Now that I have kids, I really think about how they’ll remember me from their childhood. Will it be a vision of me staring down at my phone or swinging in the backyard? On a “normal” day when you’re not working early, nights and weekends, you only get a couple hours with them as it is.

But even with the non-traditional work hours, the flip side is that we’re not tied to an office desk 40 hours a week anymore, we don’t have to take a half day from a small PTO allotment to go read to my daughter’s class for an hour. So, for as demanding as our business can be, there are also some major advantages. For me personally, that flexibly goes a long way in terms of the makeup of how I structure my time.

What are you most excited about right now?

There’s a lot to be excited about—we’ve got so much new music coming this summer!

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.

Julie Sturdivant is a Music Brand Partnerships Executive at Creative Artists Agency (CAA) in Nashville, leading brand collaborations for artists like Jelly Roll, Cody Johnson, Keith Urban and Kelsea Ballerini. Over the past year, she orchestrated major partnerships, including Jelly Roll’s multi-year deal with HeyDude, Warren Zeiders’ ambassadorship with Wild Turkey’s 101 Bold Nights and Koe Wetzel’s collaboration with Rock & Roll Denim. She also brokered Charley Crockett’s campaign with The Alamo Foundation and Aaron Watson’s Texas-sized Super Bowl commercial with HEB.

Sturdivant began her career on-air at KOST 103.5 in California before joining Universal Music Group-Interscope Records, where she worked on campaigns for Lady Gaga, All American Rejects and Black Eyed Peas. She later built a reputation for innovative marketing during her 12 years leading Marbaloo Marketing. With expertise spanning radio, global marketing and digital innovation, Sturdivant continues to create impactful partnerships in music.

Sturdivant will be honored as part of MusicRow‘s Rising Women on the Row class of 2025 on March 20 at the Omni Nashville Hotel. Read more about the event here.

MusicRow: Where did you grow up?

I grew up in southern California, a small town called LaVerne.

When you were growing up, were you musical? How did you connect with music?

My dad is a big country music fan. Every day on the way to school, he’d play George Strait along with so many other greats. He introduced me to the genre and I fell in love with it that way. I have core memories of me and my friends playing Tim McGraw’s greatest hits on repeat when we first started driving, windows down, music up, screaming on the top of our lungs “Indian Outlaw.” Nothing beats those memories!

How did you first get into the music industry?

It’s a funny story. My mom was a high school teacher and the cheer coach. One of the moms of her cheerleaders worked at Clear Channel Radio, and at that time I was looking for internships my junior year of college. She was able to bring me in, show me all the different departments and eventually became an internship with KOST 103.5.

What did you do?

Well, I was actually “Julie the Intern” on air for some of it, which was incredible. But through that internship, I learned that all these artists have labels, and the labels release the music. I realized it was so much bigger than I ever knew. It was eye-opening.

It was fun to do that while in college. Since I worked for the morning show, I had to leave Long Beach at 3:30 a.m. to get there by 4 a.m. to get everyone’s coffees orders and help prep the stories so the on-air hosts had everything set up before they started. That was a lot of fun and I met and worked for the most amazing people. [Laughs]

What was next?

Then, I got an internship at Interscope Records in Santa Monica in the international department, which led to a bigger role there. We worked releases outside the U.S. for incredible talent like Lady Gaga, Black Eyed Peas and All-American Rejects. I helped set up press junkets abroad, booked hotel rooms, all the nitty-gritty stuff of starting in the industry.

I stayed with them after I graduated. It was such a fun time to be at Interscope, during the Jimmy Iovine era—the holy grail of the music industry. It was great to communicate with different departments, learn what everyone was doing, and work in the international space. Growing up I loved traveling, so it was fun to see that songs reacted differently abroad compared to the U.S. Learning that different markets have different tastes was fascinating.

Then, my boss there, Faithe Dillman, started a company called Marbaloo Marketing and brought me on as her first employee. I grew that company with her and was there for 12 years.

Tell me about that chapter.

We started in California, but since we both loved country music, we moved it to Nashville. Digital marketing agencies weren’t really a thing there yet, so two 20-year-olds knocking on doors offering digital marketing wasn’t common. We faced a lot of no’s—people didn’t think social media would matter in a few years. But coming from L.A., labels had already been hiring digital marketing companies for years, so we knew the opportunity was there.

Cindy Mabe gave us our first country client, Scotty McCreery, and from there, we worked hard, proving ourselves on every project. Over 12 years, we worked with Dolly Parton, Blake Shelton, Miranda Lambert, Garth Brooks, Kelsea Ballerini, Russell Dickerson, Carly Pearce—you name it. It was an incredible time to grow in the industry.

Then what?

Then, almost three years ago, I moved to CAA. The shift to the agency side has been incredible. I was nervous going from a small company back to corporate, but it has exceeded my expectations and given me more balance in my life. Plus, I still work with many of the clients I worked with before, just in a different capacity, bringing meaningful brand partnerships to life.

You’ve been at a label, radio, boutique marketing and now an agency. Was there a learning curve when you got to CAA?

Honestly, not much of one. The music industry is all about connection—building relationships and using them to bring things to life. I’m a natural connector, even in my personal life, so this role fits my personality well. If people find a place where they can excel and use their natural skills, there isn’t much of a learning curve, it’s just about tackling issues as they come up.

What have been some of your favorite partnerships?

One I’m really proud of is Jelly Roll’s partnership with HeyDude shoes. In 2023, I went to his show in Kentucky and noticed so many fans wearing HeyDude shoes. I pitched them that Monday, saying, “There is no one else you should look at for a partner.” A year later, we got the deal done. It’s exciting because Jelly Roll genuinely loves it—it’s more than just a paycheck to him.

What’s your favorite part of your job?

Dreaming up things with talent, helping them do what they’ve always wanted and making it happen. I love making dreams come true, even in a small way. That’s why I’m in the music industry.

Who have been some of your mentors?

I’ve been fortunate to be inspired by many people throughout my career. The ones who have had the biggest impact on me are those who have been my support system—both in times of struggle and in moments of celebration. People who have pushed me and protected me when I’ve taken some of my biggest leaps in my career.

My husband is certainly my biggest cheerleader and my rock. My parents taught me to be respectful, honest, and hardworking. And I have some really close friends who are paving their own paths and pushing me to go further and create my own. Those are the people I lean on for my career.

What has your experience been as a woman in the music business?

My experience has been incredible. As a female in this industry, I’ve always had both men and women champion me. I grew up with a brother and a dad who always pushed me and believed in me, and I think I’ve gravitated toward people who are willing to lift women up. So I’ve had great experiences in the music industry.

I am very thrilled and happy to say that I have found balance between work and my family life, but that has not always been the case. It’s taken a lot of hard work, and it’s something you really have to advocate for yourself and set boundaries around. As a mom of two and a wife, it has been so important for me to prioritize that.

You have to accept that sometimes your career is going to take a backseat. You’ll watch others soar ahead of you—maybe because they don’t have kids or because their kids are older and they can dedicate more time. It’s hard not to look at that and think, “Gosh, if only I had more time.” But life ebbs and flows. Now, I’ve found more balance where I can focus on my career again while also prioritizing my family. It’s been really incredible. I also think finding a company that supports and prioritizes balance is key. If that’s important to you, you have to seek it out.

What’s some great advice you’ve gotten?

Two things. One: always go the extra inch. Even if you think you’ve done your absolute best, do one more thing. All of those inches add up, and a year from now, you’ll look back and see how far you’ve come.

The other one, which is more relevant to my current role: time kills deals.

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

It’s funny because now, having a 9-year-old, I see those moments through his eyes. He’ll say things like, “Mom, I want to do that someday!” So I feel like I’m living through what 9-year-old Julie would think was cool.

But one moment that really stands out is all of my time working with Dolly Parton. She was always an icon to me growing up. Meeting her, working with her, seeing her passion and how much she still cares about her team and the work—that’s really special to witness. That’s something I will cherish forever.

What advice would you give someone who may want to do what you do one day?

Do not be afraid to pick up the phone and call people. Don’t fear rejection. Don’t be discouraged if someone doesn’t call you back. People are busy, and you have to give them grace. But don’t stand in your own way. Don’t let fear stop you from making that call.

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.

Rakiyah Marshall is the Founder and CEO of Back Blocks, a full-service publishing, management and artist development company. Under her leadership, Back Blocks has guided the careers of Blake Pendergrass, Ashley Cooke, Tucker Wetmore and Lily Rose. Marshall and her team recently celebrated major milestones, including Cooke and Wetmore’s first No. 1 hits.

Before founding Back Blocks, Marshall built a strong foundation in pop promotion at Republic Records in NYC, including time at UMG’s classical division (now Verve). She later brought her expertise in radio, streaming, marketing, and artist development to Nashville, working at Cornman Music under hall of fame songwriter, Brett James and BMG under Kos Weaver. There, she advocated for writers, placed notable songs and bridged Nashville with the global creative community.

Now, Marshall continues to shape Back Blocks into a leading force in the industry, driving success for her roster through innovative strategies and dedicated advocacy.

Marshall will be honored as part of MusicRow‘s Rising Women on the Row class of 2025 on March 20 at the Omni Nashville Hotel. Read more about the event here.

MusicRow: Where did you grow up?

I’m from Long Island, New York. I was born in Queens but moved to Long Island when I was about four. I lived there after college until about 2014, then moved to Manhattan before making my way to Nashville.

What was your childhood like? What were you into?

I was really into sports. I played basketball and ran track, which took up a lot of my time. I had a great childhood. Long Island, at least where I grew up, is very suburban, so we spent a lot of time outside. You could just run around the neighborhood without a parent hovering. I’m still friends with most of the people from my street.

I practically lived at my grandmother’s—she was still in Queens while I was in Long Island, so I feel like I had two childhoods. Queens was a little more tough, and Long Island was where I built my foundation of friendships and family. But I loved both.

Were you into music?

Music was always in my household. My grandfather had a basement where he played records—lots of Caribbean music because my grandparents were from the islands. There was also a lot of Motown and hip-hop from my dad. Growing up in New York, Broadway and Madison Square Garden were like my backyard. I saw every Broadway play and went to a lot of concerts with my mom. I was in band for a short time—I played the drums—and I was in chorus, but neither felt right. Once it wasn’t a requirement, I was out. Sports were more important to me.

Do you remember any standout concerts at MSG?

I saw Usher on his birthday, which was a big one. I also saw a lot of shows at Nassau Coliseum since it was closer to my house.

I also saw Plain White T’s at my local mall. Justin Bieber actually ended mall concerts for all of us—so many people showed up that they had to stop hosting them.

That’s so fun. So, you went to college and then full speed ahead?

Not quite. Freshman year, I focused on partying. [Laughs] My mom was like, “I’m not paying for this for nothing.” So sophomore year, I got serious, started caring about my classes and went to the career center. I knew I loved entertainment—sports, TV, film, music—but didn’t know where I fit. I applied to Universal thinking it was just a film company, and I also applied to sports jobs. Universal was the first to call me back, along with the Staten Island Yankees. I almost took the Yankees job, but the first day, I realized it wasn’t for me.

Universal kick-started everything. Walking into their building on Broadway was nuts. It was eight floors of pure energy, and I knew I wanted to be part of it. That’s when my drive really started. I loved taking the train every day, and it put a pep in my step. I changed my major, basically making up my own since we didn’t have a music history major. I also interned at MSG, which filled my sports void, but nothing matched how the record label felt.

What was your trajectory within Universal?

I started as an intern, then temped for about a year before moving to Classics/Verve for another year. Then I went back to Republic. I basically never left the building—I temped in any department I could. I even temped for Steve Gawley, who’s now the lawyer I’ve worked with. I started at Universal before I was 21 and left at 25.

What was next?

I moved to Nashville and went to Cornman Music with Brett James. That was an amazing experience. I worked with some incredible songwriters—Caitlyn Smith, Steven Lee Olsen, Brett himself, Josh Mirenda, Josh Miller, Kip Moore. I got to see all types of writers, and it gave me range. Then I went to BMG eight months later.

Tell me about that time.

I worked for Kos Weaver, and he was amazing. I was there for about two and a half years until he left. He was a great boss—he really focused on the individual and results. He asked, “What do you want?” I told him I never wanted to run a company—which is ironic now—and that I just wanted to be a VP of a publishing company and build my roster. That’s what we worked toward.

My first signing was Emily Landis, who wrote “The Good Ones” with Gabby Barrett. She had just been dropped from her last deal, and we set a two-year goal to get a single on the radio. And two years later, we got it. That was a huge moment. I also worked with Russell Dickerson, Lindsay Ell, Nate Cypert, Busbee’s writers and a lot of pop writers. We were building a team, and then—the pandemic.

Yeah, that thing.

I tried doing the Zoom thing, but I’m a visual learner. Sitting on a laptop for hours pitching songs wasn’t fulfilling. I felt myself drifting, and I told my husband, “I don’t think I need to be here anymore.”

Around that time, I met Ashley Cooke, and she was open to ideas I suggested and learning along with me. I told her, “You have all these TikTok followers but they have nothing to listen to—let’s fix that.” We put out one song together before I left BMG. Then I met Blake Pendergrass and Lily Rose, and that’s when I left and started my company. It happened fast—I left BMG on a Friday, and on Monday, Back Blocks Music was born.

That’s so brave.

Yeah, I think it surprised everyone, but that’s what makes it fun. You have to love what you’re working on. I only take risks on people I believe in. I only want to work with people who want to work with me. That’s the difference between being independent and working for a corporation. You’re personally invested. That’s why I pass on a lot and sign slow.

When did you first feel validation that it was going to work?

I think when Ashley got On The Verge—that really felt like a big win. Even though so many things happened before that, it felt like radio believed in her. And that’s such a big hurdle for females. Tucker [Wetmore’s] success has been validating, too, because it was really important to me to break a male artist.

Seeing how much the town has loved on Blake Pendergrass. He is the kind of talent that reminds you why hard work always wins. His relentless drive, sharp instincts and pure dedication to the craft have been undeniable. Part of being a songwriter isn’t just about landing the perfect line or cut—it’s about rebooking the room. Blake is the pure definition of that, showing up with full ideas, verses, and choruses, ready to connect with artists and writers across all genres. And without fail, I always get a call after a session saying the same thing: We need to write with him again. Not just for one song but to help create the album. His work ethic doesn’t just push him forward; it reinforces what Back Blocks stands for—championing the ones who show up, outwork the rest and keep the bar high.

What would you say is your favorite part of your job now?

The beginning is still my favorite. I love that raw, vulnerable stage—when there’s no music recorded yet, just learning each other, figuring out what works.

There are so many fun moments after that, but that early stage—before they become a butterfly—that’s my favorite. Late nights, talking about dreams, their favorite venue to play, who they want to collaborate with. We put it all on a wall and start working toward it. It’s a beautiful process.

Who have been your mentors?

My bosses at Republic were huge for me—Gary Spangler, Monte Lipman and Avery Lipman, and more —they’ve all been part of my career forever.

Shani Gonzalez was a major influence on me. Even though we didn’t spend years together, seeing her presence at BMG was everything. It was the first time I saw a reflection of myself, and I thought, “I want to be like her.” In the time we did have together, I was constantly learning. She taught me how to handle things, what deals to make, what deals not to make.

It might sound cliche, but my husband is a mentor to me too. Ben Vaughn was great to me. I’m really thankful for Brett James taking a chance on me. I love talking to Candice Watkins, because we have a lot in common and she is someone I really admire.

You became a mom around the same time you launched Back Blocks. What’s it been like juggling everything?

It’s been hard but rewarding. I didn’t plan to get pregnant back-to-back while starting a company, so it was a lot all at once. Meeting the artists’ needs while making sure I’m present as a mom is tough—you’re either missing out on music class but making the music video, or skipping the music video to be at music class.

Postpartum didn’t exist for me—I went right back to work. No pats on the back, no grace period. That was really hard. I’m getting better at the balance, knowing what I need to be at and what I don’t. Having clients who understand is huge.

Moms and work need to be a bigger conversation. We’re still expected to show up, even if our kid just threw up on us five seconds before the meeting. I’ve breastfed at every artist event I’ve been to. It doesn’t stop, but I think I’m better for it.

When you look to the future, what do you see for yourself?

I hope my company’s still buzzing. I want to have every department grown out. I live very much in the moment, so I don’t look too far ahead. I’d like to think if you look too far, you can get lost in the future. And I’m not guaranteed to be here in five years, so I focus on the now more.

But I do want my company to grow. I want to have more artists, continue to be a strong representation for country music, and have a staff that stands on their own and proud to work at back blocks

What advice would you give someone if they wanted to do what you do?

Confidence is key. If you dream it, believe it, and say it out loud. Don’t let anyone tell you otherwise—especially men.

Remember, someone is always watching you. Be a great example. That’s what I tell myself—especially when people may push buttons. [Laughs] I remind myself that there’s a girl coming up who needs to see me doing this.