Billy Strings Adds Summer Tour Dates

Billy Strings has added summer dates in July and August to his headline tour, which kicks off April 12.

The new dates include back-to-back nights at Inglewood’s Kia Forum, Bridgeport’s Hartford Healthcare Amphitheater, State College’s Bryce Jordan Center, Worcester’s DCU Center and more.

Tickets for the shows are on sale now. For more information, click here.

The summer dates are just the latest added to Strings’ extensive 2024 run, which also includes three sold-out nights at St. Augustine’s St. Augustine Amphitheatre as well as visits to Lexington’s Rupp Arena, Minneapolis’ The Armory and Rosemont’s Allstate Arena, among others.

Big Machine Music Signs George Birge

Pictured (L-R): Big Machine Music’s Randy Patton, Lizzy Rector, Tim Hunze and Mike Molinar, George Birge, Big Machine Music’s Michelle Attardi, Rich Mgmt’s Brendan Rich and Sarah Paravia, Big Machine Music’s Katherine Godwin and Greyson Stephens. Photo: Courtesy of Big Machine Music

Big Machine Music has signed singer-songwriter George Birge to an exclusive co-publishing agreement.

The RECORDS Nashville artist recently hit the country radio airwaves with “Cowboy Songs,” after scoring his first No. 1 with “Mind On You.” Birge boasts more than 63 million streams across his catalog, and was featured as one of this year’s CRS New Faces of Country Music. He is currently on the road with Parker McCollum for select dates of the “Burn It Down Tour 2024,” and will join Luke Bryan on his “Mind Of A Country Boy Tour” this summer.

“George’s hit trajectory is a testament to his talent, work ethic and kindness,” shares Big Machine Music President Mike Molinar. “We are honored he has chosen Big Machine Music as his publishing partner!”

“I am so fired up to hit the ground running with this Big Machine Music team,” says Birge. “They are the best at what they do, and I can’t wait to continue to grow as a songwriter with their help.”

Specials Unveiled For CMT Music Awards Weekend

CMT has unveiled the slate of upcoming music specials for CMT Music Awards Weekend, starting Friday, April 5 and leading up to the 2024 CMT Music Awards on Sunday, April 7.

On Friday (April 5), Little Big Town will star in a new installment of CMT Storytellers at 7 p.m. CT. Featuring intimate performances and stories that span the multi-Platinum group’s 25 years together, members Karen Fairchild, Kimberly Schlapman, Phillip Sweet and Jimi Westbrook take fans on a musical journey that includes some of their biggest hits like “Better Man,” “Boondocks,” “Rich Man,” “Girl Crush” and more.

On Saturday (April 6), Cody Alan, Carissa Culiner and Marley Sherwood will host CMT Hot 20 Countdown: 2024 CMT Music Awards Preview at 8 a.m. CT. The special episode of CMT’s weekly series will feature last minute rehearsals and interviews with some of this year’s nominees including Jelly Roll, Lainey Wilson, Bailey ZimmermanJason Aldean and host Kelsea Ballerini. Additionally, rockers Nickelback and country-rock fusionist Hardy will team up for another installment of CMT Crossroads at 7 p.m. CT. The special will consist of the acts swapping stories and performances of Nickelback’s “Save Me” and “Animals,” Hardy’s “Truck Bed” and “Give Heaven Some Hell” as well as a first-time mashup of both “Rockstar” singles.

Alan, Culiner and Sherwood will also host the CMT Music Awards Red Carpet live special at 6 p.m. CT on Sunday (April 7) ahead of the 2024 CMT Music Awards on CBS. Warren Zeiders will kick off the show by performing his No. 1 smash “Pretty Little Poison,” which is nominated for Breakthrough Male Video of the Year.

My Music Row Story: Big Loud’s Candice Watkins

Candice Watkins

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.

As SVP, Marketing at Big Loud Records, Candice Watkins brings proven leadership and across-the-board expertise to the independent powerhouse. She was selected as one of Billboard’s Women In Music (2023, 2024), and has been named a Country Power Player for the last three years.

Leading the label’s marketing efforts across its many ventures and partnerships, Watkins executes creative strategy and bold, cross-platform campaigns that make an impact. Recently, she has led the marketing efforts behind chart-topping successes like Morgan Wallen’s back-to-back all-genre No. 1 albums as well as successful recent projects from Hardy, Hailey Whitters, Stephen Wilson Jr., Charles Wesley Godwin and more. Watkins also spurred introductory campaigns for artists such as Jake Worthington, Lauren Watkins, Ashley Cooke and Dylan Gossett, among others, while embarking on major campaign efforts for heavy hitters Lauren Alaina, Ernest, Larry Fleet and more. The Montclair, New Jersey native is a graduate of Northeastern University in Boston and the University of Southern California in Los Angeles.

Prior to joining Big Loud, Watkins served as Sr. Director of Marketing & Artist Development at UMG Nashville and preceded with stops at Red Light Management, Mozes Inc., Borman Entertainment and Martingale Entertainment. Outside of her work innovating campaign strategy for Big Loud, Watkins serves on boards for CMA, ACM and Teen Dream Center.

Watkins will be honored as part of the current class of MusicRow’s Rising Women on the Row on March 19. For more details about the class and the event, click here.

MusicRow: Where did you grow up?

I grew up in a town called Montclair, New Jersey. I was born in Queens, New York, and then when I was one, my parents moved to a suburb of New Jersey.

Photo: Courtesy of Watkins

Were you into music growing up?

No, I was a sports person. I was basketball and soccer all the way. If you met me when I was a kid and asked me what I wanted to be when I grew up, I would tell you I wanted to be the first girl in the NBA.

I always liked music, but I passionately fell in love with it when I was in high school. I was obsessed with lyrics. If I loved something, I wanted everyone to know about it.

What were you listening to?

Growing up, it was definitely all pop and hip-hop for me. Then I discovered Alanis Morissette. Her lyrics gave me a deep appreciation for words. I fell in love with my English classes. She opened me up to a whole new world of music.

Where did you go to college?

I started at a school called Northeastern University in Boston, where I was a music industry major. Halfway through, I transferred out to University of Southern California in Los Angeles and graduated from there [with a degree in] business administration and entrepreneurship.

Photo: Courtesy of Watkins

What made you want to transfer?

In Boston, I was the captain of my rowing team, but I was obsessed with music. I wanted to work in music and thought New York or Los Angeles were my choices. Because I already grew up in the Northeast, I knew what New York was like. Los Angeles was the unknown for me. I thought if I transferred out there, I could experience L.A. under the safety of college.

While I was still in Boston, I interned for Marty Nolan at a management company (Guster, Dispatch, etc) and was introduced to a local band in San Diego that I fell in love with. I thought I could transfer to USC and manage the band, so that’s what I did. It was very much a fun, bootstrap, DIY experience. [We had] shows at bars in San Diego, L.A., Phoenix, San Francisco and Las Vegas, because it was all drivable where you’d get a portion of the door.

Photo: Courtesy of Watkins

That’s so fun. What happened after graduation?

I played sports all throughout college. I was on the rowing team, and there was one year that I did rowing and basketball. While in L.A. after graduation, I had an injury that flared up and required surgery. The surgery would take me out of commission for three months where I couldn’t walk or work, so I moved back to the northeast to have the surgery with a specialist and recover at my parents’ house. Once I recovered, I started looking for jobs in New York City.

I was up for a dream job at a label in the A&R department. I went in for my second interview and, I’ll never forget, the guy I was interviewing with had to end the meeting because Jermaine Dupri and Janet Jackson were waiting for him in the studio. [Laughs] I was like, “Oh my gosh, this is my dream.”

I became a Christian out in L.A., so my [life had changed]. When I was recovering and interviewing for jobs, Nashville came into my head. It made absolutely no sense because I had never been here. Outside of my mom listening to Patsy Cline and Loretta Lynn when I was growing up, and me knowing crossover artists like Keith Urban, Faith Hill, Shania Twain and Tim McGraw—because of that Nelly song—working in country music wasn’t an obvious notion to me. I tried to ignore it, but it just got so strong that I knew that it would be a mistake if I didn’t come here. Based on that, I packed my car, and with a thousand bucks to my name, I drove down to Nashville. That was in 2006. I didn’t have a place to live or anything.

Photo: Courtesy of Watkins

Wow! What happened when you got here?

I expected Nashville to be this massive city like L.A. and New York. So when I was driving in, I was looking for this grandiose skyline with massive buildings. I ended up passing Nashville. I pulled off on Old Hickory Boulevard off I-65 and found a Starbucks in Brentwood. I got my laptop out and started looking for a place to live and for jobs.

This guy that I interned with in Boston, who was an artist manager at Red Light, reached out to me and asked how my new job in New York was going. I was like, “I didn’t take it. I’m in Nashville now,” and gave him the whole story.

He said, “Well that’s funny because we’re trying to build a Nashville presence. Coran [Capshaw] just bought his first Nashville office and this is our first week of operation. You should go meet with them.” So I met with Red Light and they didn’t have any jobs available, only internships. I was a 24-year-old graduate with a lot of college debt, so I thought, “I can’t do a free internship. I need a good job with benefits.”

The guy followed up and I told him they only had internships. He said, “Candice, do you really think you came all the way to Nashville to get a regular job with benefits? I suggest you take the internship and get your foot in the door.” So I swallowed my pride and I interned for free at Red Light. I worked at a restaurant and at the Ryman so I could get paid and see shows for free. A couple months into that Red Light internship, I ended up becoming full-time. Rodney Atkins was just blowing up. They just released his album called If You’re Going Through Hell, with five back-to-back No. 1 singles, and I got to work that whole campaign. That’s how Nashville started for me.

Photo: Courtesy of Watkins

What was next for you?

After Red Light, I ended up leaving and going on the road with bands doing their brand activations and building their mobile databases. I did that on tour for New Kids On The Block with Natasha Bedingfield as direct support and Lady Gaga as the opening act. On the first weekend out on that tour, they fired the tour PA, so I ended up fulfilling the PA role in addition to the brand activation role. I was gone for months. I was also on a Brooks & Dunn tour, which was one of the best experiences I’ve ever had in my career. I watched their set every single night, I’d never miss “Believe” or “Neon Moon,” and if there was any doubt about working in country music for my career, that tour changed me. I was also on the Keith Urban tour and a Christian music tour.

While I was on the road with Keith Urban, Gary Borman came up to me backstage and said he was looking for a day-to-day manager for Keith. It was my dream to be an artist manager, so I met with Gary and Keith a couple times and eventually got the call saying that Keith wanted me. I became Keith Urban’s day-to-day manager for a few years, which was a career defining moment for me.

What happened next?

After a few years with Keith, I left music altogether because the pastor of my church basically asked me to manage him. He was a pastor, an author and a speaker, so I handled a lot of his speaking engagements, and we released a couple books. Then I went back into music. I did day-to-day for Hunter Hayes for a brief period of time before going to UMG and working under Cindy Mabe in the Marketing department.

I did that for a few years and then Seth England reached out to me. I had known him through business and church, and we had always kept in touch. He asked to get together for a catch-up, and during that, he ambushed me about a job. [Laughs] At that point in time, it was a management role. I thought about it and told him no.

At that time, they were still building the label part of Big Loud. As they were growing, they had the A&R and Promotion departments established, and he felt that they really needed to build out the Marketing role/department next, so he met with me again and casted a vision about the label role. I had to really consider it. I wasn’t looking for a transition, I was happy where I was at UMG. I had to really do the due diligence of hearing him out and praying about it. I looked for every reason to say no and I couldn’t find one. I decided to take a leap of faith by accepting the Big Loud job in 2018.

Photo: Courtesy of Watkins

What is your favorite part about your job now?

At the end of the day, I love music. It sounds basic, but it’s true. I’m in this business to help artists release their music, and bring strategy and execution for them to achieve their vision for it. I love seeing them achieve their “firsts.” Whether it be their first Platinum song or album or their first sold-out headlining show, first No. 1 or television appearance, etc., I never grow tired of that. There’s always a “first,” regardless if you’re a developing artist or an established superstar. It really feeds me because I know what it symbolizes and what it took, and that speaks to the artist and the team. On the team side, I really love supporting the crop of professionals I get to work with and serve.

What is one of your favorite experiences that you’ve had in this industry that you’ll always remember?

There’s so many. This isn’t the flashiest story, but I’m sentimental, so something I’ll always remember is that Shania Twain was my first country concert during college in Boston. I spent all my money to buy really great seats. To go from that experience as a music fan dreaming of working in the business professionally to actually getting to work with her at UMG Nashville was deeply special to me. I keep that ticket stub framed in my office today as a reminder to keep dreaming.

Photo: Courtesy of Watkins

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

If you can’t get what you want right now, put yourself in proximity to it. Also, I really believe in this whole theory that how you get something is how you have to sustain it. Be proud of how you get something.

As one of our Rising Women on the Row honorees, what has your experience been like as a woman in our business?

I know what I bring to the table. I know that it’s valuable. I know what I’m doing. I think everyone’s road is different. Mine has been more of a zigzag, if you will, than a straight line. I’ve always craved that story of being at the same company for 20 years, but that’s just not been my story. There are definitely power dynamics and inequitable systems at play. I have my days of being anguished. I know it’s forced me to forge my own path, have perseverance and to stay focused on my vision, despite what’s happening, to bring positive impact.

What advice would you give women who look up to you?

Never feel entitled to the thing that you want. Work hard for it by being excellent at what you do. Bloom where you’re planted. That’s what led me to opportunities with Keith Urban, UMG Nashville and Big Loud. In addition, there are so many opportunities now in terms of programs. ACM and Black Music Action Coalition (BMAC) have a [mentorship] program and CMA has a Women’s Leadership Academy. There’s so much access now, so many resources—way more than I ever experienced when I was coming up. Take advantage of all of those opportunities and programs.

Jessie Jo Dillon Enters Top Five On MusicRow Top Songwriter Chart

Jessie Jo Dillon. Photo: Noah Needleman

Grammy-nominated songwriter Jessie Jo Dillon rises to No. 5 this week on the MusicRow Top Songwriter Chart. Dillon’s tracks on this week’s chart include “Back Then Right Now,” “No Caller ID,” “Halfway To Hell” and “Messed Up As Me.” 

Ashley Gorley remains in the No. 1 spot this week with “World On Fire,” “Young Love & Saturday Nights,” “Last Night,” “Thinkin’ Bout Me,” “Truck Bed,” “Bulletproof” and “This Town’s Been Too Good To Us.” No. 2 this week belongs to Chayce Beckham with solo-written “23.”

Hunter Phelps (No. 3) and Tracy Chapman (No. 4) round out this week’s top five.

The weekly MusicRow Top Songwriter Chart uses algorithms based upon song activity according to airplay, digital download track sales and streams. This unique and exclusive addition to the MusicRow portfolio is the only songwriter chart of its kind.

Click here to view the full MusicRow Top Songwriter Chart.

Grand Ole Opry House Celebrates Golden Anniversary

Pictured (L-R, back row): Steve Gatlin, Don Schlitz, Del McCoury, Douglas B. Green, Woody Paul, Joey Miskulin, Fred LaBour, Mark Wills, Jamie Dailey, T Graham Brown, Gary Mule Deer and Clint Black; (L-R, front row): Larry Gatlin, Rudy Gatlin, Jeannie Seely, Bill Anderson, Connie Smith, Mandy Barnett and Crystal Gayle. Photo: Chris Hollo

The Grand Ole Opry House celebrated its landmark 50th anniversary over the weekend on March 16, 50 years to the day since the venue first opened with a star-packed show attended by President and Mrs. Richard Nixon.

The special anniversary show opened with the night’s cast on stage performing Roy Acuff’s “Wabash Cannonball” followed by Opry member Mark Wills kicking things off with an all-cast performance of “Country Roads, Take Me Home,” saying, “Here’s to all those city streets and country roads that week after week, year after year lead us back to our musical home, the Grand Ole Opry House.”

Throughout the evening, the Opry honored members Bill Anderson, Jeannie Seely and Connie Smith, all of whom who were among those performing during opening night at the Opry House in 1974. Wills and those Opry honorees were joined on stage by Opry members Mandy Barnett, Clint Black, Jamie Dailey (of Dailey & Vincent), The Gatlin Brothers, Crystal Gayle, Del McCoury, Gary Mule Deer, Don Schlitz and Riders In The Sky. T Graham Brown, who was invited to become an official Opry member in February and will be inducted this spring, also joined the all-member cast. Black closed out the celebratory night with his “This Old House,” with fellow Opry members joining in as iconic photos from the Opry House’s five decades rolled on the Opry set behind them.

Opry cast March 16, 1974 with President Nixon. Photo: Les Levertt

The Opry House is the current ACM Theater of the Year, and was just named the South’s Best Music Venue in Tennessee in Southern Living’s reader-voted 2024 South’s Best Awards (April 2024 issue). It’s also included on this list of The Best Local Treasures in Every Southern State. In recognition of its effect on popular culture, entertainment and the communications industry, the Opry House was added to the National Register of Historic Places in 2015.

On March 16, 1974, Acuff opened the first show in the brand new 4,400 seat Grand Ole Opry House in front of a standing-room-only audience attended by President and Mrs. Richard Nixon and other VIP guests. The evening marked the first time a U.S. president had ever attended the Opry, and Nixon still stands as the only president ever to have performed on the Opry stage, playing “My Wild Irish Rose” and “God Bless America” on the upright piano in addition to “Happy Birthday” in honor of First Lady Pat Nixon, who was celebrating her birthday that night.

The Grand Ole Opry House is the Opry’s sixth home. It is also the only home built specifically for the Opry and the residence the Opry has called home the longest. Since that first night on March 16, 1974, the Opry House has been witness to the Opry’s first live television broadcast and its first internet stream; its 5000th Saturday night broadcast; and countless “Opry moments” including debut performances, surprise superstar appearances, once-in-a-lifetime artist collaborations, and Opry member inductions. The Opry House’s 50th anniversary comes just one year before a celebration of the Opry’s milestone 100th year on the air.

Maggie Antone Plots ‘The Lonestars & Lovers Tour’ With Kat Hasty

Maggie Antone. Photo: Luke Hutcherson

Rising star Maggie Antone will team up with Kat Hasty for their co-headlining “The Lonestars & Lovers Tour.”

The new tour dates come on the heels of an already busy 2024 for Antone, who released her newest track with Brendan Walter, “I Don’t Wanna Hear About It,” in February. The track was co-written and co-produced by Antone and Carrie K, and was released on Antone’s own label Love Big in collaboration with Thirty Tigers.

Antone is also scheduled to perform at Bonnaroo and Bourbon & Beyond, as well as open for The Red Clay Strings.

Tickets for “The Lonestars & Lovers Tour” will go on sale beginning March 22 at 10 a.m. local time.

“The Lonestars & Lovers” Tour Dates:
June 6—Lexington, KY—The Burl
June 8—Decatur, GA—Eddie’s Attic
June 9—Charlotte, NC—Amos’ Southend
June 11—Indianapolis, IN—HI-FI Indy
June 12—Newport, KY—The Southgate House Revival-Sanctuary

Alison Nichols Inks With BBR Music Group/BMG Nashville

Pictured (L-R): Manager Sherrie’ Austin, Alison Nichols and BMG’s Jon Loba

Rising artist Alison Nichols has signed with BBR Music Group/BMG Nashville.

Pictured (L-R, back row): Go Long Entertainment’s Jeff Davis, BMG’s Quinn Bauducco, Producer Will Rambeaux and BMG Nashville’s Peter Strickland; (L-R, front row): BMG’s Katie Kerkhover, Jon Loba, Alison Nichols, Manager Sherrie’ Austin and BMG Nashville’s JoJamie Hahr

The Georgia native is a cousin of the late Joe Diffie, and blends aspects of her upbringing with influences from her time spent on the Texas country scene. As one of the first Asian-American singers in the country format, Nichols embraces her roots, proclaiming herself as “half Korean, half redneck and 100 percent American.” Her first release on TikTok, “Is It Just Me?,” garnered more than 4.6 million views, and her latest song, “Hoops,” has also racked up over a million views.

“Alison’s life brings a unique perspective to her music that we look forward to sharing with the world,” says Jon Loba, President, Frontline Recordings, BMG North America. “It’s compelling, different, yet familiar and adds to the rich tapestry that is country music.”

“My parents say I came into the world singing, and I’ve been dreaming of this moment since I was a little girl,” says Nichols. “I’m so thrilled and excited to be a part of the BBR Music Group/BMG Nashville family and I look forward to making great music together!”

Chayce Beckham To Drop Debut Album ‘Bad For Me’ In April

Photo: Robby Klein

Chayce Beckham plans to drop his debut album, Bad For Me, on April 5 via 19 Recordings/Wheelhouse Records/BMG Nashville.

The singer-songwriter gave fans a new taste of the project today (March 15) with the release of “Waylon in ’75.” The 13-track collection also features Beckham’s solo-written, Platinum single “23,” which recently scored a CMT Music Awards nomination for Breakthrough Male Video of the Year.

Bad For Me touches on themes like substance abuse, guilt and romantic remorse, joined by the inner struggle of a man wishing he was more. With the album, Beckham aims to depict an appreciation for life itself and a promise to keep up the fight. Apart from “23,” the collection was produced by Bart Butler, and includes more Beckham-penned pieces such as “Mama,” which he performed on American Idol, and “Drink You Off My Mind.”

The artist is currently on his headlining “Bad For Me Tour,” and will join Luke Bryan on his “Mind Of A Country Boy Tour” this summer.

Bad For Me Track Listing:
1. “Devil I’ve Been” (Chayce Beckham, John Pierce, Lindsay Rimes)
2. “Addicted And Clean” (Chayce Beckham, Emily Landis, Justin Morgan)
3. “Waylon In ‘75” (Jon Randall, Brett James, Parker McCollum, Lee Thomas Miller)
4. “Bad For Me” (Joe Fox, Randy Montana, Tyler Chambers)
5. “Drink You Off My Mind” (Chayce Beckham)
6. “Everything I Need” (Chayce Beckham, John Pierce, Lindsay Rimes)
7. “Whiskey Country” (Chayce Beckham, John Pierce, Lindsay Rimes)
8. “Glitter” (Joey Hendricks, Mark Trussell, Natalie Hemby)
9. “Smokin’ Weed and Drinkin’ Whiskey” (Chayce Beckham, Andy Albert, Mark Trussell)
10. “Something Worth Holding On To” (John Pierce, Brandon Kinney, Micah Wilshire)
11. “Mama” (Chayce Beckham)
12. “If I Had A Week” (Chayce Beckham, Scooter Carusoe)
13. “23” (Chayce Beckham)

Country Music Hall Of Fame & Museum Acquires The British Archive Of Country Music

Photo of a 78-rpm record by Big Bill Campbell and His Rocky Mountain Rhythm, released in 1947 and included in the British Archive of Country Music collection. Photo: Courtesy of the Country Music Hall of Fame and Museum

The Country Music Hall of Fame and Museum has expanded its collection with the addition of the British Archive of Country Music, comprising over 50,000 recordings alongside books, periodicals, videotapes, photographs and more.

The collection, established in 1987, was assembled over a span of seven decades by late British collector Dave Barnes. This treasure-trove of country music history contains extensive recordings and files regarding artists from the UK, Europe, Australia, Canada and the US. After Barnes’ death in 2020, his family began working with the museum to facilitate the acquisition and transport of the collection from Dover, England with support from the Tyson Family Foundation.

“My father Don Tyson was a huge, lifelong fan of country music,” says John H. Tyson, Chairman of the Board of Tyson Foods, Inc. “He passed that love of music on to his children and grandchildren as well. When we learned of the British Archive of Country Music, we immediately knew it was a treasure that should be located in posterity at the Country Music Hall of Fame and Museum. We are pleased to have been able to work with Mr. Barnes’ son, Alan, and the team at the museum to make this a reality. My son, John Randal and daughter Olivia and I are delighted to have made this collection available so that future generations of country music fans can continue to enjoy this music as Mr. Barnes did years ago as he was putting the archive together.”

With the addition of the BACM collection, the museum now ranks among the world’s largest collections of country music recordings, boasting over 250,000 sound recordings ranging from phonograph cylinders to digital files.

CEO of the Country Music Hall of Fame and Museum, Kyle Young, expresses his gratitude to the Barnes family and the Tyson Family Foundation for their pivotal role in bringing the BACM collection to the museum. “The British Archive of Country Music speaks to the international influence of country music. We’re honored to preserve the collection and continue BACM’s legacy of making this music available to researchers and scholars across the world,” he says.