Ian Munsick’s Cowboy Bar & Western Grill’s Grand Opening Set For September

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Ian Munsick. Photo: Ben Christensen

The grand opening of Ian Munsick’s Cowboy Bar & Western Grill will take place the weekend of Sept. 18-20, coinciding with Munsick’s performance at Outlaw Square for Deadwood Jam on Sept. 18 with special guest Ashland Craft. 

The celebration will kick off Sept. 18 with a Day Party from 11 a.m.- 8 p.m. featuring performances from Munsick’s friends and family. Munsick will be joined by Ashland Craft at Outlaw Square for Deadwood Jam and later, a VIP After Party featuring Ryan Charles will close out the night at the Cowboy Bar & Western Grill. Saturday and Sunday will each feature performances from Munsick’s band, Rocky Mountain Fever.

Built between 1894-1920, The Landmark is Deadwood’s largest historic structure at approximately 35,000 square feet. The Ian Munsick Cowboy Bar & Western Grill resides within over 2,600 square feet of the footprint and celebrates country and western music with old school country bar decor and two performance stages, one indoors and one outdoors.

The grand opening news comes as Munsick continues to tease a new chapter of upcoming music with the recent releases of “Geronimo” and “Love Is Blind”—his first songs under West To The Rest Records/Triple Tigers Records. “Love Is Blind” is set to impact country radio on April 20.

Chris Stapleton, Morgan Wallen, Lainey Wilson Among 37th Annual Pollstar Awards Winners

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Chris Stapleton, Morgan Wallen, Lainey Wilson

Chris Stapleton and Lainey Wilson were among the evening’s big winners at the 37th Annual Pollstar Awards, held earlier this week at the Loews Hollywood Hotel as part of the Pollstar Live! gathering of global live entertainment professionals.

This year’s ceremony honored the most innovative and successful artists, tours, companies, venues and executives, and Stapleton and Wilson were recognized in a tie for Country Tour of the Year. As part of its partnership with iHeartRadio, Pollstar also introduced a new fan-voted honor this year: the inaugural iHeartRadio Pollstar Fan Favorite Award for Live Performer of the Year. The category marks a new era of audience-driven recognition, created to spotlight the artists whose live performances resonate most powerfully with fans, with this year’s inaugural award going to Morgan Wallen.

The Pinnacle in Nashville also received the award for New Concert Venue of the Year during the evening, which also recognized outstanding talent buyers, promoters, booking agents, sound companies and more. Other winners recognized during the night included Oasis, Metallica, Kendrick Lamar/SZA, The Weeknd, Benson Boone, Bad Bunny, Adam Sandler and more.

“As the benchmark for excellence in global live entertainment, the Pollstar Awards continue to be the most prestigious and influential recognition for the performers, venues, and visionaries who create unforgettable experiences for fans,” says Ray Waddell, Chief Content Director, OVG Media and Conferences. “This year’s honorees reflect the best of the best and highlight the innovation and dedication that propels our business forward. We are privileged to spotlight their extraordinary success.”

Taylor Sloane Launches Dream Big Music

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Taylor & Michael Sloane

Taylor Sloane has exited MCA after nine years to launch Dream Big Music, a new venture that helps artists and their teams grow scalable, global fanbases using modern marketing and hands-on campaign leadership. Dream Big Music works as an extension of each team it supports, going beyond typical outside help by partnering closely with artists and collaborators to navigate today’s complex releases and audience trends.

The company’s initial clients includes Jordan Davis and Riley Green, as well as strategic development client Staydium.

“Dream Big Music was built around our belief in a global fan strategy,” says Sloane, Founder of Dream Big Music. “The goal is not just to market moments, but to help artists and teams create lasting connection, sustained momentum, and real fan growth over time and beyond traditional marketing channels, into new spaces where culture, community, and attention converge. Ultimately, we recognized the need to align vision, execution, and long-term fan development on a global scale.”

During her time at MCA, Sloane played a key role in the growth and development of campaigns for Chris Stapleton, Kacey Musgraves, Keith Urban, and Davis.

Sloane is joined in the venture by her husband and strategic partner, Michael Sloane, whose entertainment industry experience spans across artist development, digital strategy, marketing, and business growth. Michael has worked with major artists, led innovative music and entertainment ventures, and helped sell Streaming Promotions to Symphonic Distribution. He now teaches full-time at Belmont University, preparing future entertainment leaders at the intersection of media, music, and technology.

“We’re not here to just market releases,” adds Michael. “We’re here to help artists build real, lasting audiences, and to do it in a way that scales globally”

Those interested in working with Dream Big Music can find out more here. Taylor can be reached here, and Michael here.

Louie Newman Launches Saddle Up Records

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Pictured (clockwise): Louie Newman, Chele Fassig, RG Jones, and Matt Galvin

Veteran record executive Louie Newman has launched Saddle Up Records, a new country label and radio promotion company. Saddle Up Records will also collaborate on select projects with Lyric Ridge Records going forward.

“Radio remains a primary driver in country music, and we understand how critical airplay is to breaking and furthering an artist’s career,” says Newman. “We’ve built a team with a long track record of credibility at country radio, while also working closely with digital and streaming partners to build momentum across all platforms. We’re excited about what’s ahead.”

Newman, who will serve as Founder and President, most recently spent 25 years at MCA Nashville. He also played a major role in the fully independent promotion effort for Drew Baldridge’s “She’s Somebody’s Daughter,” the first independent No. 1 at country radio. Newman’s team has also worked on Brandon Lake and Jelly Roll’s “Hard Fought Hallelujah,” as well as Julia Cole’s “Day Late & A Buck Short.” He was named the 2026 CRS/Country Aircheck Independent Promotion Executive of the Year. He can be reached here.

Chele Fassig has been named SVP of National Promotion & Marketing, where she will oversee national promotion and marketing strategy. She previously served as Director of Promotion at Lyric Ridge Records and brings extensive radio experience from markets including Decatur, Pittsburgh, Indianapolis, and Charlotte. She can be reached here.

Matt Galvin joins the team as VP, National Promotion & Streaming. Galvin has over 25 years of experience, including 15 years at RCA Nashville. During his time at RCA, his promotion team scored 38 No. 1 hits, working with Old Dominion, Miranda Lambert, Kane Brown, and Chris Young, among others. At Saddle Up, he’ll lead radio promotion, shape overall strategy, and manage relationships with streaming partners. He can be reached here.

RG Jones will join the team for special projects using his experience and data-driven approach to radio. He can be reached here.

The label’s first artists will be announced in the coming weeks.

Reba Celebrates 50-Year Mark Of Her Career With New Music Capsules, Curated Playlists

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Reba McEntire is celebrating her five decade career with the release of new music capsules each month, curated specifically with songs from throughout her career paired with brand new songs that spotlight the road ahead for the legendary entertainer.

The first release, One Night In Tulsa, features songs around her home state and will be released this Friday (April 17) via MCA. On April 9, McEntire previewed the project during a special performance at her restaurant Reba’s Place, where she debuted a new song and the title track of the first capsule. Written by Neal Coty, Kylie Frey and Thom McHugh,“One Night In Tulsa” marks a return to the ’90s country ballads that cemented McEntire as one of the genre’s most definitive voices of heartbreak.

Each of the digital music capsules pairs a new song with carefully selected tracks that trace McEntire’s evolution as one of country’s most enduring and influential voices. Tailored playlists will be launched in tandem with each capsule to highlight the defining eras of McEntire’s career. Beginning May 1 with “The Making of Reba,” the first playlist captures a young McEntire finding her voice through classic country heartbreak, laying the foundation for everything to come. The playlists serve as a companion piece, offering fans a more expansive look at the moments, milestones, and music that shaped her legacy.

McEntire has racked up 60 Top 10s on the Billboard Country Airplay chart, extending her record for the most Top 10 hits among female artists. Her Top 10 success spans five straight decades, landing her in elite company with only George Jones, Willie Nelson, and Dolly Parton who have the same achievement. Her latest single “Trailblazer” featuring Lainey Wilson and Miranda Lambert garnered 2.6 million on-demand streams in its first week, marking a new personal best for Reba in the streaming era.

One Night In Tulsa Track List:
1. “One Night In Tulsa”
2. “Tulsa Time”
3. “Oklahoma Swing”
4. “Does The Wind Still Blow In Oklahoma”
5. “No U In Oklahoma”

My Music Row Story: Neste Live!’s Gil Cunningham

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Gil Cunningham.

Gil Cunningham serves as Chairman of Neste Live!, a Live Nation joint venture specializing in talent buying and festival production. Based in Nashville, Cunningham has played a pivotal role in shaping the modern talent buying landscape, helping define how festivals, fairs and live events are programmed across the country. He continues to lead talent strategy for some of the largest country music festivals in North America, including the Country Thunder brand, which spans multiple markets across the U.S. and Canada.

Cunningham has been working in the live entertainment business since 1988, building his career on the talent buying side of the industry. He joined Neste Event Marketing, the company founded by his wife, in the mid-1990s, where the pair developed a business that combined sponsorship, marketing and talent buying services. Their complementary skill sets helped grow the company’s presence across the festival and event space over more than two decades.

In 2019, Live Nation acquired a majority stake in the company, forming Neste Live! and expanding its reach within the broader live entertainment landscape.

Cunningham is a five-time ACM Talent Buyer of the Year.

MusicRow: Where did you grow up? 

I grew up in Des Moines, Iowa, and went to the University of Iowa.

Photo: Courtesy of Cunningham

Tell me a little bit about your childhood. 

I really wasn’t into music as a kid. I mean, I went to concerts and I enjoyed music, but it wasn’t something I thought about as a passion or something that I wanted to do.

My ultimate goal was to get into the advertising business. I wanted to work for an ad agency in Chicago. I graduated from Iowa with a marketing and journalism degree, and when I graduated, we were in a bit of a recession.

I had gone to Chicago and set up around 20 interviews, but I ended up doing six because people weren’t hiring. I met with the creative director at one of the big ad agencies, and he recommended that I get some experience working in advertising at a radio station or at a newspaper.

I applied for a job at a newspaper in Burlington, Iowa, and worked in the ad department. I was there for about six months, and then I took another job working for an electronics company in a marketing department.

Photo: Courtesy of Cunningham

During my time there, I was asked to serve on an entertainment committee for an event called Burlington Steamboat Days, which was a three-day music festival that was originally a Dixieland jazz festival.

That’s where I kind of got the bug to get into the entertainment business.

I did that as a volunteer position for several years, and then I was offered a job working for Don Romeo, who was a talent buyer and producer in Omaha. That’s how I got on the talent buying side of the business.

What happened after that?

A few years later, I left the Romeo Agency and joined my wife [Liz Cunningham]. She had started a marketing company called Neste Event Marketing. I joined her buying talent for events.

She already had an established business. We’ve been partners for 27 years. Liz handled marketing and sponsorships, and I handled talent buying. If I had a potential client, I could always pitch my wife as offering marketing or sponsorship services, which gave me a bit of an edge in the marketplace.

In 2019, we sold the company to Live Nation. I’ve been under the Live Nation umbrella since then.

Liz did not sell her portion of the business. She kept the marketing and sponsorship side, and she still runs that.

Photo: Courtesy of Cunningham

We still work together on a number of events, so we’ve kept it in the family. Our oldest daughter, Lauren, went to Ole Miss and wanted to get into the music business. Today she’s an agent at WME. We also have a UGA graduate who studied music business and marketing. Abby now works at the Live Nation office as an assistant to Andrew Fortin, the President of Neste Live.

How did you get to Nashville?

We were living in Omaha when I joined Neste Event Marketing. I had been talking to a number of agents, and they told me, “If you’re going to be in this business, you really need to move to Nashville.”

My wife and I made the decision to move from Omaha to Nashville. It ended up being great advice because it was the place to be to get fully engaged in the music business at any level you wanted. It was very rewarding for us.

We made that move in 2004.

Photo: Courtesy of Cunningham

 Can you tell me about your role now?

My current position is Chairman, and I work on a couple of major accounts. One of our biggest accounts is Country Thunder, which is probably the largest country music festival brand in the business. They operate seven festivals in North America.

I met Troy Vollhoffer, who got his start in the production business in Camrose, Alberta. We hit it off and started working together on events and haven’t looked back.

I was buying talent for a number of festivals in the States, and then he expanded into the U.S. He ended up buying the Country Thunder brand and I still buy for that group. I’ve been the talent producer for Country Thunder for over 30 years.

How would you explain the role of a talent buyer to someone outside of music?

If I had to explain what I do to someone outside the business, I would liken it to the role of movie producer. It’s my job to put all the parts and pieces together. As a talent producer, I buy the talent, arrange for production, marketing, publicity, whatever the client needs to have a successful show.

Most of the time, clients already have staff for those other areas, so we focus on talent buying. But for some events, like Headwaters Country Jam in Three Forks, Montana, we run the entire event and are involved in each aspect of the festival.

Photo: Courtesy of Cunningham

 What is the best advice you’ve ever gotten?

Pay close attention to what experienced and knowledgeable people in the business tell you. You learn a lot from professionals who have been doing it for a long time.

When I first started, I learned a lot from agents in Nashville. There were a number of agents who were very willing to help and teach me about the nuances of talent buying business from their perspective.

I also think it’s important to listen to the artists.

Who were your mentors early on?

The major mentor I had was Don Romeo, who taught me a lot about the business.

I also learned from a number of agents. Steve Dahl at Monterey Peninsula Artists was a great teacher. He was completely transparent about how the business worked from the agent’s perspective. There were others—Rod Essig, Barry Jeffrey and Lance Roberts—who were very influential in teaching me that side of the business.

The thing about this industry is that there are so many different levels like songwriting, management and publishing. You may start out operating on one level, but you realize there are many others, and you can engage across all of them.

I still learn something every day. That’s what has made it so enjoyable for me. I always tell young people who want to get into the business that you have to start at the bottom and work your way up. That’s where you learn the most.

What is your favorite part of your job?

I get the most satisfaction out of booking an artist for a client and seeing it work for everyone. When it’s successful for the artist, successful for the client and the fans love it, that’s the best feeling. You’re always focused on how to help your client be successful, and when everything comes together, that’s really rewarding.

What’s your favorite memory of working in the business?

Photo: Courtesy of Cunningham

There are a lot. Early on, I was one of the first talent buyers in my space to bring rock acts into the fair circuit. Rock bands typically didn’t play fairs.

I put Nickelback, Def Leppard and NSYNC on the fair circuit, and the success of those shows was beyond expectations. It was very satisfying to look back and think “you identified and nailed NSYNC when they first came out.” I remember booking them early on for around $12,000, and by the time they played the shows, [all their tours] were selling out.

Another moment was booking The Monkees when they reunited. MTV started re-running their original show again right before their tour, and by the time summer rolled around, every single date was a massive sellout.

I’ve really enjoyed working on festivals. At one point, we were doing more than 20 festivals in North America and that was my favorite space. I also enjoy working with smaller fairs and helping them figure out how to spend their budget wisely and be successful. I still get great pleasure from that.

What advice would you share with someone entering the business?

I think it’s important to give back. I’ve served on the IEBA board and was president of IEBA. I’ve served on the CMA board and the TJ Martell Foundation board. Those kinds of things are really important, staying engaged and giving back to the community.

Mentoring young people is also important to me. I try to provide as much guidance as I can and help them find the right direction.

Jeff Bates Celebrates 25 Years Of Meth Sobriety With New Album

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Jeff Bates will release his first gospel album, Hymns From the Church in the Wildwood, on May 1 via Tall Grass Records. The project will celebrate 25 years of sobriety after overcoming methamphetamine addiction and a period of incarceration.

“Twenty-five years clean and sober,” says Bates. “I know, without a shadow of a doubt, that there is no way I could have ever stayed clean without God! So, above all, I hope and pray that this album of hymns brings my Heavenly Father all the honor and all the glory He so richly deserves!”

The 12 track project was inspired by the hymns of Bates’ upbringing and the faith that guided him out of darkness. The album also features gospel standards sent through generations. The record represents themes of hope, redemption, and grace.

“When I was a small boy my Mama would sing old gospel hymns to me that she learned as a little girl in church,” shares Bates. “I’ve never forgotten her voice, her melodies, nor the reverence and love she held in her heart for these songs. I have dreamed of sharing these songs with you all for a long, long time.

“Thanks to my friend and brother Daniel ‘Stubbs’ Lucus, and his love for the same music that, like me, he grew up hearing, that dream has now become a reality,” he continues Bates. ‘We are both honored and blessed to present to you these Hymns From The Church In The Wildwood, and we hope you enjoy them as much as we do!”

Hymns From the Church in the Wildwood Track Listing:
1. “Sweet Beulah Land”
2. “The Church in the Wildwood”
3. “Precious Memories”
4. “How Great Thou Art”
5. “Shall We Gather at the River”
6. “Peace In the Valley”
7. “Were You There (When They Crucified My Lord)”
8. “Just As I Am”
9. “Have a Little Talk with Jesus”
10. “Old Rugged Cross”
11. “Amazing Grace”
12. “When The Roll Is Called Up Yonder”

CMA Celebrates Songwriting Excellence At 2026 Triple Play Awards

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CMA Triple Play Award recipients with the CMA’s Tiffany Kerns, host Jim Beavers, CMA CEO Sarah Trahern and songwriter advocate of the year Bart Herbison at CMA’s Triple Play Awards. Photo: Alyssa Barker/CMA

The Country Music Association brought together some of country music’s most accomplished songwriters Monday night (April 13) at the 2026 CMA Triple Play Awards, held at the Country Music Hall of Fame and Museum. The annual event recognizes the elite achievement of writing three No. 1 songs within a single year.

The full list of honorees includes Andy Albert, Louis Bell, John Byron, Jessie Jo Dillon, Ashley Gorley, Riley Green, Charlie Handsome, Jacob Kasher Hindlin, Ella Langley, Chase McGill, John Morgan, Blake Pendergrass, Taylor Phillips, Austin Post, Ernest Keith Smith and Morgan Wallen. Many of the honorees were in attendance, each taking a few moments to thank their families, teams and collaborators.

Jim Beavers, a CMA Board member and acclaimed songwriter, emceed the evening, infusing the event with his trademark wit and warmth. Sarah Trahern, CMA CEO, opened the ceremony with remarks, saying “CMA exists to celebrate excellence, to support and advocate for the people who make this music possible, and to help expand the reach of country music.”

Bart Herbison at the 16th Annual CMA Triple Play Awards. Photo: Alyssa Barker/CMA

CMA also honored 43 songwriters who earned their very first No. 1 hit since the last Triple Play celebration, may of whom were in attendance and received a commemorative medallion.

The annual in memoriam segment paid tribute tho those who the music community has lost over the past year, and was accompanied by a performance of The High Kings’ “The Parting Glass” performed by Cary Barlowe, Gordie Sampson and Hillary Lindsey.

One of the evening’s standout moments came as NSAI’s Executive Director Bart Herbison was honored with the 2025 CMA Songwriter Advocate Award, recognizing his decades of impact on the songwriting community. Ahead of the presentation, a video tribute featured messages from songwriters, and industry peers impacted by Herbison’s continuous advocacy for songwriters.

Before Herbison took the stage, Josh Osborne took the stage to perform one of Herbison’s favorite tunes, Keith Urban’s “John Cougar, John Deere, John 3:16.”

Taking the stage to a standing ovation, Herbison highlighted different legislation passed for songwriters and more on the horizon. He also thanked his family, team and mentors. Herbison closed with a statement that sent applause through the room: “Our trademark is ‘it all begins with a song.’ Here’s what I want it to say in a few years: ‘It all begins with a song, a song that a human wrote, a song from which they were fairly paid.’”

A surprise performance from Lee Roy Parnell followed, performing “They Don’t Know You” in honor of Herbison.

In the last surprise of the night, CMA honored Paul Overstreet for his pending induction into the Country Music Hall of Fame by bringing together four of his children, Chord, Nash, Harmony and Summer, to perform a medley of his hits. The medley captivated the room, and included hits such as Randy Travis’ “On The Other Hand,” Blake Shelton’s “Some Beach,” Paul’s own “Seein’ My Father In Me,” and many more.

Hillary Lindsey, Cary Barlow, and Gordie Sampson perform the In Memoriam tribute at the 16th Annual CMA Triple Play Awards. Photo: Alyssa Barker/CMA

Josh Osborne plays a tribute to Songwriter Advocate Award winner Bart Herbison at CMA’s Triple Play Awards. Photo: Alyssa Barker/CMA

Lee Roy Parnell plays a tribute to Songwriter Advocate Award winner Bart Herbison at CMA’s Triple Play Award. Photo: Alyssa Barker/CMA

Summer, Chord, Nash, and Charity Overstreet perform a medley in recognition of their father, Paul Overstreet at the CMA Triple Play Awards. Paul Overstreet is the 2026 Songwriter Inductee into the Country Music Hall of Hame. Photo: Alyssa Barker/CMA

Industry Ink: How Nashville Became Music City, Don McLean, Kameron Marlowe, The Nashville Briefing

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Robert Oermann & Mark Montgomery To Host ‘How Nashville Became Music City’


Robert Oermann and Mark Montgomery will host “How Nashville Became Music City” on April 29 at The Nashville Entrepreneur Center.

Oermann’s presentation will begin at 5:30. After the presentation he will sit down for an exclusive interview with Montgomery.

The event is free, but registration is required.

 

Don McLean’s ‘Classics’ Album Earns Gold Certification

Pictured (L-R): Peyton Maria, Aaron Snavely, John Chapman, Jeff Tuerff, Don McLean, Benson Curb, Trevor Mathiesen, Giovanna Randolph, Chris Collins and Doris Bratcher. Photo: Jeremy Westby

Don McLean’s Classics Album has been certified Gold. The 10-song Curb Records project features some of his biggest hits from the 1970s, including “American Pie,” “Vincent, ” “Crying,” and “And I Love You So.”

“What an honor! To be back in Nashville, where I once recorded several albums with Larry Butler is always fun, but to be presented with a Gold album from Mike Curb and the great people of Curb Records is even more special,” says McLean. “I am consistently surprised to learn how many new people are learning about my songs. This digital streaming era has really given new life to so many older recordings. I just love it!”

 

Kameron Marlowe Plays At The Caverns

Pictured (L-R): Caryl Atwood, Christy Garbinski, Kameron Marlowe, Kaitlin Madewell, Lauren Taylor, Liz Cost and Rachel Hobbs.

Kameron Marlowe met up with the Sony Music Nashville team ahead of his show at The Caverns last week (April 10).

 

The Nashville Briefing Celebrates 30 Under 30

Pictured (L-R): Saxon Cury (Sticks Management), Dylan J (Artist/Songwriter), Ava Boney (Big Loud Rock), Zak Kuhn (The Nashville Briefing Founder), Emily Crews (Back Blocks Music), Hannah Barnes (The Nashville Briefing). Photo: Samuel Harris

The Nashville Briefing celebrated the release of its annual 30 UNDER 30 list on Monday with an event at JBJ’s Nashville.

“It’s been amazing to see how much this event has grown,” says The Nashville Briefing’s founder Zak Kuhn. “We have an incredible community of alumni who gather every year to celebrate a new generation of Nashville power players. We had everyone in attendance last night from agency heads to people who just moved to town. That’s the power of this list. Everyone wants to celebrate the next 30 Under 30 class and get to know them! Thanks also to our event partner, Loeb & Loeb LLP, who share a belief in shining a light on Nashville’s next batch of executives. They were the perfect partner for this event.”

Splice Extends Creator Compensation Model With New Generative AI Tools

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Music creation platform Splice has announced a new suite of AI tools that extend Splice’s established creator payment model into generative AI.

Splice’s approach combines human-made, licensed sounds with new AI capabilities to unlock creative possibilities. With these new tools, every sample in Splice’s catalog of more than three million, remains traceable to its original creator, with compensation extending to AI-generated variations as well.

“Producers have always used samples as a foundation for new ideas; these tools extend that tradition, enabling sounds to be reshaped and reimagined. Grounded in deep, long-standing relationships with producers and sound creators, they reflect real creative workflows and reinforce the value of original work,” says CEO Kakul Srivastava.

Now available in Splice’s Sounds and Instrument plugins, these tools work directly in the DAW, giving producers the power to shape sounds with precision while ensuring all output is licensed for commercial use. Three tools make up the launch:

– Variations, available in the Sounds plugin, lets producers create new versions of any Splice sample – adjusting structure, key, and BPM while preserving the original’s core characteristics. The original creator is compensated each time their sound is used as a source and each time the variation is downloaded.
– Craft, a new feature in Splice INSTRUMENT, transforms samples into fully playable instruments.
– Magic Fit adapts any Splice sound to match the harmonic and rhythmic context of a session. (Available Summer 2026.)

Sample creator Oliver adds, “With so many AI tools rushing to market, artists often feel like an afterthought. Splice has taken the opposite approach, building with creators to ensure this technology supports artists, rather than replacing them.”