Allison Jones.
With over 35 years of experience in the music industry, Allison Jones serves as EVP of A&R at Big Machine Records and Nashville Harbor Records & Entertainment, whose roster includes Riley Green, Rascal Flatts, The Band Perry, Aaron Lewis, Cole Goodwin, The Jack Wharff Band, Greylan James, and more.
Jones has been named to Billboard’s Women In Music and Country Power Players lists, included in Country Aircheck’s Power 31, and recognized by the Nashville Business Journal for being one of the most influential executives in the music business.
Prior to joining Borchetta’s Big Machine in 2008, Jones held Head of A&R posts at Universal Music Group Nashville, Dreamworks Records, Giant Records and RCA/BNA Records.
Photo: Courtesy of Jones
MusicRow: Where are you from? Tell me a little bit about your childhood.
I am from Vero Beach, Florida, a born and bred Floridian. I grew up doing musical theater and as much music as you can in a small town like Vero Beach. I also showed horses and fell in love with country music.
I have the typical story of being 12 years old and begging my dad to drive me to the Grand Ole Opry because I was certain that every star in the universe would just be standing outside. I loved country music from an early age and did musical theater all through high school. I even did some summer stock theater in Connecticut when I was in high school.
Then I went to Vanderbilt, which may have been because it was in Nashville. They didn’t really have a music program then, but I knew that if I came to Nashville, some door would magically open. At Vanderbilt, all there really was was the Blair School of Music. I wasn’t in Blair, but I took voice there. I also studied theater in London through Vanderbilt, and I realized that I was not talented enough to be on that side of the business.
At the beginning of my senior year, I interviewed at RCA when Joe Galante was still running the Nashville office. This would have been 1990. I got hired to be an intern for Joe and his assistant, and for Rick Pepin, who was the head of marketing at the time. A semester internship turned into a full year, which turned into them offering me a job before I graduated at the newly formed BNA, which was initially called BNA Entertainment.
I said yes. The job was to be the receptionist, the A&R assistant for Richard Landis and the marketing assistant for Rick Pepin. So I had three jobs, pre-voicemail and pre-email. I had to answer the phone the good old-fashioned way.
I wouldn’t trade a penny of it. I tell interns now that because most people don’t have receptionists anymore, you don’t get to meet people the same way. I was really busy. I was making very little money, definitely not enough to pay any bills, but I loved it and wouldn’t trade it for a minute.
That’s how I got started. I didn’t realize how lucky I was at the time to get hired while I was still in college. Especially because RCA had Alabama, The Judds, Lorrie Morgan, Earl Thomas Conley, K.T. Oslin. It was a powerhouse. Looking back on it, I’m forever grateful. Every time I see Joe Galante, I still thank him.
That sounds busy, especially while you were still in college.
Photo: Courtesy of Jones
It was. I was the low person on the totem pole, so I didn’t go to lunch, and I didn’t leave. But I remember loving it so much.
We opened BNA with Lorrie Morgan and John Anderson. Growing up, my dad’s favorite artist was John Anderson, so that was iconic. He was such a lovely, lovely man.
It was amazing that I was a week out of Vanderbilt and immediately working with two icons. I’m really grateful for that. It was busy, but I wouldn’t trade a second of it.
How long were you there?
I was at BNA for three years, and then James Stroud hired me to work for him at Giant Records.
James had just opened Giant Records, and Clay Walker was on his first single. The first big record I started working on was Common Thread: The Songs of the Eagles, which was the first of those tribute records. Irving Azoff owned Giant Records and was very hands-on. From Giant Records, I was given the opportunity to be, technically, the head of A&R, even though I was the only A&R person. At the time, James Stroud was producing literally everyone in town. I think the first year I worked for him, he produced 22 full records.
Once again, when you’re in the middle of it, you don’t realize how crazy it is that you’re sitting in the studio with Clint Black, Tim McGraw, Wynonna, Clay Walker, Toby Keith and so many others. I don’t think I realized then that I had a front-row seat to artists who were going to change the landscape of country music for decades.
Photo: Courtesy of Jones
Where did you go from there?
James Stroud was tapped to become the head of DreamWorks Nashville in 1996.
It was a big secret for a little while, and he took a few of us from Giant Records with him. That’s where I met Scott [Borchetta] because Scott had just left MCA Records, where he was head of promotion, and James hired him to run promotion for DreamWorks.
That was such an iconic run because DreamWorks was David Geffen, Jeffrey Katzenberg and Steven Spielberg. All of them had come from major corporations and wanted to get back to creativity. We had a small but fierce staff at DreamWorks Nashville, but we were very immersed in the DreamWorks culture in Los Angeles. They encouraged us to fly out there as much as we wanted and learn about the movie side of the business.
We worked on the Prince of Egypt soundtrack, which was the first time I had worked on a project like that. Jeffrey Katzenberg was very hands-on, especially when it came to soundtracks. It was incredible getting to watch him work. Jeffrey was responsible for the resurgence of animation at Disney, so he had helped create an entirely new era of animated films.
Back then, nothing was digital. He would literally fly with a locked film case containing the movie. He would shut down entire theaters so artists could privately watch it.
He shut down an entire theater in Cool Springs to show Prince of Egypt to Garth Brooks, Wynonna and Naomi [Judd] and other artists. The movie wasn’t completely finished yet, but we were helping place songs, and there were actually three soundtracks associated with it: the score soundtrack, a Christian soundtrack and a country soundtrack. As a result, I made so many great television and film contacts. Even though I’m technically an A&R executive, I also became heavily involved on the TV and film side because of those relationships.
One funny story is that the head of casting at DreamWorks was a woman named Allison Jones, who is a huge deal now. Sometimes I would get her emails because we were both Allison Jones at DreamWorks. So every once in a while I would accidentally get some early casting information.
Do you have a favorite memory from your time at DreamWorks? 
Gosh, just the run of Toby Keith.
We were this little family against the world, and that’s when he was winning Entertainer of the Year, Male Vocalist of the Year and having this incredible run. Just getting to learn from Toby was invaluable.
There’s not a day that goes by that I don’t appreciate that experience. In addition to being an artist I worked with, he was really close to me. He was like my big brother. He didn’t get close to a lot of people, but if you were in his inner circle, he was gracious with his knowledge, his time and, good Lord, he was fun and funny. I don’t know that I can pinpoint one specific memory as much as being part of that journey. It will always go down as one of my favorite experiences.
Where did you go after DreamWorks?
DreamWorks had its run from about 1996 until 2004, so just under 10 years. Then all of DreamWorks Records merged with Universal. Suddenly we were merging with Universal Nashville.
I loved it because all of a sudden I got to work with George Strait, Reba, Trisha Yearwood, Vince Gill, Gary Allan and so many others. But mergers are always interesting. It’s difficult when you’re bringing together two cultures. We had our DreamWorks culture, which was this small, fierce company that felt like us against the world, and then we were absorbed into what was, at the time, the Tiffany of record labels. MCA had everybody. Mercury had merged with them, so now there was Shania Twain and all these incredible artists. It was an amazing opportunity because I got to work with artists I admired, but it always felt a little bit like there were still two separate teams.
Photo: Courtesy of Jones
That’s also when Scott left to start Big Machine.
I stayed at Universal through the end of my contract. Around that same time, Toby left as well because he wanted to start his own label, Show Dog.
When my contract was up, Toby called me one day while he was sitting on his bus in Nashville. He always called me “Big Al,” which normally I wouldn’t like because I don’t really want to be called Big Al, but coming from him it was incredibly endearing. He said, “Big Al, come to my bus.” I sat down with him, and he asked, “Do you still love what you’re doing?”
I told him I did. I loved music and I loved what I did, but things had changed. I had gone from our little 20-person staff at DreamWorks to a giant corporation, and I wasn’t really sure what my next step was.
He said, “I want you to come work for me. I want you to help me build artist development and A&R for Show Dog. I want you to come out on the road with me this summer, and I want to remind you why you love music so much and why you love this business.”
I’ve had a lot of people open doors for me throughout my career, but that was one of the most meaningful moments. I wasn’t really sure what came next, and being able to go work alongside someone who was not only at the top of his game, but who also felt like family to me was incredible. I was there for maybe a year, a little less than a year. Then Scott called.
And then you went to Big Machine.
Photo: Courtesy of Jones
I had stayed very close to Scott after he started Big Machine. At the time, I was still heavily involved in A&R at MCA and Mercury. I was working on George Strait and Gary Allan records, and I was getting songs every day.
Scott had signed Jack Ingram, and I was a massive Jack Ingram fan. When my artists passed on songs, I would often send them over to Scott and Jack. We stayed really close.
I had also met Taylor [Swift] when I was still at DreamWorks, so I was friendly with the family before Big Machine really took off. One day Scott called me and said, “I need you. I need you to come here immediately. Like next week.”
Calling Toby and telling him I was leaving was one of the hardest phone calls I’ve ever made. Of course, he understood. There were no hard feelings at all. He was happy for me.
Joining Big Machine at that point was a crazy time because Taylor was finishing her first record and beginning her second. That meteoric rise of Taylor Swift was unbelievable. I can’t imagine there are many people in the music business who can say they had a front-row seat to something like that.
We were a small family, very much like DreamWorks had been. I remember going to Taylor’s first headline show in Chattanooga. I was there with Andrea [Swift] and Robert Allen. I remember standing at front of house with Andrea. I was a new mom, and I just started bawling.
I was watching these little girls holding signs that said, “It’s okay not to be cool because of you.” Or, “I want to play guitar because of you.” It wasn’t just fandom. It felt like watching the beginning of a generational shift. I remember crying because it felt bigger than music. I became the person standing beside Andrea at every show because, yes, I worked with Taylor, but the mom in me was overwhelmed by what I was witnessing. Watching all those young girls connect to her in that way was extraordinary.
Photo: Courtesy of Jones
What was your role at Big Machine at the time?
I was hired to be the head of A&R. Technically, I was the SVP of A&R, but we were so small in those early days that titles didn’t really matter. I was doing A&R administration. I was doing A&R. I was handling television and film opportunities.
Scott had started a publishing company, but at that point it was primarily for Justin Moore‘s publishing and some of our artists. It wasn’t large enough yet to have a traditional publishing staff. So I was also taking songs, managing publishing conversations and helping figure out how everything fit together. I loved it because we were doing so much. It was a completely different time. Streaming wasn’t really a thing yet. iTunes was. Social media existed, but not in the way it does today.
It’s interesting rebuilding it all over again now. Today we have around 30 employees and a lot of artists already, and we’re rebuilding from the ground up again. I’m the EVP of A&R, and Carly Strickland works closely with me. Together we’re rebuilding systems, budgets, A&R administration processes, artist clearances and all the infrastructure that supports a label. It’s a completely different industry than it was back then, but we’re still building. So, in many ways, I’m wearing a lot of the same hats now that I wore in the early days of Big Machine, and Carly and I are both enjoying the challenge.
What has been your favorite part of being at Big Machine?
Gosh, there are so many memories. Someone asked me this recently, and I hate picking just one because I love all of these artists so passionately like they’re all my kids. I get so emotionally invested in them that I hate highlighting one without mentioning all of them.
Photo: Courtesy of Jones
But one memory that stands out is the year Taylor won four Grammys. It was the year of “White Horse,” and to sit in that room and watch young Taylor Swift sweep the country categories and then win in the all-genre categories was insanity. What made it even more special was seeing Nashville represented on that stage. Liz Rose, who has always been one of my best friends, was nominated. Nathan Chapman was up for overall album of the year. Justin Niebank had mixed the record. There were so many Nashville people involved.
Watching Taylor, Liz and Nathan on that stage, I was crying the whole time.
We were still a small company, and Taylor was so young. To see a young woman, a country artist, win at that level across all genres felt incredible.
Afterward, because Taylor was underage, we couldn’t exactly go celebrate in bars. So we all walked over to dinner near Staples Center and celebrated together. I still have a picture from that night of me, Scott, Taylor and Eric Powell holding up four fingers for the four Grammys. She looks so young in that photo. That has to be one of my favorite memories.
What excites you about where Big Machine is headed now?
I love the energy and challenge of building something.
Obviously, Riley Green has been incredible to watch. Not only has he become established as a major star, but he’s had back-to-back hits that he wrote himself. Then watching him on Marshals was amazing. He had never acted before, and I was blown away by his performance. I remember texting him and saying, “Dude, you’re an actor.” To see that received so well, and now to watch him become a coach on The Voice and see his ticket sales continue to grow, has been incredible.
Photo: Courtesy of Jones
We also have so many new artists I’m excited about.
Mark my words, Cole Goodwin is the future of country music. He’s got that ’90s country thing, but there’s also some ’80s country in him. I’m incredibly excited about what he’s doing. I’m also excited about the Jack Wharff Band because they’re a little outside our genre. It’s been fun working with something that isn’t genre-specific. There’s freedom in making music that doesn’t have to fit into a tiny box. I have an incredible duo called Marfa. They’re kind of like if The Everly Brothers, Simon & Garfunkel and the Eagles existed today as young hipsters. They’re incredible. Greylan James is off to a great start. Mackenzie Carpenter is making incredible music.
And then there’s The Band Perry. I signed The Band Perry 15 years ago, so getting to work with Kimberly again has been incredibly special. We have so much fun together. Sometimes we stop ourselves now and ask, “Why has this been so easy and enjoyable?” I think a lot of that comes from experience. Kimberly was a massive star at such a young age. Then she experienced having it all go away and having to rebuild. So getting to rebuild both a label and the next chapter of The Band Perry has been really rewarding.
Another exciting thing is that Scott has opened a management company. When everything split apart, I was heartbroken to leave artists like Thomas Rhett, Carly Pearce and Midland because those artists are family to me. They’ll always be family.
But Carly is my soul sister. I had been following her career and meeting with her for years. She just didn’t have the song yet. I remember meeting with her after she left RCA. I loved her, but she hadn’t found that defining song. Then she did an independent project with Busbee. They were being very selective about who heard it because they wanted to make a splash.
I remember knowing it was coming out and seeing all these people on Twitter talking about it. Lucy Hale, Kelsea [Ballerini] and so many others were posting about it. So I went to iTunes and listened. The song absolutely annihilated me.
It was “Every Little Thing.” I immediately texted Carly and said, “Girlfriend, you have your three minutes. Call me right now, or call me in the morning, but you have your three minutes.”
That was on a Friday. I brought Scott to see her at the Opry on Saturday night. Then, of course, every label in town came after her. Thankfully, she chose us.
Photo: Courtesy of Jones
I was incredibly sad when I thought I might not get to work with her anymore, but then Scott said, “What if I manage her?” Now I’m probably more involved in her career than ever because I work closely with her manager. It’s been really special.
What is the best advice you’ve ever received?
Probably from Reba. Working with Reba is right up there with Toby and Taylor for me. Not just as an artist, but as a human being. Is there anyone better than Reba as a human? I truly don’t think so.
During the years when women were talking about how difficult it was to get played on radio, Reba would always say, “Outwork the men. Just outwork them.” She didn’t make it about being a woman or a man. She made it about work ethic. The first artist I worked closely with was Lorrie Morgan, and she said the same thing. You have to outwork them. You have to out-sing them. You have to outperform them.
When I entered the music business in 1991, women were running Nashville. Donna Hilley was running Tree. Frances Preston was running BMI. Connie Bradley was running ASCAP. Celia Froehlig and Robin Palmer were running EMI. Karen Conrad had the biggest independent publishing company in town. Evelyn Shriver and Susan Nadler were running publicity and labels. I watched all of these women succeed in an era where nobody complained. They just did the work. By example, they taught me that we could do it too. You just outwork everybody.
What are you most proud of in your career?
My relationships. I’m proud that I still genuinely love what I do. Somewhere along the way, I learned to trust my gut. That’s one of the hardest things to do in the music business, especially now when there’s so much data. You can overanalyze everything. I’ve always trusted my instincts, and I’ve always relied on relationships. Because all of this eventually goes away.
If you take care of the music and you take care of the relationships, everything else will fall into place. That’s how I sleep at night. I know I was earnest in my love of the music, and I know my intentions with artists and people in this industry were genuine.
I’m grateful to still be doing this. More than ever, after all these years, I wake up every day and recognize what an honor it is to work in this business. It’s an honor when creators trust you with their art. I’m excited about where the music business is headed, and I’m excited about the next chapter of this label.
My Music Row Story: Big Machine Records/Nashville Harbor Records & Entertainment’s Allison Jones
/by Lauryn SinkAllison Jones.
With over 35 years of experience in the music industry, Allison Jones serves as EVP of A&R at Big Machine Records and Nashville Harbor Records & Entertainment, whose roster includes Riley Green, Rascal Flatts, The Band Perry, Aaron Lewis, Cole Goodwin, The Jack Wharff Band, Greylan James, and more.
Jones has been named to Billboard’s Women In Music and Country Power Players lists, included in Country Aircheck’s Power 31, and recognized by the Nashville Business Journal for being one of the most influential executives in the music business.
Prior to joining Borchetta’s Big Machine in 2008, Jones held Head of A&R posts at Universal Music Group Nashville, Dreamworks Records, Giant Records and RCA/BNA Records.
Photo: Courtesy of Jones
MusicRow: Where are you from? Tell me a little bit about your childhood.
I am from Vero Beach, Florida, a born and bred Floridian. I grew up doing musical theater and as much music as you can in a small town like Vero Beach. I also showed horses and fell in love with country music.
I have the typical story of being 12 years old and begging my dad to drive me to the Grand Ole Opry because I was certain that every star in the universe would just be standing outside. I loved country music from an early age and did musical theater all through high school. I even did some summer stock theater in Connecticut when I was in high school.
Then I went to Vanderbilt, which may have been because it was in Nashville. They didn’t really have a music program then, but I knew that if I came to Nashville, some door would magically open. At Vanderbilt, all there really was was the Blair School of Music. I wasn’t in Blair, but I took voice there. I also studied theater in London through Vanderbilt, and I realized that I was not talented enough to be on that side of the business.
At the beginning of my senior year, I interviewed at RCA when Joe Galante was still running the Nashville office. This would have been 1990. I got hired to be an intern for Joe and his assistant, and for Rick Pepin, who was the head of marketing at the time. A semester internship turned into a full year, which turned into them offering me a job before I graduated at the newly formed BNA, which was initially called BNA Entertainment.
I said yes. The job was to be the receptionist, the A&R assistant for Richard Landis and the marketing assistant for Rick Pepin. So I had three jobs, pre-voicemail and pre-email. I had to answer the phone the good old-fashioned way.
I wouldn’t trade a penny of it. I tell interns now that because most people don’t have receptionists anymore, you don’t get to meet people the same way. I was really busy. I was making very little money, definitely not enough to pay any bills, but I loved it and wouldn’t trade it for a minute.
That’s how I got started. I didn’t realize how lucky I was at the time to get hired while I was still in college. Especially because RCA had Alabama, The Judds, Lorrie Morgan, Earl Thomas Conley, K.T. Oslin. It was a powerhouse. Looking back on it, I’m forever grateful. Every time I see Joe Galante, I still thank him.
That sounds busy, especially while you were still in college.
Photo: Courtesy of Jones
It was. I was the low person on the totem pole, so I didn’t go to lunch, and I didn’t leave. But I remember loving it so much.
We opened BNA with Lorrie Morgan and John Anderson. Growing up, my dad’s favorite artist was John Anderson, so that was iconic. He was such a lovely, lovely man.
It was amazing that I was a week out of Vanderbilt and immediately working with two icons. I’m really grateful for that. It was busy, but I wouldn’t trade a second of it.
How long were you there?
I was at BNA for three years, and then James Stroud hired me to work for him at Giant Records.
James had just opened Giant Records, and Clay Walker was on his first single. The first big record I started working on was Common Thread: The Songs of the Eagles, which was the first of those tribute records. Irving Azoff owned Giant Records and was very hands-on. From Giant Records, I was given the opportunity to be, technically, the head of A&R, even though I was the only A&R person. At the time, James Stroud was producing literally everyone in town. I think the first year I worked for him, he produced 22 full records.
Once again, when you’re in the middle of it, you don’t realize how crazy it is that you’re sitting in the studio with Clint Black, Tim McGraw, Wynonna, Clay Walker, Toby Keith and so many others. I don’t think I realized then that I had a front-row seat to artists who were going to change the landscape of country music for decades.
Photo: Courtesy of Jones
Where did you go from there?
James Stroud was tapped to become the head of DreamWorks Nashville in 1996.
It was a big secret for a little while, and he took a few of us from Giant Records with him. That’s where I met Scott [Borchetta] because Scott had just left MCA Records, where he was head of promotion, and James hired him to run promotion for DreamWorks.
That was such an iconic run because DreamWorks was David Geffen, Jeffrey Katzenberg and Steven Spielberg. All of them had come from major corporations and wanted to get back to creativity. We had a small but fierce staff at DreamWorks Nashville, but we were very immersed in the DreamWorks culture in Los Angeles. They encouraged us to fly out there as much as we wanted and learn about the movie side of the business.
We worked on the Prince of Egypt soundtrack, which was the first time I had worked on a project like that. Jeffrey Katzenberg was very hands-on, especially when it came to soundtracks. It was incredible getting to watch him work. Jeffrey was responsible for the resurgence of animation at Disney, so he had helped create an entirely new era of animated films.
Back then, nothing was digital. He would literally fly with a locked film case containing the movie. He would shut down entire theaters so artists could privately watch it.
He shut down an entire theater in Cool Springs to show Prince of Egypt to Garth Brooks, Wynonna and Naomi [Judd] and other artists. The movie wasn’t completely finished yet, but we were helping place songs, and there were actually three soundtracks associated with it: the score soundtrack, a Christian soundtrack and a country soundtrack. As a result, I made so many great television and film contacts. Even though I’m technically an A&R executive, I also became heavily involved on the TV and film side because of those relationships.
One funny story is that the head of casting at DreamWorks was a woman named Allison Jones, who is a huge deal now. Sometimes I would get her emails because we were both Allison Jones at DreamWorks. So every once in a while I would accidentally get some early casting information.
Do you have a favorite memory from your time at DreamWorks?
Gosh, just the run of Toby Keith.
We were this little family against the world, and that’s when he was winning Entertainer of the Year, Male Vocalist of the Year and having this incredible run. Just getting to learn from Toby was invaluable.
There’s not a day that goes by that I don’t appreciate that experience. In addition to being an artist I worked with, he was really close to me. He was like my big brother. He didn’t get close to a lot of people, but if you were in his inner circle, he was gracious with his knowledge, his time and, good Lord, he was fun and funny. I don’t know that I can pinpoint one specific memory as much as being part of that journey. It will always go down as one of my favorite experiences.
Where did you go after DreamWorks?
DreamWorks had its run from about 1996 until 2004, so just under 10 years. Then all of DreamWorks Records merged with Universal. Suddenly we were merging with Universal Nashville.
I loved it because all of a sudden I got to work with George Strait, Reba, Trisha Yearwood, Vince Gill, Gary Allan and so many others. But mergers are always interesting. It’s difficult when you’re bringing together two cultures. We had our DreamWorks culture, which was this small, fierce company that felt like us against the world, and then we were absorbed into what was, at the time, the Tiffany of record labels. MCA had everybody. Mercury had merged with them, so now there was Shania Twain and all these incredible artists. It was an amazing opportunity because I got to work with artists I admired, but it always felt a little bit like there were still two separate teams.
Photo: Courtesy of Jones
That’s also when Scott left to start Big Machine.
I stayed at Universal through the end of my contract. Around that same time, Toby left as well because he wanted to start his own label, Show Dog.
When my contract was up, Toby called me one day while he was sitting on his bus in Nashville. He always called me “Big Al,” which normally I wouldn’t like because I don’t really want to be called Big Al, but coming from him it was incredibly endearing. He said, “Big Al, come to my bus.” I sat down with him, and he asked, “Do you still love what you’re doing?”
I told him I did. I loved music and I loved what I did, but things had changed. I had gone from our little 20-person staff at DreamWorks to a giant corporation, and I wasn’t really sure what my next step was.
He said, “I want you to come work for me. I want you to help me build artist development and A&R for Show Dog. I want you to come out on the road with me this summer, and I want to remind you why you love music so much and why you love this business.”
I’ve had a lot of people open doors for me throughout my career, but that was one of the most meaningful moments. I wasn’t really sure what came next, and being able to go work alongside someone who was not only at the top of his game, but who also felt like family to me was incredible. I was there for maybe a year, a little less than a year. Then Scott called.
And then you went to Big Machine.
Photo: Courtesy of Jones
I had stayed very close to Scott after he started Big Machine. At the time, I was still heavily involved in A&R at MCA and Mercury. I was working on George Strait and Gary Allan records, and I was getting songs every day.
Scott had signed Jack Ingram, and I was a massive Jack Ingram fan. When my artists passed on songs, I would often send them over to Scott and Jack. We stayed really close.
I had also met Taylor [Swift] when I was still at DreamWorks, so I was friendly with the family before Big Machine really took off. One day Scott called me and said, “I need you. I need you to come here immediately. Like next week.”
Calling Toby and telling him I was leaving was one of the hardest phone calls I’ve ever made. Of course, he understood. There were no hard feelings at all. He was happy for me.
Joining Big Machine at that point was a crazy time because Taylor was finishing her first record and beginning her second. That meteoric rise of Taylor Swift was unbelievable. I can’t imagine there are many people in the music business who can say they had a front-row seat to something like that.
We were a small family, very much like DreamWorks had been. I remember going to Taylor’s first headline show in Chattanooga. I was there with Andrea [Swift] and Robert Allen. I remember standing at front of house with Andrea. I was a new mom, and I just started bawling.
I was watching these little girls holding signs that said, “It’s okay not to be cool because of you.” Or, “I want to play guitar because of you.” It wasn’t just fandom. It felt like watching the beginning of a generational shift. I remember crying because it felt bigger than music. I became the person standing beside Andrea at every show because, yes, I worked with Taylor, but the mom in me was overwhelmed by what I was witnessing. Watching all those young girls connect to her in that way was extraordinary.
Photo: Courtesy of Jones
What was your role at Big Machine at the time?
I was hired to be the head of A&R. Technically, I was the SVP of A&R, but we were so small in those early days that titles didn’t really matter. I was doing A&R administration. I was doing A&R. I was handling television and film opportunities.
Scott had started a publishing company, but at that point it was primarily for Justin Moore‘s publishing and some of our artists. It wasn’t large enough yet to have a traditional publishing staff. So I was also taking songs, managing publishing conversations and helping figure out how everything fit together. I loved it because we were doing so much. It was a completely different time. Streaming wasn’t really a thing yet. iTunes was. Social media existed, but not in the way it does today.
It’s interesting rebuilding it all over again now. Today we have around 30 employees and a lot of artists already, and we’re rebuilding from the ground up again. I’m the EVP of A&R, and Carly Strickland works closely with me. Together we’re rebuilding systems, budgets, A&R administration processes, artist clearances and all the infrastructure that supports a label. It’s a completely different industry than it was back then, but we’re still building. So, in many ways, I’m wearing a lot of the same hats now that I wore in the early days of Big Machine, and Carly and I are both enjoying the challenge.
What has been your favorite part of being at Big Machine?
Gosh, there are so many memories. Someone asked me this recently, and I hate picking just one because I love all of these artists so passionately like they’re all my kids. I get so emotionally invested in them that I hate highlighting one without mentioning all of them.
Photo: Courtesy of Jones
But one memory that stands out is the year Taylor won four Grammys. It was the year of “White Horse,” and to sit in that room and watch young Taylor Swift sweep the country categories and then win in the all-genre categories was insanity. What made it even more special was seeing Nashville represented on that stage. Liz Rose, who has always been one of my best friends, was nominated. Nathan Chapman was up for overall album of the year. Justin Niebank had mixed the record. There were so many Nashville people involved.
Watching Taylor, Liz and Nathan on that stage, I was crying the whole time.
We were still a small company, and Taylor was so young. To see a young woman, a country artist, win at that level across all genres felt incredible.
Afterward, because Taylor was underage, we couldn’t exactly go celebrate in bars. So we all walked over to dinner near Staples Center and celebrated together. I still have a picture from that night of me, Scott, Taylor and Eric Powell holding up four fingers for the four Grammys. She looks so young in that photo. That has to be one of my favorite memories.
What excites you about where Big Machine is headed now?
I love the energy and challenge of building something.
Obviously, Riley Green has been incredible to watch. Not only has he become established as a major star, but he’s had back-to-back hits that he wrote himself. Then watching him on Marshals was amazing. He had never acted before, and I was blown away by his performance. I remember texting him and saying, “Dude, you’re an actor.” To see that received so well, and now to watch him become a coach on The Voice and see his ticket sales continue to grow, has been incredible.
Photo: Courtesy of Jones
We also have so many new artists I’m excited about.
Mark my words, Cole Goodwin is the future of country music. He’s got that ’90s country thing, but there’s also some ’80s country in him. I’m incredibly excited about what he’s doing. I’m also excited about the Jack Wharff Band because they’re a little outside our genre. It’s been fun working with something that isn’t genre-specific. There’s freedom in making music that doesn’t have to fit into a tiny box. I have an incredible duo called Marfa. They’re kind of like if The Everly Brothers, Simon & Garfunkel and the Eagles existed today as young hipsters. They’re incredible. Greylan James is off to a great start. Mackenzie Carpenter is making incredible music.
And then there’s The Band Perry. I signed The Band Perry 15 years ago, so getting to work with Kimberly again has been incredibly special. We have so much fun together. Sometimes we stop ourselves now and ask, “Why has this been so easy and enjoyable?” I think a lot of that comes from experience. Kimberly was a massive star at such a young age. Then she experienced having it all go away and having to rebuild. So getting to rebuild both a label and the next chapter of The Band Perry has been really rewarding.
Another exciting thing is that Scott has opened a management company. When everything split apart, I was heartbroken to leave artists like Thomas Rhett, Carly Pearce and Midland because those artists are family to me. They’ll always be family.
But Carly is my soul sister. I had been following her career and meeting with her for years. She just didn’t have the song yet. I remember meeting with her after she left RCA. I loved her, but she hadn’t found that defining song. Then she did an independent project with Busbee. They were being very selective about who heard it because they wanted to make a splash.
I remember knowing it was coming out and seeing all these people on Twitter talking about it. Lucy Hale, Kelsea [Ballerini] and so many others were posting about it. So I went to iTunes and listened. The song absolutely annihilated me.
It was “Every Little Thing.” I immediately texted Carly and said, “Girlfriend, you have your three minutes. Call me right now, or call me in the morning, but you have your three minutes.”
That was on a Friday. I brought Scott to see her at the Opry on Saturday night. Then, of course, every label in town came after her. Thankfully, she chose us.
Photo: Courtesy of Jones
I was incredibly sad when I thought I might not get to work with her anymore, but then Scott said, “What if I manage her?” Now I’m probably more involved in her career than ever because I work closely with her manager. It’s been really special.
What is the best advice you’ve ever received?
Probably from Reba. Working with Reba is right up there with Toby and Taylor for me. Not just as an artist, but as a human being. Is there anyone better than Reba as a human? I truly don’t think so.
During the years when women were talking about how difficult it was to get played on radio, Reba would always say, “Outwork the men. Just outwork them.” She didn’t make it about being a woman or a man. She made it about work ethic. The first artist I worked closely with was Lorrie Morgan, and she said the same thing. You have to outwork them. You have to out-sing them. You have to outperform them.
When I entered the music business in 1991, women were running Nashville. Donna Hilley was running Tree. Frances Preston was running BMI. Connie Bradley was running ASCAP. Celia Froehlig and Robin Palmer were running EMI. Karen Conrad had the biggest independent publishing company in town. Evelyn Shriver and Susan Nadler were running publicity and labels. I watched all of these women succeed in an era where nobody complained. They just did the work. By example, they taught me that we could do it too. You just outwork everybody.
What are you most proud of in your career?
My relationships. I’m proud that I still genuinely love what I do. Somewhere along the way, I learned to trust my gut. That’s one of the hardest things to do in the music business, especially now when there’s so much data. You can overanalyze everything. I’ve always trusted my instincts, and I’ve always relied on relationships. Because all of this eventually goes away.
If you take care of the music and you take care of the relationships, everything else will fall into place. That’s how I sleep at night. I know I was earnest in my love of the music, and I know my intentions with artists and people in this industry were genuine.
I’m grateful to still be doing this. More than ever, after all these years, I wake up every day and recognize what an honor it is to work in this business. It’s an honor when creators trust you with their art. I’m excited about where the music business is headed, and I’m excited about the next chapter of this label.
Music Industry Community Launches Online Platform & iOS App
/by Lauryn SinkChristy DiNapoli, Brian Haunhorst and Ashley Holt. Photo: Courtesy of MIC
Music Industry Community has launched a new online platform and iOS app.
Launched by West Village Entertainment, which is helmed by industry veterans Christy DiNapoli, Brian Haunhorst and Ashley Holt, the platform is designed to work as a centralized location for resources for artists, musicians, producers, creators and industry professionals. Key features include networking, collaboration tools, booking resources, streaming insights, audience tracking and more.
“This isn’t just another social platform,” says the MIC team. “MIC was built specifically for the music community — combining the tools artists and industry professionals need all in one platform. From networking and collaboration to booking, analytics, and all the tools needed to help creatives spend less time juggling various platforms and more time building their careers.”
More information on MIC is available here.
David Nail & Will Hoge Team For New Fall Tour
/by Lorie HollabaughDavid Nail & Will Hoge
David Nail and Will Hoge are joining forces for “An Evening With David Nail and Will Hoge,” a seven-city mini-tour kicking off Sept. 30 in Louisville.
The co-headlining tour will feature stripped-down performances, storytelling, and intimate renditions of fan favorites and brand-new material, highlighting the artistry and songwriting that have defined both Nail and Hoge’s careers. The tour will include stops in Gainesville, Boca Raton, Clearwater, Birmingham and more through Dec. 10. Tickets are on sale now.
Hoge’s career includes No. 1 hits, Grammy nods and major label deals. He released his 15th studio album, Sweet Misery, last August. Years before Americana music received its own category at the Grammys, Hoge was on the frontlines, helping to pilot and popularize the genre’s blend of American roots music.
Nail has released tracks like “The Crown,” “Fare Thee Well,” and “She Knows” this year, and is set to release his first album in over a decade, Flowers, on Aug. 21. He has also embarked on his intimate “Down To The Studs Tour,” where he performs with just a guitar, stories, and songs, reconnecting with audiences in listening rooms and small theaters across the country.
An Evening With David Nail and Will Hoge Tour Dates:
Sept. 30 – Louisville, KY – Kentucky Center for the Arts’ Bomhard Theater
Dec. 3 – Gainesville, FL – Heartwood Soundstage
Dec. 4 – Boca Raton, FL – The Funky Biscuit
Dec. 5 – Boca Raton, FL – The Funky Biscuit
Dec. 6 – Clearwater, FL – Wiley House Concerts
Dec. 7 – St. Augustine, FL – The Waterworks
Dec. 9 – Athens, GA – Rialto Club at Hotel Indigo
Dec. 10 – Birmingham, AL – Workplay Theatre
Bandit Lites Nashville Elevates Dawn Culbertson
/by Lorie HollabaughDawn Culbertson
Dawn Culbertson has been promoted to General Manager of Bandit Lites Nashville operations.
“Dawn has done an amazing job as the Business Manager of Best Techs, a Bandit company, and this is a next step forward,” says Bandit Lites Owner and Founder Michael Strickland. “When we first began the search, Dawn stepped forward and was an obvious choice. We cannot thank her enough for stepping up and leading. There is no one I trust more and no one more suited for the role. She has been a valuable part of the family for 15 years and we look forward to many more great years!”
“What excites me most is the chance to take on a larger role in helping Bandit Lites succeed,” shares Culbertson. “This company has an incredible team and a strong foundation. I’m looking forward to working with our employees and clients to build on what we’ve already accomplished, continue growing the business and ensure we remain a company people are proud to be part of.”
Jon Bellion Signs With Make Wake Artists
/by Madison HahnenPictured (L-R): Chris Kappy, Jon Bellion, Louis Coppola and Matt Maschi.
Grammy-nominated singer, songwriter and producer Jon Bellion has signed a full-service artist management deal with Make Wake Artists. He will work directly with Make Wake Founder Chris Kappy and longtime collaborators Louis Coppola and Matt Maschi.
As a collaborator, Bellion’s recent work includes the official 2026 FIFA World Cup song “Dai Dai” by Shakira and Burna Boy, which he co-wrote with Ed Sheeran; “Girls” with The Kid LAROI, and “Two Car Garage” with Swae Lee, released through the FANDOM platform. His songwriting and production credits also include Justin Bieber’s “Holy,” “Ghost,” and “Anyone,” Maroon 5’s “Memories,” and Eminem and Rihanna’s Grammy-winning hit “The Monster.”
In 2019, Bellion launched Beautiful Mind Inc., which includes Beautiful Mind Records and Beautiful Mind Publishing. The company has signed artists such as Tori Kelly and Lawrence. His debut album, The Human Condition, reached the top five on the Billboard 200, while his second album, Glory Sound Prep, peaked at No. 3 on the Billboard Top Rock Albums chart and No. 15 on the Billboard 200.
Make Wake partnered with Bellion on his first solo album in six years, FATHER FIGURE. The project was managed by Coppola, with Maschi leading A&R, and became Bellion’s biggest studio release to date. Led by “WHY” (feat. Luke Combs) and collaborations with Pharrell and Jon Batiste, the album delivered Bellion’s strongest results across downloads, streams, fan engagement, merchandise sales and media coverage. The momentum continued with his first live performance in six years, which sold out in less than a week.
“I met JB when Luke recorded “WHY” with him in November of 2024,” says Kappy. “We hit it off and he loved our Fans.F1rst. philosophy. We jumped right in, re-ignited his fan base and put out FATHER FIGURE. We then sold out two nights at Forest Hills (23,000 people) and set into motion JB’s new creative dreams to be a writer, producer, and artist on his terms. JB is a visionary and we are happy to be leading the charge for his art and creative genius. We just now are announcing this because we were busy with everything else.”
That success carried into Live from Forest Hills. The 20-track live album captures Bellion’s sold-out two-night run at Forest Hills Stadium in August 2025, his only live performance of FATHER FIGURE.
The release has driven record audience growth for Bellion, helping push his career streams past 4.7 billion across platforms. He now reaches 4.35 million monthly listeners on Spotify and 1.5 million YouTube subscribers. His direct-to-fan community added 31,000 new fan club members, with new music shared with fans before its public release. His debut show at Red Rocks on June 11 sold out the 10,000-seat venue, and he is set to perform at the Hollywood Bowl on September 24.
“I don’t really need a manager, I need an idea partner,” adds Bellion. “People who can execute my vision outside the machine. Kappy brought me a sound board and a work force that executes for me. He understands my workflow is at my own pace and that pace is uncompromising. He understands that better than anyone I’ve ever met. Within seconds of meeting him I knew this would work out.”
Jake Hess Inks With Prescription Songs In Joint Venture With 7Hills Music & David ‘Messy’ Mescon
/by Madison HahnenJake Hess
Songwriter, artist and musician Jake Hess has signed with Prescription Songs, in a joint venture with 7Hills Music and producer David “Messy” Mescon.
The Georgia native grew up in a Gospel music family, bleeding into his songwriting today. Since moving to Nashville, he has built a strong presence in the country music community and has upcoming cuts with Chase Matthew and Dalton Davis. He regularly writes with Mescon, Matt Mulhare, Phil Morgan, Seth Michael and Will Terry, among others.
“Prescription’s global reach, plus 7Hills’ Georgia roots, made perfect sense for a guy whose musical tapestry has been woven by several influences, but still has a yearning to create something that feels like home,” says Hess. “This team doesn’t just want me in the building, they want me to feel like an important part of a bigger picture. I believe we’re going to accomplish great things together.”
“From the first time I met Jake, I was drawn to both his talented songwriting skills and the kind of person he is,” shares 7Hills Music Founder and Prescription Songs A&R consultant Hannah Montgomery Bay-Schuck. “His unique ability to connect through songwriting, paired with his focused work ethic, makes him someone people naturally want to create with. We’re so excited to welcome him to 7Hills and Prescription Songs and can’t wait to see what we build together.”
“Jake is not only a fantastic artist and songwriter, but an even better human!” adds Prescription Songs Nashville A&R Sophia Battaglia. “I’m such a fan of everything he does and feel so lucky to be a part of his creative journey. I look forward to watching him thrive, and am thrilled to welcome him to RX songs!”
“Jake Hess is one of the most talented, genuine, and capable songwriters of today,” shares Mescon. “He will be a key in crafting the future of country music.”
Hess recently performed at Prescription Songs’ CMA Fest Takeover showcase on June 6 at Tin Roof Broadway.
Academy Of Country Music Unveils Special Award Honorees For 19th ACM Honors
/by Lauryn SinkThe Academy of Country Music has unveiled the special honorees to be celebrated at the 19th annual ACM Honors, set for Aug. 19 at The Pinnacle in Nashville.
Carly Pearce returns to host for the sixth time, alongside new co-host Parker McCollum.
Brett James and The Carter Family will each be honored posthumously with the ACM Poet’s Award. This award recognizes a country music songwriter whose work has had an enduring impact on shaping the country music genre with exceptional lyrical and musical contributions.
Bill Anderson and Mike Curb will each be honored with the ACM Icon Award, inspired by Cliffie Stone, which honors a country music artist, duo/group, or industry leader whose multifaceted contributions across songwriting, recording, production, touring, film, television, literary works and philanthropic efforts have positively impacted the country music genre and community.
Kacey Musgraves will be honored with the ACM Spirit Award. Inspired by 20-time ACM Award recipient Merle Haggard, this award is presented to an honoree that exemplifies Merle’s dedication to country music and passion for storytelling through music and performance.
Scott Zolke will be honored with the ACM Service Award, inspired by Mae Boren Axton. This award recognizes a country music artist, duo/group, or industry leader that has served the Academy of Country Music.
Eric Church will be honored with the ACM Lifting Lives Award, honoring the contributions of Gary Haber, known as a business manager and past president of ACM Lifting Lives. This award is presented to a country music artist, duo/group, or industry professional who is devoted to improving lives through the power of music, has a generosity of spirit, and is committed to serving others. It is voted on by the ACM Lifting Lives Board of Directors.
Leslie Fram will be honored with the ACM Lift Every Voice Award. This award is presented to a country music artist, duo/group, industry leader or affiliate/partner who plays a pivotal role in elevating underrepresented voices throughout the country music genre, transcending demographics and geography.
C2C: Country to Country will be honored with the ACM International Award, inspired by Jim Reeves. This award is presented to a country music artist, group or industry leader for outstanding efforts in expanding country music’s influence worldwide. Landman will be honored with the ACM Film Award, inspired by Tex Ritter, which honors a television series, television movie, or feature film released within the past calendar year that prominently showcases Country Music.
These winners join previously announced ACM Artist-Songwriter of the Year winner Ella Langley and ACM Songwriter of the Year winner Jessie Jo Dillon. Additional awards will be announced at a later date.
Tickets go on sale on June 26.
Kirbi Inks With Curb Records (Curb/Word)
/by Lauryn SinkKirbi. Photo: Courtesy of Curb Records (Curb/Word)
Kirbi has inked with Curb Records (Curb/Word).
Originally from Florence, Alabama, Kirbi discovered her love for singing at age 11 and began performing in churches and local events. First garnering attention on Season 28 of NBC’s The Voice, she has collaborated with award-winning producers and songwriters, including Smith Curry, and has written with Tommy Sims.
“Since I was little and figuring out the kind of artist I wanted to be,” she shares. “Curb records has been my dream label. I can not wrap my mind around the fact that I am now an official Curb/Word artist!”
Ablaze Entertainment, Kirbi’s longtime management team, adds “We are thrilled to partner with Curb Records on this next chapter. It was never a question about ‘if’ she was going to get signed, it was simply a matter of when. God created Kirbi to be worldwide and bring his voice to her generation.”
Kirbi is currently in the studio recording new music expected to release later this year.
Lakelin Lemmings’ Self-Titled Debut Set For July
/by Lorie HollabaughRising singer-songwriter Lakelin Lemmings will release her self-titled debut album on July 24 via Quartz Hill Records. She dropped the latest track from the project, “He Ain’t Coming Back,” last week.
Lemmings co-wrote 15 of the 16 tracks on the new album, which was produced by Ash Bowers. The project captures the heart, confidence, vulnerability, and youthful spirit that have earned Lemmings a dedicated fan base and industry-wide attention, including for her debut single “Get Around Boy.”
Born and raised in a musical family, Lemmings began singing at age six and grew up listening to Dolly Parton, Reba McEntire, Loretta Lynn, Lee Ann Womack, Miranda Lambert and Carrie Underwood, alongside a heavy helping of 90’s pop. She signed her first Nashville publishing deal at just 17, and has since amassed more than 300,000 followers across her socials. Releases from her debut EP Get Around Boy, “Keep the Faith,” “Parking Lot” and “19 and Single,” have broadened her reach and set her up to release her upcoming self-titled debut.
Last weekend, Lemmings brought her energy to the KSON NASCAR Country concert in San Diego as part of the historic race at Coronado. While there, she spent time with the active Navy Seals and visited with military families, NASCAR drivers and more.
Lakelin Lemmings Track Listing:
1. “American Dreamin’” (Neal Coty, Lakelin Lemmings, Ash Bowers)
2. “Bad Boy Good” (Lakelin Lemmings, Ash Bowers, Mike Mobley)
3. “Get Around Boy” (Lakelin Lemmings, Mike Mobley, Ash Bowers)
4. “There Goes the Cowboy” (Lakelin Lemmings, Ash Bowers, Neal Coty)
5. “I Ain’t for Everybody” (Lakelin Lemmings, Ash Bowers, Mike Mobley)
6. “He Ain’t Coming Back” (Lakelin Lemmings, Tim Owens, Nathan Woodard, Ash Bowers)
7. “Tell Me More” (Lakelin Lemmings, Keesy Timmer, Ash Bowers)
8. “I Remember Us” (Lakelin Lemmings, Janelle Arthur, Adam Wheeler & Helene Cronin)
9. “19 & Single” (Neal Coty, Ash Bowers, Lakelin Lemmings)
10. “What Are We Doing” (Neal Coty, Lakelin Lemmings, Ash Bowers)
11. “Parking Lot” (Lakelin Lemmings, Ash Bowers, Tiffany Goss)
12. “I’m Over You” (Lakelin Lemmings, Neal Coty, Ash Bowers)
13. “Life of Mine” (Lakelin Lemmings, Jaron Boyer, Matt Gorman, John Stephens, Dan Marshall, Kaylin Roberson)
14. “Break Up Songs” (Lakelin Lemmings, Brent Loper, Nathan Woodard)
15. “I Drive a Truck” (Lakelin Lemmings, Tim Owens, Nathan Woodard, Ash Bowers)
16. “Keep the Faith” (Jaron Boyer, Lori McKenna, Phil Barton)
Kenny Chesney Slates New LP ‘Silver Sands Marina’ For Fall
/by Lorie HollabaughKenny Chesney is gearing up for the release of his 21st album, Silver Sands Marina, on Sept. 25 via HEY NOW Records. He’s offering fans a second taste of the upcoming new project with the title track, available today (June 24).
Chesney produced the new album with Buddy Cannon, and the debut single from the collection, “Carry On” became the first independent single and only the third ever to lock out the country radio reporting panel in its first week. The album epitomizes everything the superstar embodies: positive vibes, good humor, long drives, moments and memories that last a lifetime, tossing away what pulls you down, and a sense of how sweet life truly is.
Songwriters contributing to the new project include Matraca Berg, Shane McAnally, Brett James, Jessie Jo Dillon, Tenille Townes and Adam Wright, and special guests Colbie Caillat, Lily Meola and Megan Moroney appear as well.
“I love everything about music, but especially how it makes you feel,” Chesney explains. “It can crack open a tough moment, lift you up, blow you up and make you laugh harder than anything. When I started thinking about all the things music can be, a few songs came in – and Silver Sands Marina, as it now exists, took shape. Some great players, guests who really fit the songs, but especially some places I’ve never gone.”
Chesney returns to TalkShopLive on July 15 to dig into the recording process for the new album, what he hopes people take from it, and what he’s learned about music’s power to bring people together and transform even the toughest moments.