Troy Vollhoffer. Photo: Katie Kauss
Troy Vollhoffer is an American entrepreneur from Nashville, Tennessee and currently serves as the President of Country Thunder Music Festivals, Big Valley Jamboree and Premier Global Production Company. One of the most beloved festival brands in the world, Country Thunder has seen tremendous success, receiving numerous awards including the ACM Festival of the Year for Country Thunder Arizona, Wisconsin, and most recently, Bristol in 2023. For his transformation of the festival, Vollhoffer was honored with the Academy of Country Music Lifting Lives Award and the Don Romero Talent Buyer of the Year Award at the ACM Honors in 2023.
Vollhoffer played professional ice hockey from 1982-1992 and has served on the boards of the T.J. Martell Foundation, Vanderbilt Children’s Hospital, ACM Lifting Lives, ACM and the CMA. His dedicated philanthropic commitment was recognized at the 2018 CCMA Awards, where he received the Slaight Music Humanitarian Award.
Photo: Courtesy of Vollhoffer
MusicRow: Where did you grow up? What were you into as a kid?
I grew up in Regina, Saskatchewan. I was into show business, actually—and hockey. My grandfather was in show business, and my father was too. He toured, then settled in Regina and ran the stagehand union, the IATSE local. So I got a taste of everything from ballet to rock shows. It was a great upbringing.
Were you drawn to any specific type of music or entertainment back then?
No, I loved it all. One night I’d see Conway Twitty at the arena or my dad’s theater, and the next night I’d be seeing KISS. It was really neat. That exposure definitely inspired me to do what I do today.
Did you always know you’d pursue this, or did hockey come first?
Hockey came first because it’s a timely thing. When I was growing up, my mom always said, “Don’t grow up to be a hockey bum.” Most guys would play, think the tap would never turn off, spend all their money, and end up selling cars because they had none left. That stuck with me.
So I played major junior in Saskatoon in the Western Hockey League and then signed a free-agent contract with the Pittsburgh Penguins. I signed a four-year deal, got a signing bonus—and instead of buying a big house like my buddies, I bought a lighting system. I had no money. It was all invested into equipment. I thought, “Build it and they will come.” That wasn’t exactly the case, but I kept working at it until things finally started to turn.
Photo: Courtesy of Vollhoffer
Tell me how things turned.
After I bought that lighting system, I landed a contract with the festival I own now—what used to be the Craven Country Jamboree. It was owned by a priest and a nun, and they gave me my first shot. My father organized the labor for it, and I got the lighting contract.
Then they owed about $100,000 in tariffs on a stage they’d brought in from the U.S. and said, “Do you want to build a stage? We’ll give you a 10-year contract.” So I built a stage. The first big thing we got after that was Rod Stewart in 1992—the “Vagabond Heart “tour. We did a couple dates on that, and that really started the branching out.
Shortly after, we moved to the U.S. In ’93 we did Def Leppard, and in ’94 we did Metallica. Metallica has been a client ever since—a long, long-term relationship. And in between, we’ve worked with most major country acts.
Photo: Courtesy of Vollhoffer
How did you actually learn the craft? Was it hands-on?
Yeah, totally hands-on. I worked as a stagehand—that’s how I got my chops. I moved gear, pushed cases, all of that. That was my summer job and my job after school. I’d go straight from school either to the rink to skate or to the theater to work—those were my two pastimes.
I learned by doing it, and I naturally gravitated toward lighting. I loved the artistic side and the creation of it. But I remember working a Van Halen show, waking up the next morning thinking, “Oh man, they’re loading in Calgary today.” It was like the circus, the magic of the theater. That’s what excited me then, and it still does.
Photo: Courtesy of Vollhoffer
You mentioned rebranding into Country Thunder. Tell me about that decision and how it’s grown.
Well, I never set out to be a concert promoter. It was out of necessity. Some of these festivals had bad luck and asked me to take them over. I had the production contract, so it was like, if I don’t take them over, they’re going down the toilet. We put together a team, and the first one we did was up in Saskatchewan. That’s the oldest consecutively running festival in North America. It’s been running since 1983.
The first year we jumped in, we were doing production for Tim McGraw. I was able to get Tim, and he was on fire. He was hitting with “Live Like You Were Dying.” He headlined that first year. We had Lonestar, Brad Paisley—who was just starting out—and Tim McGraw. We had a really good year.
A couple years later, Country Thunder called us. They were ready to make a change, and we were doing their production already. Country Thunder had changed hands a few times, and they asked if I wanted to buy it. We did a deal, and that’s how Country Thunder came about.
Then William Morris came knocking and asked if we’d like to sell 51% of Country Thunder, so we did. We expanded it, brought it into three or four more markets, and rebranded the existing festivals in Canada. Eventually, when they were ready to go public and raise capital, I bought my shares back, so I owned it 100% again.
Photo: Courtesy of Vollhoffer
Not many country festivals have such a wide footprint. How do you keep the excitement and growth going all these years?
You have to identify your audience—that’s the biggest key. And it’s different now than it was even two or three years ago. There’s a split in country music right now. You’ve got pop-country, and then you’ve got more Americana or [traditional-sounding] country. And those two fanbases don’t necessarily mix well. It’s kind of oil and vinegar.
So you have to be very conscious in your programming. You have to stay hip with the times: know who’s happening, who’s firing on all cylinders. You’re looking into your crystal ball a year before and hoping you pick the right artists who are going to break.
What’s a day in the life like for you? I imagine it changes a lot.
A lot of travel. I spent seven months on the road last year, and I’ll probably end up doing that again this year. It’s been a busy start. My day flip-flops between businesses. I’ve got two amazing teams, and I’m very fortunate—they’ve been with me a long time. I’ve got people who’ve been with me 30 years. We’re all in sync. Everyone knows the goals. So for me, being CEO of both companies isn’t difficult when you have unbelievable teams like we do.
Do you have a favorite part of what you do?
I love the show. I love the show—and I love the loadout. I love seeing it go away, how fast we can get it out. It’s the challenge of it. And I just love seeing the magic, seeing people’s faces light up when an artist plays their favorite song. It’s a blast. I’m blessed. I don’t have a job. I haven’t worked a day in my life because I’m living in my own Disney World.
Photo: Courtesy of Vollhoffer
What are your goals now? What do you still want to do?
I love what I do, so I want to keep doing it. Keep building the business and have fun along the way. My goals now are about bringing in the next generation of people into show business. That excites me. There are some great young talents out there. Nashville is a great breeding ground—not just for artists, but for the technical and business side too.
We have one kid who started as a lighting tech in ninth grade at Nashville School of the Arts. He was always the lighting guy for school plays and dance stuff. Now he’s the crew chief on Metallica, moving 44 trucks of gear down the road every day.
What advice would you give someone who wants to do what you do one day?
Come see me. Our company, Premier Global, has a very large staff, some of the best people on the technical side of this business. They’re open books to anyone who’s interested. We give tours of our facility. We have a rehearsal hall where artists prep their shows before they go out. You can see a lot and learn a lot. We’re open to anyone coming by—getting a tour, asking questions, talking with our team.
Who have been your mentors along the way?
Lots. Gary Perkins was one. He started as a guitar tech for Jimi Hendrix. He was one of my first mentors. Tom Ack was another. He went on to do Prince for a long time. They’re all retired now, which is funny because when I retired from hockey and started out in this business, I never thought those guys would retire.
There were many more from the show-business side, from the agent side—especially when we entered festivals. A lot of those older agents were amazing to work with. It’s been a great ride.
What’s a moment that sticks out—a moment your younger self would look at and think, “He’s so cool”?
I don’t know the exact answer to that. I’ve had lots of moments like that. When you build something, and you’re standing in the middle of a field imagining the doors opening and 20,000 or 30,000 people coming in to experience your vision—that’s something I’m proud of. I’m passionate about it.
And I learn every day. I never stop learning. I’m a student of the game. The day I don’t learn something is the day I should probably stop doing this.
Spotify Expands Song Credits, Introduces SongDNA & About The Song
/by Madison HahnenSpotify has revealed the expansion of their Song Credits program, as well as the introduction of two new programs: SongDNA and About the song.
In the updated Song Credits feature, users will now be able to view all contributors to a track, including producers, engineers, songwriters and featured artists. The credits will come directly from the label and artist distributor, and rollout has begun on the mobile app and will continue onto desktop over the next few months.
Spotify’s Song Credits program.
With SongDNA, users will have an interactive view that shows connections between songs, including collaborators, samples and covers all in one place. Samples and covers in SongDNA are powered by WhoSampled, which is now part of Spotify.
About the song will give users a look behind the creative process. Premium users will be able to what inspired the song, the stories behind the songs, and their cultural impact. The stories will be sourced from third parties.
Spotify’s About the song program
“Back in the record and CD era, people read liner notes and it was a big thing to do while you listened,” shares producer Mike Dean. “We used to listen, read, and dream of being listed one day. Later in my life, when my career started, people discovered me through the credits long before the internet was popular. A lot of information gets lost in metadata when labels deliver, and credits for assistant engineers, additional producers, mastering engineers, and others often get left off. So I think expanding Song Credits and SongDNA are great steps forward in modernizing credits.”
“So many incredible creatives contribute to a track, and recognizing them publicly can be life-changing,” says mix engineer Manny Marroquin. “Accurate credits open doors, whether it’s new work, new relationships, or simply being seen. Spotlighting the full team behind each song makes our industry stronger and more inclusive.”
“Every song is a collaboration, and every contributor should be seen,” adds Jacqueline Ankner, Spotify’s Head of Songwriter & Publisher Partnerships. “With expanded Song Credits, SongDNA, and About the song, we’re giving fans a deeper look at the people and creative threads behind the music they love and giving creators the recognition they deserve. It’s another step in Spotify’s work to champion the people, connections, and stories that bring every track to life.”
Spotify’s SongDNA program
My Music Row Story: Troy Vollhoffer
/by LB CantrellTroy Vollhoffer. Photo: Katie Kauss
Troy Vollhoffer is an American entrepreneur from Nashville, Tennessee and currently serves as the President of Country Thunder Music Festivals, Big Valley Jamboree and Premier Global Production Company. One of the most beloved festival brands in the world, Country Thunder has seen tremendous success, receiving numerous awards including the ACM Festival of the Year for Country Thunder Arizona, Wisconsin, and most recently, Bristol in 2023. For his transformation of the festival, Vollhoffer was honored with the Academy of Country Music Lifting Lives Award and the Don Romero Talent Buyer of the Year Award at the ACM Honors in 2023.
Vollhoffer played professional ice hockey from 1982-1992 and has served on the boards of the T.J. Martell Foundation, Vanderbilt Children’s Hospital, ACM Lifting Lives, ACM and the CMA. His dedicated philanthropic commitment was recognized at the 2018 CCMA Awards, where he received the Slaight Music Humanitarian Award.
Photo: Courtesy of Vollhoffer
MusicRow: Where did you grow up? What were you into as a kid?
I grew up in Regina, Saskatchewan. I was into show business, actually—and hockey. My grandfather was in show business, and my father was too. He toured, then settled in Regina and ran the stagehand union, the IATSE local. So I got a taste of everything from ballet to rock shows. It was a great upbringing.
Were you drawn to any specific type of music or entertainment back then?
No, I loved it all. One night I’d see Conway Twitty at the arena or my dad’s theater, and the next night I’d be seeing KISS. It was really neat. That exposure definitely inspired me to do what I do today.
Did you always know you’d pursue this, or did hockey come first?
Hockey came first because it’s a timely thing. When I was growing up, my mom always said, “Don’t grow up to be a hockey bum.” Most guys would play, think the tap would never turn off, spend all their money, and end up selling cars because they had none left. That stuck with me.
So I played major junior in Saskatoon in the Western Hockey League and then signed a free-agent contract with the Pittsburgh Penguins. I signed a four-year deal, got a signing bonus—and instead of buying a big house like my buddies, I bought a lighting system. I had no money. It was all invested into equipment. I thought, “Build it and they will come.” That wasn’t exactly the case, but I kept working at it until things finally started to turn.
Photo: Courtesy of Vollhoffer
Tell me how things turned.
After I bought that lighting system, I landed a contract with the festival I own now—what used to be the Craven Country Jamboree. It was owned by a priest and a nun, and they gave me my first shot. My father organized the labor for it, and I got the lighting contract.
Then they owed about $100,000 in tariffs on a stage they’d brought in from the U.S. and said, “Do you want to build a stage? We’ll give you a 10-year contract.” So I built a stage. The first big thing we got after that was Rod Stewart in 1992—the “Vagabond Heart “tour. We did a couple dates on that, and that really started the branching out.
Shortly after, we moved to the U.S. In ’93 we did Def Leppard, and in ’94 we did Metallica. Metallica has been a client ever since—a long, long-term relationship. And in between, we’ve worked with most major country acts.
Photo: Courtesy of Vollhoffer
How did you actually learn the craft? Was it hands-on?
Yeah, totally hands-on. I worked as a stagehand—that’s how I got my chops. I moved gear, pushed cases, all of that. That was my summer job and my job after school. I’d go straight from school either to the rink to skate or to the theater to work—those were my two pastimes.
I learned by doing it, and I naturally gravitated toward lighting. I loved the artistic side and the creation of it. But I remember working a Van Halen show, waking up the next morning thinking, “Oh man, they’re loading in Calgary today.” It was like the circus, the magic of the theater. That’s what excited me then, and it still does.
Photo: Courtesy of Vollhoffer
You mentioned rebranding into Country Thunder. Tell me about that decision and how it’s grown.
Well, I never set out to be a concert promoter. It was out of necessity. Some of these festivals had bad luck and asked me to take them over. I had the production contract, so it was like, if I don’t take them over, they’re going down the toilet. We put together a team, and the first one we did was up in Saskatchewan. That’s the oldest consecutively running festival in North America. It’s been running since 1983.
The first year we jumped in, we were doing production for Tim McGraw. I was able to get Tim, and he was on fire. He was hitting with “Live Like You Were Dying.” He headlined that first year. We had Lonestar, Brad Paisley—who was just starting out—and Tim McGraw. We had a really good year.
A couple years later, Country Thunder called us. They were ready to make a change, and we were doing their production already. Country Thunder had changed hands a few times, and they asked if I wanted to buy it. We did a deal, and that’s how Country Thunder came about.
Then William Morris came knocking and asked if we’d like to sell 51% of Country Thunder, so we did. We expanded it, brought it into three or four more markets, and rebranded the existing festivals in Canada. Eventually, when they were ready to go public and raise capital, I bought my shares back, so I owned it 100% again.
Photo: Courtesy of Vollhoffer
Not many country festivals have such a wide footprint. How do you keep the excitement and growth going all these years?
You have to identify your audience—that’s the biggest key. And it’s different now than it was even two or three years ago. There’s a split in country music right now. You’ve got pop-country, and then you’ve got more Americana or [traditional-sounding] country. And those two fanbases don’t necessarily mix well. It’s kind of oil and vinegar.
So you have to be very conscious in your programming. You have to stay hip with the times: know who’s happening, who’s firing on all cylinders. You’re looking into your crystal ball a year before and hoping you pick the right artists who are going to break.
What’s a day in the life like for you? I imagine it changes a lot.
A lot of travel. I spent seven months on the road last year, and I’ll probably end up doing that again this year. It’s been a busy start. My day flip-flops between businesses. I’ve got two amazing teams, and I’m very fortunate—they’ve been with me a long time. I’ve got people who’ve been with me 30 years. We’re all in sync. Everyone knows the goals. So for me, being CEO of both companies isn’t difficult when you have unbelievable teams like we do.
Do you have a favorite part of what you do?
I love the show. I love the show—and I love the loadout. I love seeing it go away, how fast we can get it out. It’s the challenge of it. And I just love seeing the magic, seeing people’s faces light up when an artist plays their favorite song. It’s a blast. I’m blessed. I don’t have a job. I haven’t worked a day in my life because I’m living in my own Disney World.
Photo: Courtesy of Vollhoffer
What are your goals now? What do you still want to do?
I love what I do, so I want to keep doing it. Keep building the business and have fun along the way. My goals now are about bringing in the next generation of people into show business. That excites me. There are some great young talents out there. Nashville is a great breeding ground—not just for artists, but for the technical and business side too.
We have one kid who started as a lighting tech in ninth grade at Nashville School of the Arts. He was always the lighting guy for school plays and dance stuff. Now he’s the crew chief on Metallica, moving 44 trucks of gear down the road every day.
What advice would you give someone who wants to do what you do one day?
Come see me. Our company, Premier Global, has a very large staff, some of the best people on the technical side of this business. They’re open books to anyone who’s interested. We give tours of our facility. We have a rehearsal hall where artists prep their shows before they go out. You can see a lot and learn a lot. We’re open to anyone coming by—getting a tour, asking questions, talking with our team.
Who have been your mentors along the way?
Lots. Gary Perkins was one. He started as a guitar tech for Jimi Hendrix. He was one of my first mentors. Tom Ack was another. He went on to do Prince for a long time. They’re all retired now, which is funny because when I retired from hockey and started out in this business, I never thought those guys would retire.
There were many more from the show-business side, from the agent side—especially when we entered festivals. A lot of those older agents were amazing to work with. It’s been a great ride.
What’s a moment that sticks out—a moment your younger self would look at and think, “He’s so cool”?
I don’t know the exact answer to that. I’ve had lots of moments like that. When you build something, and you’re standing in the middle of a field imagining the doors opening and 20,000 or 30,000 people coming in to experience your vision—that’s something I’m proud of. I’m passionate about it.
And I learn every day. I never stop learning. I’m a student of the game. The day I don’t learn something is the day I should probably stop doing this.
Canadian Country Music Association Awards Returns To Saskatoon In 2026
/by Lorie HollabaughThe 2026 CCMA Awards, Canada’s biggest night in country music, will close out the weekend at SaskTel Centre on Sept. 19, and will be available exclusively on CTV, CTV.ca, and the CTV app and streaming next day on Crave. Pre-sale tickets are on sale now, with general on sale kicking off Nov. 28.
Marking the first return to Saskatoon in nine years, Country Music Week 2026 and the 2026 CCMA Awards will shine a national spotlight on the City of Bridges – known for its mix of small-town charm and urban sophistication. This marks the sixth time Saskatchewan has hosted Country Music Week, and the third time Saskatoon has welcomed the CCMA. Over four days artists, industry, and fans from across Canada will come together to celebrate the best in Canadian country.
The 2026 CCMA Awards will feature live performances and country music’s biggest moments, and additional announcements about the events will be shared in the months ahead.
Tracy Lawrence & Nashville Community Rally To Bring In Over 2,400 Donated Turkeys In Hours
/by Lorie HollabaughTracy Lawrence. Photo: Logan Vollmers
What started as a calamity at Tracy Lawrence‘s 20th Annual Mission:Possible Turkey Fry at the Nashville Fairgrounds yesterday (Nov. 25) ended up as a holiday miracle as Lawrence and the Nashville community rallied together to provide meals for 50,000 people in need.
A morning of prep turned to panic after discovering a refrigerated truck had broken, spoiling 650 turkeys out of the 3,600. Lawrence put a call out to social media, news outlets, artists and celebrities asking for donations to replenish the stock in order to reach their goal of feeding 36,000 people throughout Middle Tennessee. The response was immense, resulting in donations of over 2,400 turkeys, making the total of 5,350 cooked and frozen distributed turkeys.
Artists and celebrities came out to support the turkey fry, including Jamey Johnson, Tucker Wetmore, Charles Esten, Dustin Lynch, Meghan Patrick, John Crist, Rodney Atkins, Clint Black, Rhett Akins, Frank Ray and more. Wetmore surprised Lawrence with a drop off of over 100 turkeys, while Patrick also donated and took to her socials to encourage her community to support and donate. Monetary donations can still be made on behalf of Nashville Rescue Mission here.
Fans can continue to donate tonight at Lawrence’s benefit concert at Category 10, where he’ll perform along with Gretchen Wilson, Eric Paslay, Chris Cagle and special guests Halfway to Hazard. A canned food drive will take place at the show on behalf of Second Harvest Food Bank to help support families and individuals facing food insecurity.
EqualizeHer Donates $25K To FAM Grant
/by Madison HahnenEqualizeHer has made a $25,000 contribution to fund FAM’s Family Support Grant.
“FAM has a deep belief that progress happens when caregivers are given the support, visibility, and community they need to thrive,” shares Haley Montgomery, Co-founder of Family Alliance in Music. “This partnership with EqualizeHer allows us to do just that by directly investing in caregivers whose contributions make the industry stronger and more sustainable.”
“We founded EqualizeHer with the goal of creating more opportunities for women in music, an industry where women’s voices and talents deserve greater recognition,” adds Alisha Ballard, Co-founder of EqualizeHer. “Too often music professionals put their careers on hold to navigate the challenges or caregiving, parenting, and family life. We are proud to support Family Alliance in Music and their pursuit of supporting music professionals and helping them make their careers a reality.”
The FAM grant supports parents and caregivers working in all areas of the music business, including artists, songwriters, crew, managers, executives, and small business owners, who face challenges balancing work and family life. The grant prioritizes fertility assistance, needs-based support for touring professionals facing family-related hardship, family caregiving assistance, and small business initiatives that create family-supportive employee benefits.
Applications for the Family Support Grant are open now (Nov. 26) through Dec. 1 at 11:59 p.m. CST. Recipients will be notified in mid-January 2026. Full guidelines and the application form are available here.
26th Annual Nashville Unlimited Christmas Concert For Room In The Inn Set For Dec. 9
/by Madison HahnenThe SteelDrivers. Photo: Glenn Rose
Dave Pomeroy has set his 26th annual Nashville Unlimited Christmas Concert for Tuesday, Dec. 9 at Christ Church Cathedral.
Confirmed on the lineup so far are The SteelDrivers, Charlie McCoy, The McCrary Sisters, Rob Ickes, Tuba Christmas, Kanude, Wolf & Gypsy, Antsy McClain, and the Vanderbilt Blair Big Band, led by Ryan Middagh, with more to be announced and surprose special guests.
“Nashville Unlimited Christmas celebrates the season with great holiday music while raising much-needed funds and increasing awareness of the great acts of love, kindness and understanding done for our community by Room In The Inn over the years,” says Pomeroy. “We urge all Nashvillians to come share in the true spirit of Christmas.”
Attendance is free and open to all, with a suggested $20 minimum donation, which will go towards the Room In The Inn.
For more information, contact Room In The Inn at 615-251-7019, Christ Church Cathedral at 615-255-7729 or Dave Pomeroy at 615-579-5227.
NMAAM Unveils Strategic Plan For National Cultural Impact & Institutional Growth
/by LB CantrellTomicka Delgado, William Jeffries III and Dexter D. Evans
The National Museum of African American Music (NMAAM) has announced a comprehensive strategic plan that aims to expand from 125,000 to 250,000 annual visitors while establishing the museum as the definitive voice on African American music heritage nationwide.
Built around three foundational pillars—Educate & Entertain, Sustainability and National Impact—the plan leverages NMAAM’s unique position as the Home of Black Music Month and the only museum dedicated to the complete story of African American music’s influence on global culture.
“Our three-pillar approach focuses on where musical genius is discovered and developed, where cultural investment creates lasting impact and where American culture gains its authoritative voice,” says Executive Director William Jeffries III. “This strategic framework transforms NMAAM from a preservation-focused museum into an amplification engine for African American musical brilliance.”
The strategic plan will be implemented by NMAAM’s executive leadership team, including Executive Director William Jeffries III, who has secured $5 million in transformational Lilly Endowment funding and brings more than 20 years of cultural institution experience. Deputy Director, Operations & Culture Tomicka Delgado ensures operational excellence and visitor experience optimization through guest services, facility management and organizational culture. Deputy Director, Strategy & Advancement Dexter D. Evans leads cultural programming, strategic partnerships and institutional growth.
“This leadership team brings proven expertise in cultural programming, strategic advancement and operational excellence,” shares Board Chair Stacey Koju, partner at Spencer Fane. “Their combined experience positions NMAAM to execute this ambitious strategic plan while maintaining the authentic storytelling that makes us essential to understanding America’s musical foundation.”
Country Music Hall Of Fame & Museum Earns National Accreditation For Fourth Time
/by Lorie HollabaughCountry Music Hall of Fame and Museum archivists process artifacts in the museum’s archives. Photo: Courtesy of the Country Music Hall of Fame and Museum
The Country Music Hall of Fame and Museum has achieved accreditation again from the American Alliance of Museums, which distinguishes museums that achieve their mission and goals and operate according to the museum field’s highest standards and best practices.
This is the The Country Music Hall of Fame and Museum’s fourth consecutive accreditation since gaining the designation in 1987. Only about 500 museums have achieved accreditation four times, and of the nation’s estimated 33,000 museums, approximately 1,100 are currently accredited—roughly 3% nationwide. All museums must undergo a reaccreditation review process every 10 years to maintain this status. The process assesses museums’ work in public trust and accountability, mission and planning, leadership and organizational structure, collections stewardship, education and interpretation, financial stability and facility management. To earn accreditation, a museum first must conduct a year of self-study and then undergo a site visit by a team of peer reviewers.
“Reaccreditation validates our everyday commitment to our mission,” says Kyle Young, CEO of the Country Music Hall of Fame and Museum. “It confirms that we have an important and unduplicated collection, we use best museum practices to care for these holdings and we make these treasures available to the largest possible audience. Scholarship and continuous improvement are at the heart of everything we do as we work to preserve the history of country music and teach its cultural importance.”
As one of the most-visited museums in the country, the Country Music Hall of Fame and Museum welcomed nearly 1.5 million visitors in 2024 and offered more than 2,000 in-person and virtual educational programs. The museum’s collection facilities, including the Frist Library and Archive, house the world’s largest assemblage of country music artifacts and serve as a research hub for understanding the genre’s history and impact. Its galleries present half a dozen rotating exhibits per year as well as a regularly refreshed permanent core exhibition.
Stephen Wilson Jr. Rocks Headline Ryman Debut
/by Madison HahnenStephen Wilson Jr. Photo: Jace Kartye
Stephen Wilson Jr. took the Ryman Auditorium stage for his first of two sold-out shows on Sunday night (Nov. 23) for his Ryman headline debut. In a personal tribute to his late father and his own childhood, the stage was transformed into a makeshift boxing ring with ropes, corner stool, entrance bell and all, which set the tone for a night rooted in memory, grit, and heart.
He opened with “Calico Creek,” easing the crowd into his world of guitar riff and powerhouse vocals.
“This hillbilly’s been dreaming about this day for 20 years,” Wilson said from stage. “My dream’s have officially out dreamt me.”
HARDY & Stephen Wilson Jr. Photo: Jace Kartye
“Billy” followed, before launching into “Cuckoo,” which had the fans clapping along without hesitation. Wilson then previewed new material with “Preacher’s Kid,” a track from his forthcoming album. After introducing the band, he slid into “Patches” and “Grief Is Only Love,” both magnified by his vocal echoes.
One of the night’s most defining moments came during “The Devil,” performed entirely a cappella. The crowd fell into a hush before joining him for a singalong. “Not Letting Go” closed the first portion of the show, after which the band slipped quietly offstage.
The audience erupted when HARDY emerged as a surprise guest. With just two voices and a pair of guitars, they performed “Father’s Søn.” Wilson then remained alone for a solo acoustic rendition of “I’m a Song,” his father’s favorite, serving as an intimate, tender moment.
The band returned for a high-energy run through of his latest release “Gary,” followed by the nostalgic “Year to Be Young 1994,” as well as an atmospheric cover of Nirvana’s “Something in the Way.” The crowd’s energy swelled through “Holler from the Holler,” sending Wilson offstage to roaring applause.
He returned for a final encore solo, closing the night with a soulful take on Ben E. King’s “Stand by Me.” As the lights came up, Wilson took in every moment feeling the gratitude by the crowd’s standing ovation, and ended the night by throwing some guitar picks into the crowd.
Photo: Jace Kartye
Stephen Wilson Jr. & HARDY. Photo: Jace Kartye
Lainey Wilson, Riley Green & Creed To Headline Country Thunder Saskatchewan 2026
/by Lorie HollabaughLainey Wilson, Riley Green and Creed are set to headline Country Thunder Saskatchewan 2026, which returns for its 43rd year July 9-12.
Other artists set to perform include Cameron Whitcomb, Gavin Adcock, Max McNown, The Dead South, Kalsey Kulyk, Noeline Hofmann, Sasha, Dasha, Sully Burrows, Zach McPhee, Robyn Ottolini, Logan Layman and many more. On top of the talent packed lineup, this year’s event will introduce Buckin’ Thunder, a refreshed bull-riding showcase that brings the thrill of the rodeo to Craven Valley. Fans can purchase tickets at countrythunder.com/sk and take advantage of the $20 payment plan.
“We’re thrilled to bring this level of talent back to Saskatchewan,” says Troy Vollhoffer, CEO, Country Thunder. “Country Thunder is all about creating an unforgettable weekend filled with high-energy performances, memorable moments and the unique atmosphere that only Craven Valley can provide. We’re thrilled to add an additional value to ticket holders with our brand-new bull riding event. We can’t wait to see the fans back in the valley, making the most of every minute.”