Shelia Shipley Biddy
After more than a decade serving the music community through Music Health Alliance, Shelia Shipley Biddy is stepping away from her role as Chief Administrative Officer and Certified Senior Advisor, closing a chapter that, for many across the industry, has been defined as much by compassion as by expertise.
Biddy joined Music Health Alliance in 2013, the year Founder Tatum Hauck Allsep launched the organization, and quickly became a cornerstone of its day-to-day operations and client care. Over the next 13 years, she would work with more than 1,400 clients, helping artists, songwriters and industry professionals navigate the complexities of health insurance, financial assistance and medical crises. In many cases, those relationships extended far beyond transactions, evolving into something closer to family.
Music Health Alliance staffers
“I’ve walked a lot of journeys with people,” Biddy says. “Some are just indelibly imprinted on my soul.”
That work, paired with significant personal loss in recent years, ultimately informed her decision to retire. After losing her husband and, just months later, her son, Biddy continued to serve clients while processing her own grief. The experience deepened her empathy, but also clarified a desire to step away from a traditional schedule and spend more time with her grandson and family.
“It’s time,” she says. “I want to be able to run through the yard with him, take some trips, and do some of the things I’ve put off.”
Long before she was helping the music community navigate healthcare, Biddy was helping shape it from within the label system, building a career that spanned Monument Records, RCA and MCA during some of the most formative decades in Nashville’s modern era.
She arrived in Nashville in her early 20s after her first husband accepted a job at WSM Radio. At the time, she envisioned a future in broadcasting and even held a radio license, but quickly encountered the limitations placed on women in the field.
A near opportunity in television ultimately gave way to a receptionist role at Monument Records, a position she accepted despite modest pay and the financial realities of raising a young child. After childcare and expenses, she cleared less than $100 a month, but the job offered something more valuable: a foothold inside the music business.
“That changed my destiny,” she says.
At Monument, Biddy found herself immersed in a creative environment, working alongside artists and witnessing the inner workings of a record label for the first time. She developed an early appreciation for both the artistry and the business, a combination that would become a defining strength throughout her career.
Reba McEntire, Steve Wariner and the MCA promotion staff
She later moved to RCA, where she worked under Joe Galante and began to deepen her understanding of promotion and marketing strategy. Though her initial title was “marketing secretary,” her responsibilities quickly expanded to include tracking chart performance, coordinating campaigns and assisting with radio promotion efforts. Over time, she earned a promotion and began handling secondary radio markets, gaining firsthand experience in the relationship-driven side of the business.
Her next major opportunity came at MCA under Jimmy Bowen, though it arrived in an unexpected way. Initially hired for retail promotion, Biddy soon found herself stepping into broader responsibilities after internal changes left a leadership gap. When executives approached her about formally taking on a senior promotion role, her first instinct was hesitation, due to the lack of female leadership on Music Row.
“I said, ‘You don’t want to hire me. You don’t want a woman head of promotion for these men,’” she recalls.
The response was immediate and definitive. Leadership told her that the field staff, many of whom were older and more established, had specifically requested that she be promoted.
“Every single one of them had said, ‘Give her the job. She knows what she’s doing.’”
It was a turning point, both professionally and personally. Biddy accepted the role, negotiated her salary upward, and stepped into a position that would see her help lead the label to significant success, including earning many label of the year honors. Her approach to leadership emphasized collaboration, accountability and a willingness to recognize contributions at every level.
“I valued people who would give credit where it was due,” she says. “If someone else pushed something over the line, say so.”
MCA promotion team with George Strait
That philosophy carried into one of the most influential chapters of her career: the launch of Decca Records as Senior Vice President and General Manager. She became one of the first women—and widely recognized as the first—to lead a major record label in Nashville. Tasked with building the label from the ground up, Biddy was given wide latitude to shape its identity, from hiring staff to selecting artists and defining its creative direction. Her approach centered on authenticity and a belief in meeting artists where they were, rather than trying to mold them into a predetermined image. That mindset played a key role in signing artists such as Gary Allan. During early conversations, Allan asked what she would change about him as an artist.
“I told him, ‘I don’t want to change anything about you. It’s not my job to change you. It’s for me to see you and explore the best of you the way you are,’” she says. Allan would later tell her that answer influenced his decision to sign with the label.
Biddy applied that same instinct to other projects, including Lee Ann Womack, where she helped craft a distinctive campaign that set the artist apart in a crowded radio landscape. Her decision-making process often blended intuition with input from her team, even incorporating internal feedback when selecting singles to better understand how songs resonated across different audiences.
“Always the best song,” she says. “Fight for the best song.”
Under her leadership, Decca developed a reputation for thoughtful artist development and a roster that balanced commercial appeal with creative integrity. However, the broader industry was undergoing significant change. The late 1990s brought consolidation, deregulation and a wave of mergers that reshaped both radio and label structures.
Decca staff and artists
In 1999, Decca was shuttered as part of a larger global consolidation that resulted in widespread job loss.
In the years that followed, Biddy continued working in artist management, independent labels and promotion, navigating a shifting industry landscape. Despite her experience and track record, she encountered new challenges in securing roles at the same level she had previously held. At one point, she was told she was facing what was described as a “double up,” being both overqualified and over 50.
“There is not a man in this town with your resume,” she recalls being told, “and yet I can’t get through the door.”
The experience reinforced the realities she had observed throughout her career. While progress had been made for women in the industry, barriers remained.
Her next chapter would take her in a different direction, though one that ultimately drew on the same skill set she had developed over decades. In 2013, Allsep reached out with an idea for what would become Music Health Alliance, an organization designed to help members of the music community navigate healthcare and related needs. The offer came with a reduced salary and no immediate benefits, but Biddy saw the potential.
She immersed herself in learning the healthcare system, obtained her insurance license and began working directly with clients. The role required a combination of technical knowledge, organizational skill and emotional intelligence, all areas where Biddy had long excelled.
Decca staffers
Over time, the work became deeply personal. Clients often returned year after year, reaching out not only for assistance with insurance but also for guidance during major life events, including illness, caregiving and financial hardship.
“You’re not just dealing with a policy,” she says. “You’re dealing with someone’s life.”
Her impact was felt across the organization as well, helping train younger advocates and contributing to the growth of a team that now serves thousands across the industry. For Biddy, the work represented a continuation of what she had always done, even if the context had changed.
Throughout her career, Biddy has been recognized with numerous honors, including the CMA Humanitarian Award, the Country Radio Broadcasters President’s Award and induction into the SOURCE Hall of Fame, where she was also a founding member. She points to those moments with gratitude.
As she reflects on her career, Biddy often returns to a piece of advice she has shared with colleagues and staff over the years.
“You interview for your next job every day,” she says. “Every meeting, every conversation, how you carry yourself. Someone is always paying attention.”
It is a philosophy that guided her from her earliest days in Nashville through leadership roles at major labels and into her work at Music Health Alliance. It is also one that underscores a career defined not by titles alone, but by consistency, preparation and a willingness to do the work.
As she steps away from her formal role, Biddy is not closing the door entirely. She has expressed interest in consulting and continuing education, and remains open to opportunities that allow her to stay connected to the industry on her own terms. For now, though, her focus is on a different pace and a different set of priorities, shaped by both experience and perspective.
After decades of contributing to Music Row in ways both visible and behind the scenes, Biddy leaves behind a legacy built on relationships, trust and a steady commitment to serving others.
Mark Thomas Joins Propeller As Director Of Talent & Industry Partnerships
/by Lorie HollabaughMark Thomas
Mark Thomas has joined Propeller, the social impact platform that transforms fan engagement into real-world change, as Director of Talent and Industry Partnerships.
Thomas brings more than a decade of experience in entertainment marketing and creative production spanning TV, fashion, and live events to his new role. His work has touched some of the most recognized properties in modern pop culture, including Yellowstone, RuPaul’
“We’ve spent years earning trust with artists and their teams. Mark has spent his entire career doing the same thing, just from a different seat at the table. The fit was obvious, and we’re thrilled to have him,” says Brandon Deroche, CEO & Founder of Propeller.
“I’ve spent my career up until now telling stories that connect people to something bigger than themselves, but Propeller is doing that at scale and for causes that matter. I’m thrilled to be part of it,” says Thomas.
Propeller partners with artists, celebrities, and live experiences including names like Kacey Musgraves, Kelsea Ballerini, Noah Kahan, Chappell Roan, Sabrina Carpenter, Fortune Feimster, Bert Kreischer and many others to run fan-powered campaigns for social causes, turning fanbases into donors, petition signers and long-term supporters. The platform has grown to a community of more than 3.6 million fans, generating over 15 million actions, and raised over $20 million for leading nonprofits.
Reach Thomas at mark@propeller.la.
Jordan Reynolds Honored With Curtain Call Award
/by Madison HahnenJordan Kyle Reynolds is the recipient of the Curtain Call Award at Belmont University in Nashville, Tennessee April 6, 2026. Photo: Sam Simpkins
Grammy winning songwriter Jordan Reynolds has been honored by Belmont University’s School of Music with the 2026 Curtain Call Award. Reynolds was honored during a special event and performance on Monday (April 6).
An annual award, the Curtain Call Award goes to a Belmont commercial music alumni who have made significant contributions to the music industry.
Reynolds has had cuts by Dan + Shay, Morgan Wallen, Carly Pearce, Kelsea Ballerini, and more. He currently holds five No. 1 hits, including “Tequila,” “Speechless,” “All to Myself,” “10,000 Hours,” and “God Only Knows.”
“Jordan’s career reflects exactly what we hope students take from Belmont: excellence in craft, professionalism, collaboration and long-term thinking,” said Jamie Wigginton, commercial voice instructor in Belmont’s College of Music & Performing Arts. “He didn’t just learn how to write songs, he learned how to work, how to listen and how to show up prepared. That combination of musical depth and real-world readiness is central to our program, and Jordan embodies it.
“Jordan is a powerful example because his success is built on longevity, not flash,” he continued. “He shows students that a sustainable career comes from doing great work consistently, treating people well and staying committed through seasons where results aren’t immediate. He’s the kind of person you want to be in the room.”
“When your gut tells you something, chase that feeling down and just keep going,” reflected Reynolds. “You can’t stay in it just because you want to make money. It’s the connection to the work that sustains you. You’re just making music with your friends, without any expectations — just creating what feels important to you.”
Past recipients of the Curtain Call Award include Melinda Doolittle, Josh Turner, Ginny Owens, Dwan Hill, Alvin Love III, Russell Dickerson, Cody Fry, Sarah Davison, Ashley Crawford and Emmanuel Echem.
BREAKING: Nominations Revealed For 61st ACM Awards
/by Madison HahnenNominees have been unveiled for the 61st annual ACM Awards, taking place May 17 at the MGM Grand Garden Arena in Las Vegas.
Female artists showcase strong in the nomination pack this year, with Megan Moroney notching nine, Miranda Lambert earning eight and Ella Langley and Lainey Wilson garnering seven each. Chris Stapleton (six), Zach Top (five) and Cody Johnson (four) are also top leaders this year.
Highlights in this year’s nominations also include Riley Green receiving his first-ever nominations for Male Artist of the Year, Album of the Year (Don’t Mind If I Do (Deluxe)) and Artist-Songwriter of the Year; Parker McCollum notching his first-ever nomination for Album of the Year (Parker McCollum); Reba McEntire earning her first nomination since 2020 (Music Event of the Year (“Trailblazer”)) and every Song of the Year artist nominee also being credited as a songwriter on their respective track.
First time nominees this year include 49 Winchester, Avery Anna, Mackenzie Carpenter, Carter Faith, Caroline Jones, Vincent Mason, Emily Ann Roberts, Thelma & James, Hudson Westbrook and Stephen Wilson Jr.
The ACM Awards will stream live on May 17 at 7 p.m. CST via Prime Video, the Amazon Music channel on Twitch, or the Amazon Music app. Previously-announced performers include Johnson, Kacey Musgraves, Wilson, Little Big Town, Lambert and Green, with more to be revealed in the coming weeks.
MAIN ACM AWARD NOMINEES:
ENTERTAINER OF THE YEAR
Luke Combs
Jelly Roll
Cody Johnson
Megan Moroney
Chris Stapleton
Morgan Wallen
Lainey Wilson
FEMALE ARTIST OF THE YEAR
Kelsea Ballerini
Miranda Lambert
Ella Langley
Megan Moroney
Lainey Wilson
MALE ARTIST OF THE YEAR
Luke Combs
Riley Green
Cody Johnson
Chris Stapleton
Zach Top
GROUP OF THE YEAR
49 Winchester
Flatland Cavalry
Old Dominion
Rascal Flatts
The Red Clay Strays
DUO OF THE YEAR
Brooks & Dunn
Brothers Osborne
Dan + Shay
Muscadine Bloodline
Thelma & James
NEW FEMALE ARTIST OF THE YEAR
Avery Anna
Mackenzie Carpenter
Dasha
Caroline Jones
Emily Ann Roberts
NEW MALE ARTIST OF THE YEAR
Gavin Adcock
Vincent Mason
Shaboozey
Hudson Westbrook
Tucker Wetmore
ALBUM OF THE YEAR [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]
Ain’t In It For My Health – Zach Top
Producer: Carson Chamberlain
Record Company-Label: Leo33
Cherry Valley – Carter Faith
Producer: Tofer Brown
Record Company-Label: Gatsby Records / MCA
Don’t Mind If I Do (Deluxe) – Riley Green
Producer: Dann Huff, Michael Knox
Record Company-Label: Nashville Harbor Records & Entertainment
I’m The Problem – Morgan Wallen
Producers: Joey Moi, Charlie Handsome, Jacob Durrett
Record Company-Label: Big Loud Records
Parker McCollum – Parker McCollum
Producers: Frank Liddell, Eric Masse
Record Company-Label: MCA
SONG OF THE YEAR [Awarded to Songwriter(s)/Publisher(s)/Artist(s)]
“A Song To Sing” – Miranda Lambert & Chris Stapleton
Songwriters: Chris Stapleton, Miranda Lambert, Jenee Fleenor, Jesse Frasure
Publishers: I Wrote These Songs; Pink Dog Publishing; Songs for the Munch Music; Songs of Influence; Sony/ATV Tree Publishing; Warner-Tamerlane Publishing Corp
“Am I Okay?” – Megan Moroney
Songwriters: Megan Moroney, Luke Laird, Jessie Jo Dillon
Publishers: Big Ass Pile of Dimes Music; Big Music Machine
“Choosin’ Texas” – Ella Langley
Songwriters: Ella Langley, Luke Dick, Miranda Lambert, Joybeth Taylor
Publishers: Bada Bing & Bada Langley Publishing; Little Louder Songs; Sony Music Publishing
“I Never Lie” – Zach Top
Songwriters: Zach Top, Carson Chamberlain, Tim Nichols
Publishers: Music and Magazine Publishing; Rio Bravo Music Inc; Sony/ATV Tree Publishing; Too Broke to Quit Music; Zach Top Music
“Somewhere Over Laredo” – Lainey Wilson
Songwriters: Lainey Wilson, Trannie Anderson, Dallas Wilson, Andy Albert, Harold Arlen & Yip Harburg
Publishers: Concord Sounds; Dtown Boogie Music; Emi Feist Catalog Inc; Songs Of Riser House; Songs Of Wild Cat Well Music; Sony/ATV Countryside; Story Farmer; Tacklebox Music Publishing
SINGLE OF THE YEAR [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]
“6 Months Later” – Megan Moroney
Producers: Kristian Bush
Record Company-Label: Sony Music Nashville / Columbia Records
“Choosin’ Texas” – Ella Langley
Producers: Ella Langley, Miranda Lambert, Ben West
Record Company-Label: SAWGOD / Columbia Records
“I Never Lie” – Zach Top
Producers: Carson Chamberlain
Record Company-Label: Leo33
“Somewhere Over Laredo” – Lainey Wilson
Producers: Jay Joyce
Record Company-Label: BBR Music Group / BMG Nashville / Broken Bow Records
“The Fall” – Cody Johnson
Producers: Trent Willmon
Record Company-Label: CoJo Music / Warner Records Nashville
MUSIC EVENT OF THE YEAR [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]
“A Song To Sing” – Miranda Lambert & Chris Stapleton
Producers: Dave Cobb
Record Company-Label: Republic Records
“Amen” – Shaboozey & Jelly Roll
Producers: Danny Majic, Nevin Sastry, Sean Cook
Record Company-Label: Empire
“Don’t Mind If I Do” – Riley Green feat. Ella Langley
Producers: Dann Huff, Michael Knox
Record Company-Label: Nashville Harbor Records & Entertainment
“Trailblazer” – Reba McEntire, Miranda Lambert, Lainey Wilson
Producers: Tony Brown, Reba McEntire
Record Company-Label: MCA
“You Had To Be There” – Megan Moroney & Kenny Chesney
Producers: Kristian Bush
Record Company-Label: Sony Music Nashville / Columbia Records
VISUAL MEDIA OF THE YEAR [Awarded to Producer(s)/Director(s)/Artist(s)]
“6 Months Later” – Megan Moroney
Producers: Christen Pinkston & Wesley Stebbins-Perry
Director: CeCe Dawson, Megan Moroney
“A Song To Sing” – Miranda Lambert & Chris Stapleton
Producers: James Stratakis
Director: Alexa King Stone, Stephen Kinigopoulos
“Cuckoo” -Stephen Wilson, Jr.
Producers: Tim Cofield
Director: Tim Cofield
“Somewhere Over Laredo” – Lainey Wilson
Producers: Katie Babbage
Director: TK McKamy
“The Fall” – Cody Johnson
Producers: Christen Pinkston & Wesley Stebbins-Perry
Director: Dustin Haney
SONGWRITER OF THE YEAR
Jessie Jo Dillon
Ashley Gorley
Charlie Handsome
Chase McGill
Blake Pendergrass
ARTIST-SONGWRITER OF THE YEAR
Luke Combs
Riley Green
Ella Langley
Megan Moroney
Morgan Wallen
Shelia Shipley Biddy Retires After Decades Of Impact Across Music Row [Interview]
/by LB CantrellShelia Shipley Biddy
After more than a decade serving the music community through Music Health Alliance, Shelia Shipley Biddy is stepping away from her role as Chief Administrative Officer and Certified Senior Advisor, closing a chapter that, for many across the industry, has been defined as much by compassion as by expertise.
Biddy joined Music Health Alliance in 2013, the year Founder Tatum Hauck Allsep launched the organization, and quickly became a cornerstone of its day-to-day operations and client care. Over the next 13 years, she would work with more than 1,400 clients, helping artists, songwriters and industry professionals navigate the complexities of health insurance, financial assistance and medical crises. In many cases, those relationships extended far beyond transactions, evolving into something closer to family.
Music Health Alliance staffers
“I’ve walked a lot of journeys with people,” Biddy says. “Some are just indelibly imprinted on my soul.”
That work, paired with significant personal loss in recent years, ultimately informed her decision to retire. After losing her husband and, just months later, her son, Biddy continued to serve clients while processing her own grief. The experience deepened her empathy, but also clarified a desire to step away from a traditional schedule and spend more time with her grandson and family.
“It’s time,” she says. “I want to be able to run through the yard with him, take some trips, and do some of the things I’ve put off.”
Long before she was helping the music community navigate healthcare, Biddy was helping shape it from within the label system, building a career that spanned Monument Records, RCA and MCA during some of the most formative decades in Nashville’s modern era.
She arrived in Nashville in her early 20s after her first husband accepted a job at WSM Radio. At the time, she envisioned a future in broadcasting and even held a radio license, but quickly encountered the limitations placed on women in the field.
A near opportunity in television ultimately gave way to a receptionist role at Monument Records, a position she accepted despite modest pay and the financial realities of raising a young child. After childcare and expenses, she cleared less than $100 a month, but the job offered something more valuable: a foothold inside the music business.
“That changed my destiny,” she says.
At Monument, Biddy found herself immersed in a creative environment, working alongside artists and witnessing the inner workings of a record label for the first time. She developed an early appreciation for both the artistry and the business, a combination that would become a defining strength throughout her career.
Reba McEntire, Steve Wariner and the MCA promotion staff
She later moved to RCA, where she worked under Joe Galante and began to deepen her understanding of promotion and marketing strategy. Though her initial title was “marketing secretary,” her responsibilities quickly expanded to include tracking chart performance, coordinating campaigns and assisting with radio promotion efforts. Over time, she earned a promotion and began handling secondary radio markets, gaining firsthand experience in the relationship-driven side of the business.
Her next major opportunity came at MCA under Jimmy Bowen, though it arrived in an unexpected way. Initially hired for retail promotion, Biddy soon found herself stepping into broader responsibilities after internal changes left a leadership gap. When executives approached her about formally taking on a senior promotion role, her first instinct was hesitation, due to the lack of female leadership on Music Row.
“I said, ‘You don’t want to hire me. You don’t want a woman head of promotion for these men,’” she recalls.
The response was immediate and definitive. Leadership told her that the field staff, many of whom were older and more established, had specifically requested that she be promoted.
“Every single one of them had said, ‘Give her the job. She knows what she’s doing.’”
It was a turning point, both professionally and personally. Biddy accepted the role, negotiated her salary upward, and stepped into a position that would see her help lead the label to significant success, including earning many label of the year honors. Her approach to leadership emphasized collaboration, accountability and a willingness to recognize contributions at every level.
“I valued people who would give credit where it was due,” she says. “If someone else pushed something over the line, say so.”
MCA promotion team with George Strait
That philosophy carried into one of the most influential chapters of her career: the launch of Decca Records as Senior Vice President and General Manager. She became one of the first women—and widely recognized as the first—to lead a major record label in Nashville. Tasked with building the label from the ground up, Biddy was given wide latitude to shape its identity, from hiring staff to selecting artists and defining its creative direction. Her approach centered on authenticity and a belief in meeting artists where they were, rather than trying to mold them into a predetermined image. That mindset played a key role in signing artists such as Gary Allan. During early conversations, Allan asked what she would change about him as an artist.
“I told him, ‘I don’t want to change anything about you. It’s not my job to change you. It’s for me to see you and explore the best of you the way you are,’” she says. Allan would later tell her that answer influenced his decision to sign with the label.
Biddy applied that same instinct to other projects, including Lee Ann Womack, where she helped craft a distinctive campaign that set the artist apart in a crowded radio landscape. Her decision-making process often blended intuition with input from her team, even incorporating internal feedback when selecting singles to better understand how songs resonated across different audiences.
“Always the best song,” she says. “Fight for the best song.”
Under her leadership, Decca developed a reputation for thoughtful artist development and a roster that balanced commercial appeal with creative integrity. However, the broader industry was undergoing significant change. The late 1990s brought consolidation, deregulation and a wave of mergers that reshaped both radio and label structures.
Decca staff and artists
In 1999, Decca was shuttered as part of a larger global consolidation that resulted in widespread job loss.
In the years that followed, Biddy continued working in artist management, independent labels and promotion, navigating a shifting industry landscape. Despite her experience and track record, she encountered new challenges in securing roles at the same level she had previously held. At one point, she was told she was facing what was described as a “double up,” being both overqualified and over 50.
“There is not a man in this town with your resume,” she recalls being told, “and yet I can’t get through the door.”
The experience reinforced the realities she had observed throughout her career. While progress had been made for women in the industry, barriers remained.
Her next chapter would take her in a different direction, though one that ultimately drew on the same skill set she had developed over decades. In 2013, Allsep reached out with an idea for what would become Music Health Alliance, an organization designed to help members of the music community navigate healthcare and related needs. The offer came with a reduced salary and no immediate benefits, but Biddy saw the potential.
She immersed herself in learning the healthcare system, obtained her insurance license and began working directly with clients. The role required a combination of technical knowledge, organizational skill and emotional intelligence, all areas where Biddy had long excelled.
Decca staffers
Over time, the work became deeply personal. Clients often returned year after year, reaching out not only for assistance with insurance but also for guidance during major life events, including illness, caregiving and financial hardship.
“You’re not just dealing with a policy,” she says. “You’re dealing with someone’s life.”
Her impact was felt across the organization as well, helping train younger advocates and contributing to the growth of a team that now serves thousands across the industry. For Biddy, the work represented a continuation of what she had always done, even if the context had changed.
Throughout her career, Biddy has been recognized with numerous honors, including the CMA Humanitarian Award, the Country Radio Broadcasters President’s Award and induction into the SOURCE Hall of Fame, where she was also a founding member. She points to those moments with gratitude.
As she reflects on her career, Biddy often returns to a piece of advice she has shared with colleagues and staff over the years.
“You interview for your next job every day,” she says. “Every meeting, every conversation, how you carry yourself. Someone is always paying attention.”
It is a philosophy that guided her from her earliest days in Nashville through leadership roles at major labels and into her work at Music Health Alliance. It is also one that underscores a career defined not by titles alone, but by consistency, preparation and a willingness to do the work.
As she steps away from her formal role, Biddy is not closing the door entirely. She has expressed interest in consulting and continuing education, and remains open to opportunities that allow her to stay connected to the industry on her own terms. For now, though, her focus is on a different pace and a different set of priorities, shaped by both experience and perspective.
After decades of contributing to Music Row in ways both visible and behind the scenes, Biddy leaves behind a legacy built on relationships, trust and a steady commitment to serving others.
Riley Green, Jon Pardi, Tucker Wetmore & Diplo To Headline Country Splash In Cabo
/by Lorie HollabaughCountry Splash, the first multi-day country festival ever held directly on the beach in Cabo, will debut Sept. 4-6 with headlining performances from Riley Green, Jon Pardi, Tucker Wetmore and Diplo.
The star-packed lineup also features Cameron Whitcomb, Dasha, LOCASH, Zach John King, Blake Whiten, Lauren Watkins, Jacob Hackworth, Vavo, Dee Jay Silver and ADHD, with additional artists to be announced.
Country Splash will combine A-list country performances with curated luxury travel experiences in one of Mexico’s most iconic beach destinations. Alongside nightly performances on the Main Stage, the weekend will also feature a daytime Pool Party with country DJ sets headlined by Diplo, intimate sunset acoustic performances and morning, artist-led wellness experiences including Diplo’s beach yoga.
Festival concierge services will be provided to all guests to help with booking off-site experiences including restaurant reservations, golf outings, private yacht charters, fishing excursions and other experiences. Additional guest amenities will include on-site hydration stations, custom hat making, glam tent, charging stations, a dedicated Cool Zone and on-site Social Ambassadors to amplify the guest experience throughout the weekend.
“Country Splash was designed to bring the energy of a world-class country music festival into one of the most beautiful beach destinations in the world,” says Robert Fried, co-founder of Country Splash. “The guest experience will be at the core of everything, where fans can see their favorite artists up close, just steps from the ocean while enjoying the amenities of luxury travel from the best of Cabo’s resorts, dining and outdoor adventures.”
Pre-sale for hotel and villa packages, in addition to a limited quantity of individual Splash Passes, begin April 14. Access to the pre-sale is available by signing up for the Splash List at CountrySplash.com. General on-sale will begin April 15.
Joe Galante To Receive Swan Award
/by Madison HahnenJoe Galante
Industry leader and philanthropist Joe Galante will receive the 2026 Swan Award to honor his commitment to giving back over his career. He will be honored on June 6 at the Swan Ball.
Through his work as Chairman of Sony Music Nashville, Galante helped form the careers of country music’s biggest stars. He was inducted into the Country Music Hall of Fame in 2022 and was also honored with the ACM Icon Award, and CMA’s J. William Denny Award.
Galante has also made a mark through his philanthropic work. He established the Phran Galante Memorial Fund for Lung Cancer Research at Vanderbilt-Ingram Cancer Center, which helps advance critical work in targeted therapies, in honor of his late wife. He has also played a role in the creation of the Phran Galante Center for Pet Wellness at the Pet Community Center (PCC), which expands access to veterinary care for underserved communities.
Additionally, his gift to the Monroe Carell Jr. Children’s Hospital at Vanderbilt helped with the rehabilitation gym. Galante has also held leadership positions at the CMA Foundation, where he has helped advance music education by bringing instruments, teachers, and opportunity into underserved classrooms through initiatives such as the Foundation’s partnership with Education Through Music.
Galante is a founding member of Leadership Music, where he established a landmark endowment that supports and mentors generations of emerging leaders in the music industry.
Industry Ink: ASCAP, Carly Pearce, Margo Price, Anour
/by Madison HahnenASCAP Hosts Songwriters Round At The Bluebird Cafe
Pictured (L-R): ASCAP’s Ryan O’Grady, Dwan Hill, Jenn Johnson, ASCAP’s Emilia James, Ben Glover, Hannah Kerr and Jason Earley.
ASCAP hosted a songwriters round at The Bluebird Cafe last Wednesday (April 1). The round featured performances from Ben Glover, Dwan Hill, Hannah Kerr and Jenn Johnson.
Carly Pearce Raises $45K For Nashville’s Pet Community Center
Carly Pearce at City Winery. Photo: Jason Kimpin with Getty Images
Carly Pearce hosted a benefit show for Nashville’s Pet Community Center on Monday night (April 6) at City Winery, where she raised over $45,000 for the organization, including a personal donation from Pearce of $5,000.
Ashley Cooke opened the evening with an acoustic set, including her No. 1 hit “your place.” Pearce then performed a full band set that included “Dream Come True,” “If I Don’t Leave I’m Gonna Stay,” “Never Wanted To Be That Girl,” which she performed with Cooke, and more.
“I am honored to be here tonight to raise money and awareness for needy pets in our community,” shared Pearce from stage. “Pet Community Center does tremendous work to provide veterinary care, food, supplies, and spaying and neutering services to the most vulnerable pets in Nashville. As a dog mom of Johnny and June, I am here to honor them tonight!”
Margo Price Partners With Ear Trumpet Labs
Margo Price has been named as the newest Artist Ambassador for boutique microphone company Ear Trumpet Labs. Price has been using the Louise condenser microphone throughout her “Wild At Heart” tour. The Louise is Ear Trumpet Labs’ flagship large-diaphragm condenser microphone, which presents natural clarity, feedback resistance, strong gain, and stylish vintage design. It features a spring-suspended ring mount, fully balanced FET circuitry, and hand-wired components, and has also been used by Billy Strings, boygenius, Phoebe Bridgers, Jerry Douglas and the Earls of Leicester, Lucius, Gregory Alan Isakov, and Dierks Bentley.
“As a FOH engineer the mic has been an absolute pleasure in the mix,” says Price’s Front of House engineer Charles Twilling. “ETL has made an amazing microphone.”
Anour Signs With PLA Media
Anour. Photo: D.S. Sanchez
Rising indie pop artist Anour has signed onto PLA Media’s public relations roster.
Born in Syria and now based in Quebec, Canada, Anour is fluent in three languages (French, Arabic and English), and is establishing a unique identity in the indie pop space with her vivid visual imagery and deep emotion. She combines ethereal vocals, moody electronic production, and introspective songwriting.
“We are pleased to have another international artist join our roster,” says Pam Lewis. “Her haunting, evocative music and graceful beauty sets her apart from the pack and we’re delighted to be working with her and her team at Fontis Entertainment & BlüDog Media out of Quebec, Canada.”
Ryan Aviation Group Pledges Support To The National Museum Of African American Music
/by Lorie HollabaughThe National Museum of African American Music has revealed a new philanthropic partnership with Ryan Aviation Group, who has pledged $100,000 to support the museum’s mission to preserve and celebrate the rich legacy of African American music.
The contribution will support NMAAM’s ongoing work in cultural preservation, education, and storytelling. Through exhibits, live performances, educational initiatives, and digital preservation projects, the museum continues to document and share the central role African Americans play in shaping the American soundtrack.
“The support of Ryan Aviation Group reflects a shared belief in the importance of preserving the cultural legacy of African American music for future generations,” says Bill Jeffries, Executive Director of the National Museum of African American Music. “Partnerships like this allow us to expand our reach and deepen the impact of our programs for communities across the country.”
Ryan Aviation Group, a globally recognized aviation services firm specializing in private charter brokerage and aviation logistics, has built its reputation on delivering premier aviation solutions while also supporting initiatives that strengthen communities and celebrate culture.
“At Ryan Aviation Group, we believe that institutions like NMAAM are essential to preserving the stories and creativity that shape our shared cultural landscape,” says George “JoJo” Wozniak, Chief Executive Officer of Ryan Aviation Group. “We are proud to support the museum’s work and its continued impact on Nashville and beyond.”
Scott Scovill Releases New Book ‘Tenacious: The Art of Relentlessly Pursuing Your Wildest Dreams’ [Excerpt]
/by Lorie HollabaughScott Scovill
Scott Scovill, founder of Moo TV, has released a new book, Tenacious: The Art of Relentlessly Pursuing Your Wildest Dreams, out now via Forefront Books.
The book distills Scovill’s journey from rock bottom to industry leader into a roadmap for others. Part memoir and part motivational guide, Tenacious shares the unfiltered stories behind his rise, alongside insights from a range of contributors, including Brad Paisley, Alan Jackson, Olympic champion Scott Hamilton, Peter Frampton, as well as NASA astronauts, elite athletes, CEOs and a Navy SEAL. More than a memoir, Tenacious is a playbook for anyone looking to build a life fueled by grit, creativity, and the relentless pursuit of what matters most.
An early chance encounter with U2’s crew and a gutsy stint as a stowaway on their “Joshua Tree Tour” changed everything early on for Scovill, who almost didn’t graduate high school because of fear of failure. That U2 moment launched him into a whirlwind career working with legends like the Rolling Stones, David Bowie, Whitney Houston, Paula Abdul and Ozzy Osbourne, implementing cutting-edge technology on the world’s biggest stages. When Alan Jackson hired him as a video director, Nashville became home, and his creative work grew into a thriving empire as the founder of Moo TV. Today, he owns multiple award-winning companies, employs hundreds, performs across Europe and has even checked “Antarctic expedition” and “NASA Zero-G training” off his bucket list.
Scovill’s portfolio includes directing live concerts and producing high-profile projects, including a CBS special starring Garth Brooks and Trisha Yearwood. His technical and artistic prowess has earned him a CMA Touring Award for his work with Brooks and “Visual Designer of the Year” honors for Paisley’s world tours.
On the pages of Tenacity, readers will learn how to cultivate tenacity – even if it doesn’t come naturally, turn rejection, setbacks and failure into fuel for growth, seize opportunities when they come (and create them when they don’t), and build a career and a life that reflects their passions and values through the wisdom of world-class performers and pioneers.
Amazon Music Unveils New Originals Ahead Of Stagecoach 2026 Livestream Return
/by Lorie HollabaughAmazon Music is once again serving as the exclusive livestream destination for Stagecoach, which takes place April 24–26, with coverage available on Prime Video, Twitch and the Amazon Music app beginning at 3 p.m. PT each day.
Fans can enjoy performances from headliners Cody Johnson, Lainey Wilson and Post Malone, along with a cross-genre lineup including Third Eye Blind, Avery Anna, Ludacris, Michael Marcagi, Pitbull, The Red Clay Strays, Wynonna Judd, Diplo and many more, plus exclusive backstage interviews from the comfort of their own couches. For the second consecutive year, Amazon Music invites fans around the world to experience Stagecoach with a daily international rebroadcast beginning at 9 a.m. BST.
To build excitement for Stagecoach, today, Amazon is also releasing two new Amazon Music Originals from Third Eye Blind and Michael Marcagi, available now exclusively on Amazon Music. Third Eye Blind delivers a rendition of David Bowie’s “Heroes” featuring Elle King, while Michael Marcagi and Chance Peña join forces with The Head and the Heart to reimagine their anthem “Rivers and Roads.” Both Amazon Music Originals are available now on the Country Heat playlist, with one final release from an as yet unannounced artist arriving ahead of the Stagecoach livestream.
“These Amazon Music Originals showcase the range and creativity of the artists, giving fans a fresh way to connect with their music ahead of Stagecoach,” says Michelle Tigard Kammerer, Global Head of Country Music for Amazon Music. “As we bring the festival to a global audience through our annual livestream, we’re creating moments that deepen fans’ connection to Stagecoach and country music. We’re excited to deliver these tracks to listeners now and bring the energy of Stagecoach to fans around the world.”
The Amazon Music Originals join a growing catalog of more than 20 tracks from Stagecoach artists, including new 2026 releases from Cameron Whitcomb, Braxton Keith and Tyla Rodrigues and Ty Myers, alongside standout originals from previous years by artists like Lainey Wilson, Bailey Zimmerman and Post Malone. The full collection of Amazon Music Originals will be featured throughout April on the Country Heat playlist.