Rock & Roll Hall Of Fame & Save The Music Launch National Music Education Initiative

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The Rock & Roll Hall of Fame Foundation and Save The Music have partnered to reinvigorate public school music education nationwide in a brand new initiative.

The initiative will fund at least 25 new music education programs in public schools across the country over the next three years, focusing on communities where Save The Music Foundation has a longstanding presence. As part of the effort, Rock & Roll Hall of Fame inductees will visit classrooms to mentor and inspire the next generation of music makers.

The partnership marks the launch of the Rock & Roll Hall of Fame Foundation’s first-ever grant-making pillar, a strategic commitment to empower music education at scale. Save The Music has been named the inaugural recipient in this initiative, accelerating their ability to bring music into classrooms across the country. Target cities slated for the programming include Atlanta, Cleveland, Dallas, Los Angeles/Compton, Miami/South Florida and New York City.

Rock & Roll Hall of Fame inductee Sheryl Crow joined Save The Music Founder John Sykes, Chairman of the Rock & Roll Hall of Fame Foundation and President of Entertainment Enterprises at iHeartMedia and Henry Donahue, Executive Director of Save The Music, on Good Morning America to outline the new partnership. Crow has a BA in music education and was an elementary school teacher before her rise to stardom, and was one of the initial supporters of Save The Music when it first launched in 1997, and continues her longtime support of the organization.

“Music education is not only an art – it’s a science,” says Sykes. “We are grateful for Bloomberg Philanthropies’ support to protect and expand music education programs that help shape both the creative and cognitive development of the next generation.”

iHeartMedia will amplify the partnership with a nationwide PSA campaign across the company’s 860+ radio stations, rallying support and awareness for music education programs in underserved communities. Bloomberg Philanthropies will provide financial support to the initiative.

“We’ve seen firsthand that music education doesn’t just create future musicians,” says Save The Music’s Henry Donahue. “It helps shape our future doctors, engineers, teachers, and leaders. This partnership is about unlocking that potential for every child.”

The foundation has created over 2,800 music programs in public schools and raised more than $75 million, with recent support from partners and artists including Ed Sheeran, Becky G, Jelly Roll, Old Dominion and others. Earlier this year, STM announced its transition to a fully independent nonprofit, separate from Paramount Global. To ensure long-term sustainability, the organization has been building a $10 million endowment fund, raising over $4 million so far, with backing from a broad coalition of industry partners.

RaeLynn Breaks Out The Twang & Tinsel On New ‘Jingle Jangle Rock’ EP

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RaeLynn is adding some honky tonk to the holidays with her new Christmas collection Jingle Jangle Rock, a five-track project arriving Nov. 7 via The Valory Music Co., Red Van Records and Jonas Group Entertainment.

On the new EP, she puts a festive spin on Chuck Berry’s “Run Run Rudolph” and Alan Jackson’s holiday favorite “I Only Want You for Christmas,” along with three originals filled with yuletide cheer. Jingle Jangle Rock serves as the perfect soundtrack for a Country Christmas, filled with lighthearted spirit and wrapped in a burlap bow.

New track “Jingle Jangle Rock,” a boot-stomping, mistletoe ready anthem, is out today. Co-written with Amy Stroup and Bob DiPiero, the song captures the spirit of the season with a Nashville twist, with Santa reimagined as a cowboy and the dance floor turned into a winter wonderland.

“Christmas has always been one of my favorite times of year,” shares RaeLynn. “I wanted this EP to capture all sides of the season—the fun, the chaos and the heart. ‘Jingle Jangle Rock’ brings the party, ‘Redneck Christmas’ keeps it country, and ‘The Barn’ brings it all back home. Recording songs I love like Alan Jackson’s ‘I Only Want You for Christmas’ and ‘Run Run Rudolph’ made it even more special. Merry Christmas, everyone!”

Jingle Jangle Rock Track List:
1. “Jingle Jangle Rock” (Racheal Lynn Davis, Bob DiPiero, Amy Stroup)
2. “I Only Want You For Christmas” (Tim Nichols, Zack Robert Turner)
3. “Run Run Rudolph” (Marvin Brodie, Johnny Marks)
4. “Redneck Christmas” (Racheal Lynn Davis, Aaron Gillespie, Amy Stroup)
5. “The Barn” (Racheal Lynn Davis, Aaron Gillespie, Lauren Hungate)

Cam Brings Vulnerability & Power To The Ryman Auditorium

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Cam. Photo: Catherine Powell

Cam returned to the Ryman Auditorium Sunday night (Oct. 26) for a performance that balanced intimacy, artistry, and emotional depth with the commanding presence of a master storyteller.

After opening sets from Britton Smith and Anna Vaus, the evening opened with the singer standing alone in a single spotlight at the front of the stage before her band joined her, gathering tightly around one microphone for a hushed rendition of “Slow Down.”

“You don’t have to worry about the past,” Cam addressed the crowd. “You don’t have to stress about the future, this is the one moment in time we all get to be on the same page. And cry and laugh and dance together and I want you to be fully present.”

Cam. Photo: Catherine Powell

From there, she moved into “Turns Out That I Am God” and “Alchemy,” before the reflective “Everblue.” The rootsy “Canyon” followed, evoking the emotion that defines much of Cam’s songwriting. “Hallelujah” filled the auditorium with reflection before she brought her daughter Lucy onto the stage to sing a lullaby.

That tenderness carried through “Just for You” and “We Always Do,” before Cam reignited the energy with “Kill the Guru!” and the witty “Look at the Pretty Girls!” The crowd went wild for “Hungover on Heartache” and “Mayday,” both delivered with fire. A highlight of the night came when Mat Kearney joined Cam onstage for a heartfelt duet of “Nothing Left to Lose,” their voices blending effortlessly in harmony. Cam followed with “Till There’s Nothing Left,” keeping the emotional intensity high, and then launched into a showstopping “Diane,” which had the entire audience on their feet, clapping and singing along.

Cam welcomed Brittney Spencer to the stage for a stirring cover of “Blackbird” from Beyoncé’s Cowboy Carter. She and her band then gathered once again under a single spotlight for “American Requiem.” The inevitable arrival of her 4× Platinum hit “Burning House” drew a wave of emotion from the audience. She closed the evening with “Village,” leaving the crowd wrapped in the song’s message of connection and community.

Cam and her daughter Lucy. Photo: Catherine Powell

Cam. Photo: Catherine Powell

ASCAP, BMI, SOCAN Announce AI Registration Policies

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ASCAP, BMI and SOCAN have announced updated policies for musical works created in part by artificial intelligence.

All three PRO registration policies define a partially AI-generated musical work as one that combines elements of AI-generated musical content with elements of human authorship. These works will now be included as part of the full repertories licensed by each society. Musical compositions that are entirely created using AI tools are not eligible for registration with any of the individual societies.

“Songwriters and composers have always experimented with innovative tools as part of their creative process, and AI is no exception,” says Elizabeth Matthews, CEO, ASCAP. “We are clarifying our registration policy to now welcome partially AI-generated musical works because we believe AI can be a powerful tool for our members, as long as the law puts humans first and technology companies play fair and respect the rights of creators.”

“This is an important first step in protecting human creativity as AI technologies evolve, while supporting the songwriters and composers who choose to use AI as a tool to enhance their creative process,” shares Mike O’Neill, President & CEO, BMI. “All music creators will benefit from this aligned approach to the registration of partial AI-works that appropriately values creators’ contributions and ensures they are paid properly.”

“This alignment creates a legal and ethical path forward for AI in music. It recognizes that music creators are embracing new tools, while reinforcing our commitment to what matters most: respect for their work and the protection of human creativity,” adds Jennifer Brown, CEO, SOCAN. “The future of music can embrace AI and still remain deeply human.”

More information about each PRO’s AI initiatives, advocacy and registration policies can be found on their websites.

Ashley McBryde Adds 2026 Redemption Residency Dates

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Ashley McBryde. Photo: Katie Kauss

Ashley McBryde is extending her Redemption Residency at the Neon Steeple at Chief’s in Nashville into 2026.

She’s announcing four new sets of dates for the New Year with specific themes attached. January and March’s “Just Me And My Shadow” shows will be solo acoustic nights where McBryde’s storytelling will take center stage. February’s “Postcards From Lindeville” will be a double header featuring fan favorite character songs throughout McBryde’s career, from “Jalopies & Expensive Guitars” to “The Devil I Know.”

April’s “Mixtape From The Mixed Up Years” will include two nights of covers playing “the music that made us want to make music” that narrate McBryde’s story, from growing up in Arkansas, to playing biker bars and back porches, to becoming a Grammy-winning member of the Grand Ole Opry today.

Tickets for The Redemption Residency go on pre-sale exclusively to McBryde’s Fan Club (Trybe) members today (Oct. 28.) Members of the Church Choir will have access on Oct. 29, with general on sale following on Oct. 31. In addition to early ticket access, Premium Trybe Members unlock a range of exclusive perks tied to the Redemption experience, including 48-hour pre-sales for Chief’s events, entry to the intimate Trybe Coffee Tours at Redemption Bar, and a dedicated Priority Entry Line to make getting through the doors quicker and easier.

Located on the fifth floor of Eric Church’s Chief’s in the heart of Nashville’s Lower Broadway, Redemption is inspired by McBryde’s personal path to sobriety. Designed specifically with the singer-songwriter in mind, Redemption Bar features an intimate stage that accommodates troubadour-style performances only, holding 1-2 players max with an intentional focus on showcasing original music, and the creatives that make Music City.

The Redemption Residency 2026:
Thurs. January 22
Fri. January 23
Thurs. February 19
Fri. February 20
Thurs. March 19
Fri. March 20
Fri. April 17
Sat. April 18

Tyler Braden Announces Second Leg Of 2026 ‘Devil And A Prayer Tour’

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Tyler Braden. Photo: Marisa Taylor

Tyler Braden has extended his 2026 headline “Devil And A Prayer Tour” with new shows through April 24.

Clayton Mullen will support the newly announced leg of the tour, which kicks off Apr. 9 in Fort Worth, and includes stops in Albuquerque, Colorado Springs, Grand Junction and more. The new tour takes its name from Braden’s debut album released in May via Warner Music Nashville. The 19-song collection showcases his blend of raw storytelling and high-octane sound, featuring fan favorites like “Devil You Know” and “God & Guns N’ Roses.”

The Alabama-bred singer-songwriter has racked up over 952 million global streams to date and averages more than nine million streams a week. Since signing with Warner Music Nashville, he’s earned three No. 1s on SiriusXM The Highway’s Hot 30 Countdown, shared stages with Luke Bryan, Brooks & Dunn, Dierks Bentley and Chris Stapleton, and toured internationally with Brothers Osborne.

“Devil And A Prayer Tour” Added Dates:
April 9 — Fort Worth, TX — Tannahill’s Tavern and Music Hall
April 14 — Albuquerque, NM — The Dirty Bourbon
April 16 — Colorado Springs, CO — Phil Long Music Hall
April 17 — Grand Junction, CO — Warehouse 25 Sixty-Five
April 18 — Englewood, CO — Gothic Theatre
April 21 — Flagstaff, AZ — Orpheum Theater
April 24 — Phoenix, AZ — Crescent Ballroom

Preston Cooper Makes Grand Ole Opry Debut

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Preston Cooper. Photo: Chris Hollo for Grand Ole Opry.

Preston Cooper made his Grand Ole Opry debut on Friday night (Oct. 24).

Cooper was introduced by Opry member Vince Gill.

“I got a call from Preston asking me to introduce him for his debut,” Gill reflected from stage. “We’ve written a few songs together, and I’ve cut a few of them that’ll be coming out soon. I think the world of this kid – he’s one of the best singers I’ve heard in a long time.”

He earned a standing ovation for his performance of his current top 30 single “Weak” and tribute to his late publisher, Ben Vaughn, “Headed Home.”

“This doesn’t feel real. It’s definitely emotional,” shared Cooper. “I want to thank the Opry team for having me – it’s the greatest honor to play the Grand Ole Opry. Having my family and friends here means the world to me. I don’t know if anything could ever top this moment.”

Cooper recently released his debut project, Toledo Talking, after a year of touring with Riley Green and Kameron Marlowe.

(Pictured L-R): The Valory Music Co.’s George Briner, Preston Cooper, Big Machine Label Group’s Scott Borchetta, Big Machine Label Group’s Sandi Borchetta. Photo: Tristan Wall for The Valory Music Co.

Photo: Chris Hollo for Grand Ole Opry

Photo: Chris Hollo for Grand Ole Opry

ACM Lifting Lives Unveils 2025-2026 Board Of Directors

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ACM Lifting Lives has revealed the newly elected Board of Directors, serving the 2025-2026 term. Fletcher Foster will serve as Chair, John Hickman as Vice-Chair, Chandra LaPlume as Vice-President, Paul Barnabee as Treasurer, and Brooke Boyd as Secretary.

The Board of Directors is made up of leaders in non-profit and corporate affairs, referred to as public directors. Other leaders serve as ACM Board members, referred to as representative directors.

Greg Hill, Tracy Lawrence and Adi Sharma have been newly elected as public directors. Darin Murphy and Storme Warren have been newly elected as representative directors. Newly elected public directors-at-large include Shelley Grayson and Blain Rhodes.

2025-2026 Complete ACM Lifting Lives Board Of Directors:

OFFICERS
Chair: Fletcher Foster, F2 Entertainment
Vice-Chair: John Hickman, Dallas Cowboys
Vice-President: Chandra LaPlume, Sandbox Entertainment
Treasurer: Paul Barnabee, FBMM
Secretary: Brooke Boyd, ACM Lifting Lives

PUBLIC DIRECTORS
Scott Adkins, Adkins Publicity
Sandi Borchetta, Big Machine Label Group / Music Has Value
Tiffany Brush, Topgolf
Jackie Campbell, Results Global
Kathleen Flaherty, Morgan Wallen Foundation
Julie Gordon
Shelley Grayson, FBMM
Jeffrey Hasson, UTA
John Hickman, Dallas Cowboys
Greg Hill, Hill Entertainment Group
Michelle Kammerer, Amazon Music
Chad Kudelka, CAA
Tracy Lawrence, Artist
Diane Pearson, City National Bank
Blain Rhodes, Tape Room Music
Rondal Richardson, Community Foundation of Middle Tennessee
Adi Sharma, The Neal Agency
Elaina Smith, Backstage Country
Zach Sutton, Red Light Management
Sally Williams, Live Nation

REPRESENTATIVE DIRECTORS
Fletcher Foster, F2 Entertainment
Cris Lacy, Warner Music Group
Chandra LaPlume, Sandbox Entertainment
Tom Lord, Red Light Management
Ebie McFarland, Essential Broadcast Media
Darin Murphy, CAA
Storme Warren, TuneIn Radio’s “The Big 615”

PAST CHAIRS
Lori Badgett, City National Bank
Paul Barnabee, FBMM
Debbie Carroll
Mark Hartley
Lorie Lytle, Fridrich & Clark Realty
Shawn McSpadden, Range Media Partners
Daniel Miller, Fusion Music
Tree Paine, Premium PR
Troy Vollhoffer, Premier Global Production
Ed Warm, Joe’s Live

EMERITUS DIRECTORS
Rod Essig, CAA
Gayle Holcomb, WME

Fourth Annual ‘Coulda, Shoulda, Woulda’ Event Raises $130,000 For Music Health Alliance

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Pictured (L-R): Matt Dragstrem (Songwriter), Chase McGill (Songwriter), Tatum Allsep (MHA Founder & CEO), Luke Bryan (Artist), Elaina Smith (Host), Lindsay Hayes (Show Producer), Jeff Stevens (Songwriter) and Kristan Pridgen (CSW Event Producer/Exec. Assistant to the CEO) at Music Health Alliance’s “Coulda, Shoulda, Woulda” event at Cannery Hall. Photo: Landon Hook

Music Health Alliance’s fourth annual “Coulda, Shoulda, Woulda – Stories & Songs To Heal The Music” event was held last week at the Cannery in Nashville, raising $130,000 for MHA’s life-saving healthcare programs and services.

The sold-out evening of songs, stories and support presented by Wiatr & Associates and hosted by Elaina Smith featured Luke Bryan, Matt Dragstrem, Chase McGill and Jeff Stevens. Created by Grammy-winning writer and MHA board member Liz Rose, “Coulda, Shoulda, Woulda” reimagines the traditional writers’ round, giving fans a behind-the-scenes look at songs that “coulda, shoulda or woulda” been hits.

“We are so grateful for the sponsors, guests, and artists who made this night possible,” says Tatum Hauck Allsep, Founder & CEO of Music Health Alliance. “From the laughter to the heartfelt stories, it was a true celebration of the best of our songwriting community and MHA’s mission to Heal The Music.”

Since its founding in 2013, MHA’s 17-member team has helped more than 32,000 members of the music community and saved over $145 million in healthcare costs. 86% of every dollar donated goes directly to programs and services, and each $1 donation provides $30 in life-saving healthcare resources.

Weekly Register: Ella Langley Enters Top 5

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Ella Langley.

Morgan Wallen has maintained his spot atop the streaming charts this week, according to Luminate data. “I Got Better” took the top place on the singles charts with 10 million streams this week, adding to 289 million streams to date. Wallen’s I’m The Problem holds its top position on the albums chart with 83K in total consumption.

On the albums chart, Wallen holds the No. 2 spot with One Thing At A Time gaining 30K in total consumption and the No. 3 spot with Dangerous: The Double Album garnering 22K in total consumption. At No. 4 is Jason Aldean’s 30 Number One Hits with 20K in total consumption. Shaboozey holds the No. 5 spot with Where I’ve Been, Isn’t Where I’m Going earning 15K in total consumption.

On the songs chart, Wallen holds the top three positions. His duet with Tate McRae, “What I Want,” takes the No. 2 spot with 10 million streams this week. “I’m The Problem” comes in at No. 3 with 8.4 million streams this week. At No. 4 this week is Shaboozey’s “A Bar Song (Tipsy)” with 6.9 million streams. Joining the chart this week is Ella Langley’s “Choosin’ Texas” with 7.2 million streams to date.