Craig Shelburne
As the Grand Ole Opry celebrates its centennial, a new hardcover book offers fans and industry insiders a deeper understanding of the institution that helped shape country music itself. 100 Years of Grand Ole Opry, released by Abrams Books this spring, is a visually rich, narrative-driven look at the venue’s remarkable history, crafted through archival materials, exclusive interviews and untold stories spanning generations.
Spearheaded by longtime music journalist Craig Shelburne, the book captures the Opry’s evolution from a live radio experiment in 1925 to a modern-day cultural touchstone. “The Opry itself is the main character,” Shelburne tells MusicRow. “Like a movie, we found the plot twists and built the story around them.”
Shelburne—whose writing credits include CMT.com, The Bluegrass Situation and MusicRow—first approached the Opry team about the project in 2017, knowing the 100-year milestone was on the horizon. After several years of conversations, the concept took shape and was officially greenlit in 2023. From there, he worked closely with Opry historian Brenda Colladay and a full team to bring the idea to life.
The book’s structure follows key eras across the century, organized loosely by decade. Shelburne and his team leaned into the idea that each ten-year span brought pivotal changes, whether in membership, sound, technology or audience engagement.
“We started with 1925 to 1940 and closed with 2019 to 2025, because so much has happened in just the last six years,” he explains. “We wanted to give space to the newer members and moments that are shaping the next chapter.”
Throughout the process, the project remained deeply collaborative. The Opry opened its archives, giving access to rare photos, artifacts and memorabilia. Their talent division helped connect Shelburne with dozens of current and former members. The result is a layered portrait of the Opry’s legacy told through multiple voices, perspectives and memories.
“I didn’t want it to be a quick, ‘I love the Opry’ kind of thing,” Shelburne says. “I wanted to ask, ‘How did you get here? Why does this place matter to you?’ A lot of people got emotional. They were thinking about the history, but also realizing they’re part of it now.”
From those conversations came vivid stories—some moving, others just plain fun. Reba McEntire’s memories of attending as a child, and Marty Stuart’s tale of arriving at the Ryman by bus as a kid from Mississippi, wide-eyed and alone, ready to join Lester Flatt’s band on the Opry stage.
Shelburne also highlights moments of resilience, like the 2010 Nashville flood. “At one point, they took the podium from the flooded Opry House and brought it to War Memorial Auditorium, where the Opry had performed in the ’40s,” he says. “That night was historic. They hadn’t been back there in decades.”
What’s remained consistent across the years, he notes, is the focus on quality and community. “You really have to be good to play the Opry,” Shelburne says. “They don’t hand that out. And they’ve kept it going nearly every Saturday night for 100 years. That kind of consistency is rare.”
Still, the book doesn’t ignore how the Opry has changed. One shift Shelburne sees as promising is the renewed investment in younger artists and broader genres. Where the mid-century cast was tight-knit and member-heavy, today’s Opry features more balance between members and guests, bringing in Americana acts, comedians, Christian artists and newcomers making their debut.
“They make a big deal out of those debuts now,” he says. “Younger artists get really excited, and they bring their fans into it, too. That’s the ticket to the future.”
The Opry’s livestreams during the pandemic introduced the show to new, international audiences for the first time. And yet, for those who grew up with it—like Shelburne, who watched weekly broadcasts on TNN with his grandparents—it remains deeply personal.
“I didn’t realize at the time that the Opry was my first real resource for understanding country music history,” he says. “You’re discovering a new generation while learning the roots. And now with this book, someone can pick it up and see how we got here.”
100 Years of Grand Ole Opry is as much a collector’s item as it is a storytelling vessel. Richly illustrated and carefully written, it preserves the past while offering a window into what’s next. For readers steeped in the business or simply fans of the format, it’s an invitation to walk through a century’s worth of moments, on stage and behind the curtain.
For Shelburne, the experience has also been full circle. “Once I started working on the book, I was out there all the time—doing interviews, research, you name it. Seeing it that often made me realize what a massive operation it is,” he says. “They really go the extra mile. Nothing is done halfway. It’s a special place.”
Chris Janson Readies Upcoming Album Due In August
/by Lauryn SinkChris Janson is set to release his fifth album, Wild Horses, on Aug. 1 via Harpeth 60 Records/Warner Music Nashville.
Alongside the announcement, Janson released his newest track, “The Bride,” which he co-wrote with Mitch Oglesby, Adam Wood and Michael Wayne Wilkes. The song follows previously released tracks “This Flag” and “Me & A Beer,” his current radio single.
“I’ve always referred to my wife, Kelly, as ‘the bride,’” says Janson. “This is the perfect love song and perfect for wedding season – actually, any time of the year. This song is very true to life and tells our story.”
The 15 track project features writing credits from Ashley Gorley, Thomas Archer, Kelley Lovelace and more. The album will also include a collaboration with Jamey Johnson, “Hardest Huntin’ Season.”
Janson is currently on the road, headlining dates throughout the summer.
Wild Horses Track List:
1. “Wild Horses” (Chris Janson, Kelly Roland, Pat Bunch)
2. “What You’re Missing” (Chris Janson, Mitch Oglesby, Ashley Gorley, Brad Clawson)
3. “Me & A Beer” (Chris Janson, Ashley Gorley, Taylor Phillips, Andy Sheridan)
4. “Fight For A Girl” (Chris Janson, Blake Bollinger, Thomas Archer, Michael Tyler)
5. “Up To You” (Chris Janson, Ashley Gorley, Zach Crowell)
6. “Want To With You” (Chris Janson, Mitch Oglesby, Ashley Gorley, Brad Claws)
7. “The Bride” (Chris Janson, Mitch Oglesby, Michael Wayne Wilkes, Adam Wood)
8. “What I’m For” (Chris Janson, Ben Hayslip, Rhett Akins, Dallas Davidson)
9. “This Flag” (Chris Janson, Mitch Oglesby, Josh Phillips, Michael Wayne Wilkes)
10. “Father Figure” (Chris Janson, Blake Bollinger, Phil Barton)
11. “Hung Up On” (Chris Janson, Mitch Oglesby, Josh Phillips, Micheal Wayne Wilkes)
12. “I Don’t Give A Damn” (Chris Janson, Blake Bollinger, Ben Hayslip, Drew Parker)
13. “Hardest Huntin’ Season” (feat. Jamey Johnson) (Chris Janson, Mitch Oglesby, Josh Phillips, Michael Wayne Wilkes)
14. “You Ain’t Seen It All” (Chris Janson, Dallas Davidson)
15. “The Broken” (Chris Janson, Kelly Roland, Kelley Lovelace)
Zach Top Extends ‘Cold Beer & Country Music Tour’
/by Madison HahnenZach Top. Photo: Citizen Kane Wayne
Zach Top has added additional dates to his “Cold Beer & Country Music Tour.”
The new slate of shows kicks off on Sept. 27 at Cook’s Garage in Lubbock and includes two nights at Red Rocks Amphitheater, Louisville’s KFC Yum! Center, Oklahoma City’s Paycom Center, Charleston’s Credit One Stadium, Charlottesville’s John Paul Jones Arena and more before wrapping up on Nov. 15 at Rogers Arena in Vancouver. Jake Worthington and Andy Buckner will join as support.
Pre-sale for the new dates will begin on June 24 at 10 a.m. local time. General sale will begin on June 27 at 1o a.m. local time. For more information, click here.
“Cold Beer & Country Music Tour” Added Dates:
September 27—Lubbock, TX—Cook’s Garage
September 28—Morrison, CO—Red Rocks Amphitheatre
September 29—Morrison, CO—Red Rocks Amphitheatre
October 3—Charlottesville, VA—John Paul Jones Arena
October 9—Knoxville, TN— Thompson-Boling Arena at Food City Center
October 10—Louisville, KY—KFC Yum! Center
October 11—Evansville, IN—Ford Center
October 16—Brandon, MS—Brandon Amphitheater
October 17—Bossier City, LA—Brookshire Grocery Arena
October 18—Oklahoma City, OK—Paycom Center
October 24—Charleston, SC—Credit One Stadium
October 30—Missoula, MT—Adams Center
October 31—Billings, MT—MetraPark – First Interstate Arena at Metrapark
November 1—Casper, WY—Ford Wyoming Center
November 7—Bismarck, ND—Bismarck Event Center
November 8—Rapid City, SD—Summit Arena at The Monument
November 13—Eugene, OR—Matthew Knight Arena
November 15—Vancouver, BC—Rogers Arena
Hannah Ellis Inks With The Kinkead Entertainment Agency
/by Lorie HollabaughPictured (L-R, back row): Kinkead’s Kyle Jacob, Dan Collins, Sophie Grube and Remi Heitzman.
(L-R, front row): Church & State Management’s Brian O’Shea; Kinkead’s Bob Kinkead; Hannah Ellis; Kinkead’s Julie Devereux, and Greg Scott.
Curb Records artist Hannah Ellis has signed with the Kinkead Entertainment Agency for booking.
“We’re absolutely delighted to welcome Hannah Ellis to the Kinkead Entertainment Agency!” shares Kinkead Entertainment Agency CEO Bob Kinkead. “Her exceptional vocal talent, impressive songwriting abilities, and genuine passion for music truly stand out. Coupled with her incredibly captivating live performances, we are all looking forward to playing a key role in elevating her career to new heights by introducing and booking her to key events that make a difference in an artist’s career.”
“I am so excited to be joining the Kinkead roster! From the first meeting they have been extremely hands-on and have already made me feel like such a priority. I can’t wait to see what we accomplish together,” adds Ellis.
Ellis recently released “Love Of My Night,” following a pair of duets, “The Women I Am” featuring Martina McBride and “Waiting to Die” with her husband, fellow singer-songwriter Nick Wayne.
Last month, in honor of National Police Week, Ellis performed her ballad, “Officer Down,” at the C.O.P.S. Gala in Washington, D.C., as well as at the Tennessee FOP Memorial Service in Nashville. In between tributes, the Kentucky native took to social media to announce the Hannah Ellis Officer Down Golf Classic, set to take place this October to commemorate the 10-year anniversary of the passing of her cousin, Daniel, a police officer killed in the line of duty.
Earlier this week, Ellis also launched the pilot for her brand new YouTube series, “Hannah’s Gotta Eat,” built around the idea that food fosters a unique sense of community. Each episode will follow her as she goes behind the scenes and into local kitchens to speak to chefs and sample cuisine in restaurants across the country.
Riley Green Opens Riley’s BBQ Shack At Losers & Duck Blind
/by Lorie HollabaughRiley Green has opened an addition to his bar Riley Green’s Duck Blind and Losers Bar in Midtown Nashville with the new Riley’s BBQ Shack.
Riley’s BBQ Shack will feature a menu including ribs, pulled pork sandwiches, burgers, sides and more. On weekends, the shack will offer a Southern-style brunch every Saturday and Sunday from open until 3 p.m.
The new barbecue spot will operate out of Riley Green’s Duck Blind, which opened last year, and Losers Bar. Guests can enjoy the food in both locations.
Nate Smith Claims No. 1 Spot On MusicRow Radio Chart
/by John Nix ArledgeNate Smith lands at No. 1 position on the MusicRow CountryBreakout Radio Chart with his song, “Fix What You Didn’t Break.”
The song appears on Smith’s second studio album California Gold, and was written by Smith, Ashley Gorley, Taylor Phillips and Lindsay Rimes.
After a string of festivals and fairs through July, Smith will join Jason Aldean as direct support on the star’s 2025 “Full Throttle Tour.”
“Fix What You Didn’t Break” currently sits at No. 9 on the Billboard Country Airplay chart and No. 7 on the Mediabase chart.
Click here to view the latest edition of the MusicRow Weekly containing the MusicRow CountryBreakout Radio Chart.
Brendan Walter Signs With RECORDS Nashville & Sony Music Nashville
/by Madison HahnenPictured (L-R): Joe Fisher (RECORDS, EVP, A&R), Josh Easler (RECORDS, EVP, Promotion & Commercial Strategy), Andrew Saltman (RECORDS, VP, Marketing & Digital Strategies), Alison Mingino (RECORDS, Sr. Director, A&R Research), Grady Smith (True Grit Management), Barry Weiss (RECORDS, President & Co-Founder), Brendan Walter, Taylor Lindsey (SMN, Chair and CEO), Ken Robold (SMN, President/COO), Shelby Pickering (SMN, A&R Representative), Jason McColl (SMN, Sr. Director, A&R) and Caryl Atwood (SMN, SVP, Commercial Partnerships). Photo: Adam Davis
Brendan Walter has inked a record deal with RECORDS Nashville and Sony Music Nashville.
“I’m so excited to be working with RECORDS and Sony Music Na
Hailing from Dallas, Walter grew up splitting his time between music and hockey, eventually leading him to play hockey in college and semi-professionally. As a kid, he spent time with his dad playing and listening to music such as Mumford & Sons, Van Halen and Tyler Childers. After hanging up his skates for the final time, Walter moved to Austin to focus on music where developed his craft by playing shows at The Saxon Pub, Mohawk and Parish, eventually leading the singer-songwriter to Music City.
He dropped his debut album, I Don’t Know What I’m Doing Yet, last November, and has also collaborated with Low Gap on “If A Song Could Change Your Mind.” Walter has amassed 138.7k followers and 51.8k followers on TikTok and Instagram, respectively, and has spent time on the road opening for Wyatt Flores and Evan Honer. He also graced the Hard Rock Stage at CMA Fest earlier this month, and has plans for headlining shows in Nashville, Denver, Omaha and Louisville later this summer.
Alongside the signing, Walter also released his new track “Normal Day” today (June 20). Co-penned by Walter, Grady Smith and Jack Rauton, the track tells the story of someone waking up and realizing they need to leave old habits behind.
“’Normal Day’ is a song about growing up and locking in,” says Walter. “I’ve learned that partying comes at a cost, and if you want to be great, sometimes you have to take a step back and get it together.”
The McCrary Sisters’ New Album ‘Love Is the Only Key’ Due In July
/by Lorie HollabaughScreenshot
The McCrary Sisters are set to release their latest album, Love Is the Only Key, on July 15.
Produced by Steve Crawford and co-produced by Church on the Rock, the new collection features eight tracks, including “What Good Am I,” written by Bob Dylan. “Run On” features their brother Allen McCrary, and is a testament to the family’s trailblazing legacy as the celebrated vocals of their late sister and group member Deborah are also captured on the track, as well as “Amazing Grace” and “Shake It Off.” The album release marks the 15-year anniversary of their debut album, Our Journey.
“What the world needs now is love. Love is the only key to make a better place for you and me,” says Regina McCrary. “Love can set us free and bring us unity. Listen, if we ain’t got love, we ain’t got nothing. I thank God that I have enough love in me that I can say I’ll make a change today. I’ll show love today. Our entire album is about LOVE TOGETHERNESS. We can do this together, but it starts with you and me.”
“We’re so grateful, because God’s timing is everything! Now is the time for Love Is the Only Key and we pray that you are blessed,” adds Alfreda McCrary.
Daughters of the late Rev. Samuel McCrary, a founding member of the legendary gospel quartet The Fairfield Four, Ann, Regina, Alfreda and the late Deborah grew up in Nashville surrounded by music, artists, community and faith. The daughters were raised singing at home and at their father’s church and in their formative years, had many accomplishments individually and together, sharing in their family legacy performing with artists including Bob Dylan, Elvis, Isaac Hayes and Stevie Wonder.
In 2011, the Sisters officially formed their own group and have since recorded or performed with artists including Delbert McClinton, Black Keys, Eric Church, Patty Griffin, Jonny Lang, Robert Randolph, The Winans, Carrie Underwood, Dr. John, Widespread Panic, Sheryl Crow, Maren Morris and many more.
Love Is the Only Key Track List:
1. “Love Is the Only Key” (The McCrary Sisters)
2. “Let’s Come Together” (The McCrary Sisters)
3. “Run On” (public domain)
4. “What Good Am I” (Bob Dylan)
5. “Your Amazing Love” (The McCrary Sisters)
6. “What He’s Done For Me” (The McCrary Sisters)
7. “Shake It Off” (The McCrary Sisters)
8. “Amazing Grace” (public domain)
Prolific Entertainment Law Launches On Music Row
/by Lauryn SinkAnjlee Khurana, Erica D. Baker
Prolific Entertainment Law has launched its office in Nashville, located on Music Row.
Founded by Attorneys Erica D. Baker and Anjlee Khurana, Prolific Law is one of the only minority woman-owned entertainment law firms found in the area, and offers a comprehensive suite of legal services, including entertainment law, contract drafting and negotiation, intellectual property protection, business formation, real estate law and estate planning. Prolific Law offers flat-fee packages, free phone consultations and a pay later option through Affirm, in an effort to ensure that legal support is accessible to artists at all stages of their careers.
“We believe that every creative deserves to have their work protected and their voice heard. Our mission is to demystify the legal process and provide creatives with accessible tools needed to succeed,” says Baker.
“I am thrilled to be a part of this new venture. Erica and I intend to empower our clients and help creatives build their brands the way they want to,” adds Khurana.
To celebrate the opening of the firm, the company is hosting a launch party on June 30 at Plane Jane. The event is open to the public and will feature performances, raffles and more.
A Century On The Stage: New Book ‘100 Years Of Grand Ole Opry’ Offers Intimate Look At The Institution [Interview]
/by LB CantrellCraig Shelburne
As the Grand Ole Opry celebrates its centennial, a new hardcover book offers fans and industry insiders a deeper understanding of the institution that helped shape country music itself. 100 Years of Grand Ole Opry, released by Abrams Books this spring, is a visually rich, narrative-driven look at the venue’s remarkable history, crafted through archival materials, exclusive interviews and untold stories spanning generations.
Spearheaded by longtime music journalist Craig Shelburne, the book captures the Opry’s evolution from a live radio experiment in 1925 to a modern-day cultural touchstone. “The Opry itself is the main character,” Shelburne tells MusicRow. “Like a movie, we found the plot twists and built the story around them.”
Shelburne—whose writing credits include CMT.com, The Bluegrass Situation and MusicRow—first approached the Opry team about the project in 2017, knowing the 100-year milestone was on the horizon. After several years of conversations, the concept took shape and was officially greenlit in 2023. From there, he worked closely with Opry historian Brenda Colladay and a full team to bring the idea to life.
The book’s structure follows key eras across the century, organized loosely by decade. Shelburne and his team leaned into the idea that each ten-year span brought pivotal changes, whether in membership, sound, technology or audience engagement.
“We started with 1925 to 1940 and closed with 2019 to 2025, because so much has happened in just the last six years,” he explains. “We wanted to give space to the newer members and moments that are shaping the next chapter.”
Throughout the process, the project remained deeply collaborative. The Opry opened its archives, giving access to rare photos, artifacts and memorabilia. Their talent division helped connect Shelburne with dozens of current and former members. The result is a layered portrait of the Opry’s legacy told through multiple voices, perspectives and memories.
“I didn’t want it to be a quick, ‘I love the Opry’ kind of thing,” Shelburne says. “I wanted to ask, ‘How did you get here? Why does this place matter to you?’ A lot of people got emotional. They were thinking about the history, but also realizing they’re part of it now.”
From those conversations came vivid stories—some moving, others just plain fun. Reba McEntire’s memories of attending as a child, and Marty Stuart’s tale of arriving at the Ryman by bus as a kid from Mississippi, wide-eyed and alone, ready to join Lester Flatt’s band on the Opry stage.
Shelburne also highlights moments of resilience, like the 2010 Nashville flood. “At one point, they took the podium from the flooded Opry House and brought it to War Memorial Auditorium, where the Opry had performed in the ’40s,” he says. “That night was historic. They hadn’t been back there in decades.”
What’s remained consistent across the years, he notes, is the focus on quality and community. “You really have to be good to play the Opry,” Shelburne says. “They don’t hand that out. And they’ve kept it going nearly every Saturday night for 100 years. That kind of consistency is rare.”
Still, the book doesn’t ignore how the Opry has changed. One shift Shelburne sees as promising is the renewed investment in younger artists and broader genres. Where the mid-century cast was tight-knit and member-heavy, today’s Opry features more balance between members and guests, bringing in Americana acts, comedians, Christian artists and newcomers making their debut.
“They make a big deal out of those debuts now,” he says. “Younger artists get really excited, and they bring their fans into it, too. That’s the ticket to the future.”
The Opry’s livestreams during the pandemic introduced the show to new, international audiences for the first time. And yet, for those who grew up with it—like Shelburne, who watched weekly broadcasts on TNN with his grandparents—it remains deeply personal.
“I didn’t realize at the time that the Opry was my first real resource for understanding country music history,” he says. “You’re discovering a new generation while learning the roots. And now with this book, someone can pick it up and see how we got here.”
100 Years of Grand Ole Opry is as much a collector’s item as it is a storytelling vessel. Richly illustrated and carefully written, it preserves the past while offering a window into what’s next. For readers steeped in the business or simply fans of the format, it’s an invitation to walk through a century’s worth of moments, on stage and behind the curtain.
For Shelburne, the experience has also been full circle. “Once I started working on the book, I was out there all the time—doing interviews, research, you name it. Seeing it that often made me realize what a massive operation it is,” he says. “They really go the extra mile. Nothing is done halfway. It’s a special place.”
Go West Creative Elevates Jeremy Vaughn To Director of Entertainment & Experiential [Exclusive]
/by Lauryn SinkJeremy Vaughn.
Go West Creative has elevated Jeremy Vaughn to Director of Entertainment & Experiential.
Vaughn recently served as Entertainment Producer for Nashville’s Variety Power of Women event, and managed a full buyout and rebranding of the “Friends In Low Places” venue on Broadway for a major U.S.-based brand. Additionally, his experience includes creating brand partnerships for the Official CMA Awards After Party, acting as talent liaison for CMA Fest, and leading the creation and production of Wells Fargo’s high-end brand activation at the Aspen Ideas Festival for the last four years.
“Jeremy Vaughn has been an invaluable part of the Go West team for nearly four years, bringing intentional creativity, meticulous attention to detail, and a visionary approach to every project,” shares Eileen Valois, CEO, President & Executive Producer at Go West Creative. “I’m thrilled to share his well-earned promotion to Director, Entertainment & Experiential—a role that highlights his incredible impact and the importance of creating unforgettable, innovative experiences for our clients. Working directly with me as we continue to push the boundaries of best-in-class brand activations and entertainment strategies, I can’t wait to see Jeremy thrive in this new role.”
In his new role, Vaughn will focus on crafting partnerships between global brands and Nashville’s entertainment scene. His vision is set to further position Go West Creative as a leader in merging entertainment with strategic brand storytelling.
Vaughn can be reached at jeremy@gwcg.com.