Lydia Schultz Cahill
The “My Music Row Story” weekly column features notable members of the Nashville music industry selected by the MusicRow editorial team. These individuals serve in key roles that help advance and promote the success of our industry. This column spotlights the invaluable people that keep the wheels rolling and the music playing.
Lydia Schultz Cahill is Senior Director of Creative Services at SESAC PRO, where she oversees the country genre in Nashville. She supports songwriter and publisher affiliates, recruits new talent and collaborates with artists like Blanco Brown, Jon Nite, Allison Veltz Cruz, Dillon Carmichael and Jenny Tolman. Cahill also produces SESAC-sponsored events, including Tin Pan South, SESAC Presents at the Bluebird and songwriter showcases across the Southeast.
Before joining SESAC in 2016, Cahill was Creative Director at Magic Mustang Music, where she worked with acclaimed songwriters Steve Bogard, Kristian Bush, Rob Hatch and Justin Lantz. She began her career as an assistant to Grammy-winning songwriter JD Souther and later held roles in the Legal and Finance Department at Broken Bow Records. A Wisconsin native, Cahill graduated from Belmont University with a bachelor’s degree in business administration from its Music Business program. In 2024, she completed her master’s degree in social work from the University of Tennessee.
Cahill will be honored as part of MusicRow‘s Rising Women on the Row class of 2025 on March 20 at the Omni Nashville Hotel. Read more about the event here.
Photo: Courtesy of Cahill
MusicRow: Where did you grow up?
I grew up in a town called Wisconsin Dells, Wisconsin. It’s about 45 minutes north of Madison.
Tell me about that. What was childhood like?
People from the Midwest always know it because it’s the water park capital of America. Whenever I say I’m from Wisconsin Dells, people are like, “Oh my gosh, we went on vacation there.” It’s a small town with a beautiful river, known for having tons of water parks. People are always surprised that you can actually live there. It’s a sister city to Gatlinburg—similar, but on a river instead of a mountain.
My mom was in nursing, and my dad is a farmer. I grew up on a farm just outside of town, so my upbringing was more rural.
Photo: Courtesy of Cahill
How did music come into your life?
My mom’s mom always had music on. She had a radio and later got a CD player. No one in my family was particularly musical—my grandpa played guitar, but it wasn’t a big thing. We sang in church, but mostly it was country music.
We didn’t have many TV channels growing up—we had something called “The Farmer Five,” which was about five channels and none of them were that interesting to me as a kid. So, we just played outside a lot.
Photo: Courtesy of Cahill
After high school, did you know you wanted to do this?
No. I had a guidance counselor meeting where they asked if I was going to college. I didn’t really have a plan, just figured I’d go because my friends were going. I remember telling my dad, “I think I want to go to college,” and he said, “Does your mom know?” [Laughs] It just wasn’t something we talked about much.
A friend who was a songwriter went to Belmont and told me about the music business major. I was in Wisconsin for two and a half years, just partying and having fun, then transferred to Belmont because I loved music and figured I could get paid to sing songs.
I didn’t know artists like Reba McEntire didn’t write all her songs. I didn’t even know what a songwriter was. Belmont opened my eyes to the industry—publishing, song pluggers, the whole ecosystem supporting creative people.
Photo: Courtesy of Cahill
Tell me about Belmont.
I went from a public party school to a private liberal arts school, and it was a shock to my system. Wisconsinites just like to have a good time—beer, football—then I came to Belmont, and it was a totally different vibe.
I was a student loan kid, and when I got to Belmont, none of my friends had loans. That was eye-opening. It was an educational experience in every way—catching up academically but also realizing how much was on the line. My parents helped, but I was paying for it, and at one point, my loan doubled in a semester. I had to take it seriously.
Did you intern anywhere?
I did the BMI Catalog Cast internship, where we worked with publishers and learned about song plugging. It was an amazing way to understand publishing and the industry. I remember playing songs for Taylor Lindsey and Sara Knabe.
Photo: Courtesy of Cahill
I also interned with Kelly King, which was incredible. She included me in everything, and it was inspiring to see her champion artists like Brothers Osborne.
Sounds like you were pretty set on publishing at that point.
Yes! I’ve always loved creativity, and once I realized that the songs I loved weren’t necessarily written by the singers, I became fascinated by songwriters. They were the ones who made these songs happen, the ones who gave me something to connect to as a rural kid.
What happened after graduation?
I wanted to work in publishing so badly. I worked as an assistant to JD Souther for a few months, which was wild. He had high expectations.
Photo: Courtesy of Cahill
Then I interviewed for a song plugging job at Broken Bow, but Benny Brown noticed on my resume that I had taken copyright law, and made up a job for me in legal and finance instead. I worked in QuickBooks for a while and even wondered if I should be an accountant. Eventually, I moved into a song plugging role and did that for about three years and it was wonderful.
I loved working with songwriters, but I also wanted to engage with other sectors of the industry. When ET Brown at SESAC told me they were expanding the creative department, I jumped at the opportunity. It made so much sense to me—I could still work with songwriters, which is my absolute favorite population, as well as other sectors of the industry.
Photo: Courtesy of Cahill
When did you start at SESAC?
2016. I started as a country rep, getting familiar with our roster and building relationships. In 2020, I was promoted to senior director, which was a lot of the same work but at a higher level. It was a huge shift, but COVID actually made it more manageable—I could handle everything without constantly being in person. It gave me time to adjust.
What’s your favorite part of what you do now?
The one-on-one time with songwriters. Supporting them, giving them space to reflect—it’s an honor to be someone they trust to bounce ideas off of.
Photo: Courtesy of Cahill
What is something you’re most proud of?
So much of what I do at SESAC is making sure our songwriters are happy and truly taking care of them. Getting to be a part of their wins has always been really exciting. I’m proud of signing Chris LaCorte and Jon Nite—having people trust you and your company is truly humbling.
Something else I’m proud of is that I got my masters degree in mental health during the pandemic and have been working as a therapist on the side. I’ve really enjoyed getting to be a resource for other people, especially in the music industry.
Who have been your mentors along the way?
With the exception of JD, I have almost always worked for a woman. Kelly King was so amazing. Melissa Kramer at Broken Bow and Juli Griffith at Magic Mustang took great care of me. Shannan Hatch is far too young to be a mother figure to me, but she has nurtured me so much.
Photo: Courtesy of Cahill
What would you say is the best piece of advice you’ve ever gotten?
Nobody is thinking about you as much as you’re thinking about you. It’s not that people don’t care about you, because people care about you. But you need to do what is best for you.
You will be honored next month at our Rising Women on the Row breakfast. In a few words, can you share about what your experience as a woman in the music industry has been like?
It’s so interesting because the gender disparity became so much more clear after I got married. Watching my husband’s work experience versus my work experience–specifically around finances—is very different. He might ask for something and just get it, whereas I’ve always felt like I needed to make a case for the things that I wanted to have financially.
Photo: Courtesy of Cahill
In the songwriting community, unfortunately, there are a lot fewer women. I work with so many men, just because there are more of them, so I really make an effort to prioritize working with other women.
What would you say to a college student reading this that wants to do what you do one day?
I would honestly tell her she’ll probably be my boss someday. Young people are so smart, and they have access to so much more information than we ever did. Statistically, I don’t think I should have made it to where I am–to be the first in my family to go to a four-year school and then be as successful as I’ve been. The cards were not in my favor, so I would tell her to work really hard and enjoy it.
Tin Pan South Unveils 2025 Schedule & Lineup
/by Madison HahnenTin Pan South has revealed its schedule and lineup for its 33rd annual event, taking place March 25-29 across 11 Nashville venues.
Founded in 1993 by NSAI, Tin Pan South has built itself as the largest songwriters festival in the world. Every show held is in the writer’s round format and showcases rising songwriters and hit-making stars from every genre.
The opening day (March 25) will host 22 shows and feature Mia Fieldes, Ben Glover, Matthew West, Jacob Hackworth, Jackson Nance, Heath Warren, Bob DiPiero, Tony Mullins, Jeffrey Steele and Craig Wiseman, among many others.
Wednesday (March 26) and Thursday (March 27) will showcase Judah Akers, Brian Macdonald, Ashley Gorley, Ben Johnson, Hunter Phelps, Taylor Phillips, Matt Bloyd, Jamie Floyd, Louis York, Chrissy Metz and more.
To close out the week on Friday (March 28) and Saturday (March 29), attendees can see rounds from Melissa Fuller, Patrick Murphy, Trisha Yearwood, Melissa Etheridge, Shelly Fairchild, Ashley McBryde, Oak Felder, Sebastian Kole, Austin Nivarel, Katie Boeck, Lance Cowan, Fred Koller, Ryan Murphey, Fimone, Nell Maynard, Jessica Rose, Bryan Ruby, Harloe, Meghan Kabir and Asia Whiteacre, among others.
The full schedule of shows can be found here. Tickets for every show will go on sale March 4 at 8 a.m. CST.
DISClaimer Single Reviews: Trace Adkins ‘Can Still Deliver The Goods’
/by Robert K OermannTrace Adkins. Photo: Kristin Barlowe
Old-school country is on the menu today at DISClaimer.
Jon Pardi, Bryce Leatherwood and DISCovery Award winner Chase McDaniel set the tone of the listening session.
For the icing on this traditionalist cake, we also have a collection of proven masters of old-school country craft. Joe Nichols, Moe Bandy and Disc of the Day winner Trace Adkins are here to show the kiddies how it’s done.
BRYCE LEATHERWOOD / “Where the Bar Is”
Writers: Chase McGill/Cole Taylor/Michael Carter/Shane Minor; Producer: Will Bundy; Label: UMG Nashville
– He’s such a solid country singer, and this is a true-blue honky-tonk song. I don’t quite understand the decision to record him with a track that rocks this hard.
COLT FORD & MICHAEL RAY / “Hell Out of It”
Writers: Cole Taylor/Lalo Guzman/Michael Tyler/Thomas Archer; Producer: Dylan Maloney; Label: Average Joes Entertainment
– We’re small people in a small town, but we love who we are. Rousing and sincere.
CHASE McDANIEL / “Burned Down Heaven”
Writers: Chase McDaniel/Jon Nite/Lindsay Rimes; Producer: Lindsay Rimes; Label: Big Machine Records
– Excellent. The song of regret and guilt is powerfully written, and his aching, soaring vocal sells it like nobody’s business. Wonderfully listenable.
MOE BANDY / “Pure Love”
Writer: Eddie Rabbitt; Producer: Jimmy Capps; Label: StarVista
– This 1970s & 1980s hit maker has an upcoming album titled Songs I Missed. This advance single is his version of Ronnie Milsap’s 1974 chart topper. Bandy’s slightly pitch-y rendition won’t erase the memory of the original, but it is straightforward, well meaning and totally country.
RYAN HURD / “Die For It”
Writers: Mark Holman/Randy Montana/Ryan Hurd; Producer: Aaron Eshuis; Label: Big Machine Records
– The story of a marriage. Things might get rocky, but love lasts always. The jangly guitars and an octave-leap backing vocal are ear catching. But the steady-state, minimal melody goes nowhere in its endless loop.
TRACE ADKINS / “What Color’s Your Wild”
Writers: Casey Beathard/Monty Criswell; Producer: Bart Butler; Label: Verge
– The big man can still deliver the goods. And how. This stomper is loaded with charisma, and the color-coded lyric about pursuing passion is terrific. I hung on every note. Essential audio.
SAM WILLIAMS / “Countrystar”
Writers: Marisa Maino/Nick Bailey/Ryder Johnson/Sam Williams; Producer: Nick Bailey; Label: UMG Nashville
– His soft, feathery singing style doesn’t really go with the thumpy, hip-hop backing track. However, it is strikingly different.
JON PARDI / “Love the Lights Out”
Writers: Jimi Bell/Jon Pardi/Matt Dragstrem; Producer: Jay Joyce; Label: Capitol Records Nashville
– Let’s rock out, baby, and have a really, really big night of love making. Pardi’s vocal is, as usual, country with a capital “C.” Righteously ringing guitars do the rest of the work. Recommended.
NATE SMITH & HARDY / “Nobody Likes Your Girlfriend”
Writers: Ben Johnson/Hunter Phelps/Jessie Jo Dillon/Michael Hardy; Producer: Lindsay Rimes; Label: RCA Records Nashville
– Ya gotta love a title like that. Here’s the gist of the song: “From buddy to buddy, I’m telling you something you might not want to hear. That gal you’re dating is no good for you.” The lyric is rapid-fire but crystal clear as they vocalize above a choppy, grinding track. Snappy and clever.
JOE NICHOLS & ANNIE BOSKO / “Better Than You”
Writers: Derek George/John Pierce; Producers: Derek George/Mickey Jack Cones; Label: Quartz Hill Records
– I love a good country love duet, and this one is a dandy. Joe is, of course, a masterful country singer, but Annie keeps up with him. She also harmonizes splendidly. A delightful performance.
LANCE COWAN / “Love Anyway”
Writer: Lance Cowan; Producers: Jason Stelluto/Scott Paschall; Label: Lantzapalooza Müzik
– Music Row publicist Lance Cowan is also a terrific singer-songwriter. His second album, Against the Grain, drops next month. Its advance single addresses the political divisiveness that’s so pervasive today. “If there’s ever hope for change, love anyway,” he sings in his tender tenor while acoustic piano and guitar notes ripple around him. Innocent, touching and gently folkie. Cowan gigs at The Listening Room with Mark Irwin and Irene Kelley next Wednesday (March 5).
LOUIE THE SINGER / “Good Girl”
Writers: Joe Ginsberg/Luis Palacios II/Nate Kenyon; Producer: CANDY; Label: UMG Nashville
– This Mexican-American sings in this slow-burn ditty that he’s a bad boy. What’s more, he’s fine if she can’t accept that and doesn’t fall for him. So, “If you don’t want a bad boy, I’m good, girl.” His Texas drawl is backed by a twanging track that plods along.
Koe Wetzel’s ‘Live From The Damn Near Normal Tour’ Album Arrives For ‘Koe Wetzel Day’
/by Lorie HollabaughKoe Wetzel. Photo: Trevor Lamb for Motion Theory Media
Koe Wetzel is dropping his brand new album, Live from the Damn Near Normal Tour, tomorrow (Feb. 28) just in time for the annual “Koe Wetzel Day” celebration.
The 13-track live album captures the raw, raucous energy of Wetzel’s 2024 “Damn Near Normal Tour,” featuring live recordings from Colonial Life Arena in South Carolina, the Moody Center in Austin and Dickies Arena in Fort Worth. Available digitally and for preorder as a 2LP Opaque White Vinyl, the album includes a set list stacked with songs such as the Platinum, five-week No. 1 “High Road,” Platinum “Sweet Dreams” and Gold “Damn Near Normal” from his album 9 Lives, plus catalog fan-favorites such as “Austin,” “Love” and the iconic “February 28, 2016.”
To mark the occasion of the unofficial holiday made famous by that song, Wetzel’s own Riot Room will host a massive Koe Wetzel Day block party this Friday (Feb. 28) complete with a Raising Cane’s food truck, drink specials and much more. The origins of Koe Wetzel Day date back to the aforementioned February 28, 2016, when a legendary night out turned into an infamous moment in Koe Wetzel lore that now serves as an annual rallying point. As an added celebration of the day, Wetzel is giving back to the fans with 28% off his entire online store for the full 24 hours, including vinyl and a fresh merch drop.
Wetzel has upcoming performances at SXSW on March 13 and Stagecoach on April 26 before hitting the road with Hardy and Morgan Wallen this summer.
Live from the Damn Near Normal Tour Track List:
1. “Twister” – Live from Dickies Arena, Fort Worth, TX
2. “9 Lives (Black Cat)” – Live from Dickies Arena, Fort Worth, TX
3. “April Showers” – Live from Dickies Arena, Fort Worth, TX
4. “Sundy or Mundy” – Live from Colonial Life Arena, Columbia, SC
5. “Austin” – Live from Moody Center, Austin, TX
6. “Good Times” – Live from Moody Center, Austin, TX
7. “Love” – Live from Colonial Life Arena, Columbia, SC
8. “Sweet Dreams” – Live from Colonial Life Arena, Columbia, SC
9. “Casamigos” – Live from Colonial Life Arena, Columbia, SC
10. “February 28, 2016” – Live from Dickies Arena, Fort Worth, TX
11. “Drunk Driving” – Live from Colonial Life Arena, Columbia, SC
12. “Damn Near Normal” – Live from Dickies Arena, Fort Worth, TX
13. “High Road” – Live from Dickies Arena, Fort Worth, TX
My Music Row Story: SESAC’s Lydia Schultz Cahill
/by LB CantrellLydia Schultz Cahill
Lydia Schultz Cahill is Senior Director of Creative Services at SESAC PRO, where she oversees the country genre in Nashville. She supports songwriter and publisher affiliates, recruits new talent and collaborates with artists like Blanco Brown, Jon Nite, Allison Veltz Cruz, Dillon Carmichael and Jenny Tolman. Cahill also produces SESAC-sponsored events, including Tin Pan South, SESAC Presents at the Bluebird and songwriter showcases across the Southeast.
Before joining SESAC in 2016, Cahill was Creative Director at Magic Mustang Music, where she worked with acclaimed songwriters Steve Bogard, Kristian Bush, Rob Hatch and Justin Lantz. She began her career as an assistant to Grammy-winning songwriter JD Souther and later held roles in the Legal and Finance Department at Broken Bow Records. A Wisconsin native, Cahill graduated from Belmont University with a bachelor’s degree in business administration from its Music Business program. In 2024, she completed her master’s degree in social work from the University of Tennessee.
Cahill will be honored as part of MusicRow‘s Rising Women on the Row class of 2025 on March 20 at the Omni Nashville Hotel. Read more about the event here.
Photo: Courtesy of Cahill
MusicRow: Where did you grow up?
I grew up in a town called Wisconsin Dells, Wisconsin. It’s about 45 minutes north of Madison.
Tell me about that. What was childhood like?
People from the Midwest always know it because it’s the water park capital of America. Whenever I say I’m from Wisconsin Dells, people are like, “Oh my gosh, we went on vacation there.” It’s a small town with a beautiful river, known for having tons of water parks. People are always surprised that you can actually live there. It’s a sister city to Gatlinburg—similar, but on a river instead of a mountain.
My mom was in nursing, and my dad is a farmer. I grew up on a farm just outside of town, so my upbringing was more rural.
Photo: Courtesy of Cahill
How did music come into your life?
My mom’s mom always had music on. She had a radio and later got a CD player. No one in my family was particularly musical—my grandpa played guitar, but it wasn’t a big thing. We sang in church, but mostly it was country music.
We didn’t have many TV channels growing up—we had something called “The Farmer Five,” which was about five channels and none of them were that interesting to me as a kid. So, we just played outside a lot.
Photo: Courtesy of Cahill
After high school, did you know you wanted to do this?
No. I had a guidance counselor meeting where they asked if I was going to college. I didn’t really have a plan, just figured I’d go because my friends were going. I remember telling my dad, “I think I want to go to college,” and he said, “Does your mom know?” [Laughs] It just wasn’t something we talked about much.
A friend who was a songwriter went to Belmont and told me about the music business major. I was in Wisconsin for two and a half years, just partying and having fun, then transferred to Belmont because I loved music and figured I could get paid to sing songs.
I didn’t know artists like Reba McEntire didn’t write all her songs. I didn’t even know what a songwriter was. Belmont opened my eyes to the industry—publishing, song pluggers, the whole ecosystem supporting creative people.
Photo: Courtesy of Cahill
Tell me about Belmont.
I went from a public party school to a private liberal arts school, and it was a shock to my system. Wisconsinites just like to have a good time—beer, football—then I came to Belmont, and it was a totally different vibe.
I was a student loan kid, and when I got to Belmont, none of my friends had loans. That was eye-opening. It was an educational experience in every way—catching up academically but also realizing how much was on the line. My parents helped, but I was paying for it, and at one point, my loan doubled in a semester. I had to take it seriously.
Did you intern anywhere?
I did the BMI Catalog Cast internship, where we worked with publishers and learned about song plugging. It was an amazing way to understand publishing and the industry. I remember playing songs for Taylor Lindsey and Sara Knabe.
Photo: Courtesy of Cahill
I also interned with Kelly King, which was incredible. She included me in everything, and it was inspiring to see her champion artists like Brothers Osborne.
Sounds like you were pretty set on publishing at that point.
Yes! I’ve always loved creativity, and once I realized that the songs I loved weren’t necessarily written by the singers, I became fascinated by songwriters. They were the ones who made these songs happen, the ones who gave me something to connect to as a rural kid.
What happened after graduation?
I wanted to work in publishing so badly. I worked as an assistant to JD Souther for a few months, which was wild. He had high expectations.
Photo: Courtesy of Cahill
Then I interviewed for a song plugging job at Broken Bow, but Benny Brown noticed on my resume that I had taken copyright law, and made up a job for me in legal and finance instead. I worked in QuickBooks for a while and even wondered if I should be an accountant. Eventually, I moved into a song plugging role and did that for about three years and it was wonderful.
I loved working with songwriters, but I also wanted to engage with other sectors of the industry. When ET Brown at SESAC told me they were expanding the creative department, I jumped at the opportunity. It made so much sense to me—I could still work with songwriters, which is my absolute favorite population, as well as other sectors of the industry.
Photo: Courtesy of Cahill
When did you start at SESAC?
2016. I started as a country rep, getting familiar with our roster and building relationships. In 2020, I was promoted to senior director, which was a lot of the same work but at a higher level. It was a huge shift, but COVID actually made it more manageable—I could handle everything without constantly being in person. It gave me time to adjust.
What’s your favorite part of what you do now?
The one-on-one time with songwriters. Supporting them, giving them space to reflect—it’s an honor to be someone they trust to bounce ideas off of.
Photo: Courtesy of Cahill
What is something you’re most proud of?
So much of what I do at SESAC is making sure our songwriters are happy and truly taking care of them. Getting to be a part of their wins has always been really exciting. I’m proud of signing Chris LaCorte and Jon Nite—having people trust you and your company is truly humbling.
Something else I’m proud of is that I got my masters degree in mental health during the pandemic and have been working as a therapist on the side. I’ve really enjoyed getting to be a resource for other people, especially in the music industry.
Who have been your mentors along the way?
With the exception of JD, I have almost always worked for a woman. Kelly King was so amazing. Melissa Kramer at Broken Bow and Juli Griffith at Magic Mustang took great care of me. Shannan Hatch is far too young to be a mother figure to me, but she has nurtured me so much.
Photo: Courtesy of Cahill
What would you say is the best piece of advice you’ve ever gotten?
Nobody is thinking about you as much as you’re thinking about you. It’s not that people don’t care about you, because people care about you. But you need to do what is best for you.
You will be honored next month at our Rising Women on the Row breakfast. In a few words, can you share about what your experience as a woman in the music industry has been like?
It’s so interesting because the gender disparity became so much more clear after I got married. Watching my husband’s work experience versus my work experience–specifically around finances—is very different. He might ask for something and just get it, whereas I’ve always felt like I needed to make a case for the things that I wanted to have financially.
Photo: Courtesy of Cahill
In the songwriting community, unfortunately, there are a lot fewer women. I work with so many men, just because there are more of them, so I really make an effort to prioritize working with other women.
What would you say to a college student reading this that wants to do what you do one day?
I would honestly tell her she’ll probably be my boss someday. Young people are so smart, and they have access to so much more information than we ever did. Statistically, I don’t think I should have made it to where I am–to be the first in my family to go to a four-year school and then be as successful as I’ve been. The cards were not in my favor, so I would tell her to work really hard and enjoy it.
LeAnn Phelan To Host Creative Therapy Workshop In March
/by Lorie HollabaughLongtime industry executive LeAnn Phelan is launching her 35th LP Creative Therapy Workshop on March 10-13 for songwriters from around the globe.
Her latest offering is open for anyone wanting to expand their knowledge of the industry and get back to the basics of what songwriters do so well—focus on the song. The Workshop is not genre specific and is open to songwriters globally. The one-hour Zoom workshops will take place at 5 p.m. CT and replays will be available. More information can be found here.
Highlights of this year’s workshop include “4 Steps Closer to a Publishing Deal;” “Essential tools for Creative Wellness on the Songwriter’s Journey;” “Finding Your Voice;” a Q&A and input from special guests Allen Shamblin and Shane McAnally.
Phelan curates the live experience by getting to know each songwriter and meeting their needs based on their interests. Her experience in the industry ranges from touring background singer to publisher to artist management. Participants also learn from publishers, managers, attorneys, hit songwriters, newly-signed songwriters, agents, A&R and more.
“SMACK was one of the first companies to see the value in Creative Wellness Coaching for songwriters and I’m so excited to have songwriter/producer Shane McAnally as a Special Guest Mentor on the upcoming series,” says Phelan. “Shane has written, and/or produced over 50 No. 1 songs, garnered three Grammy Awards, been nominated for more CMA Awards than any other songwriter in history, and been named ACM’s Songwriter of the Year twice. And you can’t be a mentor on Music Row without quoting Allen Shamblin. His very presence is encouraging. I’m excited to learn from Shane and Allen and I know this will be a great way to celebrate 5 years of encouraging songwriters to keep going!”
Phelan will follow with the Spring LP Creative Workshop for those that want to dive in deeper. A full scholarship to the the seven-week course will be given away during the March workshops. The seven-week course begins March 31.
Nominees Revealed For 2025 AIMP Nashville Awards
/by LB CantrellThe Association for Independent Music Publishers (AIMP) has revealed the final nominees for the 2025 AIMP Nashville Awards, taking place on April 8 at Marathon Music Works. Hosted by Storme Warren, the intimate gathering will honor the past year’s biggest hits written and promoted solely by Nashville’s independent publishing companies and their songwriters.
The evening will recognize songwriters, publishers and songs in various categories, including Rising Songwriter of the Year, Rising Artist-Writer of the Year, Artist-Writer of the Year, Song Champion of the Year, Publisher’s Pick of the Year, Song of the Year, Songwriter of the Year and Publisher of the Year.
“This year, we are celebrating the tenth anniversary of the AIMP awards show! Michael McAnally Baum and I created the show in 2015 as AIMP board members trying to figure out how to add value to the members and, at the same time, drive membership up,” says Ree Guyer, owner of Wrensong Entertainment. “We had 80 members at the time. Today, we have 495 members representing every successful independent publisher and writer in the Music Row Community. Looking at the list of nominees and knowing who will perform on the show tells me this will be another special night!“
The final voting period determining the winners opens on March 4 and closes at 5 p.m. CST on March 11. To vote, you must have been an AIMP member on or before Feb. 4. Email aimpnashville@gmail.com with any questions regarding voter eligibility and category requirements.
2025 AIMP Nashville Award Nominees:
Rising Songwriter Of The Year Nominees:
*7 nominees (because of a tie)
Abram Dean – Independently published by Concord Music Publishing
Jon Decious – Independently published by OneRiot, Reservoir
Lalo Guzman – Independently published by SMACKSongs
Wyatt McCubbin – Independently published by 50 Egg Music, Tape Room Music
Steve Moakler – Independently published by Creative Nation
Daniel Ross – Independently published by Big Machine Music
Chandler Walters – Independently published by Ern’s Cadillac Music, Big Loud Publishing
Rising Artist Writer Of The Year Nominees:
George Birge – Independently published by Big Machine Music
Laci Kaye Booth – Independently published by Big Machine Music
Dylan Marlowe – Independently published by Play It Again Music, Relative Music Group
Vincent Mason – Independently published by Hang Your Hat Music, Concord Music Publishing
Zach Top – Independently published by Major Bob Music
Tucker Wetmore – Independently published by Back Blocks Music
Artist Writer Of The Year Nominees:
Ashley Cooke – Independently published by Back Blocks Music, Big Loud Publishing
Jordan Davis – Independently published by Anthem Entertainment
Jackson Dean – Independently published by Little Louder Music
Ernest – Independently published by Big Loud Publishing
Hardy – Independently published by Relative Music Group
Carly Pearce – Independently published by Altadena Music
Song Champion Of The Year Nominees:
Courtney Allen – Sr. Director, A&R, Concord Music Publishing
Greg Gallo – VP, Creative, Reservoir
Shannan Hatch – SVP, Creative, SESAC
MaryAnn Keen – Director, Creative, BMI Nashville
Sara Knabe – SVP, A&R, Big Loud Music
Melissa Spillman – VP, A&R, Concord Music Publishing
Publisher Pick Of The Year Nominees:
“Casseroles” written by Hillary Lindsey, Tom Douglas, and James Slater; Independently published by Concord Music Publishing; Performed by Hailey Whitters
“Hell Is A Dance Floor” written by Vincent Mason and Chase McDaniel; Independently published by Hang Your Hat Music, Concord Music Publishing; Performed by Vincent Mason
“Killed A Man” written by Joe Fox, Geoff Warburton, and Jimi Bell; Independently published by Liz Rose Music, Big Machine Music, Range Music Publishing, Worktape Music; Performed by Post Malone
“Made In The USA” written by Ben Stennis, Emily Falvey, and Adam James; Independently published by SMACKSongs, Kobalt Music Publishing, Young Guns Publishing; Performed by Cody Johnson
“Midwest Rock & Roll” written by Ryan Hurd, Mark Holman, and Randy Montana; Independently published by Big Machine Music, Big Loud Publishing; Performed by Ryan Hurd
“The Loneliest Girl In The World” written by Laci Kaye Booth, Jon Stark, and Aby Gutierrez; Independently published by Big Machine Music, Dream3 Publishing, Kobalt Music Publishing; Performed by Laci Kaye Booth
Song Of The Year Nominees:
“A Bar Song (Tipsy)” written by Mark Allen Williams, Joe Kent, Sean Cook, Collins Obinna Chibueze, Nevin Sastry, and Jerell Jones; Independently published by Kobalt Music, Seeker Music, Range Music Publishing; Performed by Shaboozey
“Burn It Down” written by Hillary Lindsey, Liz Rose, Lori McKenna, and Parker McCollum; Independently published by Concord Music Publishing, Liz Rose Music, Creative Nation; Performed by Parker McCollum
“I Had Some Help” written by Ernest Keith Smith, Chandler Walters, Ashley Gorley, Morgan Wallen, Austin Post, Hoskins, Louis Bell, Ryan Vojtesak; Independently published by Big Loud Publishing, Ern’s Cadillac Music, Domain Capitol Group; Performed by Post Malone & Morgan Wallen
“Lies Lies Lies” written by Jessie Jo Dillon, Daniel Ross, Chris Tompkins, Josh Miller; Independently published by Big Machine Music, Concord Music Publishing, Boom Music Group; Performed by Morgan Wallen
“The Painter” written by Benjy Davis, Kat Higgins, and Ryan Larkins; Independently published by Big Machine Music; Performed by Cody Johnson
“Wind Up Missin’ You” written by Tucker Wetmore, Chris LaCorte, and Thomas Archer; Independently published by BackBlocks Music, Hang Your Hat Music, Concord Music Publishing, Combustion Music; Performed by Tucker Wetmore
Songwriter Of The Year:
Rocky Block – Independently published by Big Loud Publishing
Jessie Jo Dillon – Independently published by Big Machine Music
Ashley Gorley – Independently published by Domain Capitol Group
Hunter Phelps – Independently published by Tape Room Music
Taylor Phillips – Independently published by Tape Room Music
Jonathan Singleton – Independently published by 50 Egg Music
Top Independent Music Publishers Of The Year:
Big Loud Publishing
Big Machine Music
Concord Music Publishing
Purple Rabbit Music
Kelsea Ballerini To Release ‘Patterns (Deluxe)’ March 7
/by Lorie HollabaughKelsea Ballerini will release a deluxe edition of her 2024 album, Patterns, on March 7 via Black River Entertainment.
The extended project features five new songs, including “Future Tripping,” which she debuted live last night (Feb. 26) in Fort Worth. The 20-track edition also includes ballad (and previously issued digital bonus track) “To The Men That Love Women After Heartbreak,” “Put It To Bed,” “Cut Me Up” and “Hindsight Is Happiness.”
The new collection expands on the singer-songwriter’s autobiographical fifth LP, which was co-written entirely with female songwriters and debuted at No. 4 on Billboard‘s Top 200 Albums and became her first to top the Billboard Country Albums chart.
Ballerini has been crossing the country on her “Kelsea Ballerini Live on Tour 2025” tour packing arenas nationwide as well as coaching on Season 27 of NBC’s The Voice.
Patterns (Deluxe) Track List:
1.”Patterns” (Alysa Vanderheym, Jessie Jo Dillon, Hillary Lindsey, Karen Fairchild, Kelsea Ballerini)
2. “Sorry Mom” (Alysa Vanderheym, Jessie Jo Dillon, Hillary Lindsey, Karen Fairchild, Kelsea Ballerini)
3. “Baggage” (Alysa Vanderheym, Jessie Jo Dillon, Hillary Lindsey, Karen Fairchild, Kelsea Ballerini)
4. “First Rodeo” (Alysa Vanderheym, Jessie Jo Dillon, Hillary Lindsey, Karen Fairchild, Kelsea Ballerini)
5. “Nothing Really Matters” (Alysa Vanderheym, Jessie Jo Dillon, Kelsea Ballerini)
6. “How Much Do You Love Me” (Alysa Vanderheym, Jessie Jo Dillon, Kelsea Ballerini)
7. “Two Things” (Alysa Vanderheym, Jessie Jo Dillon, Hillary Lindsey, Karen Fairchild, Kelsea Ballerini)
8. “We Broke Up” (Alysa Vanderheym, Jessie Jo Dillon, Hillary Lindsey, Karen Fairchild, Kelsea Ballerini)
9. “WAIT!” (Alysa Vanderheym, Kelsea Ballerini)
10. “Beg for Your Love” (Alysa Vanderheym, Jessie Jo Dillon, Hillary Lindsey, Karen Fairchild, Kelsea Ballerini)
11. “Deep” (Alysa Vanderheym, Jessie Jo Dillon, Kelsea Ballerini)
12. “Cowboys Cry Too (with Noah Kahan)” (Alysa Vanderheym, Kelsea Ballerini, Noah Kahan)
13. “I Would, Would You” (Alysa Vanderheym, Jessie Jo Dillon, Kelsea Ballerini)
14. “This Time Last Year” (Alysa Vanderheym, Kelsea Ballerini)
15. “Did You Make It Home? (outro)” (Alysa Vanderheym, Kelsea Ballerini)
16. “To The Men That Love Women After Heartbreak” (Alysa Vanderheym, Jessie Jo Dillon, Hillary Lindsey, Karen Fairchild, Kelsea Ballerini)
17. “Future Tripping” (Alysa Vanderheym, Kelsea Ballerini)
18. “Put It To Bed” (Alysa Vanderheym, Kelsea Ballerini)
19. “Cut Me Up” (Alysa Vanderheym, Jessie Jo Dillon, Kelsea Ballerini)
20. “Hindsight Is Happiness” (Alysa Vanderheym, Kelsea Ballerini)
Hardy Launches Crow Records With Debut Artist Sikarus
/by Lorie HollabaughHardy and Sikarus. Photo: Courtesy of Crow Records
Hardy has partnered with Big Loud Rock to launch his new label, Crow Records. The first artist signed to the new label is Sikarus, who has released his debut track “Nonchalant.”
Sikarus is the solo project of Jordan Brooker, a songwriter with cuts for Luke Combs and others who is making his artist debut.
“The second I heard Sikarus’ music I thought to myself, ‘What a cool sound, I want to do anything I can to be able to work with him,’” says Hardy. “I’ve known Jordan for many years and I’m so excited to finally be able to say that we are officially working together. I love rock ‘n’ roll, I love exploring new things and I couldn’t be happier for Sikarus to be the first artist signed to Crow Records.”
Raised on country, Brooker found his major inspirations when his older brothers turned him on to rock in his early adolescence, starting with classics like Led Zeppelin and Nirvana and falling deep into turn-of-the-millennium alt-and pop-rock and ‘90s rock titans in high school. Hardy and Brooker, friends and collaborators during their early years in Nashville, reconnected in recent months, with Hardy making Sikarus his first Crow Records signing almost immediately upon hearing demos.
“I’m incredibly honored to be the first signing at Crow Records,” says Sikarus. “I think Hardy is one of the most brilliant musical minds I’ve ever met. We’ve been friends for a long time, so getting the chance to work with him in this capacity is so dope. ‘Nonchalant’ is all about that attitude of going with the flow and not getting hung up on the little things. It can be a really beautiful quality in a person, so much so that it makes you want to write a song about it.”
“Hardy is a generational talent and all of us at Big Loud Rock are honored to continue strengthening our partnership with him by joining forces on Crow Records,” says Big Loud partner and President of Big Loud Rock Joey Moi. “Developing the next generation of alternative and rock artists is at our core, and collaborating with Hardy to sign and foster new talent in the space has the whole team excited as we continue to expand.”
Sikarus will join Hardy on select dates of the “Jim Bob World Tour” this year, playing arenas and amphitheaters across the U.S. in August and September.
Rachel Deeb Launches ELEKTRIK Haus Creative
/by LB CantrellRachel Deeb. Photo: Katie Mathis
Country music photographer and videographer Rachel Deeb has launched ELEKTRIK Haus Creative, a new creative matchmaking service designed to connect the music industry with top-tier visual artists.
The company bridges the gap between musicians, managers and industry professionals and the photographers, videographers, designers and artists who can bring their creative visions to life.
With a decade of experience, Deeb has worked with Maren Morris, Carly Pearce, Walker Hayes, Ashley Cooke, Miranda Lambert, The Lumineers and more. Beyond photography and videography, she is also a visual artist, having designed and painted a custom jacket for Carrie Underwood’s “Reflection Tour” and has created murals around Nashville.
Deeb’s inspiration for launching ELEKTRIK Haus Creative came from years of industry colleagues reaching out for referrals to trusted creatives.
“As I’ve learned, in this game, the right crew makes all the difference,” Deeb shares.
Those interested in working with ELEKTRIK Haus Creative can connect through the company’s Instagram, reach out to Deeb directly via her Instagram or email rkdeebdesigns@gmail.com.
Cameron Montgomery Inks With Downtown Music Publishing [Exclusive]
/by Madison HahnenCameron Montgomery
Songwriter and producer Cameron Montgomery has signed a worldwide publishing deal with Downtown Music Publishing.
Split between Los Angeles and Nashville, Montgomery has created chart-topping hits for Morgan Wallen, Kane Brown, 24kGoldn, Winona Oak and Hardy, whose “.30-06,” debuted at No. 4 on the Billboard 200. Montgomery is also currently creating music for film, brand partnerships and collaborations within the visual arts.
“I couldn’t be more thrilled to join the team at Downtown,” says Montgomery. “From the moment I met Emily [Stephenson] and Jedd [Katrancha], it was clear that they are deeply committed to fostering a creative home where music and songwriters come first. Their passion and vision make Downtown the perfect place to continue growing as an artist and creator.”
The agreement also provides Montgomery access to Downtown’s creative sync services, which have recently achieved success with Perry Como’s “Round and Round” in Lindt’s 2024 Super Bowl ad and Victor Le Masne’s collaboration with the Olympics. Downtown’s sync team has helped songwriters and rights holders expand their reach through prominent placements in brand campaigns, TV shows, films and more. The division boasts a diverse catalog, featuring works from legacy artists like John Lennon & Yoko Ono, Miles Davis, Bruce Hornsby and Anthony Newley, as well as notable contemporary artists such as Atticus Ross, Colbie Caillat, Bruce Hornsby and Peso Pluma.
“Cam is an exceptionally talented songwriter whose work resonates across genres and audiences,” shares Stephenson, Downtown Music Publishing President, “It’s an honor to have him join the Downtown family.”
Downtown Music Publishing’s roster includes Jason Isbell, Sadler Vaden, Tommy Prine, the John Prine Estate and many more. Its Artists & Label Services division represents Abbey Cone, Fancy Hagood, Judah & the Lion, Mat Kearney, Tiera Kennedy, Your Neighbors and Drew Holcomb.