Sasha Alex Sloan
Sasha Alex Sloan has never been particularly interested in staying in one lane. Her recent songwriting credits move between pop, country, K-pop, R&B, rock and more, with songs recorded by artists including Olivia Rodrigo, Robert Smith, KAROL G, Bruno Mars, aespa, Ty Dolla $ign, Zach John King, Brooks & Dunn and Tucker Wetmore. For Sloan, genre has never mattered as much as writing a great song.
“A great song is just a great song and it can be whatever genre it wants to be,” Sloan tells MusicRow.
That mindset has become a defining part of Sloan’s career, particularly as her work has increasingly connected Nashville songwriting with the broader pop landscape. A Massachusetts native, Sloan first began writing songs simply because she loved music. She took piano lessons but found herself more interested in writing her own songs using chord books from artists including Queen and The Beatles.
“I didn’t even know songwriting was a career,” she recalls. “I just loved music.”
That career came together in an unexpected way. After leaving Berklee College of Music after six months, Sloan moved to L.A. at 19, where a viral Reddit post eventually led to a publishing opportunity. She soon found herself working as a professional songwriter in L.A., beginning a career she had never originally planned on pursuing.
The early years were anything but easy. Sloan worked at a coffee shop, clocking in for 5 a.m. shifts before heading to songwriting sessions. She spent roughly four years doing that without seeing much tangible progress, but she now looks back on the experience as an education in collaboration.
“I was this 19-year-old who had written alone forever, and then I was thrown into rooms with people who were used to co-writing. The first couple of years there, I just spent learning how to be a good co-writer.”
Nashville eventually became the place where Sloan felt most connected to the kind of songwriting she wanted to do. She bought a house in the city in 2019 after making several trips to write, then moved to Music City permanently in 2020. The shift gave her a deeper connection to guitar-and-piano-driven writing and the storytelling that first drew her to music.
Her Nashville work includes five cuts on Zach John King’s I’m What You Get album, as well as collaborations with Wetmore, Max McNown, Willow Avalon, William Beckmann, Carter Faith, Kaitlin Butts, George Birge, Sam Hunt, Alana Springsteen and Kelsea Ballerini. Among those songs, Wetmore’s “Yours” and King’s “Way To Go” reflect the songwriting process Sloan values most: starting with an idea and building the story together.
“What I love about Nashville is it’s so much about the song and the production comes later. It’s about getting from point A to point B and telling an amazing story.”
At the same time, Sloan’s pop work has placed her in rooms with some of the biggest names in contemporary music. She co-wrote Olivia Rodrigo’s “what’s wrong with me,” featuring Robert Smith, a collaboration that became particularly meaningful after Sloan had stepped away from songwriting for a period and was struggling with her confidence.
After hearing that Smith would appear on the song, Sloan tried to put the information out of her mind until it was real. Watching Rodrigo and Smith perform the song together at a festival ultimately became a turning point.
A similar sense of disbelief followed when Sloan learned that a song she had written with Isabel LaRosa and Thomas LaRosa would be released by KAROL G and Bruno Mars. Hearing Mars’ voice on the song was especially significant for Sloan, who has long admired him as a songwriter and performer.
“Hearing his voice on something I was a part of was just full body chills.”
Those experiences have reinforced what Sloan already believes about songwriting. It’s less about fitting into a genre and more about making music that connects. Her experience as an artist has also shaped that philosophy. After initially releasing her own music as a way to help other artists understand her writing, Sloan eventually embarked on her own major-label career and toured, giving her firsthand insight into what artists need from the songs they record.
That perspective now informs how she approaches every room. Sometimes she brings a concept. Sometimes she starts with melodies. When writing directly with an artist, she sees her role as serving that artist and helping create the best song for them.
For Sloan, versatility comes from staying curious rather than trying to master every style. Her influences range from Carole King and Dan Wilson to Brandon Flowers, Shane McAnally and Rodney Clawson, reflecting the wide musical world she has continued to build around herself.
And as her list of credits continues to expand, Sloan remains focused on the same thing that drew her to songwriting in the first place.
“Part of being a songwriter is being a great listener and every day waking up and knowing you have more to learn,” she says. “The biggest piece of advice I would give is just having an open mind and not thinking you know everything because that can be a real killer.”
Riley Green, Red Clay Strays & Tim McGraw To Headline WE Fest 2027
/by Lorie HollabaughTim McGraw, The Red Clay Strays and Riley Green have been announced as headliners for WE Fest 2027 in Detroit Lakes, Minnesota on Aug. 4–7.
The festival at Soo Pass Ranch brings together country legends, today’s stars, and rising artists for four days of live music and camping, and the 2027 lineup will also include performances from Sam Barber, Russell Dickerson, Dustin Lynch, Midland, Braxton Keith, Neal McCoy, Tracy Byrd, Tyce Delk, Sela Campbell, The Mighty Pines, Slamabama and more, with additional artists to be announced.
“Our theme this year is ‘Country Heaven in ’27,’ and that feels fitting when you look at the broad spectrum of talent in this lineup,” says WE Fest owner Matt Mithun. “From country classics to today’s modern country sound, with some Southern Rock and Americana/Bluegrass mixed in, this is going to be a fun year for fans of country and beyond.”
WE Fest is introducing a new 3-Day GA+ ticket, offering additional comfort, convenience, and entertainment. The new ticket option is designed for fans who want an upgraded festival experience while remaining part of the WE Fest General Admission atmosphere. Public on-sale begins today, (Oct. 2), and tickets, camping, and festival information are available at WEFest.com.
Red Clay Strays Extend ‘Grateful Tour’ Into 2027
/by Lorie HollabaughThe Red Clay Strays. Photo: Robby Klein
The Red Clay Strays have announced the 2027 leg of their “Grateful Tour,” which begins Jan. 22 in Raleigh.
The newly announced dates will run through late September, with shows in Cleveland, Los Angeles, Oklahoma City, Tucson, Denver and more, along with three hometown headline concerts set for Mobile’s Regions Arena on March 25-27. Support acts for the “Grateful Tour ’27” include Avery Anna (Jan. 22-Feb. 26, Mar. 18-19, April 29), The Bends (March 11-14), and St. Paul & The Broken Bones (March 25-27, July 23-Sept.19).
OG Strays Fan Club ticket pre-sales begin Oct. 5, with verified Strays pre-sales following on Oct. 5 at 1 p.m. (local), Red Clay Strays App User General pre-sales starting on Oct. 6, and public on-sale getting underway Oct. 9 at redclaystrays.com/tour.
The Strays’ “The Grateful Tour ’26” continues tomorrow night (Oct. 3) at Grand Rapids’ Van Andel Arena, followed by two-night stands at Fort Worth’s Dickies Arena (Oct. 7-8) and Nashville’s Bridgestone Arena (Oct. 22-23), and many more.
“The Red Clay Strays – Grateful Tour” ’26-’27 Dates:
October 1 – Pittsburgh, PA – PPG Paints Arena *
October 3 – Grand Rapids, MI – Van Andel Arena *
October 7 – Fort Worth, TX – Dickies Arena +
October 8 – Fort Worth, TX – Dickies Arena +
October 14 – Orlando, FL – Kia Center *
October 15 – Savannah, GA – Enmarket Arena *
October 17 – Charleston, SC – Credit One Stadium *
October 18 – Greenville, SC – Bon Secours Wellness Arena *
October 22 – Nashville, TN – Bridgestone Arena ^
October 23 – Nashville, TN – Bridgestone Arena ^
October 28 – Knoxville, TN – Food City Center ^^
October 31 – Birmingham, AL – Legacy Arena at the BJCC +
November 5 – Baton Rouge, LA – Raising Cane’s River Center ‡
November 6 – Bossier City, LA – Brookshire Grocery Arena ‡
November 8 – Jonesboro, AR – First National Bank Arena ‡
November 13 – Atlanta, GA – State Farm Arena ||
December 5 – Las Vegas, NV – MGM Grand Garden Arena ‡
January 22 – Raleigh, NC – Lenovo Center
January 23 – Columbia, SC – Colonial Life Arena **
January 28 – Rosemont, IL – Allstate Arena **
January 29 – St. Louis, MO – Enterprise Center **
January 31 – Omaha, NE – CHI Health Center **
February 4 – Cleveland, OH – Rocket Arena **
February 5 – Indianapolis, IN – Gainbridge Fieldhouse **
February 11 – Charleston, WV – Charleston Coliseum **
February 25 – Estero, FL – Hertz Arena **
February 26 – Jacksonville, FL – VyStar Veterans Memorial Arena
February 28 – Tampa, FL – The Hondo Rodeo Fest Tampa †
March 11 – Saskatoon, SK – SaskTel Centre #
March 12 – Edmonton, AB – Rogers Place #
March 14 – Winnipeg, MB – Canada Life Centre #
March 18 – Uncasville, CT – Mohegan Sun **
March 19 – Allentown, PA – PPL Center **
March 25 – Mobile, AL – Regions Arena ††
March 26 – Mobile, AL – Regions Arena ††
March 27 – Mobile, AL – Regions Arena ††
April 29 – Lubbock, TX – Cook’s Garage **
July 23 – Bangor, ME – Maine Savings Amphitheater ††
July 24 – Gilford, NH – BankNH Pavilion ††
July 29 – Canandaigua, NY – CMAC ††
July 31 – Clarkston, MI – Pine Knob Music Theatre ††
August 5 – Green Bay, WI – Resch Center ††
August 12 – Berkeley, CA – The Greek Theatre at UC Berkeley ††
August 13 – Fresno, CA – Save Mart Center ††
August 15 – Tucson, AZ – Tucson Arena ††
August 17 – Los Angeles, CA – The Greek Theatre ††
August 21 – Bend, OR – Hayden Homes Amphitheater ††
August 22 – Boise, ID – Extra Mile Arena ††
August 28 – Denver, CO – Fiddler’s Green Amphitheater
September 9 – Rogers, AR – Walmart AMP ††
September 11 – Huntsville, AL – The Orion Amphitheater ††
September 16 – Oklahoma City, OK – Paycom Center ††
September 18 – Corpus Christi, TX – Hilliard Center Arena ††
September 19 – Austin, TX – Moody Center ††
† Festival Appearance
* w/ Special Guests The Revivalists & Haley Reinhart
+ w/ Special Guests Shane Smith and The Saints & Brent Cobb
^ w/ Special Guests Sierra Ferrell & Brent Cobb
^^ w/ Special Guests Wyatt Flores & Brent Cobb
‡ w/ Special Guests Muscadine Bloodline & Brent Cobb
|| w/ Special Guests Travis Tritt & Brent Cobb
** w/ Special Guest Avery Anna
# w/ Special Guests The Bends
†† w/ Special Guests St. Paul & The Broken Bones
Josh Ross & Crew Celebrate Second Chart-Topper
/by Lauryn SinkPictured (Back Row, L-R): The Core’s Mackenzie Schrambach, MCA’s Damon Moberly, Round Hill Music’s Mike Whelan, Studio Bank’s Kari Barnhart, The Core’s Simon Tikhman, MCA’s Mike Harris, The Core’s Chief Zaruk and Tracy Martin, Combustion Music’s Chris Farren and BMI’s MaryAnn Keen. (Front Row, L-R): Matt Geroux, Christian Yancey, Josh Ross, Chris McKenna, Jessica Farren and Nick Sainato. Photo: Rachel Deeb for BMI
Josh Ross gathered friends, family and industry members Wednesday (Sept. 30) at Nashville’s One Garage to celebrate his second No. 1 single, “Hate How You Look.”
The track is the first No. 1 for its four writers, Nicholas Sainato, Chris McKenna, Jessica Farren and Christian Yancey. The track was produced by Matt Geroux, and appears on Ross’ 2025 Later Tonight album.
Hosted by BMI and emceed by BMI’s MaryAnn Keen, MCA’s Damon Moberly and Jimmy Rector, Combustion Music’s Chris “Falcon” Van Belkom, Chris Farren and Keithan Melton, and Back Row Publishing’s Lindsay Will were on deck to offer their congratulations. Many shared stories of how hard each of the writers has worked to get to this point and thanked Ross for cutting an outside song.
Sponsored by Studio Bank, Kari Barnhart made a special donation presentation on behalf of Ross and the songwriters in support of The Paul Walker Foundation.
BMI’s MaryAnn Keen gifts Christian Yancey, Chris McKenna, Jessica Farren and Nick Sainato each a custom Taylor 210e DLX guitar to commemorate their first No. One as BMI songwriters. Photo: Rachel Deeb for BMI
During the celebration, each of the writers also took the microphone to share their praises for each other and for Ross.
Yancey shared that the song almost never existed. The four writers were supposed to write with other people that day, but after a few cancellations, ended up in a room together for the first time.
Sainato and McKenna each thanked their families for their longtime support in what can often be a difficult job, and their teams for the work that is put in behind the scenes.
Farren shared that the moment felt full-circle, as she grew up attending these event with her dad. “I feel super lucky to be a part of Music City. I was raised by this town, and its amazing to be sitting up here in a room with people that I admire and look up to so much.”
Ross was last to take the microphone, thanking Geroux and the writers for creating the song and his team for taking it to the top. “I would not be here without anybody in this room. You’re all so special. This life is a gift and I’m so glad I get to live it.”
DISClaimer Single Reviews: Three Share Disc Of The Day
/by Robert K OermannPictured (L-R, top row): Reba McEntire & Hudson Westbrook. (L-R, bottom row): Boyz II Men & Lady A
We have three winners in this stack of sounds in today’s DISClaimer.
The uncontested Female Disc of the Day performance is Reba McEntire’s. The Male Disc of the Day award belongs to Hudson Westbrook. The Group honor goes to the pop triumph by Lady A with Boys II Men.
For our DISCovery Award we look to Warner newcomers Highway Home.
Happy listening.
MAE ESTES / “You Can Feel Bad”
Writers: Matraca Berg/Tim Krekel; Producer: Paul Sikes; Label: Blue Highway Records
– For her debut on Blue Highway, Estes is issuing an EP titled The 90s Called, a collection of oldies from the 1990s that influenced her. The songs were originated by K.T. Oslin, Shenandoah, Brooks & Dunn, and Lee Ann Womack. The single is a pert, punchy revival of the 1996 Patty Loveless classic. I’m in.
BROTHERS OSBORNE / “Doors (Sellout Edit)”
Writers: Chris Pixton/Jesse Frasure/John Osborne/Lee Miller/TJ Osborne; Producer: Jay Joyce; Label: MCA
– This pumping thumper uses the metaphor of doors to symbolize passages through the stages of a life. It’s catchy as the dickens and thoughtful, too. These CMA nominees are always luscious listening.
HIGHWAY HOME / “Never Had Nothing”
Writers: Conner Sweeny/Corey Crowder/Eamon Owen/Stanton Langley; Producer: Ryan Gore; Label: Warner Records
– String-tickling guitar work and flawless, sunny, bright, three-part vocal harmonies are the calling cards here. The song celebrates finding the Right One to love. The trio’s EP, No More Drinkin’ Songs, drops tomorrow (Oct. 2).
KENNY CHESNEY / “Remember Me That Way”
Writers: Michael Hardy/Shane McAnally/Zach Abend; Producer: Buddy Cannon, Kenny Chesney; Label: HEY NOW Records
– Rosey-hued nostalgia with a dreamy vibe. He wants to be remembered by her for beach-y romance, not the lovers’ hard times. The vocal is clear and honest. The track is very techno-electronic.
FRANKIE STATON / “Forever, Loretta”
Writer: Frankie Staton; Producer: none listed; Label: FS
– Staton was the driving force behind the Black Country Music Association 30 years ago and remains a vital contributor to this day. The pianist/songwriter quotes The Coal Miner’s Daughter’s hit song titles in her lilting, lovely tribute single. Sweetly enchanting.
LADY A & BOYS II MEN / “I Love the One”
Writers: Hillary Scott/Jonathan Smith/Mitch Wong/Steven Furtick; Producer: Jonathan Smith; Label: 5&2 Studios
– This is a soaring gospel ballad. As you might expect from the assembled talents, the six-part vocal harmony work is beyond spectacular. Christian-pop nirvana. The track is drawn from an album of songs inspired by the TV series The Chosen.
DOM FLEMONS / “Shultz’s Dream”
Writers: Dominique Flemons; Producers: Dom Flemons, John Troutman; Label: Smithsonian Folkways Recordings
– Of all the alumni from The Carolina Chocolate Drops, Flemons has stayed the truest to the group’s mission of revitalizing vintage country music. On his forthcoming LP Making American Music, he broadens his palate to include early jazz, Hawaiian instrumentation, blues, and other roots-music styles. The record was recorded using antique instruments in the Smithsonian’s collection. Its advance single is a bluegrass tribute to Bill Monroe’s mentor, Arnold Shultz. It is very pitch-y vocally, but the verve in the picking is infectious. Flemons’ two previous Folkways releases have both been Grammy nominated.
REBA McENTIRE / “Could Have Been Raining”
Writers: Benjamin West/Dave Barnes/Rachel Wammack; Producers: Buddy Cannon, Reba McEntire; Label: Rockin’ R Records
– She’s devastated by the breakup, but things could have been worse. The ballad performance is sensational, ranging from her hushed alto tone to falsetto leaps and full-throated cries to the heavens. Utterly compelling listening.
MUSCADINE BLOODLINE / “Escatawpa Hollow”
Writer: Gary Stanton; Producers: Gary Stanton, Ryan Youmans; Label: Trenches Records/Republic Records
– The durable, decade-long duo—Charlie Muncaster and Gary Stanton—is riding into this fall with a CMA Award nomination. Muscadine Bloodline’s new single is a slammin’ country rocker about a blue-collar worker up North who yearns for his old girlfriend down in Dixie.
WYNONNA + IRON & WINE / “Hear Me Now”
Writers: CACTUS MOSER/Sam Beam/Wynonna; Producer: CACTUS MOSER; Label: Anti/Epitaph
– Wy’s new album, The Hard Truth, drops tomorrow (Oct. 2) and is accompanied by this moody pop single. The lyric muses about her current state of existence and poetically ponders what her late mother would think of her daughter today.
FLATLAND CALVARY / “Cinnamon Sugar (It’s Love)”
Writers: Cleto Cordero/Jay Knowles; Producer: Dwight Baker; Label: Lost Highway Records
– These perennial Americana faves have a new track that’s an ode to blissful love, set to a rather plodding tempo. A lighter, more lilting, approach would have been better.
HUDSON WESTBROOK / “One Night Wonder”
Writers: Beau Bailey/Hudson Westbrook/Lukas Scott; Producer: Lukas Scott, Ryan Youmans; Label: River House Artists/Warner Records Nashville
– In a plaintive tenor tone, Westbrook reflects on a hook-up that left him hopelessly love struck. Was it a one-time thing or will she wander on back to him? The tune is drawn from his forthcoming sophomore album, with which he’s graduating to being a tour headliner.
STELLA LEFTY & VINCENT MASON / “Something to Lose”
Writers: Grace Enger/Jon Decious/Luke Dick/STELLA LEFTY; Producer: Joe Reeves; Label: Atlantic Outpost
– Newcomer Stella Lefty has “Boston” as her solo breakthrough. She teams with Vincent Mason as her duet partner on this lovey-dovey outing. Breezy, relaxed, warm, and charming. Also: They are dating in real life, making them country’s cutest new couple.
Blake Pendergrass Celebrates Opry Debut
/by Lorie HollabaughBlake Pendergrass performs “The Dealer” at the Grand Ole Opry on Sept. 29, 2026.
Photo Credit: Alanna McArdle
Blake Pendergrass, the newly-crowned NSAI Songwriter of the Year, made his debut in the Grand Ole Opry circle on Tuesday night (Sept. 29).
A songwriter with seven No. 1s under his belt, Pendergrass performed two of his hits, “Just In Case” (recorded by Morgan Wallen) and “The Dealer” (recorded by Wallen featuring ERNEST) during his debut. He also returned to the stage during Wyatt Flores’ set to perform “Scared of Heights,” the title track from Flores’ latest album, which Pendergrass co-wrote with Flores.
“To call this a dream come true doesn’t even do it justice because in my wildest dreams I never thought I would stand up on this stage and play for anyone,” Pendergrass shared with the audience. “It’s very rare to be at the Opry – especially just as a songwriter. I’m humbled.”
Prior to the memorable moment in the legendary circle, Pendergrass received No. 1 plaques for the Wallen-recorded tracks “20 Cigarettes,” “Don’t We,” “Just In Case” and “I Got Better,” along with Thomas Rhett and Jordan Davis’ “Ain’t A Bad Life.”
Back Blocks Music’s Rakiyah Marshall, Blake Pendergrass and Grand Ole Opry’s Dan Rogers. Photo: Alanna McArdle
Wyatt Flores and Blake Pendergrass. Photo: Alanna McArdle
Back Block Music’s Elizabeth Cook, Blake Pendergrass, Rakiyah Marshall and Kirby Matthews. Photo: Alanna McArdle
Inside Sasha Alex Sloan’s Songwriting World [Interview]
/by Madison HahnenSasha Alex Sloan
Sasha Alex Sloan has never been particularly interested in staying in one lane. Her recent songwriting credits move between pop, country, K-pop, R&B, rock and more, with songs recorded by artists including Olivia Rodrigo, Robert Smith, KAROL G, Bruno Mars, aespa, Ty Dolla $ign, Zach John King, Brooks & Dunn and Tucker Wetmore. For Sloan, genre has never mattered as much as writing a great song.
“A great song is just a great song and it can be whatever genre it wants to be,” Sloan tells MusicRow.
That mindset has become a defining part of Sloan’s career, particularly as her work has increasingly connected Nashville songwriting with the broader pop landscape. A Massachusetts native, Sloan first began writing songs simply because she loved music. She took piano lessons but found herself more interested in writing her own songs using chord books from artists including Queen and The Beatles.
“I didn’t even know songwriting was a career,” she recalls. “I just loved music.”
That career came together in an unexpected way. After leaving Berklee College of Music after six months, Sloan moved to L.A. at 19, where a viral Reddit post eventually led to a publishing opportunity. She soon found herself working as a professional songwriter in L.A., beginning a career she had never originally planned on pursuing.
The early years were anything but easy. Sloan worked at a coffee shop, clocking in for 5 a.m. shifts before heading to songwriting sessions. She spent roughly four years doing that without seeing much tangible progress, but she now looks back on the experience as an education in collaboration.
“I was this 19-year-old who had written alone forever, and then I was thrown into rooms with people who were used to co-writing. The first couple of years there, I just spent learning how to be a good co-writer.”
Nashville eventually became the place where Sloan felt most connected to the kind of songwriting she wanted to do. She bought a house in the city in 2019 after making several trips to write, then moved to Music City permanently in 2020. The shift gave her a deeper connection to guitar-and-piano-driven writing and the storytelling that first drew her to music.
Her Nashville work includes five cuts on Zach John King’s I’m What You Get album, as well as collaborations with Wetmore, Max McNown, Willow Avalon, William Beckmann, Carter Faith, Kaitlin Butts, George Birge, Sam Hunt, Alana Springsteen and Kelsea Ballerini. Among those songs, Wetmore’s “Yours” and King’s “Way To Go” reflect the songwriting process Sloan values most: starting with an idea and building the story together.
“What I love about Nashville is it’s so much about the song and the production comes later. It’s about getting from point A to point B and telling an amazing story.”
At the same time, Sloan’s pop work has placed her in rooms with some of the biggest names in contemporary music. She co-wrote Olivia Rodrigo’s “what’s wrong with me,” featuring Robert Smith, a collaboration that became particularly meaningful after Sloan had stepped away from songwriting for a period and was struggling with her confidence.
After hearing that Smith would appear on the song, Sloan tried to put the information out of her mind until it was real. Watching Rodrigo and Smith perform the song together at a festival ultimately became a turning point.
A similar sense of disbelief followed when Sloan learned that a song she had written with Isabel LaRosa and Thomas LaRosa would be released by KAROL G and Bruno Mars. Hearing Mars’ voice on the song was especially significant for Sloan, who has long admired him as a songwriter and performer.
“Hearing his voice on something I was a part of was just full body chills.”
Those experiences have reinforced what Sloan already believes about songwriting. It’s less about fitting into a genre and more about making music that connects. Her experience as an artist has also shaped that philosophy. After initially releasing her own music as a way to help other artists understand her writing, Sloan eventually embarked on her own major-label career and toured, giving her firsthand insight into what artists need from the songs they record.
That perspective now informs how she approaches every room. Sometimes she brings a concept. Sometimes she starts with melodies. When writing directly with an artist, she sees her role as serving that artist and helping create the best song for them.
For Sloan, versatility comes from staying curious rather than trying to master every style. Her influences range from Carole King and Dan Wilson to Brandon Flowers, Shane McAnally and Rodney Clawson, reflecting the wide musical world she has continued to build around herself.
And as her list of credits continues to expand, Sloan remains focused on the same thing that drew her to songwriting in the first place.
“Part of being a songwriter is being a great listener and every day waking up and knowing you have more to learn,” she says. “The biggest piece of advice I would give is just having an open mind and not thinking you know everything because that can be a real killer.”
Country Radio Hall Of Fame Opens Nominations For Class Of 2027
/by Lorie HollabaughThe Country Radio Hall of Fame is accepting nominations for its Class of 2027.
Submissions are open through Oct. 30, and nominations are accepted year-round, but submissions received after the deadline will be considered for the Class of 2028. Candidates can be nominated here.
Founded in 1974, the CRHoF is dedicated to the recognition of those individuals who have made significant contributions to the country radio/music industry. Nominees must have worked at least 20 years in radio, with a minimum of 15 in the country format.
The CRHoF recognizes outstanding professionals in two categories: Radio – honoring those who have worked behind the scenes in programming, management, sales and other roles; and On-Air Personality – recognizing those who have made their mark as on-air talent. Each inductee is celebrated for their exceptional impact and dedication to the growth and development of country radio.
The 2027 inductees will be announced during Country Radio Seminar (CRS) 2027, taking place March 17–19 at the Omni Nashville Hotel.
CRB To Honor Dolly Parton Posthumously With 2027 Artist Humanitarian Award
/by Madison HahnenCountry Radio Broadcasters has named Dolly Parton the recipient of the 2027 Artist Humanitarian Award. The honor recognizes her lifelong commitment to philanthropy and service and will be presented posthumously during Country Radio Seminar 2027, set for March 17–19 in Nashville.
Parton was informed of the honor before her passing, making the recognition a tribute to the lasting impact of her work both in and beyond music.
Throughout her career, Parton used her success to support children, families and communities in need. Her philanthropic work included education, healthcare, disaster relief and medical research, with many of her efforts focused on creating opportunities for others.
One of her most well-known initiatives is the Imagination Library, which she launched in 1995 in her home county in East Tennessee. The program provides free books to children from birth through age five and has since grown into a global literacy effort, delivering millions of books to families.
Through the Dollywood Foundation and her personal giving, Parton also supported communities affected by natural disasters, educational programs, healthcare initiatives and other causes. Her philanthropy often reflected her belief in using her success to help others.
“The word ‘humanitarian’ is nearly synonymous with Dolly Parton,” says CRS Executive Director RJ Curtis. “Her decades of generosity and philanthropy speak for themselves, and CRB was honored when Dolly agreed to accept this recognition earlier this year. Though she won’t be with us in person at CRS, her extraordinary spirit and enduring commitment to making the world a better place will continue to inspire us all.”
Established in 1990, the Artist Humanitarian Award honors country artists whose charitable work has made a significant impact. Past recipients include Jelly Roll, Eric Church, Luke Combs, Kane Brown, Jason Aldean, Luke Bryan, Kenny Chesney and Carrie Underwood.
Parton’s recognition highlights a lifetime of giving that reached millions of people and communities around the world. Additional details about the award presentation will be announced at a later date.
Chris Stapleton, Marcus King, More Among Lineup For Ronnie Bowman Tribute In December
/by Lorie HollabaughChris Stapleton, Marcus King, Ronnie Dunn and more are set to perform at a special tribute celebrating the life and legacy of bluegrass artist and songwriter Ronnie Bowman on Dec. 1 at Brooklyn Bowl Nashville.
The all-star show, presented by Eclipse Music Group, will also feature performances from Lee Ann Womack, Dierks Bentley, ERNEST, Dean Dillon, Ricky Skaggs & Sharon White, The Isaacs, Jason Crabb, Jake Owen, Clint Daniels, The Del McCoury Band, Mark Collie, Makayla Lynn, Dalton Davis and The Cannon Family. The evening will be hosted by Storme Warren.
On March 22, 2026, Bowman tragically passed away at age 64 following a motorcycle accident, leaving behind an extraordinary musical legacy and a community of family, friends, artists and songwriters whose lives he deeply impacted. The tribute show will bring together Ronnie’s musical family and friends to perform his songs alongside an all-star house band led by JT Cure, for a special night honoring the life, music, stories and songs of Bowman.
A three-time IBMA Male Vocalist of the Year, Bowman spent more than four decades building a standout career as a singer, songwriter, musician and producer. His songwriting reached far beyond bluegrass, with songs recorded by some of country’s biggest artists. He co-wrote Brooks & Dunn’s No. 1 “It’s Getting Better All The Time,” Kenny Chesney’s chart-topping “Never Wanted Nothing More” and Chris Stapleton’s “Nobody To Blame,” which earned ACM Song of the Year.
General admission tickets for the tribute and VIP bowling lanes go on sale to the public tomorrow (Oct. 2) at brooklynbowl.com/nashville.
The MLC Holds Annual Membership Meeting
/by Lauryn SinkThe Mechanical Licensing Collective (The MLC) held its Annual Membership Meeting on Tuesday (Sept. 29).
The organization has announced that the congressionally mandated process for distributing remaining unclaimed accrued royalties will begin in April 2027. Under the Music Modernization Act (MMA), The MLC is required to hold and continue efforts to match and distribute unclaimed accrued royalties, which include unmatched royalties and unclaimed royalties, for a minimum of three years before distributing any remaining royalties through a market share distribution process. Through this process, The MLC is required to distribute remaining unclaimed accrued royalties, plus applicable interest calculated at the statutory rate, to rightsholders based on their relative market shares. Information about the about the market share distribution process can be found here.
During the Annual Meeting, The MLC also highlighted its continued growth and progress over the first five years of its operations, culminating with the U.S. Register of Copyrights’ decision to continue The MLC’s designation as the statutory mechanical royalties collective established under the MMA. The organization has processed nearly $5 billion in total royalties and distributed more than $4.2 billion in total royalties to rightsholders. It has added more than 27,000 Members to date in 2026, adding to its over 100,000 members total.
“We’re proud of the progress The MLC has made since beginning operations in 2021 and we’re grateful to our Members and industry partners for their continued engagement and support,” says Kris Ahrend, CEO of The MLC. “Distributing more than $4.2 billion in total royalties to rightsholders is an important milestone. We’re grateful for the opportunity to continue our work following the Copyright Office’s decision to continue our designation. The start of market share distributions in April 2027 represents another important step in fulfilling The MLC’s statutory responsibilities under the MMA. We remain focused on carrying out that work and continuing to serve our Members and the broader rightsholder community.”
More information about the information shared at the Annual Meeting can be found here.