Ree Guyer
Ree Guyer was born and raised in St. Paul, Minnesota. She graduated in 1981 from St. Mary’s University with a BS in Child Psychology and Studio Arts. Shortly after graduating from college, she held two jobs—a production potter for Sansei Pottery in St. Paul and a sales position for Wrensong Publishing, a newly formed division of her father’s, Reyn Guyer’s, development company Winsor Concepts (this company owns the patent on Nerf and Twister). The initial concept of Wrensong was to help professional jingle writers, like Billy Barber, in the Minneapolis/St. Paul area get their commercial songs recorded by major recording artists. Ree and her father initially signed single song contracts with these writers and began with just twenty songs.
In 1985, Guyer landed her first cut with the help of her friend, Bob Doyle. “Little Things,” recorded by the Oak Ridge Boys, became a No. 1 single. Guyer moved to Nashville in November 1985 to open the Music Row office where the company remains today. Wrensong signed their first staff writer in 1986, Jon Vezner. Within 18 months, he had his first two singles: “Just Can’t Sit Down Music,” recorded by Mel McDaniel, and “Trainwreck of Emotion,” recorded by Lorrie Morgan, as well as cuts with Ronnie Milsap, Reba and the award-winning song, “Where’ve You Been,” recorded by his wife, Kathy Mattea.
In the last few years, Guyer has focused on developing singer/songwriters. She was pivotal in launching the artist/writer careers of Ashley Monroe, Jon Randall and Trevor Rosen, member of Old Dominion.
Photo: Courtesy of Guyer
MusicRow: How did you start your career?
When I was 15, my mom told me I needed a job, so I nannied for a summer. I didn’t love it. But I was already a pretty accomplished potter, and I did love that.
This was the seventies, and there were tons of potters around. My mom said, “Why don’t you just knock on some doors?” So I did. I told one woman I’d do anything—wedge clay, mix glazes, whatever she needed. She hired me, and I worked for her every summer, plus Christmas and spring breaks, all through school.
I became her junior production potter. She’d say, “We need 200 mugs,” and I’d make 200 mugs. By the time I finished college, pottery was already second nature to me.
Creativity clearly ran in your family. What was that environment like growing up?
My dad was incredibly creative. He invented Twister and Nerf and was also writing children’s music. He knew all the Minneapolis musicians because there were only two studios in town. I sang on a few commercials as a kid—nothing serious—but it meant I got to know those musicians.
They made great money writing commercials for companies like 3M, Pillsbury, General Mills, Target, Best Buy. My dad kept saying, “You guys have to be writing songs on the side.”
Around that same time, I realized I loved sales. I was interviewing at places like Pillsbury, but I thought maybe I’d keep my pottery job and try something else on the side. I suggested we go to Nashville. These guys were writing pop-forward songs that felt right for Nashville.
Photo: Courtesy of Guyer
What did you find in Nashville?
There was one writer, Billy Barber, who I immediately believed in. He had a beautiful voice. He was cutting his own demos on an eight-track, which was a big deal back then. I just knew the songs were special.
Michael Johnson, who had “Bluer Than Blue,” lived in Minneapolis but made his records in Nashville. I took him to lunch and asked who I should meet. He gave me five names: Karen Conrad, Celia Froehlig, Pat Rolfe, Pat Higdon and Bob Doyle. They all welcomed me, but Karen Conrad especially mentored me. She even gave me a small office in the back of hers.
At the time, writers couldn’t write outside their publishing companies, and nobody wanted to split publishing. I realized pretty quickly that other publishers couldn’t really help me. I had to figure it out on my own. So I’d come to Nashville for two weeks at a time, stay at the Exit/In Manor, walk everywhere and drop off cassettes.
One song opened every door. Billy Barber wrote it in one day. It was called “Little Things.”
That song ended up changing everything.
I dropped it off at Billy Sherrill’s office, and 15 minutes later he called me and said, “Who the hell is Ree Guyer? What is Wrensong? And who is Billy Barber? Get over here right now.”
He was terrifying. He told me I seemed like a nice Midwestern girl and should go home, become a nurse, get married, have kids. I said, “Because you just said that, I’m going to prove I can do this.” And somehow, that worked.
He wanted to produce Billy and develop him as an artist. He was head of A&R at Columbia and wanted to prove he could make a pop record. We did everything—photo shoots, artist development, the whole process. But New York never called him back. We were completely ghosted. That was a huge lesson for me.
Bob Doyle, who was at ASCAP, believed the song was a hit. One day he called and said, “The Oak Ridge Boys are listening to cassettes on their bus for their next record. Get over there.” I dropped off “Little Things,” and three days later they called and said, “We’re cutting this.”
After that, Billy Sherrill connected me with Al Gallico, who had run EMI for years. He wanted half the publishing. I said no. I’d worked the song for 18 months, spent a lot of money traveling back and forth, and I knew it was a hit. I wasn’t giving it up.
The Oak Ridge Boys’ publisher made the same offer—half the publishing in exchange for making it the first single. I said no again. They put it out anyway, and it went to No. 1.
Photo: Courtesy of Guyer
That decision really set the tone for how you operated.
Because of that success, Duane Allen called me and asked if I had anything else. I did. One of my writers had just written “Gonna Take a Lot of River.” I owned 100% of that one too. They cut it, and it went to No. 1 the next year. So we had back-to-back No. 1s with the Oak Ridge Boys. That success allowed us to buy a building on Music Row for $111,000 and renovate it. Kathy Mattea lived upstairs, and that’s actually how she met Jon Vezner, who became my first signed writer in early 1986.
Tell me about working with Jon.
Jon didn’t take long to break. We had Lorrie Morgan’s first single, a Mel McDaniel cut, and then in 1988 he wrote “Where’ve You Been.” I knew immediately it was special.
We offered it to Kathy first, but she was hesitant. It was long, sad, and risky. So I played it for Conway Twitty, and he immediately wanted to cut it. When Kathy heard that, she decided she needed to do the song herself. The rest is history. We won Song of the Year across the board.
What was next?
From there, I had waves of writers. Will Rambeaux and Blair Daly were one of those waves. I was Blair’s first publisher. I signed him when he was 18, and within 18 months he had three No. 1s, including three hits for John Michael Montgomery.
Then came “Wild One,” co-written by Will Rambeaux. Faith Hill was a friend, and Scott Hendricks believed in the song right away. When he started producing Faith, he cut it, and it became a huge record.
Another wave came with Jon Randall. He had just lost his publishing deal and was sleeping on his manager’s couch when he played me “Whiskey Lullaby.” I knew instantly it was special. We made a co-publishing deal, and within a year we had about 15 cuts off simple guitar demos.
“Whiskey Lullaby” had a long road before it became what it did.
It was hard to place until Brad Paisley went looking for a duet with Alison Krauss. He heard the song and knew immediately that was it.
After the song started circulating, John Grady signed Jon Randall to a record deal. I remember him saying at lunch that he never thought he’d be sitting there with another deal. Jon even recorded the song for his Sony record and talked about doing it with the Dixie Chicks. At the same time, Brad Paisley was on fire. I knew if the song didn’t become a single, it would disappear. So I let people know Jon was recording it, and the next day RCA called and said they were making it Brad’s next single. That ended up being the best thing that could have happened. We won CMA Song of the Year.
Photo: Courtesy of Guyer
That stretch really defined an era for Wrensong.
Around that same time, I signed Ashley Monroe. She was 17, and it was her first publishing deal. That whole period was such a fun ride. She was writing incredible songs, had a couple of No. 1s and then there was the Pistol Annies chapter, which was its own thing entirely.
Then I got a call from Shane McAnally. I’d known him since he was 18. He told me he and his husband, Michael, wanted to start a publishing company one day and wanted to learn by working together on a writer first. He brought Trevor Rosen to my office one night and played me a bunch of songs. They started with safe stuff, and I stopped them. I said, “I’m not safe. Look at my history. Play me something that feels impossible.”
They played “Better Dig Two.” I said we were making a deal that day.
Trevor had just lost his publishing deal, had three kids and wasn’t making much money. We bought his catalog and started paying him immediately. It took months for the song to finally get cut, but when it did, it became Trevor’s first No. 1.
That partnership eventually led to something even bigger.
Not long after that, Trevor told me he had a band. I went to see them play and immediately saw the potential—and also what wasn’t working. We tightened the songs, focused the vision and eventually cut tracks.
They were older than what labels wanted, so no one would sign them. So we gave away songs we knew were hits. Those songs became No. 1s for other artists, and suddenly the band had real credibility.
Eventually, “Break Up with Him” went to No. 1 and stayed there for eight weeks. That’s when people finally started paying attention. Even then, some labels passed. But eventually someone asked if there was anything Nashville was missing, and the answer was Old Dominion. The next day, they were signed.
That was another wave.
Now I’m probably on my last one. I have MaKayla Lynn, who is a truly exceptional writer. She doesn’t want to be an artist first—she wants to be a great songwriter, and she will be. We’ll make a record with her, but the writing comes first.
Then there’s Conor Matthews. He came to me a couple of years ago from Los Angeles. He’d already done the pop thing and had a following, but I told him I thought he was really a Nashville artist. I said if he moved here, I’d sign him. In January, he called and said, “I’m here.”
When you look back on everything, what are you most proud of?
What I love most is watching a writer come in with real talent and helping them make it happen. I know what’s possible because I’ve done it so many times, and it’s incredibly rewarding to see someone’s life change.
I’m also proud of the songs. That’s the legacy. I’ve been up for Song of the Year four times and won three—“Where’ve You Been,” “Whiskey Lullaby” and “One Man Band.” I think that’s a pretty good track record.
What’s the best piece of advice you’ve ever gotten?
The best advice came from my dad. He saw me working all the time and told me to find a balance between work and life.
When I got into the business, I met bitter people, and I didn’t want to become bitter. In this business, you will get screwed. When someone screwed me on a deal or a situation, I forgave and forgot so I could let it go and be free of that bitterness. I can truly say I forgave—and even really forgot—anyone who wronged me.
My Music Row Story: Wrensong Entertainment’s Ree Guyer
/by LB CantrellRee Guyer
Ree Guyer was born and raised in St. Paul, Minnesota. She graduated in 1981 from St. Mary’s University with a BS in Child Psychology and Studio Arts. Shortly after graduating from college, she held two jobs—a production potter for Sansei Pottery in St. Paul and a sales position for Wrensong Publishing, a newly formed division of her father’s, Reyn Guyer’s, development company Winsor Concepts (this company owns the patent on Nerf and Twister). The initial concept of Wrensong was to help professional jingle writers, like Billy Barber, in the Minneapolis/St. Paul area get their commercial songs recorded by major recording artists. Ree and her father initially signed single song contracts with these writers and began with just twenty songs.
In 1985, Guyer landed her first cut with the help of her friend, Bob Doyle. “Little Things,” recorded by the Oak Ridge Boys, became a No. 1 single. Guyer moved to Nashville in November 1985 to open the Music Row office where the company remains today. Wrensong signed their first staff writer in 1986, Jon Vezner. Within 18 months, he had his first two singles: “Just Can’t Sit Down Music,” recorded by Mel McDaniel, and “Trainwreck of Emotion,” recorded by Lorrie Morgan, as well as cuts with Ronnie Milsap, Reba and the award-winning song, “Where’ve You Been,” recorded by his wife, Kathy Mattea.
In the last few years, Guyer has focused on developing singer/songwriters. She was pivotal in launching the artist/writer careers of Ashley Monroe, Jon Randall and Trevor Rosen, member of Old Dominion.
Photo: Courtesy of Guyer
MusicRow: How did you start your career?
When I was 15, my mom told me I needed a job, so I nannied for a summer. I didn’t love it. But I was already a pretty accomplished potter, and I did love that.
This was the seventies, and there were tons of potters around. My mom said, “Why don’t you just knock on some doors?” So I did. I told one woman I’d do anything—wedge clay, mix glazes, whatever she needed. She hired me, and I worked for her every summer, plus Christmas and spring breaks, all through school.
I became her junior production potter. She’d say, “We need 200 mugs,” and I’d make 200 mugs. By the time I finished college, pottery was already second nature to me.
Creativity clearly ran in your family. What was that environment like growing up?
My dad was incredibly creative. He invented Twister and Nerf and was also writing children’s music. He knew all the Minneapolis musicians because there were only two studios in town. I sang on a few commercials as a kid—nothing serious—but it meant I got to know those musicians.
They made great money writing commercials for companies like 3M, Pillsbury, General Mills, Target, Best Buy. My dad kept saying, “You guys have to be writing songs on the side.”
Around that same time, I realized I loved sales. I was interviewing at places like Pillsbury, but I thought maybe I’d keep my pottery job and try something else on the side. I suggested we go to Nashville. These guys were writing pop-forward songs that felt right for Nashville.
Photo: Courtesy of Guyer
What did you find in Nashville?
There was one writer, Billy Barber, who I immediately believed in. He had a beautiful voice. He was cutting his own demos on an eight-track, which was a big deal back then. I just knew the songs were special.
Michael Johnson, who had “Bluer Than Blue,” lived in Minneapolis but made his records in Nashville. I took him to lunch and asked who I should meet. He gave me five names: Karen Conrad, Celia Froehlig, Pat Rolfe, Pat Higdon and Bob Doyle. They all welcomed me, but Karen Conrad especially mentored me. She even gave me a small office in the back of hers.
At the time, writers couldn’t write outside their publishing companies, and nobody wanted to split publishing. I realized pretty quickly that other publishers couldn’t really help me. I had to figure it out on my own. So I’d come to Nashville for two weeks at a time, stay at the Exit/In Manor, walk everywhere and drop off cassettes.
One song opened every door. Billy Barber wrote it in one day. It was called “Little Things.”
That song ended up changing everything.
I dropped it off at Billy Sherrill’s office, and 15 minutes later he called me and said, “Who the hell is Ree Guyer? What is Wrensong? And who is Billy Barber? Get over here right now.”
He was terrifying. He told me I seemed like a nice Midwestern girl and should go home, become a nurse, get married, have kids. I said, “Because you just said that, I’m going to prove I can do this.” And somehow, that worked.
He wanted to produce Billy and develop him as an artist. He was head of A&R at Columbia and wanted to prove he could make a pop record. We did everything—photo shoots, artist development, the whole process. But New York never called him back. We were completely ghosted. That was a huge lesson for me.
Bob Doyle, who was at ASCAP, believed the song was a hit. One day he called and said, “The Oak Ridge Boys are listening to cassettes on their bus for their next record. Get over there.” I dropped off “Little Things,” and three days later they called and said, “We’re cutting this.”
After that, Billy Sherrill connected me with Al Gallico, who had run EMI for years. He wanted half the publishing. I said no. I’d worked the song for 18 months, spent a lot of money traveling back and forth, and I knew it was a hit. I wasn’t giving it up.
The Oak Ridge Boys’ publisher made the same offer—half the publishing in exchange for making it the first single. I said no again. They put it out anyway, and it went to No. 1.
Photo: Courtesy of Guyer
That decision really set the tone for how you operated.
Because of that success, Duane Allen called me and asked if I had anything else. I did. One of my writers had just written “Gonna Take a Lot of River.” I owned 100% of that one too. They cut it, and it went to No. 1 the next year. So we had back-to-back No. 1s with the Oak Ridge Boys. That success allowed us to buy a building on Music Row for $111,000 and renovate it. Kathy Mattea lived upstairs, and that’s actually how she met Jon Vezner, who became my first signed writer in early 1986.
Tell me about working with Jon.
Jon didn’t take long to break. We had Lorrie Morgan’s first single, a Mel McDaniel cut, and then in 1988 he wrote “Where’ve You Been.” I knew immediately it was special.
We offered it to Kathy first, but she was hesitant. It was long, sad, and risky. So I played it for Conway Twitty, and he immediately wanted to cut it. When Kathy heard that, she decided she needed to do the song herself. The rest is history. We won Song of the Year across the board.
What was next?
From there, I had waves of writers. Will Rambeaux and Blair Daly were one of those waves. I was Blair’s first publisher. I signed him when he was 18, and within 18 months he had three No. 1s, including three hits for John Michael Montgomery.
Then came “Wild One,” co-written by Will Rambeaux. Faith Hill was a friend, and Scott Hendricks believed in the song right away. When he started producing Faith, he cut it, and it became a huge record.
Another wave came with Jon Randall. He had just lost his publishing deal and was sleeping on his manager’s couch when he played me “Whiskey Lullaby.” I knew instantly it was special. We made a co-publishing deal, and within a year we had about 15 cuts off simple guitar demos.
“Whiskey Lullaby” had a long road before it became what it did.
It was hard to place until Brad Paisley went looking for a duet with Alison Krauss. He heard the song and knew immediately that was it.
After the song started circulating, John Grady signed Jon Randall to a record deal. I remember him saying at lunch that he never thought he’d be sitting there with another deal. Jon even recorded the song for his Sony record and talked about doing it with the Dixie Chicks. At the same time, Brad Paisley was on fire. I knew if the song didn’t become a single, it would disappear. So I let people know Jon was recording it, and the next day RCA called and said they were making it Brad’s next single. That ended up being the best thing that could have happened. We won CMA Song of the Year.
Photo: Courtesy of Guyer
That stretch really defined an era for Wrensong.
Around that same time, I signed Ashley Monroe. She was 17, and it was her first publishing deal. That whole period was such a fun ride. She was writing incredible songs, had a couple of No. 1s and then there was the Pistol Annies chapter, which was its own thing entirely.
Then I got a call from Shane McAnally. I’d known him since he was 18. He told me he and his husband, Michael, wanted to start a publishing company one day and wanted to learn by working together on a writer first. He brought Trevor Rosen to my office one night and played me a bunch of songs. They started with safe stuff, and I stopped them. I said, “I’m not safe. Look at my history. Play me something that feels impossible.”
They played “Better Dig Two.” I said we were making a deal that day.
Trevor had just lost his publishing deal, had three kids and wasn’t making much money. We bought his catalog and started paying him immediately. It took months for the song to finally get cut, but when it did, it became Trevor’s first No. 1.
That partnership eventually led to something even bigger.
Not long after that, Trevor told me he had a band. I went to see them play and immediately saw the potential—and also what wasn’t working. We tightened the songs, focused the vision and eventually cut tracks.
They were older than what labels wanted, so no one would sign them. So we gave away songs we knew were hits. Those songs became No. 1s for other artists, and suddenly the band had real credibility.
Eventually, “Break Up with Him” went to No. 1 and stayed there for eight weeks. That’s when people finally started paying attention. Even then, some labels passed. But eventually someone asked if there was anything Nashville was missing, and the answer was Old Dominion. The next day, they were signed.
That was another wave.
Now I’m probably on my last one. I have MaKayla Lynn, who is a truly exceptional writer. She doesn’t want to be an artist first—she wants to be a great songwriter, and she will be. We’ll make a record with her, but the writing comes first.
Then there’s Conor Matthews. He came to me a couple of years ago from Los Angeles. He’d already done the pop thing and had a following, but I told him I thought he was really a Nashville artist. I said if he moved here, I’d sign him. In January, he called and said, “I’m here.”
When you look back on everything, what are you most proud of?
What I love most is watching a writer come in with real talent and helping them make it happen. I know what’s possible because I’ve done it so many times, and it’s incredibly rewarding to see someone’s life change.
I’m also proud of the songs. That’s the legacy. I’ve been up for Song of the Year four times and won three—“Where’ve You Been,” “Whiskey Lullaby” and “One Man Band.” I think that’s a pretty good track record.
What’s the best piece of advice you’ve ever gotten?
The best advice came from my dad. He saw me working all the time and told me to find a balance between work and life.
When I got into the business, I met bitter people, and I didn’t want to become bitter. In this business, you will get screwed. When someone screwed me on a deal or a situation, I forgave and forgot so I could let it go and be free of that bitterness. I can truly say I forgave—and even really forgot—anyone who wronged me.
Grand Ole Opry Unveils Carnegie Hall Show Lineup
/by Lauryn SinkScotty McCreery, Rhonda Vincent, Henry Cho, The War And Treaty.
The Grand Ole Opry has announced the lineup for “An Evening with the Grand Ole Opry” show, set for March 20 in the Stern Auditorium/Perelman Stage at Carnegie Hall. The night will feature performances from Opry members Scotty McCreery, Rhonda Vincent and Henry Cho as well as Grammy Award-nominated duo The War And Treaty, with additional artists to be announced. Tickets are available here.
The one-night-only occasion is part of Carnegie Hall’s “United in Sound: America at 250” festival celebrating the nation’s 250th anniversary and marks the continuation of the Opry’s 100th year.
This event will mark the Grand Ole Opry’s fourth headlining performance at Carnegie Hall. The Opry made its Carnegie Hall debut in 1947 under the billing “Ernest Tubb and the Grand Ole Opry Stars” with a sold-out performance also featuring Roy Acuff, Bill Monroe and the Blue Grass Boys, Minnie Pearl, Red Foley, Eddy Arnold, and The Carter Sisters with Mother Maybelle Carter. A return performance in 1961 benefited the Musician’s Aid Society and was headlined by Patsy Cline in her only Carnegie Hall appearance among other all-stars. The Grand Ole Opry’s 2005 performance celebrating its 80th anniversary showcased Trace Adkins, Vince Gill, Alison Krauss, Alan Jackson, Martina McBride, Brad Paisley, Ricky Skaggs, Trisha Yearwood along with longtime Opry members Charley Pride, Little Jimmy Dickens, and Bill Anderson.
Chase Rice Announces Break From The Road
/by Lorie HollabaughChase Rice
Chase Rice recently revealed to fans on social media that he’s taking a break from touring after 13 years on the road.
Rice decided to step back from life on the road, saying he’s exhausted and needs to take some time for himself. “I’ve lived a dream far greater than I could’ve ever expected. This isn’t a goodbye thing or anything like that to be clear upfront, although it may feel like that, but I’m exhausted. I haven’t been able to be myself on stage in quite a while and really enjoy music and why I got into it in the first place,” says Rice in the post.
“I love songs, I love living them, hearing stories from other people, and figuring out how to put that life into music. After 13 years it’s finally beat me up to the point where I need to step away for a while. I need to go live life so that I have more real experiences to write down. I won’t be touring this year and it wasn’t even really a decision, it was something I know that I just have to do for myself. A lot of artists do this all the time, but it’s new for me so it’s kind of a big deal in my life.”
Rice does have a handful of shows on the books to wrap this year before taking some downtime away from the road.
Hudson Westbrook Unveils Cover Art, Tracks For New EP ‘Exclusive’
/by Lorie HollabaughHudson Westbrook has revealed the cover art for his upcoming new EP, Exclusive, set for release on Jan. 23.
Westbrook has already previewed the EP with early releases “If He Wanted To” and “Pretty Privilege,” and writers contributing to the project include Jesse Frasure, Neil Medley, Lukas Scott, and more. Westbrook’s top 10-and-rising debut single “House Again” continues to soar at country radio, and the budding star has earned over 900 million global career streams in under 18 months.
Westbrook is gearing up for an exciting 2026, hitting the road with Bailey Zimmerman and Morgan Wallen this year on both of their headline tours.
Exclusive Track List:
1. Exclusive (Hudson Westbrook, Neil Medley, Lukas Scott, Ryan Beaver)
2. LMWYL (Hudson Westbrook, Neil Medley, Jesse Frasure)
3. Lovin’ On Me (Hudson Westbrook, Neil Medley, Beau Bailey, Lukas Scott)
4. If He Wanted To (Hudson Westbrook, Reid Haughton, Dan Alley, Ryan Beaver)
5. Pretty Privilege (Hudson Westbrook, Lukas Scott, Beau Bailey)
Matthew West Shares Testimony In New Short Film From I Am Second
/by Lorie HollabaughMatthew West appears in a new White Chair film from the global storytelling ministry, I Am Second, that details the defining yet unexpected moments that led him to discovering his identity and purpose.
As a kid West grew up in the front row of his parents’ church in suburban Chicago, where he felt the constant pressure to perform and live up to a “preacher’s kid” standard. The weight of others’ expectations followed him wherever he went. “From a very early age, I had this feeling that all eyes were on me,” says West. “The pressure that I felt being the preacher’s kid, there were several moments in my life where I was like ‘I don’t want this pressure, I don’t like how this feels.’”
As he entered college and stepped away from the label of pastor’s kid, West sought to define his own identity. He found himself making choices that strayed from his faith—decisions he knew would disappoint his parents and left him feeling ashamed. Recognizing his mistakes, West surrendered control and trusted a higher power with the story of his life.
“I knew that my prayer was sincere and I knew that I wanted what God had for me,” said West. “It was a moment where I was fully embracing his grace and forgiveness in my life.”
More about West’s story can be found at iamsecond.
Nominees Revealed For 2026 iHeartRadio Music Awards
/by Lauryn SinkMorgan Wallen, Jelly Roll, Lainey Wilson, Jason Aldean & Luke Combs.
Nominees have been revealed for the 2026 iHeartRadio Music Awards, which are set to air live from Dolby Theatre in Los Angeles on March 26 through Fox.
Taylor Swift is the leading nominee this year with nine nods.
Morgan Wallen earned four nods this year including Artist of the Year and Country Artist of the Year, as well as Song of the Year and Country Song of the Year, both for “Love Somebody.” Shaboozey earned a nomination for Song of the Year with “Good News,” and Jelly Roll notched a nomination for Artist of the Year.
BigXthaPlug and Bailey Zimmerman are up for Best Collaboration for “All The Way.” Tucker Wetmore’s What Not To is nominated for the new Favorite Debut Album category. Lainey Wilson’s “Cowgirl of the Night” earned a spot in the Favorite Tour Tradition category.
Among those also nominated for this year’s iHeartRadio Music Awards are Thomas Rhett, Jason Aldean, Luke Combs, Chase Matthew, Ella Langley, Hudson Westbrook, Josh Ross, Zach Top, Amy Allen, Ashley Gorley and Charlie Handsome.
The 13th annual iHeartRadio Music Awards will celebrate the most-played artists and songs on iHeartRadio stations and the iHeartRadio app throughout 2025, while also offering a preview of the upcoming hits of 2026. Three categories have been added this year, including favorite TikTok dance, favorite debut album and favorite K-pop collab.
Fan voting will determine the winners in Favorite Broadway Debut, Favorite Tiktok Dance, Favorite Debut Album, Best Lyrics, Best Music Video, Favorite On Screen, Favorite Tour Photographer, Favorite Soundtrack, Favorite Tour Style, Favorite Tour Tradition And Favorite K-Pop Collab. Social voting is open now March 19. Votes can be cast here.
The host, special award recipients, performers, presenters and additional categories will be announced at a later date. Find the full list of announced nominations here.
Syntax Creative Adds Four New Record Labels To Roster
/by Lauryn SinkSyntax Creative has added Outside Voices Entertainment, Sunday Worship Records, Apex Global Music Group and Arena Creative Services to its distribution roster.
“These are people who already understand how this works,” says Timothy J. Trudeau, CEO of Syntax Creative. “They’ve put in the time, learned how to pivot and built something real. That kind of experience changes the conversation from day one.”
Outside Voices Entertainment, led by Daniel Martin and Stefani Rose Martin, joins Syntax with an established catalog that includes Martin and Rose Music, a children’s catalog with more than one million monthly listeners on Spotify and 100 million streams worldwide.
“Our focus has always been on helping artists make bold moves without putting themselves in a hole,” Martin shares. “Syntax has been willing to slow down, think strategically, and help us plan releases in a way that actually makes sense long term.”
Sunday Worship Records, founded by gospel musician Matt Fouch, centers on hymns and worship songs reinterpreted across a wide range of styles. The catalog is one of the most-streamed Christian instrumental collections.
“I started releasing instrumental worship music because I know we all need those quiet times in our life and this music is designed to enhance those moments. It helps people stay grounded, even when there aren’t words being sung,” Fouch says. “I wanted a distributor who would treat that musical philosophy with care and purpose. Somebody that gets it and believes in it. That’s what drew me to Syntax.”
Apex Global Music Group is led by songwriter and producer Shay Watson. Watson’s work has been featured in more than 75 television series and films across pop, jazz, ambient, country, and world music.
“Most of my career has lived behind the scenes in sync,” Watson adds. “The digital marketplace has challenges, but it also creates opportunity if you approach it intentionally. Syntax understands how catalogs like mine actually function over time, and that alignment mattered.”
Arena Creative Services is a newly formed label built from the career of Nashville-based engineer Warren David with an emphasis on artist development, release strategy, and operational support.
“I’ve spent years solving problems most listeners never hear about,” says David. “What stood out to me about Syntax was their integrity and how seriously they take execution. That made this an easy decision.”
Chris Stapleton Confirms 2026 ‘All-American Road Show’ Dates
/by Lorie HollabaughChris Stapleton. Photo: David McClister.
Chris Stapleton has extended his “All-American Road Show” through the fall with over 20 newly-confirmed stops.
Added dates on the tour include Jacksonville, Charlotte, Portland, Atlanta, Kansas City, and more, with a Nashville Nissan Stadium show set for May 23 with special guests Lainey Wilson and Allen Stone and a Boston Fenway Park show with Zach Top.
Other special guests on select dates of the tour include Ashley McBryde, Carter Faith, Grace Potter, Maggie Rose, Mike Campbell & The Dirty Knobs, Molly Tuttle, Nikki Lane and The Teskey Brothers. Tickets will go on sale Jan. 16, and Stapleton’s fan club will have early access to tickets with pre-sale Jan. 13-15. Details can be found at chrisstapleton.com/tour
Stapleton is heading into a busy 2026 with four nominations at the upcoming 68th Annual Grammy Awards for Best Country Song (“A Song To Sing” with Miranda Lambert), Best Country Solo Performance (“Bad As I Used To Be”), and two nods in the Best Country Duo/Group Performance category (“A Song To Sing” with Lambert and “Honky Tonk Hall of Fame” with George Strait). He recently released the video for his Grammy and CMA Award-winning song, “White Horse,” starring actor Josh Brolin.
Chris Stapleton Newly-Added 2026 Dates:
May 23—Nashville, TN—Nissan Stadium*
June 11—Jacksonville, FL—Vystar Veterans Memorial Arena†
June 13—Tampa, FL—Raymond James Stadium*
June 17—Burgettstown, PA—The Pavilion at Star Lake†
June 20—Charlotte, NC—Bank of America Stadium*
June 24—Hershey, PA—Hersheypark Stadium#
June 26—North Charleston, SC—North Charleston Coliseum#
July 8—Mountain View, CA—Shoreline Amphitheatre‡
July 10—Chula Vista, CA—North Island Credit Union Amphitheatre‡
July 17—Portland, OR—Providence Park#
July 22—Vancouver, BC—Rogers Arena%
July 24—George, WA—The Gorge#
July 29—Shakopee, MN—Mystic Lake Amphitheater†
August 1—Cincinnati, OH—Paycor Stadium*
August 6—Toronto, ON—Rogers Stadium+
August 8—Detroit, MI—Ford Field*
August 14—Boston, MA—Fenway Park+
August 18—Virginia Beach, VA—Veterans United Home Loans Amphitheater at Virginia Beach~
August 21—Atlanta, GA—Mercedes-Benz Stadium^
August 26—Wantagh, NY—Northwell at Jones Beach Theater**
August 28—Philadelphia, PA—Freedom Mortgage Pavilion**
October 2—Bristow, VA—Jiffy Lube Live††
October 7—Lincoln, NE—Pinnacle Bank Arena‡‡
October 9—Kansas City, MO—Morton Amphitheater‡‡
*with special guests Lainey Wilson and Allen Stone
†with special guest Allen Stone
‡with special guest Molly Tuttle
#with special guest Grace Potter
+with special guests Zach Top and Allen Stone
%with special guest The Teskey Brothers
~with special guest Maggie Rose
^with special guests Lainey Wilson and Ashley McBryde
**with special guest Carter Faith
††with special guest Mike Campbell & The Dirty Knobs
‡‡with special guest Nikki Lane
Country Songwriting Great Jim McBride Passes
/by Robert K OermannJim McBride
Nashville Songwriters Hall of Fame member Jim McBride died Tuesday morning (Jan. 6) at age 78.
McBride was particularly noted for his collaborations with country superstar Alan Jackson. His songs were also recorded by such Country Music Hall of Famers as Conway Twitty, George Jones, Patty Loveless, Charley Pride, Waylon Jennings, Alabama, Willie Nelson, Kris Kristofferson, The Browns, Bill Anderson, Reba McEntire, Jerry Lee Lewis, The Oak Ridge Boys, Randy Travis, Charlie Louvin, John Anderson, Toby Keith and Johnny Cash.
He has written or co-written 10 top-10 hits and 18 top-40 singles. His classics include “Bet Your Heart on Me,” “A Bridge That Just Won’t Burn,” “Chattahoochie,” “Rose in Paradise” and “Chasin’ That Neon Rainbow.”
The songwriter was born and raised in Huntsville, Alabama. His mother was an avid country-music radio listener, so the household was often filled with music. McBride began writing songs at age 18 and started playing guitar at age 21. He worked for the Post Office for 14 years before his music career ignited.
Jim McBride started traveling to Music Row with his songs in the early 1970s. Hee Haw TV stars The Hagers recorded several of his tunes around 1972. None became hits, but some were performed on the nationally-seen Hee Haw telecasts.
His first song to hit the country charts was 1979’s “We Let Love Fade Away,” which was a minor success for Leon Everette. “I’m Gettin’ Into Your Love” charted for Ruby Falls six months later. In 1980, Conway Twitty recorded “A Bridge That Just Won’t Burn,” which ascended to No. 3 in early 1981.
Encouraged by co-writer Roger Murrah, Jim McBride moved from Huntsville to Nashville. Everette returned to the songwriter’s catalog for 1981’s “If I Keep on Going Crazy,” which rose to No. 11. McBride rounded out 1981 with his first No. 1 country hit, “Bet Your Heart on Me” sung by Johnny Lee.
In 1983, Alabama included McBride’s “Dixie Boy” on its LP The Closer You Get. The collection sold four million copies and was named the CMA Album of the Year.
In 1984, Keith Whitley recorded “Living Like There’s No Tomorrow,” which John Conlee issued as a charting single three years later. Also in 1984, Louise Mandrell charted with “This Bed’s Not Big Enough.” In 1985, Keith Stegall scored a top-10 hit with their cowritten “California.” The following year, Crystal Gayle recorded “Do I Have to Say Goodbye.”
The songwriter had a banner year in 1987. In addition to the John Conlee single of “Living Like There’s No Tomorrow,” McBride’s co-written “Rose in Paradise” became a No. 1 hit for Waylon Jennings. Mandrell revived Gayle’s “Do I Have to Say Goodbye” and scored a top-30 hit with it. McBride and Guy Clark co-wrote “Heavy Metal (Don’t Mean Rock and Roll to Me),” which Johnny Cash recorded in 1987. George Jones issued a single of “I’m a Survivor” the following year.
As successful as the 1980s were to Jim McBride, they were merely a prelude to the outstanding country hits he created in the 1990s. He and a then-unknown Alan Jackson had become songwriting partners in 1988. In the following decade, the singer had smash hits with their collaborations “Chasin’ That Neon Rainbow” (1990), “Someday” (1991), “Chattahoochie” (1993), “(Who Says) You Can’t Have it All” (1994), and “A House With No Curtains” (1998). “Chattahoochie” was the CMA’s Song and Single of the Year, ASCAP’s Country Song of the Year, Billboard’s Most Played Country Single of the Year and the ACM’S Single of the Year. The team also co-wrote several tunes for Jackson’s multi-million-selling albums.
McBride’s other successes of the decade came via Aaron Tippin’s version of “I Was Born with a Broken Heart” (1992), Patty Loveless’s “Love Builds Bridges (Pride Builds Walls)” (1993), Diamond Rio’s “Sawmill Road” (1994) and Toby Keith’s “Night Before Christmas” (1995). This run was capped with Wade Hayes singing “What I Meant to Say” as a top-5 smash in 1996. The vocalist returned to McBride’s pen for 1998’s hit “How Do You Sleep at Night.”
After the turn of the century, Jim McBride’s country songwriting career continued to thrive. In 2001, Tammy Cochran had a top-10 smash with “Angels in Waiting.” In 2006, Mark Chesnutt hit the charts with “Hard Secret to Keep.” Beginning in 2007, McBride co-wrote songs with Luke Bryan that appeared on the million-selling singer’s albums. “Rose in Paradise” was revived by Chris Young & Willie Nelson (2009), Kris Kristofferson & Patty Griffin (2011) and The Lonesome River Band (2016). Charley Pride revived “This Bed Ain’t Big Enough” in 2011.
Others who have placed Jim McBride’s songs on the charts include Johnny Rodriguez, Gary Wolf, David Rogers, Lou Hobbs and Darlene Austin. His works have also been recorded by Trace Adkins, Collin Raye, Shelly West, Mark Wills, Travis Tritt, Elizabeth Cook, Pam Tillis, Del Reeves, Lorrie Morgan, Ed Bruce, The Whites, Lacy J. Dalton, Johnny Paycheck, David Ball, Vern Gosdin, Lonestar, Mickey Gilley, Mel McDaniel, Moe Bandy, Billie Jo Spears and Gene Watson, among many others.
Jim McBride was a kind, genial personality who readily collaborated with hitless hopefuls and aspiring tunesmiths as well as top recording artists. In recent years, he served as the president of the board of the Nashville Songwriters Association.
He was elected to the Nashville Songwriters Hall of Fame in 2017. The Alabama Music Hall of Fame honored him that same year.
Services will be held on Feb. 19 from 5-8 p.m. at Mars Music Hall located in the Von Braun Center (700 Monroe Street NW, Huntsville, AL 35801). The event is open to the public.
Pollstar Unveils Nominees For 37th Annual Awards
/by Lauryn SinkPollstar has unveiled the nominees for the 37th Annual Pollstar Awards, which are slated to take place April 15 in Los Angeles. The awards are designed to recognize the music industry’s most innovative and successful artists, tours, companies, venues, and executives. iHeartRadio personality Valentine will return as this year’s host.
“The Pollstar Awards represent one of the most important nights of the year for the live entertainment business,” says Ray Waddell, Chief Content Director, OVG Media and Conferences. “This year’s nominations reflect the extraordinary breadth of our industry — from global superstars to emerging headliners — and recognize the leaders, innovation, and diversity that defined an exciting and impactful year for live music.”
The nominees for the Country Tour of the Year are Beyoncé’s “Cowboy Carter Tour,” Chris Stapleton’s “All-American Road Show,” Lainey Wilson’s “Whirlwind World Tour,” Morgan Wallen’s “I’m the Problem Tour,” Post Malone’s “Post Malone Presents: The BIG ASS Stadium Tour,” Tyler Childers’ “On the Road Tour,” and Zach Bryan’s “Quittin’ Time Tour.”
Jelly Roll scored a nomination for Support/Special Guest of the Year for Post Malone’s tour, while Kenny Chesney made the ballot for Residency of the Year for his Sphere run. Megan Moroney and Zach Top were both nominated for New Headliner of the Year. Bourbon & Beyond and Two Step Inn were among the nominees for Music Festival of the Year.
Bridgestone Arena received a nod for Arena of the Year, while Nissan Stadium is nominated for Stadium of the Year. After a successful opening year, The Pinnacle is up for New Concert Venue of the Year. Bridgestone’s David Kells is also being recognized with a nomination for Venue Executive the Year.
Beyoncé’s “Cowboy Carter Tour,” Billie Eilish’s “Hit Me Hard and Soft: The Tour,” Kendrick Lamar & SZA’s “Grand National Tour,” Lady Gaga’s “The Mayhem Ball,” Oasis’s “Oasis Live ’25 Tour,” Sabrina Carpenter’s “Short n’ Sweet Tour,” and Tate McRae’s “Miss Possessive Tour” each earned a nomination for Pollstar Awards’ Major Tour of the Year.
AEG Presents’ Adam Weiser is up for Promoter of the Year, while a Rising Star Award nod went to WME’s Shannon Saunders. Essential Broadcast Media’s Ebie McFarland is nominated for Touring Publicist of the Year.
A full list of nominees can be found here. Voting opens to Pollstar subscribers on Jan. 16 and will end on Feb. 6 at 5 p.m. PT.