Country music icon Ronnie Dunn released his new solo album, 100 Proof Neon, on Friday (July 29).

The 11-track project finds Dunn purposely leaning into the ’80s and ’90s country style he is so well known for. With duets with Jake Worthington on “Honky Tonk Town” and Parker McCollum on “Road To Abilene,” 100 Proof Neon takes the listener back in time to a roadside honky tonk in Texas, complete with neon lights, a jukebox, and plenty of whiskey.

Dunn recently spoke with MusicRow about the project and what is keeping him as “busy as [he’s] ever been” these days.

MusicRow: You set out to create an ’80s and ’90s country-inspired album with this project. How did you go about that?

I [looked for] and wrote songs that sounded like the era I came out of before I got to Nashville, the stuff that influenced me and the sounds that we worked on when we were out there playing as cover bands in the clubs and honky tonks.

The most fun part for me is getting the right guys in the studio, like Brent Mason, Gary Morris, Mark Hill and Jeff King. We would just comfortably sit around and say, “Where do we want to take this?” We wanted to keep a contemporary technical sound so that it keeps up with what’s going on today, but at the same time, keep it in the jukebox, retro vein. It’s a balancing act, but those guys are so talented. They’re artists in and of themselves. The chemistry is really magic. I wish every fan out there could be privy to what it feels like to write a song, get in the studio and watch it come to life.

You have “Where The Neon Lies” on this album, which Triston Marez released with you as a featured vocalist last year. How did that song find you?

That song came from Triston’s camp. Alex Torrez called me to see if I wanted to sing with Triston. I said, “Well bring the song over. That will dictate what we do.” He did and I fell in love with it. It’s a great song. I had asked Alex going in, “If nothing happens with this, can I record it?” Thankfully, Triston got some good attention with it, too.

You have Parker McCollum featured on “Road To Abilene,” a solo write. Tell me about writing that song.

I went to college in Abilene. I was born like 60 miles south of there in a little town called Coleman. I got involved in the little music scene around there. This song is just about leaving Abilene and everything behind to go chase that six-string dream.

You also have Jake Worthington featured on the song “Honky Tonk Town.” How did you get to know him?

I was involved with that Hardy project, Hixtape. We did a song called “Jonesin'” with Jake Owen and Worthington. Towards the end of the song, Worthington’s voice comes in and it’s like, “Holy cow. This is like the reincarnation of Lefty Frizzell.” So the first name that came up when we were talking about “Honky Tonk Town” was Worthington. [We decided] to have some fun with this album and do a duet or two. We wanted to find a name that wasn’t just obvious out there, but somebody that can really do the part. Jake just killed it.

On that note, you seem to have an eye for discovering new talent. You just launched your new publishing company and signed a lot of new writers. What inspired you to do that?

I’ve wanted to do it for years. I just didn’t have the time to put into it to really do it justice. I signed four writers. Thomas Perkins was the first guy and we ended up co-writing “Broken Neon Heart.”

What catches your eye when looking to sign a new writer? Is it a specific sound?

[The genre] doesn’t matter. They can be multi-genre. One of my writers, Ariel Boetel, went to school here but she’s as rock and pop as anybody out there. She has a good soulful voice and a little bit of experience on stage. She works really hard to write and there’s a uniqueness and a soulfulness there that I bought into.

It’s that way with everybody. I’ve got country guys, too. Dakota Striplin from Australia, he sings like an angel. He’s unbelievable. He came here and just sat down with his guitar in the office and played some songs. Our jaws dropped, it was really good.

Do you see yourself getting into other music business ventures, like starting an indie label or management company, or are you too busy with your publishing company and your own career?

I’ll do the artist thing as long as I can get away with it. Brooks & Dunn is as hot as it’s ever been. We’re allowed now, since we have our own labels and teams to work with, to do one-off projects like this record. I’m busier than I’ve ever been and I’m having more fun than I ever have. Not that I didn’t have fun back in the day, but it’s another day now. (Laughs)

Black River Publishing has announced the addition of two new staff members. Abbie Nixon joins as Creative Coordinator, while Preston Berger will serve as Creative Manager, effective immediately. They are both based in Nashville and report to Black River’s Vice President of Publishing, Rebekah Gordon.

“Abbie and Preston each bring their own unique experience to help take Black River to the next level,” shares Gordon. “Additionally, they approach publishing with a ‘writer-first’ mentality, and their passion for songs and songwriters is unmistakable. I’m thrilled to have them round out our creative team.”

Nixon hails from Wilmington, North Carolina where she graduated high school with an Associate degree in arts and science before moving to Nashville and attending Belmont. After two years there as a songwriting major, she ultimately changed pathways and graduated in 2018 with a Bachelor of Science in songwriting and a minor in Music Business. Prior to Black River, Nixon was a Copyright Coordinator at Round Hill Music and a Publishing Administrator at Bethel Music.

“I’ve admired Black River’s talented roster of writers since moving to town in 2016,” Nixon says. “I’m thrilled to work with this amazing team!”

Berger, a 2018 University of Georgia alumnus, is a Lawrenceville, Georgia native. Before joining Black River, he spent almost two years working at CAA. He also toured with The Band Camino as VIP Coordinator and Merch Rep.

“I am overwhelmed with gratitude to work with such a great catalog at Black River and to be a part of such an amazing group of creatives and writers.” He continued, “I have this sense of responsibility to do everything I can to find the right homes for these incredible songs.”

After more than a decade at the company, Vice President of Communications Erin D. D. Burr has left her position at Big Machine Label Group.

Since joining the company, some of Burr’s achievements include helping to revitalize Reba McEntire’s presence in pop culture and earn the icon a Grammy Award for her first gospel album in 2018, and positioning ACM & CMA Awards Female Artist/Vocalist of the Year Carly Pearce as one of the format’s leading women. She was key in the development of Florida Georgia Line‘s initial press strategy, and has contributed to opportunities for highly acclaimed artists Sheryl Crow and Ray Wylie Hubbard.

Now based in Washington, D.C., Burr graduated from West Virginia Wesleyan College and previously worked at Special Promotions Inc. and NSAI before joining BMLG in 2010. She was promoted to VP in April, where she continued to eagerly secure placements for Tyler Rich, Eli Young Band, The Cadillac Three, Riley Green, and Laci Kaye Booth.

Burr’s next career steps, nor BMLG’s plans for her position, are not yet clear.

Reach Burr at eburr@riaa.com.