Chris Martignago. Photo: Taylor Christian Jones
Early this year, Chris Martignago was promoted to Vice President of A&R at Prescription Songs’ Nashville office, formalizing his leadership role as the company continues to expand its presence in the market.
Martignago brings more than 14 years of A&R experience to the position, including nearly a decade at Atlantic Records and the last four years at Prescription Songs. In Nashville, he has helped shape a roster that spans pop, alternative, and country-adjacent spaces, while maintaining Prescription’s reputation as one of the city’s more genre-fluid publishing companies.
Originally from outside Washington, D.C., Martignago was raised by parents who immigrated from France in the late 1980s. Music was always present in his household, but in varied forms. “My mom was really into pop radio and divas like Celine Dion and Shania Twain,” he says. “My dad was a total rock person. So early on, it was never just one thing.”
After his family relocated to South Florida, Martignago’s relationship with music shifted from passive to immersive. A friend convinced him to attend a local show as a teenager, a screamo concert in the back of a church.
“I couldn’t tell where the floor ended and where the ceiling began,” he recalls. “The energy was insane. I just remember thinking, I want to be a part of whatever this is.”
That instinct initially led him toward performing. Martignago spent his late teens and early twenties touring in bands, an experience he now credits with teaching him skills he did not fully appreciate at the time. “I didn’t realize how much I was learning just from being on the road,” he says. “You’re watching how rooms work, how crowds react, how songs land night after night.”
Eventually, practicality pushed him toward the business side. Encouraged by his parents to pursue a more stable path, Martignago enrolled at Full Sail University in Orlando, where he studied music business. A pivotal moment came when he was selected to meet Steve Robertson, a longtime Atlantic Records executive. The meeting led to an internship at Atlantic, where Robertson became an early mentor. Martignago’s initial responsibilities were simple but demanding.
“My job was basically, when he put the phone down, I had to play something amazing,” he says.
One moment during that internship became foundational to how Martignago approaches A&R. After struggling to find music he truly believed in, he chose not to play anything at all. “I told him I hadn’t found anything good enough,” Martignago says. “Instead of that being a problem, it actually shifted how he saw me. It was about raising the bar on listening and being more discerning.”
The moment led to increased responsibility and deeper trust, reinforcing the idea that strong A&R instincts are as much about what you pass on as what you champion.
That emphasis on discernment carried through Martignago’s rise at Atlantic, where he moved from intern to consultant and eventually to Director of A&R and Research. His role blended creative development with emerging data-driven approaches, providing early exposure to developing artists and projects, including work around Melanie Martinez, Billie Eilish and Twenty One Pilots.
“I still believe in research,” he says. “I just believe it works best when it’s paired with taste and intuition, not replacing them.”
In 2015, Martignago relocated to Nashville after Robertson made his own move to the city, a decision that ultimately prompted Martignago to follow. While the city offered a strong songwriting culture and sense of community, it also presented challenges for pop-focused A&R work at the time.
“There weren’t a lot of people doing what I was doing here,” he says. “In some ways, it felt like moving to a new place with some of the same challenges and some new ones.”
Those tensions became more pronounced during the pandemic, as TikTok accelerated the industry’s focus on metrics and short-term performance. When Martignago’s contract came up for renewal in early 2021, it became clear that his priorities and the label’s evolving needs were diverging.
“It wasn’t dramatic,” he says. “Everyone was kind, and I was treated well. But it became obvious that what they valued most from me wasn’t the part of the job that got me into music in the first place.”
Shortly after, Martignago joined Prescription Songs Nashville, shifting from label A&R to publishing. The move required a recalibration, particularly around timelines and financial expectations.
“One of the first things I learned was how long it takes for money to come in on the publishing side,” he says. “And what makes money there isn’t always the same thing that makes money on the label side.”
He also had to adjust his mindset. “At a label, you’re often working on very specific puzzles,” he explains. “You need the single, or the producer, or one missing piece. In publishing, you’re working with pieces and deciding what puzzles you even want to build.”
That shift led to a more proactive approach, both creatively and strategically.
“I actually think Prescription made me a better A&R person,” he says. “You can’t just react. You have to be intentional about who you bring in, because you’re committing to them for the long term.”
Since joining Prescription, Martignago has helped develop a Nashville roster that includes Anderson East, Trent Dabbs, JT Daly, Nick Lobel, Tony Esterly, Brett Truitt, Josie Dunne, Dominique Sanders, Derik Fein, Heather Russell and Vancouver Sleep Clinic. Recent highlights include the signings of East and Dabbs, along with contributions from Prescription writers and producers to BigXthaPlug’s latest project, which featured four cuts involving Nashville-based creatives and collaborators such as Thomas Rhett, Shaboozey, Darius Rucker and Ink.
Earlier this year, longtime Prescription Nashville leader Katie Fagan announced her departure to launch Mom + Pop Records’ Nashville operation. Martignago raised his hand to help guide the office forward. “I knew I couldn’t replace Katie,” he says. “But I also knew I cared deeply about what we’d built and where it could go next.”
In early 2025, Prescription named Martignago Vice President of A&R, a title that reflects expanded responsibilities but not a shift in focus. Martignago sees Prescription’s role in Nashville continuing to evolve from an alternative presence into a competitive one, while staying grounded in the identity the company has built. “We’ve always been an alternative,” he says. “Now the goal is to compete while staying authentic to who we are.” That approach includes supporting genre-fluid creatives and expanding the company’s footprint across country and hybrid spaces. “I don’t think writers want to be put in boxes anymore,” he adds. “They want flexibility, and they want to feel like their identity can evolve.”
Martignago also points to the importance of diversity, both in signings and staffing, as Nashville’s creative ecosystem continues to broaden. “If music in this town is going to look different,” he says, “the industry has to reflect that.”
As VP of A&R, Martignago will continue overseeing signings, creative development and cross-genre initiatives for Prescription Songs Nashville. “I want to build something sustainable,” he says. “And I want the work to speak for itself.”
Freely Fest Reveals Inaugural Lineup
/by Lauryn SinkThe Killers, T-Pain, Dominic Fike, Janelle Monáe and Avery Anna will take the stage at the inaugural Freely Fest on April 8 at Nashville’s Bridgestone Arena and streaming worldwide.
The event is designed to highlight the importance of the first amendment with musical performances, artists’ stories about the power of free expression and interactive experiences.
“For more than three decades, Freedom Forum has found creative ways to bring the First Amendment to life,” says Jan Neuharth, Chair and CEO of Freedom Forum. “From our traveling musical tour Freedom Sings to our annual 1A Fest street fair in Washington, D.C., Freely Fest will build on that legacy by shining a light on freedom of speech, a foundational right that belongs to us all and fuels the free expression that shapes our culture.”
Tickets go on sale tomorrow (Dec. 18).
Margo Price Inks With Warner Chappell Music Nashville
/by Lauryn SinkPictured (Top Row, L-R): Austen Adams (WCM), Kevin Morris (Red Light Management). (Bottom Row, L-R): Carianne Marshall (WCM), Margo Price, Christina Wiltshire (WCM).
Margo Price has inked a global publishing deal with Warner Chappell Music Nashville.
“It’s an honor to become a part of the Warner Chappell family,” Price shares. “I’ve been writing songs for decades now so it feels empowering to be seen not only as an artist and a singer, producer and author, but also as a songwriter. I’m grateful for Carianne Marshall and the entire team at Warner Chappell for recognizing me as a composer and writer. At the core of everything I do, the writing has always come first and I can’t wait for all that’s ahead.”
Price first garnered attention with her breakthrough debut Midwest Farmer’s Daughter (2016), released on Jack White’s Third Man Records, making her the label’s first-ever country artist. The project hit No. 5 on the Billboard’s Americana/Folk Albums chart, and edged into the Top 10 on the Top Country Albums chart. It earned two Americana Honors & Awards nominations, including Song of the Year, and a win for Emerging Artist of the Year. Her follow-up, All American Made (2017), opened in the Top 5 of Billboard’s Americana/Folk Albums chart, and earned Price nominations for Song of the Year and Album of the Year at the Americana Music Honors & Awards as well as a Grammy nod for Best New Artist. Over the last decade, Price has toured alongside Chris Stapleton and Willie Nelson, among others, and released additional projects including her latest, Hard Headed Woman, which recently earned two GRAMMY nominations.
“Margo has carved out a powerful place in music with songs that cut straight to the truth. She’s fearless in her writing, constantly pushing boundaries while staying rooted in the storytelling tradition that defines country and Americana,” adds Marshall, Co-Chair & COO, Warner Chappell Music. “Our team has been fans of her work for a long time, and we’re thrilled to welcome her to Warner Chappell. This partnership is a true collaboration across our Nashville and Los Angeles teams – especially Christina [Wiltshire] and Greg [Sowders] – as we support Margo in continuing to shape the sound of her generation.”
Chris Martignago Helps Guide Prescription Songs’ Nashville Growth [Interview]
/by LB CantrellChris Martignago. Photo: Taylor Christian Jones
Early this year, Chris Martignago was promoted to Vice President of A&R at Prescription Songs’ Nashville office, formalizing his leadership role as the company continues to expand its presence in the market.
Martignago brings more than 14 years of A&R experience to the position, including nearly a decade at Atlantic Records and the last four years at Prescription Songs. In Nashville, he has helped shape a roster that spans pop, alternative, and country-adjacent spaces, while maintaining Prescription’s reputation as one of the city’s more genre-fluid publishing companies.
Originally from outside Washington, D.C., Martignago was raised by parents who immigrated from France in the late 1980s. Music was always present in his household, but in varied forms. “My mom was really into pop radio and divas like Celine Dion and Shania Twain,” he says. “My dad was a total rock person. So early on, it was never just one thing.”
After his family relocated to South Florida, Martignago’s relationship with music shifted from passive to immersive. A friend convinced him to attend a local show as a teenager, a screamo concert in the back of a church.
“I couldn’t tell where the floor ended and where the ceiling began,” he recalls. “The energy was insane. I just remember thinking, I want to be a part of whatever this is.”
That instinct initially led him toward performing. Martignago spent his late teens and early twenties touring in bands, an experience he now credits with teaching him skills he did not fully appreciate at the time. “I didn’t realize how much I was learning just from being on the road,” he says. “You’re watching how rooms work, how crowds react, how songs land night after night.”
Eventually, practicality pushed him toward the business side. Encouraged by his parents to pursue a more stable path, Martignago enrolled at Full Sail University in Orlando, where he studied music business. A pivotal moment came when he was selected to meet Steve Robertson, a longtime Atlantic Records executive. The meeting led to an internship at Atlantic, where Robertson became an early mentor. Martignago’s initial responsibilities were simple but demanding.
“My job was basically, when he put the phone down, I had to play something amazing,” he says.
One moment during that internship became foundational to how Martignago approaches A&R. After struggling to find music he truly believed in, he chose not to play anything at all. “I told him I hadn’t found anything good enough,” Martignago says. “Instead of that being a problem, it actually shifted how he saw me. It was about raising the bar on listening and being more discerning.”
The moment led to increased responsibility and deeper trust, reinforcing the idea that strong A&R instincts are as much about what you pass on as what you champion.
That emphasis on discernment carried through Martignago’s rise at Atlantic, where he moved from intern to consultant and eventually to Director of A&R and Research. His role blended creative development with emerging data-driven approaches, providing early exposure to developing artists and projects, including work around Melanie Martinez, Billie Eilish and Twenty One Pilots.
“I still believe in research,” he says. “I just believe it works best when it’s paired with taste and intuition, not replacing them.”
In 2015, Martignago relocated to Nashville after Robertson made his own move to the city, a decision that ultimately prompted Martignago to follow. While the city offered a strong songwriting culture and sense of community, it also presented challenges for pop-focused A&R work at the time.
“There weren’t a lot of people doing what I was doing here,” he says. “In some ways, it felt like moving to a new place with some of the same challenges and some new ones.”
Those tensions became more pronounced during the pandemic, as TikTok accelerated the industry’s focus on metrics and short-term performance. When Martignago’s contract came up for renewal in early 2021, it became clear that his priorities and the label’s evolving needs were diverging.
“It wasn’t dramatic,” he says. “Everyone was kind, and I was treated well. But it became obvious that what they valued most from me wasn’t the part of the job that got me into music in the first place.”
Shortly after, Martignago joined Prescription Songs Nashville, shifting from label A&R to publishing. The move required a recalibration, particularly around timelines and financial expectations.
“One of the first things I learned was how long it takes for money to come in on the publishing side,” he says. “And what makes money there isn’t always the same thing that makes money on the label side.”
He also had to adjust his mindset. “At a label, you’re often working on very specific puzzles,” he explains. “You need the single, or the producer, or one missing piece. In publishing, you’re working with pieces and deciding what puzzles you even want to build.”
That shift led to a more proactive approach, both creatively and strategically.
“I actually think Prescription made me a better A&R person,” he says. “You can’t just react. You have to be intentional about who you bring in, because you’re committing to them for the long term.”
Since joining Prescription, Martignago has helped develop a Nashville roster that includes Anderson East, Trent Dabbs, JT Daly, Nick Lobel, Tony Esterly, Brett Truitt, Josie Dunne, Dominique Sanders, Derik Fein, Heather Russell and Vancouver Sleep Clinic. Recent highlights include the signings of East and Dabbs, along with contributions from Prescription writers and producers to BigXthaPlug’s latest project, which featured four cuts involving Nashville-based creatives and collaborators such as Thomas Rhett, Shaboozey, Darius Rucker and Ink.
Earlier this year, longtime Prescription Nashville leader Katie Fagan announced her departure to launch Mom + Pop Records’ Nashville operation. Martignago raised his hand to help guide the office forward. “I knew I couldn’t replace Katie,” he says. “But I also knew I cared deeply about what we’d built and where it could go next.”
In early 2025, Prescription named Martignago Vice President of A&R, a title that reflects expanded responsibilities but not a shift in focus. Martignago sees Prescription’s role in Nashville continuing to evolve from an alternative presence into a competitive one, while staying grounded in the identity the company has built. “We’ve always been an alternative,” he says. “Now the goal is to compete while staying authentic to who we are.” That approach includes supporting genre-fluid creatives and expanding the company’s footprint across country and hybrid spaces. “I don’t think writers want to be put in boxes anymore,” he adds. “They want flexibility, and they want to feel like their identity can evolve.”
Martignago also points to the importance of diversity, both in signings and staffing, as Nashville’s creative ecosystem continues to broaden. “If music in this town is going to look different,” he says, “the industry has to reflect that.”
As VP of A&R, Martignago will continue overseeing signings, creative development and cross-genre initiatives for Prescription Songs Nashville. “I want to build something sustainable,” he says. “And I want the work to speak for itself.”
Bobby Bones’ ‘BobbyCast’ Included In Netflix & iHeartMedia Exclusive Video Podcast Partnership
/by Lauryn SinkBobby Bones. Photo: Courtesy of iHeartMedia
iHeartMedia and Netflix have partnered in an exclusive video podcasting agreement for more than 15 original iHeartPodcasts. New video podcast episodes will launch on Netflix in early 2026 in the US, with more markets to follow.
The agreement includes all new episodes from the podcast lineup, as well as select library episodes from each show. Bobby Bones Presents: The BobbyCast, The Breakfast Club, Joe and Jada and Dear Chelsea are among the included podcasts.
“Audio podcasting has been the fastest-growing medium over the past 20 years, and now we’re thrilled to expand that experience with an exciting new category – video podcasts. Netflix has a leading video-first service, and this partnership perfectly complements our strong audio foundation. Working with Netflix—an important leader in entertainment— gives fans one more way to connect with the personalities they love and opens the door to new audiences, including viewers discovering these shows for the first time,” says Bob Pittman, CEO of iHeartMedia. “These shows feature dynamic hosts, compelling conversations, and passionate fan communities—available in both audio and now as a natural video extension. Audiences can now not only listen but also watch and enjoy top-rated iHeartPodcasts alongside award-winning series and movies from Netflix.”
“With this partnership we are incredibly excited to offer our members such unmatched variety, and to deliver highly entertaining podcasts featuring some of the world’s most dynamic personalities,” shares Lauren Smith, Netflix VP of Content Licensing and Programming Strategy.
Industry Ink: for KING + COUNTRY, Hayden Coffman, 3d PR & Marketing, Camryn Marie, More
/by Lauryn Sinkfor KING + COUNTRY Earn RIAA Gold Certification
Pictured (L-R): Craig Powers (Curb Records), John Chapman, Rio Van Risseghem (Amazon Music), Luke Smallbone, Joel Smallbone, Sarah DeMarco (Amazon Music), Michelle Tigard Kammerer (Amazon Music), Lauren Stellato (Amazon Music), and Benson Curb. Photo: Kadin Tooley/for KING + COUNTRY
for KING + COUNTRY has earned a RIAA Gold certification for their 2020 holiday Amazon Music Original, “Do You Hear What I Hear.”
Lauren Stellato, the Christian and Gospel Programming Lead for Amazon Music, presented the duo with the plaque at the Opry House last night (Dec. 15). The brother duo is currently amidst their five night residency at the venue.
Hayden Coffman Presented With RIAA Gold Certification For ‘Better Off’
Hayden Coffman & team.
Hayden Coffman was presented with a plaque on Friday (Dec. 12) celebrating the RIAA Gold Certification of his single, “Better Off,” following a surprise onstage performance and announcement from Chase Matthew.
Written by Coffman alongside Ethan Escue and Drake Freeman and produced by Grady Saxman, the track has amassed over 75 million streams across platforms.
3d PR & Marketing Expands To Nashville
3d PR & Marketing is expanding to Nashville. The company works with a wide range of industries including luxury goods and services, beauty, lifestyle, entertainment, food and hospitality.
The company will begin accepting clients in February.
Camryn Marie Signs With MVP3 Music Group
Camryn Marie & Marie Pizano.
Camryn Marie has signed a management deal with MVP3 Music Group.
“Camryn Marie possesses exactly what we’ve been looking for. Her profound songwriting and fierce resilience aligns perfectly with our mission to support artists of integrity,” says MVP3 Music Group label head Marie Pizano. “Her ability to overcome adversity enhances her writing and tenacity to become a staple in this industry.”
“MVP3 Music Group understands that everyone has the potential to win if you work hard enough,” adds Marie. “The woman-owned company has demonstrated you can go far while staying true to your values. Marie and the MVP3 team see my vision for my music and my career; you can’t put a price on having a team you trust and believes in you.”
Texas Songwriter U Announces 2026 Class
Texas Songwriter U has selected Gloria Anderson, Joli Hope, Rachel LaRen, Mila, Philip Morgan, Stoney Musgrove, Brett Stair and Jon Stork for its 2026 program.
The 2026 Showcase is set for Feb. 1 at The Saxon Pub in Austin, Texas. Each of the selected songwriters will perform, along with a special guest performance by Jack Ingram.
Legendary Texas Singer-Songwriter Joe Ely Dies At 78
/by Lorie HollabaughJoe Ely performs at a Songwriter Session at the Country Music Hall of Fame and Museum in 2018. Photo: Courtesy of the Country Music Hall of Fame and Museum
Texas troubadour Joe Ely passed away yesterday (Dec. 15) from complications of Lewy Body Dementia, Parkinson’s and pneumonia at his home in Taos, New Mexico. He was 78.
Ely was born Feb. 9, 1947 in Amarillo, Texas. In the early ’70s, he founded country rock unit The Flatlanders with fellow West Texas musicians Jimmie Dale Gilmore and Butch Hancock, and recorded an album together that would set the tone for Ely’s storied 50-year career to follow. After the group of talents disbanded, Ely later signed with MCA Records in the 1970s and spent more than five decades recording solo albums and performing on a myriad of prestigious stages around the world.
The alt-country artist’s prolific songwriting skills even reached across the Pond in the late ’70s, catching the ear of members of rockers The Clash in London, who would later have him add backing vocals to their iconic hit, “Should I Stay Or Should I Go?” and join them on tour. Decades into his career, Ely also found some kindred spirits in the members of Los Super Seven, which included Freddy Fender and Flaco Jiménez, and would perform with the band, taking home a Grammy in 1999 for Best Mexican-American Album.
Ely reconnected with The Flatlanders in the early 2000s, recording new material and touring the country. Throughout the course of his legendary career he performed with a vast Who’s Who of artists, including The Rolling Stones, Linda Ronstadt, Bruce Springsteen, The Chieftains, and many more. Ely was also an author and released several books, including Bonfire of Roadmaps, as well as 2014’s Reverb • An Odyssey.
In 2022, he was inducted into the Austin City Limits Hall of Fame. Ely is survived by his wife Sharon and daughter Marie, who were by his side when he passed.
“Joe Ely performed American roots music with the fervor of a true believer who knew music could transport souls,” says Kyle Young, CEO of the Country Music Hall of Fame and Museum. “His distinctive musical style could only have emerged from Texas, with its southwestern blend of honky-tonk, rock & roll, roadhouse blues, western swing, and conjunto. He began his career in the Flatlanders, with fellow Lubbock natives Jimmie Dale Gilmore and Butch Hancock, and he would mix their songs with his through 50 years of critically acclaimed recordings. But his true measure came through in the dynamic intensity of his powerhouse live performances, where he could stand his ground aside fellow zealots Bruce Springsteen who recorded duets with Ely, and the Stones and the Clash, who took Ely on tour as an opening act.”
Dolly Parton To Bring ‘Threads: My Songs in Symphony’ To New Cities In 2026
/by Lorie HollabaughDolly Parton. Photo: Courtesy of Parton
Dolly Parton is taking her multimedia symphonic experience, “Threads: My Songs in Symphony,” to new U.S. cities for the 2026 season.
The concert series, developed in partnership with Schirmer Theatrical and Sony Music Publishing, combines orchestral arrangements by David Hamilton, immersive visuals by Adam Grannick, and intimate storytelling, exploring Parton’s songs, life, and stories. The 2026 tour will feature 27 performances across 12 cities, highlighting collaborations with some of the nation’s premier orchestras, including March 19-21 with the Nashville Symphony.
Following its sold-out 2025 world premiere with the Nashville Symphony, “Dolly Parton’s Threads: My Songs in Symphony” has captivated audiences across the U.S. touring with performances with the Cleveland Orchestra, San Francisco Symphony, National Symphony Orchestra, Columbus Symphony, Dallas Symphony, Indianapolis Symphony, and Oklahoma City Philharmonic.
Returning next year from the inaugural tour cast are vocalists Katelyn Drye, Hollie Hammel, Blair Lamb, and Julie Williams, plus musicians David Hamilton, Derek Drye, Lindsey Miller, Dean Berner, Gary Lunn, Chris Leidhecker, Ross McReynolds, and Luke Woodle. Joining for select 2026 dates are Katie Basden, Ally Jackson, Brian Fullen, Craig Nelson, and Duncan Mullins.
“Threads: My Songs in Symphony” 2026 Dates:
Jan. 3-4, 2026: Colorado Symphony – Denver, CO
Jan. 17-18, 2026: St. Louis Symphony – St. Louis, MO
Jan. 23-25, 2026: Cincinnati Pops Orchestra – Cincinnati, OH
Jan. 31, 2026: Louisville Orchestra – Louisville, KY
Feb. 14-15, 2026: Oregon Symphony – Portland, OR
March 19-21, 2026: Nashville Symphony – Nashville, TN
March 20-21, 2026: Grand Rapids Symphony – Grand Rapids, MI
March 28, 2026: Phoenix Symphony – Phoenix, AZ
April 7-11, 2026: Naples Philharmonic – Naples, FL
Trace Adkins Celebrates 30th Anniversary On New 2026 Headlining Tour
/by Lorie HollabaughTrace Adkins. Photo: John Shearer/Getty Images
Trace Adkins will kick off 2026 on his new “Trace Adkins 30th Anniversary Tour” beginning Jan. 16 at Oxford Performing Arts Center in Oxford, Alabama.
The 24-date trek will celebrate three decades of success since Adkins delivered his Platinum debut album Dreamin’ Out Loud. The route will include two nights at the Ryman Auditorium (May 22-23) along with stops in Fort Worth, St. Augustine, Cheyenne, Orlando, North Myrtle Beach, and more through Sept. 19.
Tickets will be available via an artist pre-sale beginning today (Dec. 16) with public on-sale starting Dec. 19. Fans can sign up for pre-sales and purchase tickets here.
“I recently read that if you lined up all the country music artists who ‘break through at all,’ the majority cluster tightly around 5-7 years of an active career. Only about 10% have a career spanning 20 years,” shares Adkins. “As I embark on my 30th year of touring, I find myself in the single-digit percentile of artists. I am humbled that my fans and promoters have let me do this for so long. Hope to see you one more time in 2026.”
Adkins recently released his latest all-original holiday song, “One More Christmas.”
“Trace Adkins 30th Anniversary Tour” Dates:
Jan. 16 | Oxford, AL – Oxford Performing Arts Center
Jan. 17 | Dover, FL – Tampa Bay Rodeo’s Bull Bash & Country Music Festival
March 7 | Fort Worth, TX – Billy Bob’s Texas
March 8 | Bossier City, LA – Live! Casino & Hotel Louisiana
March 28 | Opp, AL – Opp Rattlesnake Rodeo
April 16 | St. Augustine, FL – The St. Augustine Amphitheatre
April 18 | Orlando, FL – Venue TBA
April 23 | Nashville, IN – Brown County Music Center
April 24 | Harris, MI – Island Resort & Casino
April 25 | Harris, MI – Island Resort & Casino
May 14 | Miles City, MT – World Famous Miles City Bucking Horse Sale
May 15 | Deadwood, SD – Deadwood Mountain Grand
May 16 | Fort Yates, ND – Prairie Knights Casino & Resort
May 22 | Nashville, TN – Ryman Auditorium
May 23 | Nashville, TN – Ryman Auditorium
June 19 | Shipshewana, IN – Blue Gate Performing Arts Center
June 20 | Mount Vernon, KY – Renfro Valley Entertainment Center
June 21 | North Myrtle Beach, SC – Alabama Theatre
July 22 | Cheyenne, WY – Cheyenne Frontier Days
July 24 | Castle Rock, CO – Douglas County Fair & Rodeo
Sept. 11 | Hutchinson, KS – Kansas State Fair
Sept. 17 | Lancaster, PA – American Music Theatre
Sept. 18 | Carteret, NJ – Carteret Performing Arts and Events Center
Sept. 19 | Charles Town, WV – Hollywood Casino At Charles Town Races
Big Machine Music Celebrates 2025 Accolades
/by Madison HahnenBig Machine Music Songwriters & Staff. Photo: Courtesy of Big Machine Music
Big Machine Music recently celebrated their 2025 accolades, which included industry awards, new RIAA certifications, GRAMMY nominations and more.
The independent publisher took home 2025 AIMP Nashville Publisher of the Year, earned Mediabase and Billboard’s No. 1 Most Played Song of the Year with “High Road” (Koe Wetzel, Jessie Murph – co-written by Laura Veltz), SESAC’s Song of the Year and CMA Song of the Year nominee “Am I Okay?” (Megan Moroney – co-written by Jessie Jo Dillion), and AIMP Nashville Song of the Year “The Painter” (Cody Johnson – co-written by Benjy Davis).
“To say I am proud of all our songwriters and team is an understatement,” said Mike Molinar, President of BMM. “On behalf of myself and the BMM team, it is a privilege to represent such world class songwriters and to be a part of helping their songs make such a tremendous impact.”
Veltz and Dillon garnered two of the five nominations for GRAMMY Songwriter of the Year, Non-Classical for 2026. Dillon is nominated for the third consecutive year, and Veltz is nominated for the second time after being nominated in 2023. The company’s songwriters have also earned awards this year for ACM Songwriter of the Year, AIMP Songwriter of the Year, MusicRow Female Songwriter of the Year, CMA Triple Play (Jessie Jo Dillon), NSAI Songs I Wish I’d Written (Daniel Ross, Jessie Jo Dillon), ASCAP Most-Performed Country Songs of the Year (George Birge, Matt Dragstrem) and BMI Most-Performed Songs of the Year (Jessie Jo Dillon, Geoff Warburton, Laura Veltz, Daniel Ross, Justin Moore).
Boasting 13 of Country Aircheck’s Top 100 Most Played Songs of 2025, Big Machine Music also achieved five Airplay No. 1 songs, bringing their total to 65 No. 1 hits. Additionally, they added 36 new RIAA Platinum and Multi-Platinum certifications to their overall tally this year, with “She Got the Best of Me” (Luke Combs) and “Heartless” (Diplo feat. Morgan Wallen) reaching Diamond certification status. With this addition, Big Machine Music now holds 6 of the current all-time Diamond-certified country songs.
Sync placement also played into the publisher’s big year, including placements for Uber Eats x March Madness (“INDUSTRY BABY” – Nick Lee), Uber x Game Day (“INDUSTRY BABY” – Nick Lee), Kelsea Ballerini x SoFi (“Baggage” – Jessie Jo Dillon) and Jackson Dean x T-Mobile Friday Night Lights (“Turn On The Lights” – Jackson Dean & Jessie Jo Dillon). Additionally, tracks from songwriters were featured in hit TV shows including The White Lotus, The Summer I Turned Pretty, Nobody Wants This, Countdown and Tulsa King.
Results Global Adds Two To Agency Team
/by Lauryn SinkKelly Ridgway & Abbey Kovacevich.
Results Global, a Nashville-based full-service marketing agency, has added Kelly Ridgway and Abbey Kovacevich to its team.
Ridgway joins as Global Marketing Lead/Head of NYC Office. She most recently served as VP of Global Marketing at CTK Enterprises. At CTK, Ridgway has contributed to two Clio-winning campaigns, including Dolly Parton’s TikTok launch and Rockstar album campaign. Previously, she was US General Manager at WMA, leading award-winning digital campaigns for Republic Records and Celine Dion. She has been active in shesaid.so, previously co-directing its NY chapter and appearing in its 2019 Alternative Power List. She serves on the board of Music Will, is a member of the Recording Academy and CMA, and has previously mentored at SXSW, NYU, and as part of various student leadership programs. Ridgway can be reached here.
Kovacevich joins as Manager, Marketing and Communications. She is a graduate of Miami University, where she earned her degree in Communications and Entrepreneurship. She began her career at Triple 7 PR, where for three years she supported and led high-profile campaigns spanning entertainment, lifestyle, and wellness. Her portfolio includes work on major events such as the MTV VMAs, the CMT Music Awards, and Scott Hamilton & Friends, in addition to numerous health and wellness initiatives and celebrity-driven projects. After her agency tenure, Kovacevich launched into a successful freelance career, partnering with clients across industries to deliver dynamic publicity and marketing support. Over the past year, she has managed campaigns for organizations including Wags & Walks, as well as various festivals, national tours, influencer initiatives, and brand collaborations. Kovacevich can be reached here.
“We are excited to further expand the Results Global team. Kelly Ridgway is transitioning from CTK Enterprises, bringing the same passion as part of the Results team. Kelly’s global marketing expertise will continue to be a wonderful contribution to an array of campaigns. And we are thrilled to formally establish our Communications division with the hiring of Abbey Kovacevich,” Results Global agency co-heads John Zarling and Jackie Campbell share in a joint statement.