Nate Towne
Nate Towne has dedicated over 19 years to the music industry. As a Partner at WME, he guides the daily touring, television, literary and sponsorship opportunities for several well-known artists including Brad Paisley, Brantley Gilbert, Brett Young, Casey Donahew, Chris Young, Colbie Caillat, Corey Kent, Dasha, Dylan Scott, Meghan Patrick and Scotty McCreery among others.
Towne’s exceptional expertise in the industry has earned him multiple accolades, including being recognized as a distinguished executive on both Billboard’s Country Power Players and MusicRow‘s InCharge lists, as well as being a two-time nominee for CMA’s prestigious Agent of the Year Award.
Photo: Courtesy of Towne
MusicRow: Where did you grow up? Where did you spend your childhood?
I grew up in a suburb of Minneapolis called Plymouth, Minnesota. Pretty normal suburban upbringing. Late eighties, early nineties—right when Billy Ray Cyrus broke—and that was really the start of my love of country music because of my parents.
Did you already want to work in that world, or were you just a fan?
I had no idea it could be a job. I always loved going to concerts, whether at the local arena or the state fair. But I didn’t realize there was a business behind it until high school. I got involved in the music department—choir, theater, the arts—and played a lot of music. I wound up managing or booking local bands or choir groups, whatever needed doing, and that gave me my first sense that maybe there was a real career there.
How did you actually start down that path?
Once I realized I loved music but wasn’t ever going to be good enough or interested enough to be on stage, I started looking at what came after high school. I found a few colleges that had actual music business programs—this was the early 2000s—and once I knew I could go to school for the business of music, I was sold. I researched every program I could find, visited as many as possible, and ended up at a small art school in central Illinois called Millikin University in Decatur. They had a music business program I dove into headfirst.
Photo: Courtesy of Towne
Tell me about college.
Those programs have come a long way since, but mine was a Bachelor of Music. I was learning copyright law, record labels and marketing, while also taking music theory, piano lessons, conducting. It was a mix of performance-related stuff with some business sprinkled in.
I stayed really active in extracurriculars. The big one was our student-run record label. I joined it and ended up running it my last couple years. We worked with student ensembles and bands: recording projects, releasing them, marketing them, selling them at events. That was my first real hands-on experience.
When it came time for an internship, I wanted to go back to Minneapolis. I found a small boutique booking agency that focused on acts for college campuses. That was my first look at the booking world. There were maybe four or five employees, and they threw me right in. I spent most of the summer cold-calling student activity boards to pitch our artists. Not my favorite part, but it was a crash course and a great learning experience.
Photo: Courtesy of Towne
Tell me about postgrad.
I set my sights on Nashville. Growing up in Minneapolis and then going to school in a small town, Nashville felt like an approachable city. It also lined up with my love of country music. Back then it was very much a country town, which appealed to me. I’d visited once while looking at schools and remembered falling in love with it.
I took my spring break and reached out to the Nashville Chamber of Commerce. They had a Music Row business directory with every company that was a member. It listed phone numbers and websites, so I started cold calling and submitting resumes, then came down for interviews.
William Morris was one of the places I connected with, along with a handful of others. A few companies even said that if I was interviewing at William Morris, they wanted to interview me too, which said a lot about the reputation of William Morris. When they offered me a job in the mailroom, that was enough. It got me to Nashville and gave me a place to start. I moved down the day after graduation.
What do you remember about your first day in the mailroom?
I had no idea what to expect. I showed up in a suit—I thought you dressed for the job you wanted—and then saw a guy in a Livestrong shirt, bracelets and jeans. I thought, “Alright, I like this place.” It was the music business.
Photo: Courtesy of Towne
The job was exactly what it sounded like: pushing a mail cart, setting up for meetings, stocking the fridge, doing dishes, getting coffee, whatever was needed. But you also got to know everyone. One of the best parts was meeting so many people from different places who were also brand new and didn’t know anyone. You instantly bonded. It was a great way to make friends and watch everyone grow from there.
What was next for you?
I stayed in the mailroom for a while, then moved into the contracts department. I think we were still issuing contracts by hand, even carbon copies at first.
From there I followed the typical agency path. I went to work for the agent Lane Wilson, who became an early mentor and is still a colleague and friend. After a year with him, I worked for another agent, Keith Miller, for a couple of years. He was booking the Northeast at the time. We book by sales territory, and an opening came up for the smaller venues in the Northeast. By then I’d been at the company about three and a half years. Between my experience with Keith and my understanding of the markets, I got the opportunity to take that on.
I started booking small theaters and clubs for the roster. The longer I was there, the more responsibility I was given—additional territories, larger venues, whatever came next. I eventually added Canada, booking much of our work there, and then moved over to the Midwest and Big Sky regions, handling arenas, amphitheaters, and larger festivals.
Photo: Courtesy of Towne
A number of years ago, Keith Miller retired from the Northeast, and I was able to step back in and take over that territory. All the while I was building my own roster of clients. The first one I started working with was Scotty McCreery around 2012, and I built from there.
Eventually I transitioned out of booking territories and moved into a more client-facing role, working with my roster and supporting the team that handles the Northeast. It’s more of a leadership position now, helping with challenges and guiding that group while still managing my clients.
How have you approached building your roster?
I’ve been lucky to partner with some incredible artists, some from the very beginning. Scotty McCreery was a couple of years post–American Idol. I started working with Dylan Scott right as he got his deal at Curb. I started with Corey Kent as “Wild as Her” was taking off. And then there are others I joined later, like Brad Paisley in 2018 or 2019 and Chris Young around that same time.
For me, I want to feel like I can bring real value to someone’s career. I love the music and the artistry, but I also want to add something that might be missing or bring a fresh perspective. If it’s a brand-new client, I ask myself: who are the first five or ten calls I can make to help move things forward? If it’s an established client, I look at what they’ve done before and think about how to approach things differently or refresh the strategy. If I feel I can be creative in that way, and they’re receptive, that’s when I’m excited to be involved.
Photo: Courtesy of Towne
What is your favorite part of what you do now?
In a world that moves fast and always wants the next new thing, there’s something powerful about the live experience. No matter how hard it is to get a show from an idea to actually happening—and there are plenty of challenges—nothing motivates me more than being at the venue. It can be a 100-cap club or a 20,000-seat arena. Seeing fans connect with an artist, hearing them sing along, watching that moment happen in real time… there’s nothing like it. It makes you want to work harder on their behalf.
You mentioned some earlier, but tell me about your mentors.
There have been a lot. Keith Miller, who I worked for a couple years, played a huge role. Those were formative years—learning what it’s like to be an agent in the trenches, what great deal-making looks like, what honesty and integrity look like. Many foundational lessons came from him.
I’ve also been fortunate to work with great leaders here. Greg Oswald for many years. Rob Beckham, who brought me onto the Brad Paisley and Chris Young teams. Lane, my first boss. And now our current leadership. I’m encouraged knowing that no matter how much experience I have, there’s always someone here who has been through something I haven’t. Being able to talk to people like Brian Jones, Becky Gardenhire, Jay Williams, Joey Lee—the list goes on. The people and the knowledge base here are a big part of why I’ve stayed so long.
What’s some of the best advice you’ve ever gotten?
One thing someone told me was that it isn’t just “who you know.” It’s also what you know. Doors can open, but if you can’t carry yourself with confidence or speak intelligently about what you’re doing, it won’t matter. That was a reminder to really understand the business—how to cut great deals and how to work with people.
Photo: Courtesy of Towne
Another piece of advice was that you’re responsible for your own growth. Whether you’re new or more seasoned, like I am now, growth is up to you. You have to put in the effort and the time.
When you look back over your career, what are you most proud of?
There are certainly artist milestones I’m proud to have been part of. Watching Brad Paisley headline the O2 in London at C2C. Seeing Dylan Scott play his first sold-out arena this past spring. Watching Scotty grow from theaters to small arenas and beyond. Those are memorable moments. They’re the artist’s success—maybe I had a small hand in it—but they’re still meaningful.
For me personally, I’m proud of leading and providing counsel with honesty and integrity. And I really treasure how long I’ve been able to work with many of my clients. That they continue to trust me year after year is something I never take for granted.
Forrest Frank Slates ‘The Jesus Generation Tour’
/by Lorie HollabaughForrest Frank. Photo: Noah Hayden
GMA Dove award-winning artist Forrest Frank will embark on his new “Jesus Generation Tour” with special guests Tori Kelly, Cory Asbury and The Figs beginning June 1 at BOK Center in Tulsa.
The 29 city tour will make stops in Nashville, Sacramento, Austin and more before wrapping on Aug. 1 at Globe Life Field in Arlington, Texas.
Tickets and VIP packages are available via artist presale here, with public on-sale beginning tomorrow (Dec. 12).
“The Jesus Generation Tour” follows Frank’s completely sold-out “Child of God Tour Part 2,” this time featuring an in-the-round stage in outdoor venues. Fans will be greeted by The Figs as they arrive, Asbury will lead in worship, and Kelly will open the night by guiding the crowd into Frank’s headlining set.
Frank’s hit “Your Way’s Better” earned RIAA Gold status, broke into the Billboard Hot 100, and became Billboard’s No. 2 Hot Christian Song of 2025. He followed that up with the release of Child of God II, featuring standout tracks including “Nothing Else (with Thomas Rhett),” “No L’s,” and “Amen.” After breaking his back in a freak accident this summer, the viral tracks continued, including “God’s Got My Back,” “Lemonade” (With the Figs), “Selah,” “The Rock” (With Crowder), and “Misunderstood” (With Cory Asbury). These and 21 more songs appeared on September’s Child of God II (Back to Back).
In October Frank won three GMA Dove Awards, including Artist of the Year, and also released “Jesus Is Coming Back Soon” with Josiah Queen. In November, he earned two 2026 Grammy nominations for“Your Way’s Better” for Best Contemporary Christian Music Performance/song and Child of God II for Best Contemporary Christian Music Album. Since the release of “Good Day” in February 2024, Frank’s music has amassed more than 846 million total airplay impressions across all formats.
“The Jesus Generation Tour” Dates:
June 1, 2026/Tulsa, OK – BOK Center
June 2, 2026/North Little Rock, AR – Simmons Bank Arena
June 4, 2026/Rosemont, IL – Allstate Arena
June 5, 2026/Milwaukee, WI – Fiserv Forum
June 6, 2026/Detroit, MI – Little Caesars Arena
June 8, 2026/Buffalo, NY – KeyBank Center
June 9, 2026/Worcester, MA – DCU Center
June 10, 2026/New York, NY – Madison Square Garden
June 12, 2026/Bristow, VA – Jiffy Lube Live
June 13, 2026/Albany, NY – MVP Arena
June 14, 2026/Hershey, PA – Hersheypark Stadium
June 16, 2026/Raleigh, NC – Lenovo Center
June 17, 2026/Charlotte, NC – Spectrum Center
June 19, 2026/Nashville, TN – GEODIS Park
June 20, 2026/Indianapolis, IN – Gainbridge Fieldhouse
July 8, 2026/Sacramento, CA – Golden 1 Center
July 10, 2026/Tacoma, WA – Tacoma Dome
July 11, 2026/Portland, OR – Moda Center
July 14, 2026/Oakland, CA – Oakland Arena
July 17, 2026/Inglewood, CA – Intuit Dome
July 18, 2026/Phoenix, AZ – Mortgage Matchup Center
July 20, 2026/Denver, CO – Ball Arena
July 23, 2026/Minneapolis, MN -Target Center
July 24, 2026/Kansas City, MO – T-Mobile Center
July 25, 2026/St. Louis, MO – Enterprise Center
July 27, 2026/Cincinnati, OH – Heritage Bank Center
July 28, 2026/Louisville, KY – KFC Yum! Center
July 30, 2026/Austin, TX – Moody Center
August 1, 2026/Arlington, TX – Globe Life Field
Country Thunder Florida Reveals Lineup For First Beachfront Festival
/by Lorie HollabaughGavin Adcock, Zach Top & Kane Brown
Country Thunder is rolling out its first-ever beachfront festival in 2026 with Country Thunder Florida in St. Pete Beach May 8-10, for the brand’s biggest event yet.
The star-studded lineup will be led by headliners Zach Top, Gavin Adcock and Kane Brown, with Randy Houser, Max McNown, Shaboozey, Gretchen Wilson, Braxton Keith, Dasha, Cole Goodwin, Elizabeth Nichols, Solon Holt and Jay Webb set to perform throughout the weekend. More performers will be unveiled soon.
This year’s festival will take place on the 40-acre grounds of the TradeWinds Resort, the beachfront escape home to Island Grand and RumFish Beach. Along with the music, the concourse will feature cowboy hat and apparel vendors, a wide range of food, carnival rides, plus an additional stage spotlighting rising artists from the Sunshine State, as well as a Songwriters Showcase. Tickets and Premium packages are available here.
“Bringing Country Thunder to St. Pete Beach marks an exciting new era for our festival,” says Troy Vollhoffer, CEO & President of Country Thunder. “From the moment we first stepped onto the white sands at TradeWinds, we knew this was the perfect home for an elevated fan experience. Partnering with a world-class resort that has been a cornerstone of this community allows us to deliver something truly special — not just for our fans, but for the entire region. With the Gulf as our backdrop and country music’s biggest artists on our stage, 2026 will be one for the books.”
Jeremy Ivey Slates New Album ‘Its Shape Will Reveal Itself’
/by Lorie HollabaughJeremy Ivey. Photo: Luke Pelletier
Singer-songwriter Jeremy Ivey will release his new album, Its Shape Will Reveal Itself, on Feb. 13 via Soggy Anvil Records.
Alongside the album announcement, Ivey has released the album’s first single, “Edge of Darkness,” a tune recorded live to one mic with wife Margo Price. The track premiered this week exclusively on Back In The Garage, an intimate music-session project founded by Soggy Anvil Label Head Luke Pelletier and his brother Tristan. Not originally intended for public consumption, the new album was recorded at Ivey’s home on a Tascam 388 reel-to-reel tape, lending it a warmth and lived-in feel.
“I have recently refurbished an old Tascam 388 reel-to-reel tape machine, so last summer and fall, I recorded some basic demos of new songs at my house. I played all the instruments except for the drums. My good buddy Dom Billett took care of that for me,” says Ivey. “At first, I had no plans or real interest in releasing any of this. But since it didn’t cost me much, I figured I had nothing to lose. The good folks at Soggy Anvil Records approached me about maybe putting it out, and in a dynamite burst of absolute elation, I said, ‘Fine.’
“There’s no big narrative or story arc, no shocking diss tracks, no hot-button political statements here,” he continues. “There’s no clickbait, tell-all gossip, no stories of guru producers meditating with monks in the Andes. It’s just a few home recordings with unsightly blemishes, slightly out of tune sleeplessness and warbling, hissing with sometimes clumsy execution. It’s called Its Shape Will Reveal Itself, and if anything, it’s honest and vulnerable.”
Its Shape Will Reveal Itself Track List:
1. “Edge of Darkess”
2. “Don’t Sleep On Your Dreams”
3. “For Someday”
4. “Modern World”
5. “Walk With Me”
6. “Just Enough”
7. “Love Is A Traveler”
8. “Pieces of Days”
9. “Little Bird”
My Music Row Story: WME’s Nate Towne
/by LB CantrellNate Towne
Nate Towne has dedicated over 19 years to the music industry. As a Partner at WME, he guides the daily touring, television, literary and sponsorship opportunities for several well-known artists including Brad Paisley, Brantley Gilbert, Brett Young, Casey Donahew, Chris Young, Colbie Caillat, Corey Kent, Dasha, Dylan Scott, Meghan Patrick and Scotty McCreery among others.
Towne’s exceptional expertise in the industry has earned him multiple accolades, including being recognized as a distinguished executive on both Billboard’s Country Power Players and MusicRow‘s InCharge lists, as well as being a two-time nominee for CMA’s prestigious Agent of the Year Award.
Photo: Courtesy of Towne
MusicRow: Where did you grow up? Where did you spend your childhood?
I grew up in a suburb of Minneapolis called Plymouth, Minnesota. Pretty normal suburban upbringing. Late eighties, early nineties—right when Billy Ray Cyrus broke—and that was really the start of my love of country music because of my parents.
Did you already want to work in that world, or were you just a fan?
I had no idea it could be a job. I always loved going to concerts, whether at the local arena or the state fair. But I didn’t realize there was a business behind it until high school. I got involved in the music department—choir, theater, the arts—and played a lot of music. I wound up managing or booking local bands or choir groups, whatever needed doing, and that gave me my first sense that maybe there was a real career there.
How did you actually start down that path?
Once I realized I loved music but wasn’t ever going to be good enough or interested enough to be on stage, I started looking at what came after high school. I found a few colleges that had actual music business programs—this was the early 2000s—and once I knew I could go to school for the business of music, I was sold. I researched every program I could find, visited as many as possible, and ended up at a small art school in central Illinois called Millikin University in Decatur. They had a music business program I dove into headfirst.
Photo: Courtesy of Towne
Tell me about college.
Those programs have come a long way since, but mine was a Bachelor of Music. I was learning copyright law, record labels and marketing, while also taking music theory, piano lessons, conducting. It was a mix of performance-related stuff with some business sprinkled in.
I stayed really active in extracurriculars. The big one was our student-run record label. I joined it and ended up running it my last couple years. We worked with student ensembles and bands: recording projects, releasing them, marketing them, selling them at events. That was my first real hands-on experience.
When it came time for an internship, I wanted to go back to Minneapolis. I found a small boutique booking agency that focused on acts for college campuses. That was my first look at the booking world. There were maybe four or five employees, and they threw me right in. I spent most of the summer cold-calling student activity boards to pitch our artists. Not my favorite part, but it was a crash course and a great learning experience.
Photo: Courtesy of Towne
Tell me about postgrad.
I set my sights on Nashville. Growing up in Minneapolis and then going to school in a small town, Nashville felt like an approachable city. It also lined up with my love of country music. Back then it was very much a country town, which appealed to me. I’d visited once while looking at schools and remembered falling in love with it.
I took my spring break and reached out to the Nashville Chamber of Commerce. They had a Music Row business directory with every company that was a member. It listed phone numbers and websites, so I started cold calling and submitting resumes, then came down for interviews.
William Morris was one of the places I connected with, along with a handful of others. A few companies even said that if I was interviewing at William Morris, they wanted to interview me too, which said a lot about the reputation of William Morris. When they offered me a job in the mailroom, that was enough. It got me to Nashville and gave me a place to start. I moved down the day after graduation.
What do you remember about your first day in the mailroom?
I had no idea what to expect. I showed up in a suit—I thought you dressed for the job you wanted—and then saw a guy in a Livestrong shirt, bracelets and jeans. I thought, “Alright, I like this place.” It was the music business.
Photo: Courtesy of Towne
The job was exactly what it sounded like: pushing a mail cart, setting up for meetings, stocking the fridge, doing dishes, getting coffee, whatever was needed. But you also got to know everyone. One of the best parts was meeting so many people from different places who were also brand new and didn’t know anyone. You instantly bonded. It was a great way to make friends and watch everyone grow from there.
What was next for you?
I stayed in the mailroom for a while, then moved into the contracts department. I think we were still issuing contracts by hand, even carbon copies at first.
From there I followed the typical agency path. I went to work for the agent Lane Wilson, who became an early mentor and is still a colleague and friend. After a year with him, I worked for another agent, Keith Miller, for a couple of years. He was booking the Northeast at the time. We book by sales territory, and an opening came up for the smaller venues in the Northeast. By then I’d been at the company about three and a half years. Between my experience with Keith and my understanding of the markets, I got the opportunity to take that on.
I started booking small theaters and clubs for the roster. The longer I was there, the more responsibility I was given—additional territories, larger venues, whatever came next. I eventually added Canada, booking much of our work there, and then moved over to the Midwest and Big Sky regions, handling arenas, amphitheaters, and larger festivals.
Photo: Courtesy of Towne
A number of years ago, Keith Miller retired from the Northeast, and I was able to step back in and take over that territory. All the while I was building my own roster of clients. The first one I started working with was Scotty McCreery around 2012, and I built from there.
Eventually I transitioned out of booking territories and moved into a more client-facing role, working with my roster and supporting the team that handles the Northeast. It’s more of a leadership position now, helping with challenges and guiding that group while still managing my clients.
How have you approached building your roster?
I’ve been lucky to partner with some incredible artists, some from the very beginning. Scotty McCreery was a couple of years post–American Idol. I started working with Dylan Scott right as he got his deal at Curb. I started with Corey Kent as “Wild as Her” was taking off. And then there are others I joined later, like Brad Paisley in 2018 or 2019 and Chris Young around that same time.
For me, I want to feel like I can bring real value to someone’s career. I love the music and the artistry, but I also want to add something that might be missing or bring a fresh perspective. If it’s a brand-new client, I ask myself: who are the first five or ten calls I can make to help move things forward? If it’s an established client, I look at what they’ve done before and think about how to approach things differently or refresh the strategy. If I feel I can be creative in that way, and they’re receptive, that’s when I’m excited to be involved.
Photo: Courtesy of Towne
What is your favorite part of what you do now?
In a world that moves fast and always wants the next new thing, there’s something powerful about the live experience. No matter how hard it is to get a show from an idea to actually happening—and there are plenty of challenges—nothing motivates me more than being at the venue. It can be a 100-cap club or a 20,000-seat arena. Seeing fans connect with an artist, hearing them sing along, watching that moment happen in real time… there’s nothing like it. It makes you want to work harder on their behalf.
You mentioned some earlier, but tell me about your mentors.
There have been a lot. Keith Miller, who I worked for a couple years, played a huge role. Those were formative years—learning what it’s like to be an agent in the trenches, what great deal-making looks like, what honesty and integrity look like. Many foundational lessons came from him.
I’ve also been fortunate to work with great leaders here. Greg Oswald for many years. Rob Beckham, who brought me onto the Brad Paisley and Chris Young teams. Lane, my first boss. And now our current leadership. I’m encouraged knowing that no matter how much experience I have, there’s always someone here who has been through something I haven’t. Being able to talk to people like Brian Jones, Becky Gardenhire, Jay Williams, Joey Lee—the list goes on. The people and the knowledge base here are a big part of why I’ve stayed so long.
What’s some of the best advice you’ve ever gotten?
One thing someone told me was that it isn’t just “who you know.” It’s also what you know. Doors can open, but if you can’t carry yourself with confidence or speak intelligently about what you’re doing, it won’t matter. That was a reminder to really understand the business—how to cut great deals and how to work with people.
Photo: Courtesy of Towne
Another piece of advice was that you’re responsible for your own growth. Whether you’re new or more seasoned, like I am now, growth is up to you. You have to put in the effort and the time.
When you look back over your career, what are you most proud of?
There are certainly artist milestones I’m proud to have been part of. Watching Brad Paisley headline the O2 in London at C2C. Seeing Dylan Scott play his first sold-out arena this past spring. Watching Scotty grow from theaters to small arenas and beyond. Those are memorable moments. They’re the artist’s success—maybe I had a small hand in it—but they’re still meaningful.
For me personally, I’m proud of leading and providing counsel with honesty and integrity. And I really treasure how long I’ve been able to work with many of my clients. That they continue to trust me year after year is something I never take for granted.
3rd & Lindsley To Celebrate 35th Anniversary With Special Show
/by Lorie HollabaughNashville mainstay 3rd and Lindsley is celebrating its 35th anniversary as an integral part of the Nashville club scene with a special show on Jan. 3 featuring performances from Jack Pearson, Gary Nicholson, Jonell Mosser and Ashley Cleveland.
3rd & Lindsley opened its doors in 1991, when there was no internet, no cell phones, and they booked acts over the phone in the afternoons. The club’s first weekend featured the Bobby Bradford Blues Band and Deford Bailey Jr., both of whom sold out the 220-capacity corner side-door stage. Jonell Mosser & Enough Rope, Gary Nicholson & The Change, Pearson, and Cleveland were among the first to take the stage and lend the venue credibility with their artistry and musicianship.
More information on the special anniversary show including tickets, can be found here.
Industry Ink: Kenny Chesney, Scotty McCreery & Dustin Lynch, Randy Rogers, More
/by Lorie HollabaughKenny Chesney Tapes Conversations with Our Curator Podcast At Bruce Springsteen Archives & Center for American Music
Kenny Chesney. Photo: Danny Clinch
Kenny Chesney recently headed to Monmouth University in New Jersey to tape a special edition of their Conversations with Our Curator series with the Bruce Springsteen Archives & Center for American Music Director of Curatorial Affairs and Director of Public History Melissa Ziobro. With the actual Center in the final stages of construction for their late spring 2026 opening, the recent Country Music Hall of Fame inductee combined the book talk with touring the facility before it was ready for installations.
Scotty McCreery & Dustin Lynch Receive Fargo Force Jerseys During ‘Two for the Road Tour’
Scotty McCreery and Dustin Lynch with Scheels Arena staffers. Photo: Lily Voges/Scheels Arena
Triple Tigers Records artist Scotty McCreery and Broken Bow Records artist Dustin Lynch were presented with Fargo Force hockey jerseys by staffers at Scheels Arena in Fargo, North Dakota prior to their recent show there. The show was part of McCreery and Lynch’s co-headlining “Two for the Road Tour,” which took place over November and December and wrapped last Saturday in Duluth, Minnesota.
Randy Rogers Family Foundation Makes Donation To New Braunfels Christian Ministries’ Kids Club
Pictured (L-R, back row): Chelsea Rogers, Randy Rogers, Jim Wesson (CEO, New Braunfels Christian Ministries), Courtney Bukowski (RRFF Staff) and Slate Angel (RRFF Supporter). (L-R, front row): Kids from Kids Club, a program of New Braunfels Christian Ministries.
Randy Rogers, his wife Chelsea, and the Randy Rogers Family Foundation Staff personally delivered hundreds of hygiene items to the New Braunfels Christian Ministries’ Kids Club for local children on Dec. 9. Donations were gathered from fans who attended Rogers’ acoustic show at the historic Freiheit Country Store on Dec. 7. The generosity of concert goers led to the collection of nearly 1,600 much-needed items to Kids Club, including toothbrushes, pairs of socks, toothpaste, shampoo and conditioner, and various other hygiene items.
Isabella Kaufman Joins Christian Barker & Co. As Associate Attorney
Isabella Kaufman and Christian Barker
Isabella Kaufman has joined Christian Barker & Co. as Associate Attorney. Kaufman previously served as a law clerk with the firm, and earned her J.D. from the Indiana University Robert H. McKinney School of Law in 2025. Her achievements include advancing to the semi-finals in Moot Court, competing nationally on the ABA National Moot Court Team, and induction into the Order of the Barristers. She also completed more than 100 pro bono hours, received the GOOD Pro-Bono Award, and gained hands-on litigation experience while clerking for a judge in Tennessee’s 16th Judicial District.
Makenzie Phipps Returns To Hometown Of Bluefield, VA For Special Honors
Photo: Bluefield Daily Telegraph / Tara Wyatt
Makenzie Phipps was recently honored by her hometown of Bluefield, Virginia, together with Southwest Virginia Community College and Graham High School in a special recognition ceremony honoring her musical talent and her unwavering community spirit. Bluefield proudly presented Phipps with the Key to the Town, the Outstanding Citizen Award, and a formal proclamation formally declaring December 6, 2025 as “Makenzie Phipps Day.”
Brad Moist Joins Integrity Music As Vice President Of A&R & Development
/by Lauryn SinkBrad Moist.
Brad Moist has joined Integrity Music as Vice President of A&R & Development. In this role, Moist will scout and develop new talent, continue to grow existing relationships with Integrity Music’s artist roster, and shape the label’s creative direction.
“I am honored to join Integrity Music and bring my background and experience to the label,” Moist says. “Blaine Barcus is an industry colleague I have admired for a long time, and I am truly grateful for the opportunity to join his team. The label’s heart for helping people encounter the power of music that points to the King is paramount. With a rich history that speaks for itself and a top‑notch team, Integrity has been rebuilding its artist roster, which I am privileged to serve. I am equally excited about the future of the label and the bold steps they are willing to take to get there.”
Moist brings more than 24 years of experience in the music business. Most recently, he served as senior A&R, brand, and marketing manager for Gotee Records. He created and ran the Mono Vs Stereo imprint label at Gotee, developing The Showdown, Chasing Victory, Maylene & the Sons of Disaster and others.
“As Integrity Music continues to expand its footprint, our ability to attract talent and develop artist relationships are more important than ever,” shares Barcus, president of Integrity Music. “Brad has the broad experience in A&R, development and promotion that will make a positive impact immediately. His heart is aligned with our mission of impacting the world with excellent music that points listeners to Jesus.”
Moist will report to Barcus and lead the A&R team, consisting of Gilbert Nanlohy, Senior A&R and Global Partnerships Director, and Taylor Brady, A&R Director.
Matt McKinney Signs With Position Music
/by Lauryn SinkPictured (L-R): Mark Chipello (President, Position Music), Chandler Thurston (Position Music, A&R), Matt McKinney and Tyler Bacon (Founder & CEO, Position Music).
Matt McKinney has signed a worldwide publishing deal with Position Music, joining the Nashville based roster of Dave Cohen, Matt Geroux, Khal Yassein, Steve Solomon and Zach Skelton.
“I’m incredibly excited to be a part of this roster and team at Position moving forward in my career, and thankful to have a champion like Chandler [Thurston] in my corner as we turn a page to this exciting chapter,” shares McKinney.
Hailing from Augusta, Georgia, McKinney moved to Nashville after graduating from the University of Georgia and signed his first publishing deal with Sony Music Publishing. He has earned cuts with Jordan Davis, Elle King, Jon Pardi, Ella Langley, Tim McGraw, Ernest and more.
“I’m very excited to welcome Matt to the Position roster,” adds Thurston, A&R at Position Music. “His songwriting is honest, authentic, and genuine. He has all the qualities of a great storyteller. Can’t wait to help shape this next chapter of his career.”
“We are proud to welcome Matt McKinney to Position Music and our team is excited and ready to lean in to help unlock new opportunities for him,” says Mark Chipello, President of Position Music.
Pandora Unveils 2026 Country Artists To Watch [Exclusive]
/by Madison HahnenPandora has named its 2026 Artists To Watch-Country list.
For 11 years, Pandora has annually recognized rising country artists, continuing to change the way new music is consumed. The 10 artists that Pandora expect to have a major impact in 2026 include Atlus, Blake Whiten, Brandon Wisham, Elizabeth Nichols, Gavin Adcock, Greylan James, Jackson Wendell, Kevin Powers, Thelma & James and Zach John King.
Atlus began writing songs while working as a commercial truck driver, crafting lyrics on the road to support his family and pay for studio time. That grind helped him build a devoted underground following, now boasting millions of streams, millions of followers, and a Platinum single. His label debut EP with BBR Music Group/BMG Nashville, Secondhand Smoke, arrived in October, with breakout track “Devil Ain’t Done” already gaining traction.
Whiten pairs gritty authenticity with a modern edge. His breakout single “Rollin’ Stone” has topped 27 million streams on Pandora, earning him a devoted fan base and spins on Pandora’s The 615: Today’s Country. Featured on his debut EP Six Mile, the track showcases Whiten’s gift for transforming personal stories into universally resonant songs. His newest release, “Hard to Break,” continues that momentum.
At just 22, Wisham is armed with raw talent and a natural storyteller’s instinct. He wrote his very first song, “Pain Won’t Last,” at 19, a track that caught the attention of Bailey Zimmerman, who recorded it for his multi-platinum Religiously. The Album. and brought Wisham on his 2024 U.S. tour. Wisham kicked off 2025 with a string of new singles that helped earn him the title of SiriusXM Highway Find and strong support across Pandora. His latest release, “Growin’ Up,” is climbing The Highway’s Hot 30 Countdown as he continues a packed touring schedule, joining major acts like Tyler Hubbard, Lakeview, Chase Matthews, Nate Smith, Austin Snell, and landing coveted festival slots at Stagecoach and Tortuga in 2026.
Within months of moving to Nashville, Nichols racked up over a million Pandora streams across stations like Blue Sky: Country Pop. Known for her sharp wit and candid take on modern life, she first captured attention with the viral hit “I Got a New One.” Her debut EP, Tough Love, arrived in June, followed by new standouts like the emotional “Daughter” and “Little Birds.” In less than a year, Nichols has played her first live show, toured with top country artists, made her Grand Ole Opry debut, and performed at iconic venues and events such as the Bluebird Café, CMA Fest, and even the Kentucky Derby.
With more than 135 million Pandora streams and major support from The 615: Today’s Country and Country Grit, Adcock is quickly becoming the face of country rock’s resurgence. SiriusXM’s The Highway has championed five of his releases, and his explosive 2025 momentum has made him one of the genre’s fastest-rising, most talked-about newcomers. Personally selected by Morgan Wallen as direct support on his 2025 and 2026 tours, Adcock brings a high-octane blend of Southern rock grit, bold lyricism, and rowdy energy. Known for his viral breakout and electric live shows, Adcock channels the raw spirit of the South into every performance.
Since moving to Nashville eight years ago, James has become a sought-out songwriter, earning cuts from Kenny Chesney, Morgan Wallen, Cole Swindell, Darius Rucker, Blake Shelton, Bailey Zimmerman, and BRELAND, among others. His catalog includes three No. 1 hits and an ACM Song of the Year win for co-writing Jordan Davis’ smash “Next Thing You Know.” Pandora has driven more than 24 million streams across The 615 Today’s Country and Backroads, while SiriusXM’s The Highway has played seven of his songs in the past two years.
Wendell is a rising Texas singer-songwriter known for pairing heartfelt storytelling with a fresh, youthful edge. Raised in Lufkin, Texas, he wrote his first song at just 14 and has been refining his craft ever since. His music blends traditional country instrumentation with honest reflections on love, loss, and growing up—creating a sound that resonates far beyond his years. Wendell’s songs continue to find a welcoming home on Pandora, where “Devil’s Hardwoods” has received dedicated platform support.
Powers is redefining modern country as the first artist signed to Shaboozey’s American Dogwood Records, blending genre-bending production with heartfelt storytelling. Both a standout songwriter and a dynamic artist, Powers co-wrote the hit “Amen” by Shaboozey and Jelly Roll before releasing his own rising single “Move On,” which has already surpassed 8 million global streams since its September debut and is gaining momentum on Pandora. With new music coming, an EP slated for April 2026, and a spot on “The Great American Road Show Tour”, Powers is solidifying himself as one of country music’s most exciting new breakout acts.
Thelma & James, married Nashville singer-songwriters MacKenzie Porter and Jake Etheridge, are emerging leaders in country and Americana’s modern renaissance, blending rootsy instrumentation with polished, genre-stretching songwriting. The duo formed organically after an impromptu writing session and performance video that drew praise from John Mayer, Luke Combs, Brandi Carlile, and more. Their breakout song “Happy Ever After You” has earned over 17 million streams and strong Pandora support across stations like The Nashville Dive and This Year in Americana. In 2025, the pair signed with Big Loud Records and released their debut EP Starting Over.
Fusing the introspection of a roots poet with the raw edge of alt-rock, Sony Music Nashville artist King is pushing country music into bold new territory, unfiltered, emotional, and unmistakably his own. The past 18 months have been transformative for King. He released his latest EP Slow Down, toured as an opener on Morgan Wallen’s “I’m The Problem Tour,” joined Luke Bryan’s “2025 Farm Tour,” and hit the road with Dylan Scott and Gavin Adcock. In 2026, he’ll reunite with Morgan Wallen for the “Still The Problem Tour,” perform at Stagecoach, and tour with Riley Green.
Jelly Roll Invited To Be Grand Ole Opry Member
/by LB CantrellJelly Roll. Photo: Jacob Distasio
During an interview on The Joe Rogan Experience podcast, Jelly Roll was given the surprise of a lifetime when Craig Morgan invited him to become a member of the Grand Ole Opry via video message.
Jelly was overcome with emotion, sharing in a social media post, “I’m honored beyond words and I can’t stop pinching myself. To everyone at the Opry, y’all are like family to me.
“To Craig Morgan, no matter how many times I say it i’ll never be able to tell you enough how much this has all meant to me. I love you Joe Rogan.”
Jelly Roll made his Opry debut on November 9, 2021 and has become an Opry fan favorite and beloved by not only the fans, but many of its members over the years. Jelly Roll has dedicated his time to playing the show numerous times, mentoring many artists through the Opry NextStage program, and serving as host of Opry NextStage Live shows in Texas.
A four-time Grammy-nominated, award-winning Nashville native, Jelly Roll continues to redefine the word entertainer. With the release of his 2024 album, Beautifully Broken, he topped the Billboard 200 all-genre chart and earned his second No. 1 Billboard Country Album chart debut. Beautifully Broken features his No. 1 songs like the Grammy-nominated “I Am Not Okay,” “Liar” that dominated the country radio chart for six-straight weeks and latest chart-topper “Heart of Stone.”
With numerous nominations and award wins, eight consecutive No. 1s at country radio as well as hits on the rock and Christian charts, and a landmark appearance as the musical guest on SNL’s 50th Anniversary Season Premiere episode, Jelly Roll has solidified his place as one of music’s most authentic and powerful voices.