
Susan Nadler and Evelyn Shriver, also known as the ‘Shady Ladies of Music City,’ have been forging their own paths through the Nashville music business since the 1980s.
The close friends and industry stalwarts have always demanded a seat at the table that was largely made up of men, and eventually became first women ever to helm a major Nashville record label. They’ve both led a fascinating career, which they talk about in their hilarious podcast, Shady Ladies of Music City.
The recently announced second season of the podcast is available to stream now–and Susan and Evelyn just revealed more guest stars for the second season, including Clint Higham, Bonnie Garner, Michael Campbell, Shane McAnally and the late Connie Bradley. They join previously announced episodes featuring Martina McBride, Lorrie Morgan, Joel Katz, Raul Malo and Tony Conway.
Evelyn came to Nashville after having started her career in PR in New York, where her husband had a record deal. While in New York Evelyn worked with actors Cary Grant, Bette Davis, and Joan Crawford, and musicians Cher, Diana Ross, and more. She was part of the team that launched People magazine, Entertainment Tonight and MTV.
Eventually she and her husband grew tired of New York and moved to Nashville. Once in Music City, her first management client in Nashville was a young, handsome country newcomer from North Carolina: Randy Travis.
“A girl named Susan Niles who used to work at Warner Brothers, she was my assistant in New York at one time, and she was a huge country music fan,” Evelyn said. “One day I said to her, ‘You should really move to Nashville,’ and she did. So when I came down here, she was the only person I knew and she took me and my husband out to the Nashville Palace to meet Randy.
“They wanted to have somebody outside of Nashville, he had been rejected by so many people in Nashville that they wanted somebody that didn’t have that attitude—and it turned out to be me.”

Evelyn Shriver, Susan Nadler. Photo: Courtesy Shriver & Nadler
Susan grew up in Pittsburg and was a music lover from birth. She started her college degree in Wisconsin, and finished in Jerusalem. Susan returned to the United States, but got involved in smuggling hashish through Mexico. She and her partners were caught and she ended up spending time in prison in Mexico. Susan later published a book about the experience called, The Butterfly Convention.
Susan then moved to Key West, where she owned and operated a popcorn stand and started writing books. She briefly married a songwriter, which got her to Nashville and eventually led her to a career in PR.
“I couldn’t make a dime as a writer, so I decided to get into the music business,” Susan said. “I had just done a series of interviews for my book and I went to talk to a woman named Liz Thiels who had a great PR company called Network Inc. I told her what my background was, I had just had a second book come out, and she hired me right away. So I started off doing PR. I had never worked before, I had never even operated a fax machine.”
After cutting her teeth in PR working with country and blues artists, Susan went to work for manager Stan Moress, doing PR for his artist list that included names such as Lorrie Morgan, Eddie Rabbit, Ronnie Milsap, Roger Miller, KT Oslin, Restless Heart and more. “He was the only management company in town that was going to have an in-house press person, and that was me.”
Eventually Susan became Lorrie Morgan’s manager. “We still are very good friends. We had a long history together and we made a lot of money together, Susan said. “I went on the road a lot with her, she’s an incredible talent. She really has the most authentic country voice.”

Susan Nadler, Lorrie Morgan, Evelyn Shriver. Photo: Courtesy Shriver & Nadler
Evelyn and Susan’s paths crossed in 1988. The two were fast friends.
“We both came from different backgrounds than most people in Nashville,” Evelyn said. “I came from New York, and she thought I was Jewish and that I was more sophisticated, so she was hell-bent on becoming friends. She called me all the time, we would have breakfast or lunch or whatever. We ended up becoming really good friends.”
“Evelyn was fantastic. She was so intelligent and from New York, she knew everybody,” Susan said. “She was representing Randy Travis and I was representing Tammy Wynette. We just became really good friends and that was the beginning of a long and very productive friendship. We have done a lot together.”

Pictured (L-R): Asylum Records Stan Byrd (VP Promotion), Susan Nadler (Exec. VP/A&R), Nancy Jones, George Jones, Evelyn Shriver (Label Head) in 1999. Photo: Courtesy Shriver & Nadler
Evelyn earned the title of the first female president of a major country label when she took over Asylum Records in 1998; Susan served as Asylum’s Exec. VP/A&R. They released the critically-acclaimed projects Cold Hard Truth (George Jones) and Trio II (Emmylou Harris/Dolly Parton/Linda Ronstadt) until Asylum was folded into Nashville-based Warner Bros. Records in 2002.
“We were unbelievably busy. We were overwhelmed with how much work there was,” Susan said. “When we came in [to Asylum] the first day they had fired everybody and we couldn’t even open the door. We had to rehire people back to figure out how to work the switchboard. It was an incredible time in the business. There were some very powerful women in the business, and we really didn’t realize it that much.”
Susan and Evelyn continued working together, forming Bandit Records in 2003 and adding Jones on the roster. In 2009, they launched Country Crossings Records, with artists John Anderson and Lorrie Morgan. By 2015, Susan and Evelyn were serving as a talent managers for the TV show Soundstage.

Susan Nadler and Evelyn Shriver’s first Shady Ladies of Music City podcast session. Photo: Courtesy Shriver & Nadler
Over the years, Evelyn and Susan have seen the Nashville music business grow and change, which they often discuss in their podcast.
“I think country music has more pride in itself now, even though it’s gotten so far away from country music. When I came to town, there was like this step-bastard child mentality. Nashville didn’t see itself as being competitive [to other genres],” Evelyn said. “But there was more of a sense of community. It was before everyone became a brand. I remember when people would have No. 1 records, everybody on the Row came. It was a big open family and that was the thing that really appealed to me. Though they had this bastard child mentality, they had a great sense of community. If one person had success, it felt like everybody had it.”
With all the adventures they shared through the ups and downs, the podcast is a perfect media for sharing the good, the bad, the ugly and the hilarious. Click here to stream the Shady Ladies of Music City, and hear about all the fun.

Pictured (L-R): Joel Katz Willie Nelson Evelyn Shriver at Farm Aid in 1993. Photo: Courtesy Shriver & Nadler

Pictured (L-R): Susan Nadler, KT Oslin, Evelyn Shriver in 2014. Photo: Courtesy Shriver & Nadler
Justin Moore: ‘I’m As True To Myself As An Artist As I’ve Ever Been’ [Interview]
/by LB CantrellJustin Moore. Photo: Cody Villalobos
As a torch-bearer for traditional country music, Justin Moore continues onward with the release of his sixth studio album Straight Outta The Country, available everywhere today (April 23).
Featuring co-writes with Rhett Akins, Casey Beathard, Randy Montana, Hardy and others, each of the eight songs find Moore embracing his signature Arkansas-twang and traditional country themes. Produced by Jeremy Stover, Straight Outta The Country includes Moore’s latest single “We Didn’t Have Much,” which is climbing at country radio.
Moore spoke to MusicRow recently about the new project, his collaborators, and the last 14 years of music.
MusicRow: Did you make the album during the pandemic?
We really recorded a lot of this while recording the Late Nights And Long Necks album. We had 30 or 40 songs that we were really excited about for that, but my label shockingly would not let me put 30 or 40 songs on that album. We knew that we were in a good spot and we knew that we loved these songs enough that we wanted to get them out to folks, so as we moved through this crazy year we were just trying to figure out how we were going to go about doing that. I might’ve recorded a couple of vocals here at home, but other than that, we were just very fortunate that we didn’t have to go in and track those things because it could have been very challenging, to say the least
With that many songs, how did you decide which songs went on which project?
Honestly it’s like putting a puzzle together. There’s songs that I wrote 18 or 19 years ago that I still want to put on an album. I’ll give you a prime example: I thought a song that I wrote 17 years ago called ‘Late Nights And Long Necks’ was going to be on the Late Nights And Long Necks album, so much so that we named it Late Nights And Long Necks and then that song didn’t make it on that album.
Sometimes putting an album together is just what fits together the best, it’s not necessarily ‘These are the best songs.’ We wouldn’t record them if I didn’t think they were great songs, I don’t mean it in that regard, but I’m a fan of albums having continuity throughout them. So I always try my best to put them together where I think they best fit.
You worked with Jeremy Stover again on production. You guys have have been working together your whole career. Why do you think it works so well with you guys?
We just get each other. It sounds silly to say, but we literally finish each other’s sentences. We’re not only partners in music and have been since the beginning of my career, but we’re like brothers. He’s one of my best friends in the world. I’ve heard him say that if he was an artist, he would be me. By the same token, if I was a producer/songwriter, I’d be him. I learned a lot from him early on in my career about writing songs.
Another collaborator, Paul DiGiovanni, is all over the Straight Outta The Country track list. With his background in pop-punk [Boys Like Girls] before starting to work in the country music space, and your very traditional sound, how does that work?
Well in complete transparency, I didn’t have a clue he was in [Boys Like Girls]. I love Paul, I would tell him this to his face, I just didn’t listen to that type of music. The reason it works is because he brings something to the table completely different than what Jeremy and I do, or whomever else is in the room with us. He will say something in a way that none of us have thought about, not to mention his ability to put tracks together and his melodies are just stuff that I would personally never think of. That has put me on a different path, lyrically. If he comes up with something melodically, or just says his thoughts about where to take a song, it may be a direction that never even entered my mind. I think it’s good to not only have [a variety] in the amount of voices in the room, but I think different types of voices in the room helps too. It makes songs better.
You have two versions of “We Didn’t Have Much” on the track list. Why is that song is so special to you?
It’s more special to me because of what we’ve all dealt with this year than it would have been otherwise. I heard the song really early on in the pandemic. We had Tracy Lawrence on as one of first guests on my podcast. He said something that really resonated with me and I really related to, and then after hearing this song, I related it to the song. What he said was that especially early on in the pandemic, he and his wife and family had been forced to lead a much more simple life, literally borrowing eggs from neighbors and things like that. Things that sound like a cliche country song, but we were kind of in the same boat here at home. I thought, man, this song speaks to the beauty in that simplicity.
This song kind of describes my youth and what we’re trying to impress upon my kids as best you can in this world we live in today. And I thought the song, from a timing perspective was perfect with what we’re all dealing with.
This is your sixth studio album. You signed to Valory Music Co. in 2008 and “Small Town USA” hit in 2009. What do you think it says about how far you’ve come musically and in your career?
It’s hard to believe, first and foremost, that we’ve been able to do this as long as we have and continue to have the success that we’ve been able to enjoy. I’ve got friends in town that I met when I came here and for whatever reason they didn’t [make it]—there’s a lot of luck involved in it. It’s a lot of timing and things. I just feel so blessed that I never had to get a real job.
More specifically pertaining to the music and me as an artist 14 years later, I think you learn who you are and what you want to say and what you want to be as an artist. You have an idea when you come out as a young artist, but then as you try this and you try that and you have the opportunity to go out and meet your audience, whether it be on stage, meet and greets, or social media. I think you just learn your craft. I feel as though I’m as true to myself as an artist as I’ve ever been.
Fisk Jubilee Singers Celebrate 150th Anniversary With Performance Film
/by Steven BoeroTPAC is partnering with the Fisk Jubilee Singers in releasing Walk Together Children: The 150th Anniversary of the Fisk Jubilee Singers for rent through Vimeo on Demand.
The new performance film featuring the multi-award-winning and world-renowned Fisk Jubilee Singers will be available from April 26 – May 10.
The film, created in collaboration with Musical Director Dr. Paul T. Kwami and producer/director Jon Royal, features current Fisk Jubilee Singers paying tribute to the original nine members of the storied ensemble and reflecting on their roles as preservers of this rich legacy. They explore the personal stories of these trailblazers, and invite the viewer to learn the significance of the music the Fisk Jubilee Singers sing and its value in today’s culture.
Fans can preorder the concert film now for $20. Proceeds will go to TPAC’s nonprofit mission and the Fisk Jubilee Singers Endowed Scholarship Fund.
Walk Together Children: The 150th Anniversary of the Fisk Jubilee Singers® from TPAC on Vimeo.
Sam Williams Set To Release Debut Album ‘Glasshouse Children’ This Summer
/by Lorie HollabaughSam Williams. Photo: Alexa King.
Sam Williams will be releasing his indie debut album, Glasshouse Children, this summer.
The grandson of country pioneer Hank Williams and the son of outlaw legend Hank Jr., Williams fuses gut-wrenching honesty with raw vulnerability. Suffering such a sudden loss this past year of his sister Katie has been profoundly devastating, but he has found himself on a journey that has led to a deeper understanding of his purpose in life.
Williams made his TV debut on The Late Show with Stephen Colbert, last night (April 22) performing his latest single, “Can’t Fool Your Own Blood.” This newest release was preceded by “Shuteye” and “The World: Alone,” a song he released in honor of his late sister’s 28th birthday.
Williams debut album, Glasshouse Children, is available for pre-order and pre-save now.
‘Shady Ladies’ Susan Nadler And Evelyn Shriver Talk Business, Friendship, And Hilarity [Interview]
/by LB CantrellSusan Nadler and Evelyn Shriver, also known as the ‘Shady Ladies of Music City,’ have been forging their own paths through the Nashville music business since the 1980s.
The close friends and industry stalwarts have always demanded a seat at the table that was largely made up of men, and eventually became first women ever to helm a major Nashville record label. They’ve both led a fascinating career, which they talk about in their hilarious podcast, Shady Ladies of Music City.
The recently announced second season of the podcast is available to stream now–and Susan and Evelyn just revealed more guest stars for the second season, including Clint Higham, Bonnie Garner, Michael Campbell, Shane McAnally and the late Connie Bradley. They join previously announced episodes featuring Martina McBride, Lorrie Morgan, Joel Katz, Raul Malo and Tony Conway.
Evelyn came to Nashville after having started her career in PR in New York, where her husband had a record deal. While in New York Evelyn worked with actors Cary Grant, Bette Davis, and Joan Crawford, and musicians Cher, Diana Ross, and more. She was part of the team that launched People magazine, Entertainment Tonight and MTV.
Eventually she and her husband grew tired of New York and moved to Nashville. Once in Music City, her first management client in Nashville was a young, handsome country newcomer from North Carolina: Randy Travis.
“A girl named Susan Niles who used to work at Warner Brothers, she was my assistant in New York at one time, and she was a huge country music fan,” Evelyn said. “One day I said to her, ‘You should really move to Nashville,’ and she did. So when I came down here, she was the only person I knew and she took me and my husband out to the Nashville Palace to meet Randy.
“They wanted to have somebody outside of Nashville, he had been rejected by so many people in Nashville that they wanted somebody that didn’t have that attitude—and it turned out to be me.”
Evelyn Shriver, Susan Nadler. Photo: Courtesy Shriver & Nadler
Susan grew up in Pittsburg and was a music lover from birth. She started her college degree in Wisconsin, and finished in Jerusalem. Susan returned to the United States, but got involved in smuggling hashish through Mexico. She and her partners were caught and she ended up spending time in prison in Mexico. Susan later published a book about the experience called, The Butterfly Convention.
Susan then moved to Key West, where she owned and operated a popcorn stand and started writing books. She briefly married a songwriter, which got her to Nashville and eventually led her to a career in PR.
“I couldn’t make a dime as a writer, so I decided to get into the music business,” Susan said. “I had just done a series of interviews for my book and I went to talk to a woman named Liz Thiels who had a great PR company called Network Inc. I told her what my background was, I had just had a second book come out, and she hired me right away. So I started off doing PR. I had never worked before, I had never even operated a fax machine.”
After cutting her teeth in PR working with country and blues artists, Susan went to work for manager Stan Moress, doing PR for his artist list that included names such as Lorrie Morgan, Eddie Rabbit, Ronnie Milsap, Roger Miller, KT Oslin, Restless Heart and more. “He was the only management company in town that was going to have an in-house press person, and that was me.”
Eventually Susan became Lorrie Morgan’s manager. “We still are very good friends. We had a long history together and we made a lot of money together, Susan said. “I went on the road a lot with her, she’s an incredible talent. She really has the most authentic country voice.”
Susan Nadler, Lorrie Morgan, Evelyn Shriver. Photo: Courtesy Shriver & Nadler
Evelyn and Susan’s paths crossed in 1988. The two were fast friends.
“We both came from different backgrounds than most people in Nashville,” Evelyn said. “I came from New York, and she thought I was Jewish and that I was more sophisticated, so she was hell-bent on becoming friends. She called me all the time, we would have breakfast or lunch or whatever. We ended up becoming really good friends.”
“Evelyn was fantastic. She was so intelligent and from New York, she knew everybody,” Susan said. “She was representing Randy Travis and I was representing Tammy Wynette. We just became really good friends and that was the beginning of a long and very productive friendship. We have done a lot together.”
Pictured (L-R): Asylum Records Stan Byrd (VP Promotion), Susan Nadler (Exec. VP/A&R), Nancy Jones, George Jones, Evelyn Shriver (Label Head) in 1999. Photo: Courtesy Shriver & Nadler
Evelyn earned the title of the first female president of a major country label when she took over Asylum Records in 1998; Susan served as Asylum’s Exec. VP/A&R. They released the critically-acclaimed projects Cold Hard Truth (George Jones) and Trio II (Emmylou Harris/Dolly Parton/Linda Ronstadt) until Asylum was folded into Nashville-based Warner Bros. Records in 2002.
“We were unbelievably busy. We were overwhelmed with how much work there was,” Susan said. “When we came in [to Asylum] the first day they had fired everybody and we couldn’t even open the door. We had to rehire people back to figure out how to work the switchboard. It was an incredible time in the business. There were some very powerful women in the business, and we really didn’t realize it that much.”
Susan and Evelyn continued working together, forming Bandit Records in 2003 and adding Jones on the roster. In 2009, they launched Country Crossings Records, with artists John Anderson and Lorrie Morgan. By 2015, Susan and Evelyn were serving as a talent managers for the TV show Soundstage.
Susan Nadler and Evelyn Shriver’s first Shady Ladies of Music City podcast session. Photo: Courtesy Shriver & Nadler
Over the years, Evelyn and Susan have seen the Nashville music business grow and change, which they often discuss in their podcast.
“I think country music has more pride in itself now, even though it’s gotten so far away from country music. When I came to town, there was like this step-bastard child mentality. Nashville didn’t see itself as being competitive [to other genres],” Evelyn said. “But there was more of a sense of community. It was before everyone became a brand. I remember when people would have No. 1 records, everybody on the Row came. It was a big open family and that was the thing that really appealed to me. Though they had this bastard child mentality, they had a great sense of community. If one person had success, it felt like everybody had it.”
With all the adventures they shared through the ups and downs, the podcast is a perfect media for sharing the good, the bad, the ugly and the hilarious. Click here to stream the Shady Ladies of Music City, and hear about all the fun.
Pictured (L-R): Joel Katz Willie Nelson Evelyn Shriver at Farm Aid in 1993. Photo: Courtesy Shriver & Nadler
Pictured (L-R): Susan Nadler, KT Oslin, Evelyn Shriver in 2014. Photo: Courtesy Shriver & Nadler
Chart Action: Thomas Rhett Sweeps Country Charts
/by Alex ParryThomas Rhett‘s new single, “Country Again,” claims most added and highest spin gain across the country charts this week. He received 88 new stations adds and a spin gain of +1,415 on Billboard‘s Country Airplay Chart debuting at No. 26. On the Mediabase Chart, he debuted at No. 35, earning 117 new station adds and +1,391 spins. Rhett rakes in 21 new station adds and +318 spins on the MusicRow CountryBreakout Radio Chart, rising 20 positions to No. 32.
“Country Again” is the title track to his upcoming double album, Country Again: Side A, which will release April 30 via The Valory Music Co, while Side B is planned for release later this year.
Rhett also announced rescheduled tour dates for his headlining Center Point Road Tour starting August 13. Cole Swindell and Gabby Barrett are tapped to open for Rhett.
Luke Combs Shines On MusicRow Radio Chart
/by Alex Parry“Forever After All” by Luke Combs is this week’s No. 1 single on the MusicRow CountryBreakout Radio Chart. The single was penned by Combs, Drew Parker, and Robert Williford. It appears on Combs’ deluxe album, What You See Ain’t Always What You Get.
Comb’s teamed with bluegrass star Billy Strings for his latest release called “The Great Divide.” Combs shares, “Something that I’ve always wanted to do is write and put out a bluegrass album. This is a song that was supposed to be a part of that project. It’s not a lead single or a lead-in to that project yet, because that is not done. But it felt like the right time to put this song out. When we wrote it, there were a lot of crazy things going on in the world. There’s still a lot of crazy things going on in the world. And I just felt like I had some stuff to say. It’s not meant to be political. It’s not meant to try and tell you what to think or tell you how to believe. That’s not my job. It’s just a guy kinda saying the way he was feeling when he wrote it.”
Click here or above to view the latest edition of The MusicRow Weekly.
The MLC Partners With Data Quality Initiative On New Web Series
/by Lorie HollabaughEach of the five sessions, hosted by The MLC’s Head of Third-Party Partnerships Dae Bogan, will feature one of The MLC’s DQI partners – Vistex, Blokur, Exactuals, Music Data Services and TuneRegistry – presenting their version of the DQI as made available to their customers to showcase its capabilities for checking musical works data in bulk.
The MLC created the Data Quality Initiative to provide a streamlined way for publishers, administrators, self-administered songwriters, and foreign collective management organizations to compare large schedules of their musical works’ data against The MLC’s data. Through the DQI, The MLC provides participants with reports that highlight the discrepancies between the two sets of data so that they can more easily address those discrepancies and improve the quality of The MLC’s data.
Dates, details, and registrations links for the DQI Partner Showcase Series:
Showcase #1: Featuring Stephen Carlisle, Vistex Music Team Leader – April 27 | 1 p.m. CT/2 p.m. ET
Register Here
Showcase #2: Featuring Phil Barry, Blokur Founder and CEO – May 4 | 1 p.m. CT/2 p.m. ET
Register Here
Showcase #3: Featuring Chris McMurty, Exactuals Head of Music Product – May 11 | 1 p.m. CT, 2 p.m. ET
Register Here
Showcase #4: Featuring Abby North, Music Data Services CEO – May 18 | 1 p.m. CT/2 p.m. ET
Register Here
Showcase #5: Featuring William Gary, TuneRegistry Manager of Operations – May 25 | 1 p.m. CT/2 p.m. ET
Register Here
Shannan Hatch Exits Fourward Music
/by Sherod RobertsonShannan Hatch
Shannan Hatch has exited her position as President of Fourward Music. She can be reached via email at hatchshannan@gmail.com.
Fourward, the management, production and business development company, formed its music publishing venture, Fourward Music, in the summer of 2019 with offices in both Nashville and Los Angeles.
Prior to her post at Fourward, Hatch served as Vice President of Creative Services for SESAC, where she led the Nashville-based Creative Services team in supporting SESAC-affiliated songwriters and publishers.
Her honors include MusicRow Rising Women on the Row and Nashville Business Journal Women in Music City Award. With two decades of experience as a respected member of the Nashville music industry, she’s a member of the Academy of Country Music and prior board member, as well as a member of Americana Music Association, Country Music Association, The Recording Academy, SOURCE, NSAI, and a board member of AIMP’s Nashville chapter.
Ryan Kinder Makes ‘Room To Dream’ On New Indie Debut
/by Lorie HollabaughRyan Kinder describes the sound of his upcoming debut album Room To Dream as “riff-roaring rock with a sweet side of southern soul,” and fans will get it on July 31.
He has released two new singles from Room To Dream, “Hell Is,” a radio-ready heartbreaker inspired by an argument overheard in a YMCA locker room, and “Blame,” a guitar-laden rocker driven along with stomps, claps, and thick background vocals.
“I had a lot of time to figure out what I wanted to do after a certain time in my life, and all these songs came together with different aspects of who I was when I wrote them,” says Kinder. “It was a beautiful realization that some of the bad things and not-so-fun situations led to the opportunity for me to have the room to dream, and to really be myself.”
Kinder began his journey towards a music career while enrolled in college in Tuscaloosa, Alabama, and commuted to and from Nashville to write songs with his mentor, producer Keith Stegall. A couple of short-lived record deals came and went before Kinder secured the opening slot on a huge tour with some of his heroes, ZZ Top and John Fogerty. During that tour, Fogerty gave Kinder a piece of advice that’s carried him steadily through to today: “Don’t play to the empty seats.” “It took me a couple of days to figure out what he was talking about,” Kinder admits, “and it was as simple as playing to the people who are there, who care enough to come early and hear the guy that nobody knows about. I think about that every time I go on stage.”
Brett Young Explores Big Life Changes On New Album Due June 4
/by Lorie HollabaughBrett Young has announced that he will release his newest album, Weekends Look A Little Different These Days, on June 4 via BMLG Records. The first single from the new collection, “Not Yet,” follows on the heels of his seventh consecutive No. 1 and is out today.
As Young’s career catapults to new heights while he simultaneously experiences the life-altering changes of early fatherhood and an expanding family, the singer-songwriter has funneled each milestone into creative inspiration. Young co-wrote the entire Dann Huff-produced collection which explores love, family, loss and everything in between. Other writers contributing to the project include Jimmy Robbins, Jon Nite, Justin Ebach, Ross Copperman, and Ashley Gorley.
“It’s hard to describe just how ready I am to finally get to share this new project with everyone,” says Young. “With so many special moments over the last year-and-a-half and creative jolts translating to writing so many different songs, it was important for me to pick the right ones to reflect where I am right now. I’m grateful and can’t wait to share everything we have planned!”
The album is available for pre-order and pre-save now on all digital platforms.
Weekends Look A Little Different These Days Track List:
1. Weekends Look A Little Different These Days (Brett Young, Ben Caver, Zach Crowell)
2. Lady (Brett Young, Ross Copperman, Jon Nite)
3. This (Brett Young, Justin Ebach, Amy Wadge, Geoffrey Warburton)
4. Dear Me (Brett Young, Justin Ebach, Ashley Gorley, Jon Nite, Jimmy Robbins)
5. Leave Me Alone (Brett Young, Jesse Frasure, Steven Lee Olsen)
6. Not Yet (Brett Young, Kelly Archer, Justin Ebach)
7. You Got Away With It (Brett Young, Justin Ebach, Ashley Gorley, Jon Nite, Jimmy Robbins)
8. You Didn’t (Brett Young, Ashley Gorley, Jon Nite, Jimmy Robbins)