Jordan Davis. Photo: Eric Ryan Anderson
While some artists and their teams have been debating whether to delay album releases or keep them on schedule, Jordan Davis and his team at MCA Nashville decided to not only keep the release of his new self-titled EP on track—they advanced its release by three months.
“I’m in a really good spot right now, songwriting-wise. It’s not doing me any good keeping it in my inbox,” Davis says of the songs on his EP, which released Friday (May 22). “We’ve been consistently writing since we released [his 2018 full-length debut] Home State. We were planning on releasing these later in the year, but when everything shut down we knew people were probably going to want music. My team was onboard with it so we moved the release date up. We’re still on pace to put out a full album later this year,” he says.
Davis co-wrote every song on that 2018 album, a point of professional pride for an artist who originally moved to Nashville to pursue a dream of being a full-time songwriter. Davis earned his first No. 1 country radio hit in 2018, with the inescapably catchy track “Singles You Up.” The track went on to be certified 2x Platinum by the RIAA, and he followed it up with two more chart-toppers, including the Platinum-certified “Take It From Me,” and his latest No. 1 “Slow Dance in a Parking Lot.”
He continues that writing streak with credits on all six tracks of his new EP, home to some of his most personal songwriting to date, whether he’s chronicling the silver linings to his years of struggles on “Detours” or contemplating spirituality outside the walls of a church building on “Church in a Chevy”—preferring a place of worship with Texaco signs, oak trees, sunshine and two-lane roads.
“Matt had the title,” Davis recalls of crafting “Church in a Chevy” with Matt and Josh Jenkins. “He felt like it could be an important song. He told me the title and I was like, ‘Well, I actually did go to church in a Chevy.’ My mom drove a Chevy Suburban.” Davis says with a laugh.
“We had Sunday School on Sunday mornings. My mom played piano at church,” he recalls. “We’d be back on Sunday evenings and if we didn’t have baseball or other sports, we’d be there for Wednesday night service as well. Church was very…it was [centered] around the building. And I’m not saying that’s wrong, but it’s not always just in church and it’s not always on Sundays. Sometimes it’s just finding a place quiet enough to talk to God. I think God’s all around us. It could be a Chevy. It could be a lake. As I’ve gotten older, it’s become more about the relationship. And you know, I still go to church. I love my church here in Nashville. As the years have gone on, my view of God has taken on this view of someone who just loves me more than I could imagine. I feel like that’s the core of what ‘Church in a Chevy’ is about.”
For the record, he’s earned his parents’ seal of approval on the track.
“My mom teared up. She loved it,” he says. “But I think my biggest compliment came from my dad. I played it for him and he just said, ‘Welp, Jordy, you got a song there, buddy.’ That was pretty special because he loves my music, but he doesn’t always love all my songs,” he says with a chuckle. “So that was good to hear.”
If Davis is perfectly willing to be gut-level honest about his experiences and perspectives, it’s because that’s what his songwriter heroes have always done.
“My dad always had John Prine, Jim Croce, Kris Kristofferson and guys like Don Williams on in his truck,” Davis says. “Whenever we were ridin’ with Dad, he was always in control of the radio. The first time I started diving into John Prine lyrics, I was just hooked. He’s the best to ever do it. I don’t know if I’ll ever be able to write a song like Prine, but I can approach songwriting the way I think he approached it, with a lot of passion and love for it.”
He singles out Prine’s classic “Sam Stone,” which details a military veteran who becomes dependent on drugs, and the chaotic impact the addiction brings on his family.
“’Sam Stone’ is one of the saddest songs I think he has. There’s a hole in Daddy’s arm where all the money goes….That’s just heartbreaking, and at the same time, so weirdly beautiful. I’ve been going back to his work a lot right now. I think The Tree of Forgiveness is one of the best albums he ever put out. On the final song, there’s this line, When I get to heaven, I’m gonna take that wristwatch off my arm/What are you gonna do with time after you’ve bought the farm? To me, that line means completion…I’ve gotten to where I’m going and time doesn’t matter anymore. And now that he’s passed, that means even more.”
“Cool Anymore,” co-written and recorded with Julia Michaels (best known for 2017’s smash hit “Issues”), along with Emily Weisband, Nicolle Galyon and Ross Copperman, is an airy and smoldering shot of self-acceptance.
“I wrote that a while ago with Julia,” he recalls. “She’s obviously had a ton of success as a songwriter, but this was before she even started having success as an artist. Even then, I was just blown away by her talent. She’s super honest and vulnerable, and that’s what ‘Cool Anymore’ is about—just leavin’ work at work and when you come home, you can just be the person you are and kind of take the mask off. We finished the song that day and I just said, ‘I think this would be a cool duet and I’d love to record something with Julia.’ We told her to just make it hers. She changed a couple of the lyrics to make it suit her and we loved how it turned out.”
He wrote “Almost Maybes,” the EP’s first radio single, alongside Hillary Lindsey and Jesse Frasure.
“She’s one of my favorite writers in town and her voice is just awesome. Jesse always has a great vibe, a great groove goin’. I believe Hillary threw that title out. When I first heard those two words together I wasn’t sure where they were gonna go with it. Hillary kinda started talking about past relationships, and, you know, a bunch of almost maybes that led you to where you’re at now. We were off to the races from there.”
Though “Almost Maybes” centers on taking the good from a less-than-perfect relationship, and it was written and recorded prior to the COVID-19 pandemic, Davis sees how the song is relevant to the times.
“It’s just looking back at past relationships and not just taking the negatives from them, since they didn’t work out,” Davis says. “For me it led to me findin’ my wife and now we have a six-month-old daughter. But looking back on those relationships and not thinking about them in a bad light, it’s just realizing that I learned a lot about myself. With the good and the bad, I’m a better person because of it.
“Now in quarantine, when we’ve all been confined to our homes—how are we gonna come out of this as better people? What are we going to do to better ourselves in this situation?”
Like many musicians and songwriters, Davis has been using the time to focus on songwriting.
“We’ve done some Zoom writes. To be honest, I’m not good at ‘em. It’s tough for me to really get into it, but I’m still doing it because I think it’s good to just kinda continue to work that muscle and who’s to say we won’t get something great over a Zoom write, but I thrive so much off of being in the same room and seeing where everybody’s at as far as the song and groove.
“But I’ve got a ton of half-written song ideas, just melodies and things I’ve got in my phone so that when we are able to do more in-person writes, I’ll have a pretty deep well of ideas put together.”
Lindsey Lee Taylor Signs With Round Hill Music, JRM Publishing
/by Lorie HollabaughTop Row (L-R): Lindsey Lee Taylor, Jimmy Robbins, Sarah Robbins, JRM Publishing. Middle Row (L-R): Bob Squance, Mark Brown, Round Hill A&R. Bottom Row: Ashley Nite, JRM Publishing.
Lindsey Lee Taylor has signed a co-publishing deal with JRM Publishing and Round Hill Music Nashville.
Taylor is a multi-genre songwriter and artist with success in pop, sync, and country who has co-written songs for artists including Sabrina Carpenter, Lauren Alaina, Steven Tyler, Katherine McPhee, and more. In the sync world, she has written and performed songs featured on commercials for Old Navy, American Idol, Modern Family, and Blackish and has also landed placements on television series such as Reign.
“We are so excited to work with Lindsey Lee Taylor and continue our partnership with Round Hill Music,” said Sarah & Jimmy Robbins of JRM Publishing. “Lindsey Lee is a multifaceted songwriter whose work ethic is next level and we look forward to much success together.”
“I am so delighted to be working with Lindsey Lee. She is a special talent and I have always loved what she does,” said Round Hill Music Nashville’s Mark Brown. “I am also excited to collaborate with Jimmy and Sarah Robbins on this writer and expand our ongoing and successful partnership.”
Round Hill Music Nashville has celebrated 42 No. 1 songs since opening in 2014. Its roster includes Adam Sanders, Ashley Gorley, Dallas Davidson, Derek Austin, Devin Guisande, Early James, Eric Arjes, Gareth Dunlop, Jimmy Robbins, Katie Pruitt, Lindsey Lee Taylor, SHEL, and Wade Kirby. Through its partnership with Big Loud, Round Hill also represents Chris Tompkins, Craig Wiseman, Jamie Moore, Joey Moi, Matt Dragstrem and Rodney Clawson.
JRM Publishing is a boutique company based out of Nashville with a roster that includes Jimmy Robbins, Eric Arjes, Derek Austin, Kyd the Band, Temecula Road, and Lindsey Lee Taylor.
PBS Program Will Honor Country Music’s Female Trailblazers
/by Jessica NicholsonPictured: Terri Clark, Pam Tillis, Suzy Bogguss
PBS stations will honor some of country music’s most trailblazing female artists during a new program, Iconic Women of Country, set to air June 1, 2020.
The program, co-produced by Transform Films and TH Entertainment, will tribute 14 legendary female artists, including Dolly Parton, Tammy Wynette, Patsy Cline, Minnie Pearl and Brenda Lee, through classic recordings, archival footage and more.
The program’s archival footage highlights songs and artists that broke barriers and shifted the course of country music, such as Kitty Wells singing “It Wasn’t God Who Made Honky Tonk Angels,” the 1952 single which was recorded as an answer to Hank Thompson’s “The Wild Side of Life,” and became the first song recorded by a solo female artist to become a Billboard No. 1 country hit.
Loretta Lynn—who, in 1972, became the first female artist to win the Country Music Association’s Entertainer of the Year honor—performs “You Ain’t Woman Enough To Take My Man.” The program highlights Patsy Montana (real name Ruby Blevins) who became the first female country artist to have a million-selling record with her self-penned 1935 hit “I Want to Be a Cowboy’s Sweetheart.” Also featured are Lynn Anderson‘s mega-crossover hit “(I Never Promised You A) Rose Garden,” which in 1971 earned a Grammy for Best Country Vocal Performance, as well as Jeannie C. Riley‘s 1968 smash “Harper Valley P.T.A.,” which made Riley the first female artist to rule both the country and pop charts simultaneously with the same song.
Current female country hitmakers are featured, including Trisha Yearwood, Wynonna Judd, Terri Clark, Pam Tillis and many more, reflecting on a signature song from each legend, as well as performances of those songs that inspired and moved them.
“It has been such an honor to be able to pay tribute to these women,” says Barb Hall, Producer and Vice President of TH Entertainment. “Their music gave a voice to women’s life experiences, and as much as I love their music, their stories are such a source of inspiration.”
“Transform is proud to partner with Barb Hall and TH Entertainment to bring the stories of these women to light,” says Nick Stuart, President and CEO of Transform Films®. “Her expertise and passion have resulted in a special that will appeal to music fans of all kinds.”
Universal Music Group Nashville will offer a bundle that includes a DVD of the program alongside extra exclusive features, a CD, and a Hatch Show Print.
“There couldn’t be a more important time to spotlight iconic women of country music than now,” shares Universal Music Group Nashville President, Cindy Mabe. “Their influence and stories of overcoming continue to impact, support and build the next generation of country music. Our rich musical history is magnified by these incredible women’s stories and music that changed culture. Country music wouldn’t be relevant without them.”
Nashville’s St. Jude Rock ‘n’ Roll Marathon Postponed
/by Lorie HollabaughThe St. Jude Rock ‘n’ Roll Nashville Marathon and 1/2 Marathon has been rescheduled for this Winter due to the coronavirus pandemic and will now take place Nov. 21, 2020.
The marathon was originally slated for April. All registered participants of the marathon will be receiving an email with further information regarding the change and will have their event registration automatically moved to the new November date.
For runners who cannot race on the Nashville date in November, they can transfer free of charge to a Rock ‘n’ Roll race in a different city, or wait until 2021. Additional races are listed below:
Rock ‘n’ Roll Virginia Beach Half Marathon: Sept. 5-6, 2020
Rock ‘n’ Roll San Jose Half Marathon: Oct. 3-4, 2020
Rock ‘n’ Roll Denver Half Marathon: Oct. 17-18, 2020
United Airlines Rock ‘n’ Roll Washington D.C. Half Marathon: Nov. 7-8, 2020
Rock ‘n’ Roll Savannah Marathon & 1/2 Marathon: Nov. 7-8, 2020
Rock ‘n’ Roll San Antonio Marathon & 1/2 Marathon: Dec. 5-6, 2020
St. Jude Rock ‘n’ Roll Nashville Marathon & 1/2 Marathon: April 24-25, 2021
For additional information on the race go to RunRocknRoll.com.
Bucky Baxter, Steel Guitarist For Bob Dylan And Founding Member Of The Dukes, Passes At 65
/by Robert K OermannNashville instrumentalist Bucky Baxter passed away in Florida on Monday (May 25) at age 65.
Best known as the longtime steel guitarist for Bob Dylan, the Nashville picker also recorded with mainstream country stars, Americana performers, bluegrass acts and pop/rock artists. He was the father of critically applauded Americana singer-songwriter Rayland Baxter, on whose albums he also appeared.
Born William Baxter, the multi-instrumentalist came of age in New Jersey. Already accomplished on guitar, dobro and other stringed instruments, Bucky Baxter took up steel guitar playing in the 1970s.
He rose to prominence in Nashville as a founding member of Steve Earle’s band The Dukes. As such, he performed on Earle’s breakthrough albums Guitar Town (1986), Exit 0 (1987), Copperhead Road (1988) and The Hard Way (1989).
During his early years on Music Row, he also backed rock greats R.E.M. and country hit makers Suzy Bogguss and Sara Evans.
While on the road with The Dukes, Baxter met Dylan, who asked him for steel guitar lessons. He joined Dylan’s band in 1992, touring constantly and appearing on a string of the superstar’s albums, including the Grammy-winning Time Out of Mind (1997).
He left Dylan’s group in 1999 and returned to Nashville session work. His resume during the next decade included playing on albums by Los Lobos, Ben Folds, Joe Henry and Webb Wilder. He was a particular favorite of bluegrass artists Shawn Camp and Kathy Chiavola, rocker Ryan Adams (with whom he toured) and Americana star Jim Lauderdale.
Baxter also released a solo album, 1999’s Most Likely No Problem.
Since 2010, Bucky Baxter had continued to pursue a musically eclectic career. He played on recordings by Will Hoge, Billy Ray Cyrus, Greta Gaines, Old Crow Medicine Show and Kacey Musgraves, among others during the past decade.
Rayland Baxter has included his father’s instrumental talents on both of his career-launching albums, 2015’s Imaginary Man and 2018’s Wide Awake. Rayland announced his father’s death on Tuesday (May 26).
Funeral arrangements have not been announced.
Gabby Barrett Makes History With Over 10 Million Single-Week Streams
/by Jessica NicholsonGabby Barrett. Photo: Robby Klein
Warner Music Nashville artist Gabby Barrett is now the first female country artist to top 10 million single-week streams, with 11.3 million streams this week for her single, “I Hope,” which continues to sit atop the Country On-Demand Streaming chart for a seventh consecutive week.
On country radio, “I Hope” recently became the first debut single from a female artist to reach No. 1 since 2017.
Country music superstar Trisha Yearwood dropped by (virtually) the CMT Hot 20 to surprise Barrett with the news of her streaming record. Barrett will release her debut full-length album Goldmine on June 19.
John Hiatt, Tenille Townes Among Artists To Lead Nashville’s July 4th Celebration Broadcast
/by Jessica NicholsonJohn Hiatt
Though there will be no open-to-the-public concert in downtown Nashville as part of this year’s July 4th celebration, the television broadcast will still feature plenty of music, according to an announcement from the even’t organizers.
John Hiatt, Lilly Hiatt, Keb’ Mo’, and Tenille Townes will offer performances that can only be viewed via the television broadcast and livestream. As previously announced, a headlining public concert headlined by Brad Paisley has been moved to 2021.
The televised show, which will honor healthcare workers, first responders and other frontline workers, will air locally via NewsChannel5 from 9 p.m. – 10 p.m. CT on July 4. The show will include live music performances and a short fireworks display set to recorded music. The four Nashville-based artists will perform one live song during the televised show. Riverfront Parks will be closed in order to discourage spectators.
“While quite different from year’s past, this is a way to keep the music playing to fans around the world while honoring our healthcare heroes and frontline workers,” said Butch Spyridon, president and CEO, Nashville Convention & Visitors Corp. “We’ve done a lot of preparation to make this a safe event, and we hope in this time of social distancing that everyone enjoys watching the show on TV from home. A special word of thanks to several of our partners who are covering the cost of the fireworks.”
Let Freedom Sing! Music City July 4th is produced by the NCVC in support of the city. No Metro Nashville general fund revenue is used to put on the event. Let Freedom Sing! Music City July 4th is presented by Dr Pepper and partners include NewsChannel 5, Jack Daniel’s, Kroger, Omni Nashville Hotel, Tennessee Highway Safety Office: Fans Don’t Let Fans Drive Drunk and General Jackson Showboat.
Jordan Davis Talks Crafting His Most Personal Songs To Date On New EP [Interview]
/by Jessica NicholsonJordan Davis. Photo: Eric Ryan Anderson
While some artists and their teams have been debating whether to delay album releases or keep them on schedule, Jordan Davis and his team at MCA Nashville decided to not only keep the release of his new self-titled EP on track—they advanced its release by three months.
“I’m in a really good spot right now, songwriting-wise. It’s not doing me any good keeping it in my inbox,” Davis says of the songs on his EP, which released Friday (May 22). “We’ve been consistently writing since we released [his 2018 full-length debut] Home State. We were planning on releasing these later in the year, but when everything shut down we knew people were probably going to want music. My team was onboard with it so we moved the release date up. We’re still on pace to put out a full album later this year,” he says.
Davis co-wrote every song on that 2018 album, a point of professional pride for an artist who originally moved to Nashville to pursue a dream of being a full-time songwriter. Davis earned his first No. 1 country radio hit in 2018, with the inescapably catchy track “Singles You Up.” The track went on to be certified 2x Platinum by the RIAA, and he followed it up with two more chart-toppers, including the Platinum-certified “Take It From Me,” and his latest No. 1 “Slow Dance in a Parking Lot.”
He continues that writing streak with credits on all six tracks of his new EP, home to some of his most personal songwriting to date, whether he’s chronicling the silver linings to his years of struggles on “Detours” or contemplating spirituality outside the walls of a church building on “Church in a Chevy”—preferring a place of worship with Texaco signs, oak trees, sunshine and two-lane roads.
“Matt had the title,” Davis recalls of crafting “Church in a Chevy” with Matt and Josh Jenkins. “He felt like it could be an important song. He told me the title and I was like, ‘Well, I actually did go to church in a Chevy.’ My mom drove a Chevy Suburban.” Davis says with a laugh.
“We had Sunday School on Sunday mornings. My mom played piano at church,” he recalls. “We’d be back on Sunday evenings and if we didn’t have baseball or other sports, we’d be there for Wednesday night service as well. Church was very…it was [centered] around the building. And I’m not saying that’s wrong, but it’s not always just in church and it’s not always on Sundays. Sometimes it’s just finding a place quiet enough to talk to God. I think God’s all around us. It could be a Chevy. It could be a lake. As I’ve gotten older, it’s become more about the relationship. And you know, I still go to church. I love my church here in Nashville. As the years have gone on, my view of God has taken on this view of someone who just loves me more than I could imagine. I feel like that’s the core of what ‘Church in a Chevy’ is about.”
For the record, he’s earned his parents’ seal of approval on the track.
“My mom teared up. She loved it,” he says. “But I think my biggest compliment came from my dad. I played it for him and he just said, ‘Welp, Jordy, you got a song there, buddy.’ That was pretty special because he loves my music, but he doesn’t always love all my songs,” he says with a chuckle. “So that was good to hear.”
If Davis is perfectly willing to be gut-level honest about his experiences and perspectives, it’s because that’s what his songwriter heroes have always done.
“My dad always had John Prine, Jim Croce, Kris Kristofferson and guys like Don Williams on in his truck,” Davis says. “Whenever we were ridin’ with Dad, he was always in control of the radio. The first time I started diving into John Prine lyrics, I was just hooked. He’s the best to ever do it. I don’t know if I’ll ever be able to write a song like Prine, but I can approach songwriting the way I think he approached it, with a lot of passion and love for it.”
He singles out Prine’s classic “Sam Stone,” which details a military veteran who becomes dependent on drugs, and the chaotic impact the addiction brings on his family.
“’Sam Stone’ is one of the saddest songs I think he has. There’s a hole in Daddy’s arm where all the money goes….That’s just heartbreaking, and at the same time, so weirdly beautiful. I’ve been going back to his work a lot right now. I think The Tree of Forgiveness is one of the best albums he ever put out. On the final song, there’s this line, When I get to heaven, I’m gonna take that wristwatch off my arm/What are you gonna do with time after you’ve bought the farm? To me, that line means completion…I’ve gotten to where I’m going and time doesn’t matter anymore. And now that he’s passed, that means even more.”
“Cool Anymore,” co-written and recorded with Julia Michaels (best known for 2017’s smash hit “Issues”), along with Emily Weisband, Nicolle Galyon and Ross Copperman, is an airy and smoldering shot of self-acceptance.
“I wrote that a while ago with Julia,” he recalls. “She’s obviously had a ton of success as a songwriter, but this was before she even started having success as an artist. Even then, I was just blown away by her talent. She’s super honest and vulnerable, and that’s what ‘Cool Anymore’ is about—just leavin’ work at work and when you come home, you can just be the person you are and kind of take the mask off. We finished the song that day and I just said, ‘I think this would be a cool duet and I’d love to record something with Julia.’ We told her to just make it hers. She changed a couple of the lyrics to make it suit her and we loved how it turned out.”
He wrote “Almost Maybes,” the EP’s first radio single, alongside Hillary Lindsey and Jesse Frasure.
“She’s one of my favorite writers in town and her voice is just awesome. Jesse always has a great vibe, a great groove goin’. I believe Hillary threw that title out. When I first heard those two words together I wasn’t sure where they were gonna go with it. Hillary kinda started talking about past relationships, and, you know, a bunch of almost maybes that led you to where you’re at now. We were off to the races from there.”
Though “Almost Maybes” centers on taking the good from a less-than-perfect relationship, and it was written and recorded prior to the COVID-19 pandemic, Davis sees how the song is relevant to the times.
“It’s just looking back at past relationships and not just taking the negatives from them, since they didn’t work out,” Davis says. “For me it led to me findin’ my wife and now we have a six-month-old daughter. But looking back on those relationships and not thinking about them in a bad light, it’s just realizing that I learned a lot about myself. With the good and the bad, I’m a better person because of it.
“Now in quarantine, when we’ve all been confined to our homes—how are we gonna come out of this as better people? What are we going to do to better ourselves in this situation?”
Like many musicians and songwriters, Davis has been using the time to focus on songwriting.
“We’ve done some Zoom writes. To be honest, I’m not good at ‘em. It’s tough for me to really get into it, but I’m still doing it because I think it’s good to just kinda continue to work that muscle and who’s to say we won’t get something great over a Zoom write, but I thrive so much off of being in the same room and seeing where everybody’s at as far as the song and groove.
“But I’ve got a ton of half-written song ideas, just melodies and things I’ve got in my phone so that when we are able to do more in-person writes, I’ll have a pretty deep well of ideas put together.”
Weekly Register: Jason Isbell And The 400 Unit Top Country Albums Chart
/by Lorie HollabaughJason Isbell and the 400 Unit. Photo: Alysse Gafkjen
Jason Isbell and the 400 Unit tops the Country Albums chart with Reunions moving 31K (total consumption) this week, according to Nielsen Soundscan.
Gabby Barrett remains in the top spot on the Country On-Demand Song Streaming chart with “I Hope.” This week, the track earned another 11 million streams, and is now at 258 million streams to date. She also breaks new ground with as the first female with a country song to top 10 million streams in a week.
Rounding out the Top 5 Country On-Demand Song Streams this week are “Heartless” at No. 2 (Diplo/Morgan Wallen/Julia Michaels) with 9 million streams. Morgan Wallen‘s “Chasin’ You” is at No. 3 with 8.7 million streams. Maren Morris‘ “The Bones” is at No. 4 with 7.6 million streams, while Luke Combs (ft. Eric Church) is at No. 5 with “Does To Me” earning 6.7 million streams.
Country Music Hall Of Fame And Museum Extends Closure Through June
/by Lorie Hollabaugh“The health and safety of our guests and staff are our top priority, and with that in mind, we have made the decision to extend our temporary closure,” said Kyle Young, CEO, Country Music Hall of Fame and Museum. “When we reopen our doors, measures and protocols will be in place to help ensure a safe and healthy environment for our visitors, employees and the community.”
The museum will continue to monitor developments and rely on guidance from public health officials to inform future decisions.
Wiseman Prevails, McAnally Reclaims No. 2 Spot On MusicRow Top Songwriter Chart
/by LB CantrellCraig Wiseman remains at the top of the MusicRow Top Songwriter Chart, with co-writer credits on Kenny Chesney’s “Here And Now” and Morgan Wallen’s new chart-topper, “Chasin’ You.”
After slipping behind Luke Combs last week, Shane McAnally moves back into the No. 2 position with an arsenal of charting songs, including: “Champagne Night” (Lady Antebellum), “Cheatin’ Songs” (Midland), “Hard To Forget” (Sam Hunt), “Nobody But You” (Blake Shelton and Gwen Stefani), “One Night Standards” (Ashley McBryde), “Some People Do” (Old Dominion) and “The Other Girl” (Kelsea Ballerini x Halsey).
Combs (No. 3), Jonathan Singleton (No. 4) and Morgan Wallen (No. 5) round out the top five.
The weekly MusicRow Top Songwriter Chart, published every week, uses algorithms based upon song activity according to airplay, digital downloaded track sales and streams. This unique and exclusive addition to the MusicRow portfolio is the only songwriter chart of its kind.
Click here to view the full MusicRow Top Songwriter Chart.