Troy “Tracker” Johnson
Troy “Tracker” Johnson is the founder of TRACK mgmt, a Nashville-based artist management company which launched in 2025. Built on creativity, honesty and hustle, TRACK mgmt is all about helping artists and the team around them grow in ways that feel real. With a passion for music and a hands-on approach, Tracker leads with connection first making sure every move stays true to the artist and the people behind it.
Photo: Courtesy of Johnson
MusicRow: Where did you grow up?
I grew up in Pleasanton, Texas.
We had like 7,500 people in our town. My dad was in the oilfield, so we moved around a little bit here and there, and then ended up really calling Pleasanton my hometown. As soon as I got out of high school, I went to California. My mom owned some welding trucks, so I would hop on these welding trucks and I was a welder’s helper that summer after high school. Then, as most 18-year-old boys do, I got into a little bit of trouble and my father was like, “It’s time for you to now come home.” So I got my butt back to Texas and started spending time in Austin.
What happened in Austin?
I was trying to find my way into the University of Texas. I was never the smartest kid when it came to school, but I was a hustler, so I was always working and doing stuff. I got to Austin Community College, which stood for “anybody can come” back then. It’s funny, because I wasn’t a great student, but I wanted to teach. I liked teaching people and helping. I loved kids.
Photo: Courtesy of Johnson
I ended up working at a daycare called Extend-A-Care. I did that for the longest time. I kept moving up in the daycare, and I got to the point where I had my own daycare there in Austin and ran the school for about a year or so. During that time, I had some friends in Pleasanton that were fraternity brothers with these guys from Lubbock, Pat Green and Cory Morrow.
I found myself every once in a while on a couch in Lubbock listening to Cory and Pat play songs, and I was hooked. I was underage, but because we knew people, we would go to Pete’s Piano Bar on Sixth Street and watch them play every Tuesday. That Texas music scene really took me over, from Pat Green to Cory Morrow, Guy Clark, Billy Joe Shaver, James McMurtry, Todd Snider, Jack Ingram, Robert Earl Keen—the list went on and on.
How did you get involved?
I literally started as a super fan in this industry. I was always around, so Cory Morrow asked if I wanted to start selling his t-shirts. I became a merch salesman for Cory, and that kind of morphed into being a booking agent. I became friends with a guy named Matt Peveto, who had a company called Mustang Entertainment. He was booking Cory at the time, so I did that for a little bit. Then I started booking bands, and I worked for Matt at Mustang for many years. I was booking Mark David Manders, Houston Marchman, Tracy Lynn, Max Stalling, just all these Texas acts. I remember not making any money. He would pay my rent, and then I would work at Chili’s to make a little cash. I was always hustling.
Photo: Courtesy of Johnson
While I was booking bands, one of the bands that was being booked by Matt was this guy named Roger Creager. I became really close with that team because I’d gone out and done merch stuff and I was still kind of on the road, so I’d be a promoter rep at a festival or the stage manager at a festival. The tour manager for Roger ended up passing away, and Roger asked if I wanted the gig. That was my next step. I dove in and was obsessed with the road.
I was with Roger for maybe four years, and then I switched to Eli Young Band. They had grown a cool following in Texas around the fraternity scene, and it took off with them. I learned a ton.
What was next for you?
I called a very good friend, Jordan Powell. I was explaining my frustrations with the Texas music scene and my growth in the industry, and he literally just said, “Man, if you want to make a living, you got to be in Nashville.” He was already up here with Miranda Lambert, and he bought me a plane ticket and lined up some interviews for me.
Photo: Courtesy of Johnson
I had an interview with the band Gypsy, Lady A and Chris Young. Chris was a couple years off of Nashville Star and I went to work with him. I went all in with Chris and did a little over two years with him.
Jordan called me again and said he needed a production assistant on Miranda, so I jumped on with Miranda as a production assistant for a couple runs. It was epic. [Miranda’s manager] Marion Kraft had started managing Chris Young, and I was on a run when she called me. I answered and said, “Hey, let me call you right back when I’m done running,” and I hung up.
Five seconds later I was like, “Oh my God, you just do not not take a call from Marion!” I called her back, completely out of breath, and she said, “I need you to start tour managing Chris Young. I need you to start immediately. Your first run is in Kuwait doing a USO tour.”
Then what happened?
One day my phone rang and it was Seth England. He said, “Hey man, my act Chris Lane is out there with Chris Young. I don’t know if you know who this band Florida Georgia Line is, but these guys are moving quickly and we need someone.”
Photo: Courtesy of Johnson
I wasn’t into the FGL thing at first, and Chris was such a good boss to me, but someone got in my ear and just said, “You have to take this gig. This is something that’s going to change the industry.”
I met the FGL guys, Chief [Zaruk], Seth and Craig [Wiseman] at Cinco de Mayo off White Bridge Road during CMA Fest. I believed in their passion for breaking an artist and developing it, so I took the FGL gig.
It was the best ride. I came on when they were on their second or third single, and we were still on one bus. Within months it was two trailers, four buses and two semis. I remember the first weekend I went out with them, they were opening for Luke Bryan, first of three, and 10,000-plus people at this festival were singing words off an EP. It was mind-blowing. Over the next few years with FGL, it was nonstop. They had so many opportunities, so we were gone nonstop.
Photo: Courtesy of Johnson
Is FGL how you met HARDY?
Yep, via the Tree Vibez bus that took songwriters out on the road to write. Honestly, I really couldn’t stand the Tree Vibez bus because the writers just came out and demolished all the booze and food, and they just didn’t understand touring. [Laughs] But I remember thinking HARDY was really cool, that there was something different about him.
My time with FGL came to an end. Around 2016, I went to Chief and Seth and told them I would like to transition out. I ended up coming into the Big Loud office full time, and I was still helping on FGL. I also had Chris Lane, MacKenzie Porter and Mat Kearney for day-to-day management. Morgan Wallen decided to come to Big Loud for management, so I got on his account.
One day someone said that Michael Hardy wanted to be an artist, and I said, “If HARDY is coming to this company, I have to be the guy.” And that’s what happened. Early 2018, he jumped on and did a show with Chris Lane in Minneapolis. That was his first time ever on a stage as HARDY. It was great. It really just became those two clients for me. I jumped all in on Morgan and HARDY.
When Morgan decided to leave the management side, a lot of changes happened at the company. It was really just me in the Big Loud management building. I went to Seth and told him I knew he was going to be winding down the management company at some point, and it was time that I depart and do TRACK mgmt. I had the name, the logo, the checking account. I knew what I wanted. I knew where I was heading.
Photo: Courtesy of Johnson
Seth, and the other Big Loud partners at the time, gave me so many opportunities and championed me in every room. Seth said, “I think that’s incredible. How can I help? What can we do?” I stayed in the building for about six months, and then a building came up on 17th Avenue.
And you were off!
A lot of clients rolled over to TRACK mgmt, and the staff too. It’s 100% TRACK mgmt now, through the Live Nation portal. We have HARDY, Jake Worthington, Lanie Garder, McCoy Moore, Will Terry, Dallas Smith and Default.
Being a part of events and just being a part of the community now with my company is special. I feel like I’ve definitely lived so many different lives. I’ve done it all in this industry, but it really all started with a love for music, songwriters and shows.
Who would you name as mentors?
Seth England, Chief Zaruk, Brad and Denise Garrett, Jordan Powell, Todd Ortmeier. There’s just been so many key people in the later stages of my life.
Photo: Courtesy of Johnson
What is some of the best advice you’ve ever gotten?
I was getting a little flustered with something and Marion told me one time to watch Chuck Hull, who’s the tour manager for Keith Urban. She told me to watch his movements and his personality. She said if the building was on fire, Chuck would walk up to Keith and be like, “Hey bud, we got to go,” and he would very calmly walk Keith off the stage.
Chief told me one time, “Just relax, it’s going to suck.” It was in regard to a hard travel situation, but it helped put it into perspective for me that it’s gonna suck, but we’re gonna get through it.
Another time, I was dealing with a client situation and wanting to know my place. I felt myself trying to force wanting something for an artist or wanting to make a certain decision. Clarence Spalding told me, “It’s their career, it’s their choice. They have to be the ones to make those decisions. We are just here to give them advice, but at the end of the day, it’s their decision.”
My Music Row Story: TRACK mgmt’s Troy “Tracker” Johnson
/by LB CantrellTroy “Tracker” Johnson
Troy “Tracker” Johnson is the founder of TRACK mgmt, a Nashville-based artist management company which launched in 2025. Built on creativity, honesty and hustle, TRACK mgmt is all about helping artists and the team around them grow in ways that feel real. With a passion for music and a hands-on approach, Tracker leads with connection first making sure every move stays true to the artist and the people behind it.
Photo: Courtesy of Johnson
MusicRow: Where did you grow up?
I grew up in Pleasanton, Texas.
We had like 7,500 people in our town. My dad was in the oilfield, so we moved around a little bit here and there, and then ended up really calling Pleasanton my hometown. As soon as I got out of high school, I went to California. My mom owned some welding trucks, so I would hop on these welding trucks and I was a welder’s helper that summer after high school. Then, as most 18-year-old boys do, I got into a little bit of trouble and my father was like, “It’s time for you to now come home.” So I got my butt back to Texas and started spending time in Austin.
What happened in Austin?
I was trying to find my way into the University of Texas. I was never the smartest kid when it came to school, but I was a hustler, so I was always working and doing stuff. I got to Austin Community College, which stood for “anybody can come” back then. It’s funny, because I wasn’t a great student, but I wanted to teach. I liked teaching people and helping. I loved kids.
Photo: Courtesy of Johnson
I ended up working at a daycare called Extend-A-Care. I did that for the longest time. I kept moving up in the daycare, and I got to the point where I had my own daycare there in Austin and ran the school for about a year or so. During that time, I had some friends in Pleasanton that were fraternity brothers with these guys from Lubbock, Pat Green and Cory Morrow.
I found myself every once in a while on a couch in Lubbock listening to Cory and Pat play songs, and I was hooked. I was underage, but because we knew people, we would go to Pete’s Piano Bar on Sixth Street and watch them play every Tuesday. That Texas music scene really took me over, from Pat Green to Cory Morrow, Guy Clark, Billy Joe Shaver, James McMurtry, Todd Snider, Jack Ingram, Robert Earl Keen—the list went on and on.
How did you get involved?
I literally started as a super fan in this industry. I was always around, so Cory Morrow asked if I wanted to start selling his t-shirts. I became a merch salesman for Cory, and that kind of morphed into being a booking agent. I became friends with a guy named Matt Peveto, who had a company called Mustang Entertainment. He was booking Cory at the time, so I did that for a little bit. Then I started booking bands, and I worked for Matt at Mustang for many years. I was booking Mark David Manders, Houston Marchman, Tracy Lynn, Max Stalling, just all these Texas acts. I remember not making any money. He would pay my rent, and then I would work at Chili’s to make a little cash. I was always hustling.
Photo: Courtesy of Johnson
While I was booking bands, one of the bands that was being booked by Matt was this guy named Roger Creager. I became really close with that team because I’d gone out and done merch stuff and I was still kind of on the road, so I’d be a promoter rep at a festival or the stage manager at a festival. The tour manager for Roger ended up passing away, and Roger asked if I wanted the gig. That was my next step. I dove in and was obsessed with the road.
I was with Roger for maybe four years, and then I switched to Eli Young Band. They had grown a cool following in Texas around the fraternity scene, and it took off with them. I learned a ton.
What was next for you?
I called a very good friend, Jordan Powell. I was explaining my frustrations with the Texas music scene and my growth in the industry, and he literally just said, “Man, if you want to make a living, you got to be in Nashville.” He was already up here with Miranda Lambert, and he bought me a plane ticket and lined up some interviews for me.
Photo: Courtesy of Johnson
I had an interview with the band Gypsy, Lady A and Chris Young. Chris was a couple years off of Nashville Star and I went to work with him. I went all in with Chris and did a little over two years with him.
Jordan called me again and said he needed a production assistant on Miranda, so I jumped on with Miranda as a production assistant for a couple runs. It was epic. [Miranda’s manager] Marion Kraft had started managing Chris Young, and I was on a run when she called me. I answered and said, “Hey, let me call you right back when I’m done running,” and I hung up.
Five seconds later I was like, “Oh my God, you just do not not take a call from Marion!” I called her back, completely out of breath, and she said, “I need you to start tour managing Chris Young. I need you to start immediately. Your first run is in Kuwait doing a USO tour.”
Then what happened?
One day my phone rang and it was Seth England. He said, “Hey man, my act Chris Lane is out there with Chris Young. I don’t know if you know who this band Florida Georgia Line is, but these guys are moving quickly and we need someone.”
Photo: Courtesy of Johnson
I wasn’t into the FGL thing at first, and Chris was such a good boss to me, but someone got in my ear and just said, “You have to take this gig. This is something that’s going to change the industry.”
I met the FGL guys, Chief [Zaruk], Seth and Craig [Wiseman] at Cinco de Mayo off White Bridge Road during CMA Fest. I believed in their passion for breaking an artist and developing it, so I took the FGL gig.
It was the best ride. I came on when they were on their second or third single, and we were still on one bus. Within months it was two trailers, four buses and two semis. I remember the first weekend I went out with them, they were opening for Luke Bryan, first of three, and 10,000-plus people at this festival were singing words off an EP. It was mind-blowing. Over the next few years with FGL, it was nonstop. They had so many opportunities, so we were gone nonstop.
Photo: Courtesy of Johnson
Is FGL how you met HARDY?
Yep, via the Tree Vibez bus that took songwriters out on the road to write. Honestly, I really couldn’t stand the Tree Vibez bus because the writers just came out and demolished all the booze and food, and they just didn’t understand touring. [Laughs] But I remember thinking HARDY was really cool, that there was something different about him.
My time with FGL came to an end. Around 2016, I went to Chief and Seth and told them I would like to transition out. I ended up coming into the Big Loud office full time, and I was still helping on FGL. I also had Chris Lane, MacKenzie Porter and Mat Kearney for day-to-day management. Morgan Wallen decided to come to Big Loud for management, so I got on his account.
One day someone said that Michael Hardy wanted to be an artist, and I said, “If HARDY is coming to this company, I have to be the guy.” And that’s what happened. Early 2018, he jumped on and did a show with Chris Lane in Minneapolis. That was his first time ever on a stage as HARDY. It was great. It really just became those two clients for me. I jumped all in on Morgan and HARDY.
When Morgan decided to leave the management side, a lot of changes happened at the company. It was really just me in the Big Loud management building. I went to Seth and told him I knew he was going to be winding down the management company at some point, and it was time that I depart and do TRACK mgmt. I had the name, the logo, the checking account. I knew what I wanted. I knew where I was heading.
Photo: Courtesy of Johnson
Seth, and the other Big Loud partners at the time, gave me so many opportunities and championed me in every room. Seth said, “I think that’s incredible. How can I help? What can we do?” I stayed in the building for about six months, and then a building came up on 17th Avenue.
And you were off!
A lot of clients rolled over to TRACK mgmt, and the staff too. It’s 100% TRACK mgmt now, through the Live Nation portal. We have HARDY, Jake Worthington, Lanie Garder, McCoy Moore, Will Terry, Dallas Smith and Default.
Being a part of events and just being a part of the community now with my company is special. I feel like I’ve definitely lived so many different lives. I’ve done it all in this industry, but it really all started with a love for music, songwriters and shows.
Who would you name as mentors?
Seth England, Chief Zaruk, Brad and Denise Garrett, Jordan Powell, Todd Ortmeier. There’s just been so many key people in the later stages of my life.
Photo: Courtesy of Johnson
What is some of the best advice you’ve ever gotten?
I was getting a little flustered with something and Marion told me one time to watch Chuck Hull, who’s the tour manager for Keith Urban. She told me to watch his movements and his personality. She said if the building was on fire, Chuck would walk up to Keith and be like, “Hey bud, we got to go,” and he would very calmly walk Keith off the stage.
Chief told me one time, “Just relax, it’s going to suck.” It was in regard to a hard travel situation, but it helped put it into perspective for me that it’s gonna suck, but we’re gonna get through it.
Another time, I was dealing with a client situation and wanting to know my place. I felt myself trying to force wanting something for an artist or wanting to make a certain decision. Clarence Spalding told me, “It’s their career, it’s their choice. They have to be the ones to make those decisions. We are just here to give them advice, but at the end of the day, it’s their decision.”
Billboard Country Live Adds Additional Performers
/by Madison HahnenBillboard has added more performers to its Billboard Country Live event, taking place at Category 10 June 4-5.
Joining previously announced The Red Clay Strays on June 4 are Chase Rice, Corey Kent, Drew Baldridge, Hunter Hayes, Lanie Gardner, The Band Perry, The Grimm and Ty Myers.
June 5 will feature performances from Alana Springsteen, Alexandra Kay, Ashley Cooke, Braxton Keith, Kaitlin Butts, Priscilla Block, Something Out West, Stella Lefty and previously announced Tucker Wetmore.
Both days are free and open to the public with RSVP available here.
Vince Gill & Paul Williams To Be Honored At NSAI’s Nashville Songwriter Awards
/by Lauryn SinkVince Gill & Paul Williams. Photos: Courtesy of NSAI
Vince Gill and Paul Williams will be honored at NSAI’s 9th Annual Nashville Songwriter Awards. The event is slated for Sept. 22 at the Ryman Auditorium.
Gill will be honored with the Kris Kristofferson Lifetime Achievement award, the organization’s pinnacle honor, given to an individual whose works have made a significant contribution to the American songbook and one who has inspired the careers of others. In total, Gill has won 18 CMA Awards, 22 Grammy Awards, and eight Academy of Country Music Awards, and in 2025 was presented with the CMA Willie Nelson Lifetime Achievement Award. In 1991, Gill was invited to become a member of the Grand Ole Opry, and in 2007 was inducted into the Country Music Hall of Fame. His compositions earned him entry into the Nashville Songwriters Hall of Fame in 2005 and the prestigious BMI Icon award in 2014. Across his career, he has released 21 albums, sold over 30 million albums and charted 45 singles.
Williams will be presented with NSAI’s President’s Keystone Award, in recognition of his significant contributions to the industry for the betterment of all songwriters. Throughout his career, he has won an Oscar, three GRAMMY awards, two Golden Globe awards, earned induction into the Songwriters Hall of Fame, and has seen success in film and television. He has served as President and Chairman of the Board of ASCAP for the past 17 years and was personally selected for the award by NSAI Board President, Lee Thomas Miller.
“Having grown up loving and studying songs and the craft of songwriting, it is an immeasurable honor to call Paul Williams a friend,” says NSAI Board President, Lee Thomas Miller. “On a personal note, he has always been one of the warmest, classiest, and most professional rock stars of my career. As a BMI writer myself, it has been a joy to wage the copyright advocacy wars for the American songwriter alongside Paul, who has so often sat in the ASCAP seat. It is a great thrill to present this year’s NSAI President’s Keystone Award to our American treasure, Paul Williams.”
“City National Bank is honored to celebrate the remarkable achievements of this year’s honorees at the Nashville Songwriter Awards,” shares Diane Pearson and Lori Badgett, senior vice presidents, Entertainment & Sports Banking – Nashville, City National Bank. “The President’s Award and the Kris Kristofferson Lifetime Achievement Award represent the highest levels of excellence in songwriting, and we are proud to join NSAI in recognizing the extraordinary Vince Gill and Paul Williams whose work has inspired audiences and shaped the music industry.”
Additional awards, performers and more will be announced at a later date. Tickets go on sale on July 17.
Carly Pearce & Max McNown To Serve As Guest Artists At Grammy Camp
/by Lorie HollabaughCarly Pearce & Max McNown
Carly Pearce and Max McNown have been chosen as this year’s guest artists for The Grammy Museum’s Grammy Camp this summer in Nashville, set for May 31- June 6 at the Mike Curb College of Entertainment & Music Business.
208 high school students from 163 U.S. cities across 35 states have been selected as participants in the newly expanded Grammy Camp, which will also be held in Miami and New York, in addition to its flagship Los Angeles program. Poo Bear and Richard Marx will be this year’s guest artists in Miami; WILLOW and Sofia Reyes will be this year’s guest artists in Los Angeles; and Frankie Grande will be this year’s guest artist in New York. Guest artists will discuss their career paths and help students prepare for the music industry. The music industry camps will take place at the following locations:
Now in its 22nd year, Grammy Camp focuses on all aspects of commercial music and features various career tracks in all four locations: Music Business; Instrumental Performance, Music Production, and Songwriting and Vocal Performance. Each location will incorporate a curriculum tailored to its unique musical heritage, offering specialized tracks such as Musical Theater and Instrumental Performance surrounding Jazz Music. In Los Angeles, students will learn in a cohort-based model where every subject area is integrated. Students will collaborate across all track disciplines as a team, learning through the lens of artistry, entrepreneurship and a DIY mindset. Faculty are Grammy-
“The most important bridge between a dream and reality is simply an open door. For more than two decades, Grammy Camp has opened that door for high school students, offering access, mentorship and real-world experience that transforms potential into possibility,” says Michael Sticka, President and CEO of the Grammy Museum. “We’re thrilled to continue the expansion of our mission, welcoming the next generation of industry leaders to our Grammy Camps in Los Angeles, Miami, New York, and Nashville.”
Applications for Grammy Camp 2027 will be available online in July at grammycamp.com.
2026 Nashville Grammy Camp Selectees and Tracks:
Aadhavi Natarajan
Plymouth, MN
Vocal Performance
Aaron James Tam Stockwell
Las Vegas, NV
Instrumental Performance – Keys
Abigail Goldberg
Plano, TX
Music Business
Abinav Prabhu
Cedar Park, TX
Songwriting
Alejandra Alvarez
San Antonio, TX
Music Business
Ariah McEwen
Nashville, TN
Vocal Performance
Audrey Nixon
Columbia Station, OH
Music Business
Ava Capeling
Franklin, TN
Vocal Performance
Ayla Karyemez
Superior, CO
Music Business
Briley Steffes
Downers Grove, IL
Music Production
Carter Schultz
Hendersonville, TN
Music Production
Cassidy Karkowski
Half Moon Bay, CA
Vocal Performance
Cassius Steele
Honolulu, HI
Music Production
Charlie George
Nashville, TN
Vocal Performance
Chase Hunter
Hinsdale, IL
Instrumental Performance – Drums
Chloee Hunt
Leonard, TX
Songwriting
Connor Schuhr
Milton, GA
Music Business
Duncan Ramsey
Dallas, TX
Instrumental Performance – Guitar
Dylan Brennan
Knoxville, TN
Music Business
Elena Styrczula
Chicago, IL
Songwriting
Eva Vandenbroucke
Brentwood, MO
Songwriting
Grace Savannah
Dripping Springs, TX
Songwriting
Graham Burks
Memphis, TN
Instrumental Performance – Bass
Harper Calfee
High Point, NC
Vocal Performance
Hunter Thompson
Fulshear, TX
Instrumental Performance – Guitar
Ian Carey
McDonough, GA
Music Business
Isla Steelman
Edmond, OK
Songwriting
Jaden Providence
Christiansted, VA
Music Production
Jett Thompson
Shawnee, OK
Instrumental Performance – Guitar
Jocelyn Cole Eischeid
Clive, IA
Songwriting
Joshua Hood
Collierville, TN
Instrumental Performance – Guitar
Kingston Kharif
Nashville, TN
Songwriting
Landon Crosby
Overland Park, KS
Music Production
Lily Saxton
Monroe, GA
Music Production
Luke Moody
San Augustine, TX
Vocal Performance
Lydia Lau
San Jose, CA
Music Business
Mackenzie Zennedjian
Temecula, CA
Music Production
Mallory Kestner
Fishers, IN
Music Business
Mallory Van Gansbeke
Louisville, KY
Music Production
Mateo Simpson
Collierville, TN
Music Production
Maxwell Vegliando
Newburgh, NY
Music Production
Miette Hundal-Simpson
Auburn, CA
Instrumental Performance – Drums
Molly Lynn Preib
Hendersonville, TN
Music Business
Natalie Roper
Collierville, TN
Vocal Performance
Paige Corless
Collierville, TN
Instrumental Performance – Keys
Penelope Schomer
Charlottesville, VA
Songwriting
Quinn Nelson
Suwanee, GA
Songwriting
Rainn Sherwood
Granbury, TX
Songwriting
Riann Hilton
Neptune Beach, FL
Songwriting
Sasha Caplan
New Canaan, CT
Music Production
Sean Clark
Rogers, AR
Vocal Performance
Sophie Perzi
Malvern, PA
Music Business
Trentin Walker
Atlanta, GA
Music Production
Valentina Bella Gonzalez
Brentwood, TN
Vocal Performance
Willis Wright, Jr.
Fairview Heights, IL
Instrumental Performance – Bass
Cassidy Daniels & Channing Wilson Sign With Country Road Records
/by Lauryn SinkCassidy Daniels & Channing Wilson.
Cassidy Daniels and Channing Wilson have signed with Country Road Records, a division of 101 Music.
Daniels and Wilson were top three finalists on The Road, the CBS music competition show produced by Taylor Sheridan, Blake Shelton, Keith Urban and 101 Studios.
Daniels, a North Carolina native, has shared the stage with Willie Nelson, Florida Georgia Line, and Billy Currington. This spring, she’s set to appear in the upcoming Yellowstone spin-off Dutton Ranch. She recently released “Southern Rock”, her first single on 101 Music, and is working on a full length album produced by John Osborne of Brothers Osborne.
Wilson has written songs alongside Luke Combs and Riley Green, among others. The Georgia native recently made a musical appearance on the Yellowstone spin-off Marshals, where he performed an acoustic version of “Gettin’ Outta My Mind.” He is currently working on a full length album produced by Dave Cobb, following up 2023’s Cobb-produced Dead Man.
“Cassidy Daniels and Channing Wilson represent exactly the kind of artists we envisioned when we launched 101 Music: authentic storytellers with voices that connect immediately with audiences” shares Jon Borris, Head of 101 Music. “We had the opportunity to watch them up close on The Road, and it was clear they were both extremely unique and immensely talented. As 101 Studios continues building a creative ecosystem across television, film, and music, we’re thrilled to welcome Cassidy and Channing as the first artists on 101 Music and, with support from our partners Thirty Tigers, bring their music to an even wider audience.”
Newfoundland & Labrador To Host Country Music’s Biggest Week In Canada In 2027
/by Lorie HollabaughThe CCMA Awards and Country Music Week represent one of Canada’s premiere music industry events, bringing together artists, fans, industry leaders, and media from across the country and beyond while generating tourism, cultural, and economic impact for the host region. The event is supported through partnerships with Destination St. John’s, the Government of Newfoundland and Labrador,the Government of Canada through the Atlantic Canada Opportunities Agency, St. John’s Sports & Entertainment Ltd., and the City of St. John’s.
“We’re delighted that the Canadian Country Music Awards are coming to St. John’s in September 2027,” says Honourable Andrea Barbour,Minister of Tourism, Culture, Arts and Recreation. “Country music holds a deep cultural connection with the province’s strong traditions of folk and storytelling and continues to play an important role in the province’s cultural identity and live music scene. As such, we’re proud to support such a meaningful event with a contribution of $1.3 million.”
“This is an incredibly exciting moment for the CCMA and for country music fans across Canada,” shares Amy Jeninga, President, Canadian Country Music Association. “Bringing Country Music Week and the CCMA Awards to Newfoundland and Labrador for the very first time is a milestone opportunity. St. John’s offers an extraordinary mix of culture, music, scenery, and hospitality that makes it the perfect setting for this nationally celebrated event. We know artists, delegates, and fans from coast to coast to coast will embrace the energy and spirit of this province.”
“The City of St. John’s is thrilled to welcome Country Music Week and the CCMA Awards to our region for the very first time,” adds Mayor Danny Breen. “This event will bring incredible energy to our city and showcase the music, culture, hospitality, and experiences that make St. John’s so special. We look forward to welcoming visitors, artists, and fans to celebrate with us in 2027.”
Davis Cook Inks With Warner Chappell Music & Twelve6 Entertainment
/by Lauryn SinkPictured (L-R, back row): Brendan Rich (Rich MGMT), Austen Adams (WCM) and Bryce Sherlow Gravitt (WCM). (L-R, front row): Brooke Pauley (Twelve6), Davis Cook, Travis Myatt (Twelve6). Photo: Courtesy of WCM
Davis Cook has signed a global co-publishing deal with Warner Chappell Music and Twelve6 Entertainment.
The Jacksonville, Florida native amassed nearly three million streams in 2025 across his catalog. He is set to release his new single, “Light Her Cigarette,” on Friday (May 22).
“So excited to share that I’ll be signing with Twelve6 and Warner Chappell for publishing,” Cook shares. “Travis Myatt and Brooke Pauley were some of the first people I met when I came to Nashville, so it truly feels like a full-circle moment to now be working with them. After connecting with Bryce Gravitt, which led to adding Warner Chappell, I have no doubt that this is exactly where I’m meant to be on the publishing side.”
“I’m pleased to welcome Davis to the Warner Chappell roster in partnership with Twelve6,” adds Bryce Sherlow Gravitt, A&R Manager, WCM Nashville. “Having Rich MGMT on board made this a natural choice given our strong working relationship across other clients. It has been rewarding to watch Davis’s talent grow since we first met, and I look forward to what we will accomplish together.”
“The moment Brooke Pauley introduced me to Davis, I knew he was special,” adds Travis Myatt, President & General Manager, Twelve6 Entertainment. “There was an undeniable spark there, and when I learned he was building alongside Brendan Rich, I felt even more strongly he was onto something. When I found out he was already in conversation with Bryce Gravitt, it felt like a natural fit, especially given the strong relationship we’ve built with our partners at Warner Chappell Music.”
RESULTS GLOBAL Promotes Three, Adds Three
/by Madison HahnenPictured (L-R, top row): Katherine Birschbach, Cara Fallon and Alex Hendl. (L-R, bottom row): Aden Henke, Cami Cradock, Samantha Parrish
RESULTS GLOBAL has elevated three team members, as well as welcomed three new team members.
“RESULTS GLOBAL has always focused on building a team that brings creativity, passion, and exceptional work to our clients,” RESULTS GLOBAL agency Co-Heads John Zarling and Jackie Campbell share. “As the agency continues to grow, we’re proud to welcome new talent while recognizing the team members who have grown alongside us and helped shape this next chapter.”
Katherine Birschbach has joined as Account Director. Birschbach has more than 12 years of experience in marketing, experiential strategy, and brand management. Before joining RESULTS GLOBAL, she worked at GMR Marketing, focusing on client consulting and strategy and helping develop SOLE Science™, the agency’s experience measurement platform. Earlier in her career, she held artist marketing and project management roles at Big Machine Label Group, supporting artists such as Florida Georgia Line, Thomas Rhett, Brett Young and Rascal Flatts.
Cara Fallon joins as Social Media Manager with more than five years of experience in marketing and social media strategy. She has led content creation, brand strategy and digital marketing efforts across industries including corporate, retail, nonprofit and entertainment. Her background includes social media strategy, campaign development, event marketing and brand communications.
Alex Hendl joins as Marketing and Communications Coordinator. An Ohio native and 2026 marketing graduate, Hendl will support publicity and marketing efforts across the agency’s roster. Hendl brings experience in digital marketing, publicity, programming and promotion through previous roles with the Country Music Association, SiriusXM, Music Corporation of America (MCA), OH Creative and The Oriel Company.
RESULTS GLOBAL has also promoted Aden Henke to Account Manager, Cami Cradock to Marketing Operations Specialist and Samantha Parrish to Digital Marketing Specialist.
On The Row: Brooke Lee Shares Stories From ‘Desert Darling’
/by Lauryn SinkBrooke Lee. Photo: Hannah Van
Brooke Lee stopped by the MusicRow office last week to share a taste of her recently released EP, Desert Darling.
The Charlotte, North Carolina native was first introduced to music through her church. At 13, Lee attended a performance by the local band Blue Monday with her father and was instantly captivated. Inspired by the experience, she began performing at local showcases and open mic nights.
Pictured (L-R): MusicRow’s Lauryn Sink, Madison Hahnen and LB Cantrell, Brooke Lee, MusicRow’s Sherod Robertson and John Nix Arledge.
At 21, Lee moved to Music City and started playing Broadway six nights a week. While balancing her performance schedule with a retail job, she caught the attention of Spirit Music Publishing and signed a publishing deal.
Lee shared a few tracks from the project with the team including “Desert Darling,” “Burn To Black,” “This Roof” and “So Beautiful.”
The six-track project was written alongside Justin Richards, Jon Nite and Aaron Eshuis, among others, and produced by Danielle Blakey. It explores themes of young love, heartbreak and self-discovery.
Lee has amassed more than 6 million career streams and 120 thousand social media followers across platforms. Earlier this year, Lee partnered with Chevrolet to release a modern interpretation of the song “See the USA in Your Chevrolet” for their newest advertising campaign.
Lee is set to perform on the Wrangler Remix Stage during CMA Fest.
Kenny Whitmire Signs With The Neal Agency
/by Lauryn SinkPictured (L-R): Adi Sharma (Co-Head of The Neal Agency), Ryan Beuschel (General Manager at The Neal Agency), Simone Chretien (Agent at The Neal Agency), Kenny Whitmire (Artist), Evan Kantor (Agent at The Neal Agency), Zac Brooks (Artist Manager at Riverhouse) and Zebb Luster (Executive VP & Artist Manager at Riverhouse). Photo: Michael Stern
Kenny Whitmire has signed with The Neal Agency.
The Georgia native moved to Nashville in 2022 after one semester of college. He is set to release his seven-track debut EP, Fool In A King Size Bed, on June 12 via MCA.
“Kenny is one of those talents that stops you in your tracks, with an incredible ‘old-school’ sound that remains completely authentic to who he is,” shares TNA Agent, Evan Kantor. “We’re all big believers in what he’s doing as an artist and are honored to be a part of his already amazing team. We’re excited to get to work with him and help build the touring side of his career!”
“I’m honored to be working with The Neal Agency and excited to have their passionate group of people representing me,” adds Whitmire.
Throughout the year, Whitmire will support Tracy Lawrence, Billy Currington, Ian Munsick and more on the road.