Jackson Dean. Photo: Sean Hagwell
On his third studio album, Magnolia Sage, Jackson Dean isn’t just refining his sound, he’s redefining the way he tells stories. The project arrives at a pivotal moment in his career, shaped by relentless touring, personal growth and a creative process that demanded both urgency and reinvention.
“You have your whole entire life to make your first record, six months to do record two, and then hardly any time to do record three,” Dean explains to MusicRow. That compressed timeline forced a departure from traditional methods. “This was a very different process than our usual,” he says, noting that constant travel left him piecing together ideas across time zones and head spaces.
What emerged is an album that feels expansive geographically, emotionally and sonically. Initially, Dean considered centering the project around a single motif. “I had ‘Hey Mississippi’ and I was going to go with Magnolia Moon. But there’s so much more on this record than just Magnolia.” The turning point came late in the process, when a final track reshaped the concept entirely. “That chorus is just so impactful, and that’s where the Sage came from.” The fusion of the two ideas gave the album its title and its identity.
Rather than beginning with a rigid concept, Dean discovered the album’s duality as he built it. The “Magnolia” and “Sage” halves, loosely representing contrasting emotional and geographic landscapes, weren’t pre-planned. “It’s always a fun time to needle through not only the sequencing, but to conceptualize it all,” he says. “It’s always fun threading the needle through all of that and telling the stories.”
That storytelling instinct extends to how the record unfolds. Dean approached sequencing like crafting a live show. “I always look at it like a set list coming off the top with tempo and then vibing and wildfires in the middle there. And then the back half is pretty epic.” The result is a dynamic listening experience that mirrors the energy of his performances. 
At its core, Magnolia Sage reflects a life spent in motion. “I’ve been to a lot of places since Back of My Dreams came out, and this is very much an American record,” Dean says. With location references scattered throughout, the album captures both the pull of home and the ache of distance.
Personally, Dean admits he gravitates toward one side of that divide. “I’m a Sage leaning guy. I really am,” he says, laughing about his preference for drier climates over Southern humidity. Still, the album thrives in the tension between those worlds, never settling fully into one or the other.
Sonically, that duality becomes even more pronounced. While Dean’s foundation remains rooted in country, Magnolia Sage stretches into looser, groove-driven territory, pulling from R&B and soul influences. “It is way more laid back,” he says. Yet the musicianship remains front and center with tight band interplay, expressive guitar work, and arrangements designed to translate seamlessly to the stage.
Among the artists shaping that sonic palette are Leon Bridges and Ralph Stanley. “Bridges is a soulful guy,” he says, while praising Stanley’s deeply rooted, organic sound. The goal wasn’t to mimic either influence, but to absorb their essence and push into “new territory.” As Dean puts it, “There’s no two songs the same on this record. They’re all their own thing in their own right, which is healthy and the goal.”
That sense of individuality extends to the songwriting, which balances intimate moments with universal themes. The earliest track written for the album, “Something Easy,” carried particular weight. “I held that song close to the vest for a while,” Dean says, recalling how its meaning crystallized after meeting his fiancee Shannon.
For Dean, that realization underscores a broader philosophy about music’s purpose. “Music is supposed to be presented in a way for the listener to put themselves in the song and see their own life in it,” he says. It’s less about delivering fixed narratives and more about creating space for connection.
Behind the scenes, Dean collaborated closely with producer Luke Dick. “I don’t ever really want to stop working in a studio,” he says. “I will go take after take after take to get it perfect with no autotune.” That dedication manifests in layered vocal stacks and richly textured recordings that feel both polished and raw.
Magnolia Sage represents growth, not just artistic, but also personal. “I’m not 18 and pissed off anymore,” Dean says candidly. Years of travel and experience have reshaped his worldview. “I’ve definitely gone more places than I ever dreamed of going. My perspective on the world has changed drastically.”
It’s an album born from chaos, but grounded in clarity of purpose. As Dean reflects on the process, one realization stands above the rest: “Once you pour your focus into something and give it all, it can really center you and bring you back to your middle.”
BREAKING: Big Machine Records/Nashville Harbor Records & Entertainment Taps Allison Jones As EVP Of A&R
/by Lauryn SinkAllison Jones.
Big Machine Records/Nashville Harbor Records & Entertainment has tapped Allison Jones as EVP of A&R.
Jones joined Big Machine Label Group in 2008 and has been a key player in signing Thomas Rhett, Florida Georgia Line, The Band Perry, Riley Green, Carly Pearce and Midland, while contributing to the development and success of Tim McGraw, Rascal Flatts, Lady A and Taylor Swift.
Across her career, she has spent time as Head of A&R at multiple labels, including Giant Records, DreamWorks Nashville and Universal Music Group Nashville. Jones served as Toby Keith’s longtime A&R representative for more than a decade during the peak of his career, and she worked closely with Reba McEntire across multiple projects, including her GRAMMY Award-winning gospel album Sing It Now: Songs of Faith & Hope.
Jones has been recognized on Billboard’s Women In Music and Country Power Players lists, as well as on Country Aircheck’s Power 31 list and at Nashville Business Journal’s Women in Music City Awards.
“I’ve worked with Scott since 1997, when we opened DreamWorks Nashville together, and have spent the past 18 years at Big Machine in the trenches making history (with lots of celebrations and core memories made!),” says Jones. “I’m incredibly proud of the music we’ve created. It’s been an honor to be part of building one of the most impactful and successful labels in the history of the music business. Scott is a true visionary who never settles for anything less than winning. I’m incredibly excited and proud to do it all over again as we rebuild the new Big Machine!”
“Allison is the consummate A&R executive,” adds Founder, Chairman and CEO Scott Borchetta. “She knows every artist, every song, and every publisher, and is obsessed with being on the sharp end of pop culture. Big Machine simply would not be what it is today without Allison by my side, and I’m so thrilled that we get to continue together in this new season.”
CBS & ‘New Year’s Eve Live: Nashville’s Big Bash’ Extend Deal
/by Madison HahnenCBS and New Year’s Eve Live: Nashville’s Big Bash have signed a new multi-year deal to stream the annual celebration globally. The annual stream takes place on Dec. 31 at 7 p.m. CST live from Nashville the CBS Television Network, and streaming on Paramount+.
The show is executive produced by Robert Deaton and Mary Hilliard Harrington in partnership with Music City Inc., the foundation of the Nashville Convention & Visitors Corp. Sandra Restrepo serves as Director.
“Mary and I are thrilled to continue our partnership with CBS and the City of Nashville to bring New Year’s Eve Live: Nashville’s Big Bash to audiences across the country,” says Deaton. “There’s nothing quite like ringing in the new year from Nashville, surrounded by the energy, heart and incredible talent of country music. We’re proud to keep growing this celebration into one of the biggest nights of the year for fans everywhere.”
The event is hosted infront of thousands of attendees at Bicentennial Capitol Mall State Park. This year’s lineup, hosts and special guests will be announced at a later date.
Paramount+ Premium plan subscribers will have access to stream live via the live feed of their local CBS affiliate on the service, as well as on-demand. Paramount+ Essential subscribers will not have the option to stream live, but will have access to on-demand the day after the special airs.
Ella Langley Tops MusicRow Radio Chart With ‘Be Her’
/by LB CantrellElla Langley. Photo: Caylee Robillard
Ella Langley has found herself at the top of the MusicRow CountryBreakout Radio Chart once again this week with “Be Her.”
Langley co-wrote the song with Jordan Schmidt, Smith Ahnquist and HARDY. It appears on her sophomore album Dandelion, which recently debuted at No. 1 on the Billboard 200, marking the largest week for a country album by a woman in two years and the biggest week of 2026 for any female artist.
The breakout star also continues to hold the No. 1 spot on the Billboard Hot 100 chart for a seventh week and the Billboard Hot Country Songs for the 21st week with mega-hit “Choosin’ Texas.”
“Be Her” currently sits at No. 10 on the Billboard Country Airplay chart and No. 8 Mediabase chart.
Click here to view the latest edition of the MusicRow Weekly containing the MusicRow CountryBreakout Radio Chart.
Jackson Dean Threads The Needle On ‘Magnolia Sage’ [Interview]
/by Madison HahnenJackson Dean. Photo: Sean Hagwell
On his third studio album, Magnolia Sage, Jackson Dean isn’t just refining his sound, he’s redefining the way he tells stories. The project arrives at a pivotal moment in his career, shaped by relentless touring, personal growth and a creative process that demanded both urgency and reinvention.
“You have your whole entire life to make your first record, six months to do record two, and then hardly any time to do record three,” Dean explains to MusicRow. That compressed timeline forced a departure from traditional methods. “This was a very different process than our usual,” he says, noting that constant travel left him piecing together ideas across time zones and head spaces.
What emerged is an album that feels expansive geographically, emotionally and sonically. Initially, Dean considered centering the project around a single motif. “I had ‘Hey Mississippi’ and I was going to go with Magnolia Moon. But there’s so much more on this record than just Magnolia.” The turning point came late in the process, when a final track reshaped the concept entirely. “That chorus is just so impactful, and that’s where the Sage came from.” The fusion of the two ideas gave the album its title and its identity.
Rather than beginning with a rigid concept, Dean discovered the album’s duality as he built it. The “Magnolia” and “Sage” halves, loosely representing contrasting emotional and geographic landscapes, weren’t pre-planned. “It’s always a fun time to needle through not only the sequencing, but to conceptualize it all,” he says. “It’s always fun threading the needle through all of that and telling the stories.”
That storytelling instinct extends to how the record unfolds. Dean approached sequencing like crafting a live show. “I always look at it like a set list coming off the top with tempo and then vibing and wildfires in the middle there. And then the back half is pretty epic.” The result is a dynamic listening experience that mirrors the energy of his performances.
At its core, Magnolia Sage reflects a life spent in motion. “I’ve been to a lot of places since Back of My Dreams came out, and this is very much an American record,” Dean says. With location references scattered throughout, the album captures both the pull of home and the ache of distance.
Personally, Dean admits he gravitates toward one side of that divide. “I’m a Sage leaning guy. I really am,” he says, laughing about his preference for drier climates over Southern humidity. Still, the album thrives in the tension between those worlds, never settling fully into one or the other.
Sonically, that duality becomes even more pronounced. While Dean’s foundation remains rooted in country, Magnolia Sage stretches into looser, groove-driven territory, pulling from R&B and soul influences. “It is way more laid back,” he says. Yet the musicianship remains front and center with tight band interplay, expressive guitar work, and arrangements designed to translate seamlessly to the stage.
Among the artists shaping that sonic palette are Leon Bridges and Ralph Stanley. “Bridges is a soulful guy,” he says, while praising Stanley’s deeply rooted, organic sound. The goal wasn’t to mimic either influence, but to absorb their essence and push into “new territory.” As Dean puts it, “There’s no two songs the same on this record. They’re all their own thing in their own right, which is healthy and the goal.”
That sense of individuality extends to the songwriting, which balances intimate moments with universal themes. The earliest track written for the album, “Something Easy,” carried particular weight. “I held that song close to the vest for a while,” Dean says, recalling how its meaning crystallized after meeting his fiancee Shannon.
For Dean, that realization underscores a broader philosophy about music’s purpose. “Music is supposed to be presented in a way for the listener to put themselves in the song and see their own life in it,” he says. It’s less about delivering fixed narratives and more about creating space for connection.
Behind the scenes, Dean collaborated closely with producer Luke Dick. “I don’t ever really want to stop working in a studio,” he says. “I will go take after take after take to get it perfect with no autotune.” That dedication manifests in layered vocal stacks and richly textured recordings that feel both polished and raw.
Magnolia Sage represents growth, not just artistic, but also personal. “I’m not 18 and pissed off anymore,” Dean says candidly. Years of travel and experience have reshaped his worldview. “I’ve definitely gone more places than I ever dreamed of going. My perspective on the world has changed drastically.”
It’s an album born from chaos, but grounded in clarity of purpose. As Dean reflects on the process, one realization stands above the rest: “Once you pour your focus into something and give it all, it can really center you and bring you back to your middle.”
MLC Seeking Suggestions For Songwriter Candidates For Board Of Directors & Advisory Committees
/by Lauryn SinkThe Mechanical Licensing Collective (The MLC) is accepting suggestions of songwriter candidates for its Board of Directors, Dispute Resolution Committee and Unclaimed Royalties Oversight Committee.
Recommendations can be made here until May 26.
Under the Music Modernization Act (MMA), certain governance positions at The MLC are reserved for representatives of songwriters. The MLC will submit all recommendations it receives to the Board’s Songwriter Nominating Committee for consideration. Board and committee members sit for three-year terms and may be re-elected.
The MLC’s Board of Directors and committees meet regularly, and all meetings allow for virtual participation such that travel is not generally required. Members are expected to devote sufficient time to prepare for and participate fully in all meetings.
Rodney Crowell To Release ‘Then Again’ Featuring Lyle Lovett, Emmylou Harris, Guy Clark, More In June
/by Lorie HollabaughRodney Crowell is releasing a project largely recorded two decades ago, Then Again, on June 26 via New West Records.
The 10-track set was produced by Crowell and Steuart Smith with additional production by Dan Knobler.
The album’s first single, “Are You One Of Us?,” a duet with the late Guy Clark, is the final recording between the two friends and collaborators. The album also features appearances Lyle Lovett, Benmont Tench, Emmylou Harris, Lera Lynn and more.
Added to the original sessions are two newly recorded selections, “If I Could Speak to Leonard,” a love letter to the late Leonard Cohen written before his death in 2016, as well as “Go Light a Candle,” which was released last year.
“I guess you could call it a lost album. I stumbled upon it in my vault at home,” says Crowell. “I’d forgotten about it completely. There was much talk of the previous albums as a trilogy, so when I finished this one, I listened to it and thought, Oh shit, I just hear all the same sounds and techniques glaring at me. I needed to have a different experience, so I went out to L.A. to make a record with Joe Henry. I just loved what happened once I rediscovered it. I wanted to call these guys up and say, Hey! Let’s make a new record. Then Again is like having one last dance with those guys.”
Crowell is set to launch tour dates Saturday (April 25) in Badalona, Spain in support of last year’s Airline Highway.
2. “Are You One of Us? (feat. Guy Clark)”
Old Crow Medicine Show Unveils New Album Due In June
/by Lauryn SinkOld Crow Medicine Show will unveil their new album Union Made on June 5 on Hartland Records via Firebird Music.
The project features appearances from nearly a dozen guests including Maggie Rose, Turnpike Troubadours’ Evan Felker, Jesse Welles, John Carter Cash and Ana Cristina Cash. The projects reflects upon the people, places and stories of America.
“This is a fascinating time in our short history as a nation,” Secor says. “We wanted to meet that moment by collecting a bunch of songs that speak to the joys and potentials, the rights and the wrongs of where we are today, where we’re going, and what can embolden us to have a more perfect union in the future. There are wonderful, ghostly American sounds that only bands steeped in folk music traditions know how to conjure, and it seems like an important time for those voices to be heard.”
The first preview, “My Side Of The Mountain,” is available now. Written by Ketch Secor, Molly Tuttle and Luke Combs, the song features Tuttle, Del McCoury and Ronnie McCoury.
“Molly Tuttle and I got together with Luke Combs to write this song,” shares Secor. “Both Luke and I owe a lot to the scenic town of Boone, high in the hills of westernmost North Carolina where the song is set. Another musician with deep roots in the area is Bluegrass legend Del McCoury. ‘My Side of the Mountain’ celebrates the distinct culture and sound of the Appalachian people of WNC, some of our country’s most self-reliant folk. This song is for them.”
The band also recently announced the first ever vinyl release of their 2006 sophomore album Big Iron World, remastered by producer David Rawlings and been on the road this year for their “Back to the Roots Tour.”
Union Made Track List:
1. “Howdy Do America (feat. Jesse Welles)” (Ketch Secor, Jody Stevens)
2. “Lincoln Highway” (Ketch Secor)
3. “My Side Of The Mountain (feat. Del McCoury, Ronnie McCoury & Molly Tuttle)” (Ketch Secor, Luke Combs, Molly Tuttle)
4. “Revolution Now (feat. Evan Felker)” (Ketch Secor, Lee Oskar)
5. “Last American Waltz” (Ketch Secor, Critter Fuqua)
6. “Merrimack & Monitor” (Ketch Secor)
7. “Rainbow Stew” (Merle Haggard)
8. “Rye Whiskey” (Ketch Secor)
9. “Beautiful Land (feat. Maggie Rose & Lee Oskar)” (Ketch Secor, Eric Tyrone Dozier)
10. “Lewis and Clark” (Ketch Secor)
11. Y’all All Come (feat. John Carter Cash & Ana Cristina Cash)” (Ketch Secor)
12. “For What It’s Worth” (Stephen Stills)
DISClaimer Single Reviews: Carly Pearce Is ‘Delightfully Snarky & Sassy’
/by Robert K OermannCarly Pearce. Photo: Luke Rogers
Ballads dominate this edition of DISClaimer, but a few of the country stars are making toe-tapping sounds as well.
Our balladeers include Riley Green, Reba McEntire and Braxton Keith. Willie & Shooter are emoting so mellow that they’re nodding off.
For tempo tunes, turn to Shaboozey, Vincent Mason and the team of Ella Langley & Morgan Wallen. Not to mention feisty Carly Pearce, who wins the Disc of the Day award.
Returning to ballad mode, we welcome Steven McClintock as our DISCovery Award winner this week.
VINCENT MASON / “Don’t Ask Me”
Writers: Hillary Lindsey/Jack Rauton/Luke Laird/Vincent Mason; Producers: Brett Truitt, Jake Gear, Vincent Mason; Label: MCA Nashville/Music Soup/Interscope Records
– Nominated as New Male Artist by the ACM, Mason has a new uptempo ditty that exudes boyish charm. The acoustic-based track bubbles along with jaunty innocence while the lyric paints a picture of a heartbroken fellow who has no one to blame but himself.
KIP MOORE / “Faith in the Wind”
Writers: Andrew DeRoberts/Kip Moore/Luke Preston; Producers: Andrew DeRoberts, Kip Moore; Label: KM
– A solitary soul sings of his journey into a mystery future while a lustrous, echoey track surrounds his meditation. He’s on a quest, but does not know his destination in life. Haunting and highly listenable.
ASHLEY McBRYDE / “Lines in the Carpet”
Writers: Caroline Watkins/Lauren Hungate/Lori McKenna; Producer: John Osborne; Label: Warner Records Nashville
– “What If We Don’t” remains the single. But McBryde continues to tease her forthcoming album Wild (due May 8) with this driving, urgent cry of the heart. A woman continues doing her day-after-day domestic chores feeling trapped and miserable, but her husband is oblivious. McBryde continues her unbroken reputation for quality country.
SHABOOZEY / “Born to Die”
Writers: none listed; Producer: none listed; Label: American Dogwood
– Shaboozey’s next album will be a concept collection that tells a tale of western revenge. Its lead single rushes forward with rhythmic energy. “Raise a glass to always living life like we ain’t born to die,” he sings in the dark party anthem. Arguably the most innovative and creative sonic personality in contemporary country music. Long may he sing.
ELLA LANGLEY & MORGAN WALLEN / “I Can’t Love You Anymore”
Writer: Ella Langley; Producer: none listed; Label: Columbia/SAWGOD
– These two red-hot stars team up for a stirring, breezy, rhythmic duet with swapped verses and Wallen harmonizing nicely on the choruses.
RILEY GREEN / “My Way”
Writer: Riley Green; Producer: Dann Huff; Label: Nashville Harbor Records & Entertainment
– Anticipating his role on TV’s Marshals (airing this Sunday), Green issues a baritone ballad of sad resignation over a failed romance. His fluid, intimate, expressive delivery is framed by gently plucked guitar, bass, dobro and strings. Country eloquence. The song will be featured during Green’s episode of the CBS-TV hit.
STEVEN McCLINTOCK / “To You From Me”
Writers: Richard Addrisi/Steven McClintock; Producer: none listed; Label: SM
– Record promo veteran Bill Wence has been boosting indie artists for 52 years. His latest discovery sings this sweet, melodic love song in a soft tenor that is earnest and sincere. Piano and steel accompaniment add to the romantic mood. Co-writer Addrisi (1941-2025) was best known for penning the evergreen “Never My Love.”
CARLY PEARCE / “You Can Have Him”
Writers: Carly Pearce/Carter Faith/Lauren Hungate/Tofer Brown; Producer: none listed; Label: Blue Highway Records
– Delightfully snarky and sassy. Addressing the gals around her, Pearce tells them they’re welcome to a dude with loose morals and a wandering eye. Packed with attitude and personality, not to mention twangin’ steel.
BRAXTON KEITH / “Don’t No More”
Writers: Braxton Keith/Liz Rose/John Pierce; Producer: Alex Torrez, David Dorn; Label: Warner Records Nashville
– She’s left him behind. Evidently, she’s quite good at completely blocking out their past, and he reports it all in this yearning ballad. Pristinely produced, well written and sung with heart.
SHOOTER JENNINGS & WILLIE NELSON / “When I’m Stoned”
Writer: Jason Phillip Boland; Producer: Shooter Jennings; Label: HELL PONY ARCHIVES
– These two celebrated 4/20 this week as the annual weed-awareness date with this ditty. It’s way beyond “laid back” and sounds like they recorded it in an oil drum. Both vocalists seem to be meandering around looking for the melody. The band is Jason Boland & The Stragglers, whose original version is better.
CORB LUND & HAYES CARLL / “Much Too Young (To Feel This Damn Old)”
Writers: Garth Brooks/Randy Taylor; Producer: none listed; Label: New West Records
– These two Americana stars have a strikingly effective arrangement of the Garth Brooks classic. It’s just their voices, an acoustic guitar and a cello, and it is absolutely brilliant and stunning. The broken rodeo man in the lyric comes truly alive here. Open your ears for something utterly refreshing, and play this.
REBA McENTIRE / “One Night In Tulsa”
Writers: Kylie Frey/Neal Coty/Thom McHugh; Producer: Dave Cobb; Label: Rockin’ R Records/MCA
– Country heartbreak in the throat of a Great. Every singer in this industry needs to listen to this ballad for a lesson in excellence.
SHAWN CAMP / “Sis Draper”
Writers: Guy Clark/Shawn Camp; Producer: Shawn Camp; Label: Truly Handmade Records
– Shawn is at No. 1 on the bluegrass chart this month with the title tune of his The Ghost of Sis Draper concept album. Draper was a fiddle hero of Camp’s when he was growing up in Arkansas. His homage to her is a ethereal, bluesy lament with fiddle notes weaving in and out of the mix. His misty, moody vocal is exquisitely dramatic. Essential listening.
Guitar Center Business Solutions Hosts Inaugural Tech Expo ‘Resonate’
/by Lorie HollabaughMastering engineer Raelynn Janicke, Custom House at Guitar Center Moderator Davey Rieley, Grammy®-winning producer/mixer F. Reid Shippen and multi-No 1 songwriter Jamie Moore. Photo: Courtesy of Guitar Center, Canaan Kagay
Guitar Center Business Solutions hosted its inaugural integrated technology expo Resonate at Nashville’s Music City Center on April 9.
The free, one-day event brought together account managers across the Business Solutions brands, 30-plus key manufacturer partners, and hundreds of industry professionals, innovators and creators for a day of education, demonstrations and live experiences focused on the future of audio, video and integrated systems.
Nashville was selected as the host city for its reflection of today’s converging markets and its status as headquarters of Guitar Center Business Solutions, which includes Audio Video Design Group, Guitar Center Professional, Custom House at Guitar Center and the Guitar Center Music Foundation.
Curtis Heath, Guitar Center Business Solutions President, gave the opening remarks, followed by a diverse lineup of sessions and experiences. Highlights included a standing-room-only keynote presentation from Coach Micheal Burt, presentations from Shure, Logitech, QSC, Legrand and Electro-Voice, a live radio broadcast from WSM Radio’s Lexi Carter, an appearance by the Titans Cheerleaders in support of Guitar Center’s partnership with the Titans’ new Nissan Stadium, and a Nashville songwriter round featuring Josh Phillips and Brock Berryhill.
The program also included a Guitar Center Music Foundation segment and concluded with a Pro Audio Solutions Panel titled “Technology, Workflow, and the Modern Creative Process,” featuring Nashville-based audio professionals F. Reid Shippen, Raelynn Janicke and Jamie Moore. Moderated by Custom House at Guitar Center’s Davey Rieley, It featured Shippen, a 12-time Grammy®=-winning producer and mixer and co-founder of ONCE.app; Janicke, mastering engineer at Infrasonic, with credits including Zach Bryan, Lake Street Dive, Benson Boone, The Shins and Hudson Westbrook; and Moore, a multi-No. 1 songwriter whose work has been recorded by Carrie Underwood, Blake Shelton, Florida Georgia Line, Tim McGraw and Morgan Wallen. The discussion explored how technology integrates into today’s creative process, from songwriting and production through mastering, while highlighting how different creators rely on different tools and workflows to bring ideas to life.
“Resonate was an excellent opportunity to bring together all the Business Solutions account managers, our key manufacturer partners and decision-makers across music, education and enterprise,” says Heath, Guitar Center Business Solutions President. “As systems are converging faster than organizations can adapt, the industry needs clear leadership around how everything connects, and Guitar Center Business Solutions is proud to meet that challenge. The Resonate expo marked a firm tentpole in that journey, with plenty more to come.”
Amanda Shires, John Paul White, Sam Palladio Among Musicians Corner Spring Lineup
/by Lorie HollabaughMusicians Corner
Amanda Shires, John Paul White, Sam Palladio, Amythyst Kiah and more are among the lineup for Nashville’s free concert series Musicians Corner, which is returning this spring for its 17th year in Centennial Park beginning May 15.
The five week series will showcase a variety of performers at 11 concerts that will take place every Friday from 5 – 9 p.m. and Saturday from 12 – 6 p.m. from May 15-June 13, with a special Sunday performance over Memorial Day Weekend (May 24). Musicians Corner’s 2026 Spring Series kicks off on May 15-16 with performances from Sunny War, The Foxies, ENDLAF and more.
The spring series also includes the return of Musicians Corner’s three-day Memorial Day Weekend with performances by The Verve Pipe, Madi Diaz, Leah Blevins, Palladio and more May 22- 24. More artists are slated to be announced next month, including the Lightning 100 Stage lineup, which will feature 24 local emerging artists of varying genres. In addition to live music, each event will also feature artisan vendors, craft beer, wine, and cocktails, a variety of local food trucks, Kidsville activities, and featured community partners.
Musicians Corner will also return Aug. 28 for its annual Fall Series with events each Friday evening through Sept. 25, including the return of FREE FEST, in partnership with Lightning 100, over Labor Day Weekend (Sept. 4-6) and a special event in conjunction with AMERICANAFEST on Sept. 18.
Musicians Corner Spring Artist Lineup:
Friday, May 15
Sunny War • The Foxies • Abigayle Oakley • Rosa Rodriquez V. • Tre. Charles
Saturday, May 16
TBA • ENDLAF • Gustavo Moradel • EG Vines • TBA
Friday, May 22 – Memorial Day Weekend
Amanda Shires • Leah Blevins • Ava Swan • Küf Knotz & Christine Elise • Tim McNary
Saturday, May 23 – Memorial Day Weekend
The Verve Pipe • Nicole Atkins • TBA • Viva Mexico Mariachi • Bee Kelly
Sunday, May 24 – Memorial Day Weekend
Madi Diaz • Sam Palladio • The Explorers Club • Ducky Neptune • Dori Valentine
Friday, May 29
Cedric Burnside • Teddy & The Rough Riders • TBA • Vaveyla • Natasha Blaine
Saturday, May 30
Amythyst Kiah • Norista Freeze • Brandy Zdan • Los Locos Tristes • Tavior Mowry
Friday, June 5
Nashville Symphony • Amy Stroup • Melanie MacLaren • Kapali Long • Alana Cruz
Saturday, June 6
John Paul White • TBA • Eric Mcentee • Kent Burnside • Noah Torralba
Friday, June 12
S.G. Goodman • TBA • Emma Ogier • The Minks • Roderick August
Saturday, June 13
Grizfolk • Emily Scott Robinson • ZG Smith • J. Zachariou • Tenette Smith