Jennifer Johnson
Jennifer Johnson never intended to have a career in the music industry. President of Riser House Entertainment, Johnson spent several years as an analytical chemist working at a chemical plant. After her childhood home burned to the ground, she started working at age nine for her uncle, who owned a machine shop in Louisiana. For a time following the fire, she lived in her family’s tractor shed with a dirt floor and no running water.
Johnson was interested in music initially as a songwriter and quickly learned she had a greater love of music publishing. She finally made the move to Nashville to work as an independent song plugger.
In 2008, Johnson launched the publishing company, The Song Factory. The first artist-writer she signed was Jon Pardi. Dustin Lynch, Ashley McBryde and Dillon Carmichael followed.
Riser House Entertainment was launched in 2017 by co-founders Matt Swanson, Mitchell Tenpenny and Johnson with the goal to create music that stands the test of time. Since its formation, the company has blossomed into a full-service record label and publishing house. Riser House Entertainment has amassed more than four billion combined on-demand streams, 11 No. 1 songs, and participated in over 20 RIAA-certified Gold or Platinum singles and albums.
Riser House’s roster includes Tenpenny, Carmichael, Meghan Patrick, LANCO, Stephen Day, The Wldlfe, Ash Ruder and COILER. Both Tenpenny and Carmichael are also signed to the company’s publishing umbrella, alongside Michael Whitworth, Dallas Wilson, Jake Mitchell, Aaron Armstorng and Chandler Baldwin.
Photo: Courtesy of Johnson
MusicRow: Where did you grow up?
I grew up in Rayville, Louisiana. It’s a tiny town with just one stoplight. Funny enough, it was only one town over from where Lainey Wilson grew up. My dad was a bricklayer and my mom was a dietician.
When I was about nine, our house burned down. After that, we moved into a tractor shed with a dirt floor, an outhouse in the woods—my dad would build fires outside for heat. My family never really recovered financially, so I started working in my uncle’s machine shop at nine years old.
I ended up starting college at 16 and graduated with a chemistry degree, minoring in math and physics.
Wow. Tell me about that.
I worked as an analytical chemist at a small chemical plant in Louisiana called Angus, which was a subsidiary of Dow. I thought I was headed toward medical school, but once I got married and started having kids, I realized the medical field wouldn’t allow me the time I wanted with my family. So I stayed home, still did some chemistry work, and that’s when I started writing songs.
I joined a local Country Music Showdown, got connected with the Nashville Songwriters Association International (NSAI) in New Orleans, and met songwriter Jim McCormick. He sent me a pitch sheet listing artists like George Strait and Keith Urban who were looking for songs.
Photo: Courtesy of Johnson
So I cold-called every single record label on that sheet, asking for meetings to pitch songs from the writers I’d met. Shockingly, I got meetings with everyone I called.
And then you were in the music business!
Through Jim, I got more pitch sheets and started calling every producer and label listed. Rusty Gaston was running a publishing company called The Song Garden then, and when I brought him songs, he told me, “If you have all these meetings, don’t just bring good songs. Bring great ones. First impressions matter.”
So I called every songwriter I knew and ended up with hundreds of songs. I listened to each one—just verse and chorus—and narrowed it down to eight songs on a single CD.
My first big meeting was at Capitol Records with Larry Willoughby. He actually put several songs on hold, and I didn’t even know what a “hold” was at the time. I just knew I needed my CD back because I had nine more meetings that week! [Laughs]
But that’s how it started. I wasn’t officially a publisher yet—I was just representing other catalogs and pitching songs independently.
Photo: Courtesy of Johnson
How did you become a publisher, officially?
Eventually, I met this guy from Arkansas who had written with a new songwriter in town, a kid from California named Jon Pardi. He came to my office, stomped his boots on the floor, played me his songs, and I thought, “This guy is a force.”
I told him, “I’m starting a publishing company. Want to be my first writer?” He said yes, and he even named the company: The Song Factory. That was the official start of my career as a music publisher.
Because I had been representing hit writers for a while, I was able to connect him with the right co-writers. That only amplified what he was already doing and helped him write even more songs in a shorter amount of time.
Tell me about building The Song Factory.
I started signing writers like Bart Butler, who was writing with Jon. Bart later became Jon’s producer for several albums. We were also working with early-career artists like Ashley McBryde and Dustin Lynch.
Photo: Courtesy of Johnson
Soon you started Riser House Entertainment.
Someone brought me a CD of this artist with a voice unlike anything I’d ever heard. It was Mitchell Tenpenny. At first, he wasn’t sure if he was really an artist, he thought of himself more as a songwriter. Once I heard him, I said, “Oh no, you are absolutely an artist.”
Mitchell introduced me to Matt Swanson, a gentleman from California who had believed in him from the start. Matt was in agriculture—totally down to earth—and when we met, I knew he wasn’t in this just to make a buck. He was passionate, like this was a calling.
Together, we launched Riser House almost 10 years ago. We started with publishing—our first writer was Michael Whitworth, then Dallas Wilson, who now has hits with Lainey Wilson and Dylan Scott. We also secured publishing with Mitchell himself.
At the very beginning, it was just me, Jason Van Auken, and three interns. Those interns have since gone on to do incredible things in the music industry, which has been so rewarding to watch. It’s not just the artists whose careers we’ve been able to help build—it’s the young people behind the scenes too.
Photo: Courtesy of Johnson
You guys have really scaled your business in the last few years. What do you see for the company in the next five or 10?
We’re a boutique music company, and that’s intentional. We’re not chasing market share or algorithms or trends. Of course, we want to be a successful business—but our passion starts with the music. We want to help artists achieve whatever their goals are: Grammys, sold-out arenas, stadium tours or simply leaving a positive mark on the culture. I think if we stay committed to that, we will be successful.
What is your favorite part of your job now?
Oh gosh—there’s so much. I’ve had to learn everything from radio to record promotion, which was brand new for me coming from publishing. Watching the whole journey—from working with songwriters early on, to seeing artists record albums, get record deals, build fan bases, go on tour, form brand partnerships, and eventually sell out arenas—it’s been unbelievable.
I’ve learned that you can want it so badly for an artist, you can make all these brilliant plans, but at the end of the day, sometimes you’re simply part of a bigger journey. I truly believe God places you there, and if you’re fortunate enough to play even a small role, that’s a gift. My job is to be the best steward of that journey I can be.
Photo: Courtesy of Johnson
Is there anything from your chemistry background that you bring into what you do now?
In a philosophical sense, yes. There’s an alchemy to the music business—to how people work together. Watching writers like Dallas Wilson, Lainey Wilson, and Trannie Anderson come together was pure magic. Sometimes your role is just to help artists and writers find each other and create that spark.
Do you have any mentors who have helped you along the way?
Absolutely. My first mentor was Joe Boyland, who brokered catalogs and taught me everything about publishing on the backend like royalties, contracts, deals. That knowledge gave me the confidence to start my own company.
I never studied music business formally, so Joe was my crash course in the business side of the industry. He also taught me to be fair and keep my word no matter what.
There have been so many others I could call for advice over the years—Jon Loba, Scott Borchetta, Bill Mayne. I’ve been fortunate to have people willing to give their time and guidance.
Photo: Courtesy of Johnson
What’s a moment your younger self would find surreal?
Growing up in Louisiana, things were hard. We could have never afforded concert tickets. People worked long, blue-collar hours and talked about artists like Garth Brooks, but most never got to see a show.
Now, I get to experience music from the inside—whether it’s hearing a brand-new song in the writing room, watching Jon Pardi sell out his first arena, seeing Mitchell Tenpenny play to a crowd singing every word, or celebrating when our writers are nominated for Grammys.
I always remind myself: I have a ticket now. I’m not on the outside hearing about the show on Monday morning. I’m part of it, and I thank God for that every day.
What advice would you give someone who’s in a completely different career but wants to break into the music business?
Sometimes it’s a calling. You don’t have to know everything—or anything, really. If you feel that excitement, that passion, lean in and follow the joy. Jump in. The rest will come.
My Music Row Story: Riser House Entertainment’s Jennifer Johnson
/by LB CantrellJennifer Johnson
Jennifer Johnson never intended to have a career in the music industry. President of Riser House Entertainment, Johnson spent several years as an analytical chemist working at a chemical plant. After her childhood home burned to the ground, she started working at age nine for her uncle, who owned a machine shop in Louisiana. For a time following the fire, she lived in her family’s tractor shed with a dirt floor and no running water.
Johnson was interested in music initially as a songwriter and quickly learned she had a greater love of music publishing. She finally made the move to Nashville to work as an independent song plugger.
In 2008, Johnson launched the publishing company, The Song Factory. The first artist-writer she signed was Jon Pardi. Dustin Lynch, Ashley McBryde and Dillon Carmichael followed.
Riser House Entertainment was launched in 2017 by co-founders Matt Swanson, Mitchell Tenpenny and Johnson with the goal to create music that stands the test of time. Since its formation, the company has blossomed into a full-service record label and publishing house. Riser House Entertainment has amassed more than four billion combined on-demand streams, 11 No. 1 songs, and participated in over 20 RIAA-certified Gold or Platinum singles and albums.
Riser House’s roster includes Tenpenny, Carmichael, Meghan Patrick, LANCO, Stephen Day, The Wldlfe, Ash Ruder and COILER. Both Tenpenny and Carmichael are also signed to the company’s publishing umbrella, alongside Michael Whitworth, Dallas Wilson, Jake Mitchell, Aaron Armstorng and Chandler Baldwin.
Photo: Courtesy of Johnson
MusicRow: Where did you grow up?
I grew up in Rayville, Louisiana. It’s a tiny town with just one stoplight. Funny enough, it was only one town over from where Lainey Wilson grew up. My dad was a bricklayer and my mom was a dietician.
When I was about nine, our house burned down. After that, we moved into a tractor shed with a dirt floor, an outhouse in the woods—my dad would build fires outside for heat. My family never really recovered financially, so I started working in my uncle’s machine shop at nine years old.
I ended up starting college at 16 and graduated with a chemistry degree, minoring in math and physics.
Wow. Tell me about that.
I worked as an analytical chemist at a small chemical plant in Louisiana called Angus, which was a subsidiary of Dow. I thought I was headed toward medical school, but once I got married and started having kids, I realized the medical field wouldn’t allow me the time I wanted with my family. So I stayed home, still did some chemistry work, and that’s when I started writing songs.
I joined a local Country Music Showdown, got connected with the Nashville Songwriters Association International (NSAI) in New Orleans, and met songwriter Jim McCormick. He sent me a pitch sheet listing artists like George Strait and Keith Urban who were looking for songs.
Photo: Courtesy of Johnson
So I cold-called every single record label on that sheet, asking for meetings to pitch songs from the writers I’d met. Shockingly, I got meetings with everyone I called.
And then you were in the music business!
Through Jim, I got more pitch sheets and started calling every producer and label listed. Rusty Gaston was running a publishing company called The Song Garden then, and when I brought him songs, he told me, “If you have all these meetings, don’t just bring good songs. Bring great ones. First impressions matter.”
So I called every songwriter I knew and ended up with hundreds of songs. I listened to each one—just verse and chorus—and narrowed it down to eight songs on a single CD.
My first big meeting was at Capitol Records with Larry Willoughby. He actually put several songs on hold, and I didn’t even know what a “hold” was at the time. I just knew I needed my CD back because I had nine more meetings that week! [Laughs]
But that’s how it started. I wasn’t officially a publisher yet—I was just representing other catalogs and pitching songs independently.
Photo: Courtesy of Johnson
How did you become a publisher, officially?
Eventually, I met this guy from Arkansas who had written with a new songwriter in town, a kid from California named Jon Pardi. He came to my office, stomped his boots on the floor, played me his songs, and I thought, “This guy is a force.”
I told him, “I’m starting a publishing company. Want to be my first writer?” He said yes, and he even named the company: The Song Factory. That was the official start of my career as a music publisher.
Because I had been representing hit writers for a while, I was able to connect him with the right co-writers. That only amplified what he was already doing and helped him write even more songs in a shorter amount of time.
Tell me about building The Song Factory.
I started signing writers like Bart Butler, who was writing with Jon. Bart later became Jon’s producer for several albums. We were also working with early-career artists like Ashley McBryde and Dustin Lynch.
Photo: Courtesy of Johnson
Soon you started Riser House Entertainment.
Someone brought me a CD of this artist with a voice unlike anything I’d ever heard. It was Mitchell Tenpenny. At first, he wasn’t sure if he was really an artist, he thought of himself more as a songwriter. Once I heard him, I said, “Oh no, you are absolutely an artist.”
Mitchell introduced me to Matt Swanson, a gentleman from California who had believed in him from the start. Matt was in agriculture—totally down to earth—and when we met, I knew he wasn’t in this just to make a buck. He was passionate, like this was a calling.
Together, we launched Riser House almost 10 years ago. We started with publishing—our first writer was Michael Whitworth, then Dallas Wilson, who now has hits with Lainey Wilson and Dylan Scott. We also secured publishing with Mitchell himself.
At the very beginning, it was just me, Jason Van Auken, and three interns. Those interns have since gone on to do incredible things in the music industry, which has been so rewarding to watch. It’s not just the artists whose careers we’ve been able to help build—it’s the young people behind the scenes too.
Photo: Courtesy of Johnson
You guys have really scaled your business in the last few years. What do you see for the company in the next five or 10?
We’re a boutique music company, and that’s intentional. We’re not chasing market share or algorithms or trends. Of course, we want to be a successful business—but our passion starts with the music. We want to help artists achieve whatever their goals are: Grammys, sold-out arenas, stadium tours or simply leaving a positive mark on the culture. I think if we stay committed to that, we will be successful.
What is your favorite part of your job now?
Oh gosh—there’s so much. I’ve had to learn everything from radio to record promotion, which was brand new for me coming from publishing. Watching the whole journey—from working with songwriters early on, to seeing artists record albums, get record deals, build fan bases, go on tour, form brand partnerships, and eventually sell out arenas—it’s been unbelievable.
I’ve learned that you can want it so badly for an artist, you can make all these brilliant plans, but at the end of the day, sometimes you’re simply part of a bigger journey. I truly believe God places you there, and if you’re fortunate enough to play even a small role, that’s a gift. My job is to be the best steward of that journey I can be.
Photo: Courtesy of Johnson
Is there anything from your chemistry background that you bring into what you do now?
In a philosophical sense, yes. There’s an alchemy to the music business—to how people work together. Watching writers like Dallas Wilson, Lainey Wilson, and Trannie Anderson come together was pure magic. Sometimes your role is just to help artists and writers find each other and create that spark.
Do you have any mentors who have helped you along the way?
Absolutely. My first mentor was Joe Boyland, who brokered catalogs and taught me everything about publishing on the backend like royalties, contracts, deals. That knowledge gave me the confidence to start my own company.
I never studied music business formally, so Joe was my crash course in the business side of the industry. He also taught me to be fair and keep my word no matter what.
There have been so many others I could call for advice over the years—Jon Loba, Scott Borchetta, Bill Mayne. I’ve been fortunate to have people willing to give their time and guidance.
Photo: Courtesy of Johnson
What’s a moment your younger self would find surreal?
Growing up in Louisiana, things were hard. We could have never afforded concert tickets. People worked long, blue-collar hours and talked about artists like Garth Brooks, but most never got to see a show.
Now, I get to experience music from the inside—whether it’s hearing a brand-new song in the writing room, watching Jon Pardi sell out his first arena, seeing Mitchell Tenpenny play to a crowd singing every word, or celebrating when our writers are nominated for Grammys.
I always remind myself: I have a ticket now. I’m not on the outside hearing about the show on Monday morning. I’m part of it, and I thank God for that every day.
What advice would you give someone who’s in a completely different career but wants to break into the music business?
Sometimes it’s a calling. You don’t have to know everything—or anything, really. If you feel that excitement, that passion, lean in and follow the joy. Jump in. The rest will come.
Chris Stapleton & Brooks & Dunn To Headline Two Step Inn Festival In April
/by Lorie HollabaughPhoto: Charles Reagan for Two Step Inn
Chris Stapleton and Brooks & Dunn are set to headline the Two Step Inn Festival April 18–19 in San Gabriel Park in Georgetown, Texas.
The April 18 lineup will feature performances from Goo Goo Dolls, BigXthaPlug, Tracy Lawrence, Wyatt Flores, Muscadine Bloodline, Shenandoah and more, with Brooks & Dunn closing out the night. On April 19, Chris Stapleton will bring the festival to a powerful close, joined by The Red Clay Strays, Tedeschi Trucks Band, Randy Travis: More Life, Clay Walker, Randy Rogers Band and many others.
Set against the San Gabriel River in one of Texas’ most beautiful parks, the fourth-annual Two Step Inn will showcase more than 30 artists across three stages, with multiple dance floors creating the ultimate outdoor honky-tonk. Beyond the music, fans can enjoy Central Texas fare, along with vintage, artisan, and craft vendors celebrating the true spirit of Texas.
Fans can register for the pre-sale at twostepinn.com. One-Day and two-Day GA, GA+, VIP and Platinum tickets will be available starting tomorrow (Sept. 26) with guaranteed lowest-priced 2-Day GA tickets offered for the first hour only. All other tickets will go on sale at the same time with a public on sale to follow with any remaining tickets.
Cam & Tyler Johnson To Perform At Bluebird Cafe
/by Lauryn SinkTyler Johnson & Cam. Photo: Courtesy of the Recording Academy™️/ photo by Rebecca Sapp, Getty Images© 2025
Cam and Tyler Johnson will perform an In The Round show at The Bluebird Cafe in Nashville on Oct. 11. The evening will feature a discussion and performance from the longtime collaborators.
“We started writing songs together about 15 years ago?? Back then there were cockroaches in the kitchen and now here we are with Grammys,” shares Cam. “What a dream to ride the ride with my musical brother – and now we get to celebrate all the art we’ve made on a magical night at the Bluebird.”
Cam’s latest full-length release, All Things Light, arrived in July. Following her Bluebird Cafe performance, Cam will hit the road on the US leg of her headline tour, dubbed “The Slow Down Tour.” The dates kick off on Oct. 20 in New York, and make stops in Chicago, Nashville, Washington D.C., Philadelphia and San Francisco, before wrapping on in Los Angeles.
Dierks Bentley, Parker McCollum, More To Join Luke Bryan’s Crash My Playa In 2026
/by Lorie HollabaughLuke Bryan’s Crash My Playa 2025 Music Festival held at Moon Palace in Riviera Cancun, Mexico in 2025. Photo: Alive Coverage for Playa Luna Presents
Luke Bryan has announced the fellow artists who will be hitting the beach next year for the 2026 edition of his annual Crash My Playa concert vacation Jan. 15-18 at the Moon Palace Cancún.
Headliners along with Bryan for the festival’s 11th year include Dierks Bentley and Riley Green, and Parker McCollum will also take the stage as part of Sunday night’s special “Luke Bryan & Friends” set. The weekend will also feature the return of Dustin Lynch’s legendary pool party. The star-studded lineup also includes Tucker Wetmore, Kameron Marlowe, Chase Matthew and Priscilla Block as direct support, plus opening performances from George Birge, Josh Ross, Lauren Watkins and The Castellows.
“Crash My Playa is my favorite way to kick off the new year, and this lineup is going to make 2026 one of our best yet,” says Bryan, host of Crash My Playa. “Dierks, Riley, Parker and of course Dustin who has been there for me every single year to host his infamous pool party are going to give the fans a show they won’t forget. We can’t wait.”
Travel packages are available now via crashmyplaya.com. Guests can expect not only the concerts but also exclusive daily activities, premium all-inclusive accommodations, and unique alumni perks that make this event one of the most sought-after destination experiences in country music.
Cody Johnson, Lainey Wilson & Post Malone Set As Stagecoach Headliners
/by Madison HahnenCody Johnson, Lainey Wilson & Post Malone
Beloved California country music festival Stagecoach will return to Indio’s Empire Polo Club from April 24-26. This year’s lineup feature headline sets from Cody Johnson, Lainey Wilson and Post Malone.
The full 2026 lineup includes Adrien Nunez, Amos Lee, Avery Anna, Bailey Zimmerman, Bayker Blankenship, Benjamin Tod, BigXthaPlug, Billy Bob Thornton & The Boxmasters, Brandon Wisham, Braxton Keith, Brett Young, Brooks & Dunn, Bush, Cameron Whitcomb, Charles Wesley Godwin, Chase Matthew, Chase Rice, Corey Kent, Counting Crows, Diplo, Eli Young Band, Elizabeth Nichols, Ella Langley, Gabriella Rose, Gavin Adcock, Guy Fieri, Hannah McFarland, Hootie & the Blowfish, Hudson Westbrook, Ink, Jake Worthington, Josh Ross, Journey, Julia Cole, Kameron Marlowe, Kevin Smiley, Lane Pittman, Larkin Poe, Little Big Town, Ludacris, Lyle Lovett, Marcus King Band, Max McNown, Michael Marcagi, Nate Smith, Neon Union, Noah Cyrus, Noah Rinker, Ole 60, Pitbull, Redferrin, Red Clay Strays, Riley Green, Ryan Hurd, S.G. Goodman, Sam Barber, Something Out West, Tayler Holder, Teddy Swims, The Road, The Wallflowers, Third Eye Blind, Treaty Oak Revival, Tyler Braden, Ty Myers, Warren Zeiders, Willow Avalon, Wyatt Flores, Wynonna Judd and Zach John King.
“I’ll never forget the first time I got the call to play Stagecoach,” shares Johnson. We were on one of the smaller stages and I remember wondering if anyone would even know our songs. Now here we are invited back to headline the Mane Stage. What a ride. I hope y’all bring the energy… because it’s gonna get western.”
“My first Stagecoach was in 2022 on the SiriusXM Stage at 2:30PM in the afternoon,” says Wilson. “Look how far we’ve come y’all! I’m honored to headline this year. This is a career highlight and I can’t wait to see everyone there.”
“Had a hell of a time at Stagecoach in 2024 alongside so many incredible artists and friends,” adds Post Malone. “Can’t wait to be back next year!”
This year, the Mustang stage will kick off at dusk each day, providing the famous after-dark Stagecoach moments. The Rose Garden Saloon will also return this year for the honky tonk experience for festival attendees. Diplo will also return to the desert this year for his iconic Diplo’s Honkytonk, alongside Guy Fieri also making his return with Guy Fieri’s Stagecoach Smokehouse.
New this year will be Nashville’s own Whiskey Jam taking over the Palomino stage for after hours sets with their curated lineups spotlighting new talent and fan favorites. Also a new element this year happening on the Mane Stage will be the chance for the winner of upcoming competition show The Road to perform.
Amazon Music will return as the exclusive livestream partner for the fourth year. Stagecoach performances will be streamed live across Twitch, Prime Video and the Amazon Music app.
Passes for the 2026 festival will go on sale Oct. 2 at 1 p.m. CT here.
Brayden Stewart Signs With Warner Chappell Music Nashville
/by Lauryn SinkPictured (Back Row, L-R): Kayce Russell (WCM), Eric Reid (WCM), Bethany Mako (WCM), Julie Hess (WCM), Sara Latimer (WCM), Bryce Sherlow (WCM), Spencer Nohe (WCM), Jessi Stevenson (WCM). (Front Row, L-R): BJ Hill (WCM), Brayden Stewart, Alexa Morris (WCM), Benji Amaefule (WCM). Photo: Courtesy of WCM
Brayden Stewart has signed a worldwide publishing deal with Warner Chappell Music Nashville.
“The first time I saw Brayden play I was infatuated with his musicianship and energy on stage,” shares BJ Hill, SVP, A&R, WCM Nashville. “Then when I found out what an amazing songwriter he is, I instantly knew I wanted to be a part of his journey. I’m excited to champion his growth alongside our talented WCM team.”
Hailing from Scurry, Texas, Stewart began honing his craft at a young age, teaching himself guitar, bass, and drums. Drawing inspiration from a wide range of musical influences such as Metallica, Matchbox Twenty, Jason Isbell and Sturgill Simpson, he released his 2024 EP, Claire, and debut album Better Part of Me in 2025, with standout tracks like “Mexican Wind” and “Tell Me Why.” Stewart co-wrote a track with Pecos Hurley of Pecos & The Rooftops for the band’s upcoming album. Known for his high-energy live sets, he has toured with Blacktop Mojo and performed alongside Cole Barnhill and Kolby Cooper.
“I’m super excited to be a part of the Warner Chappell team,” adds Stewart. “I’m grateful to have found a home here with a bunch of other great creatives and I’m looking forward to collaborating with the teams more in the immediate future. This is an exciting new chapter in my life and I couldn’t feel more blessed.”
Nashville Songwriter Awards Shine At The Ryman With Tributes & Top Honors
/by LB CantrellPictured (L-R): Jason Aldean, Randy Owen of ALABAMA (Kris Kristofferson Lifetime Achievement Award Honoree), Lisa Kristofferson and Kelly Owen. Photo: Jason Davis
The eighth annual Nashville Songwriter Awards lit up the Ryman Auditorium last night (Sept. 23) with an evening of celebration and reflection honoring the gift of songwriting. Presented by the Nashville Songwriters Association International (NSAI) and City National Bank, the event recognized 42 individuals for their exceptional contributions to the craft.
The night opened with a heartfelt tribute to NSAI founding member Kris Kristofferson as Lukas Nelson performed “Loving Her Was Easier (Than Anything I’ll Ever Do Again)” in honor of the songwriting legend and namesake of NSAI’s Lifetime Achievement Award.
Later, Kris’ widow, Lisa Kristofferson, presented this year’s Kris Kristofferson Lifetime Achievement Award to Teddy Gentry, Randy Owen and the late Jeff Cook—known collectively as the iconic country group ALABAMA.
Trisha Yearwood celebrates onstage with Brenda Lee, the 2025 NSAI President’s Keystone Award Recipient. Photo: Jason Davis
Their honor was celebrated with a medley of ALABAMA hits performed by Gordon Mote, a heartfelt rendition of “There’s No Way” from Lorrie Morgan and Jason Aldean’s performance of “My Home’s in Alabama.” Gentry was unable to attend due to illness, but Owen took the stage to share humorous industry stories and reflect on the joy of songwriting.
Brenda Lee received the 2025 President’s Keystone Award, with Trisha Yearwood honoring her through a performance of “Sweet Nothin’s.” Lee expressed her gratitude to the industry for supporting her career since she began performing at age nine.
The Legendary Song Award, introduced last year to spotlight songs chosen by NSAI’s professional songwriting membership as the most influential works from defined timeframes, went to Dolly Parton’s timeless “I Will Always Love You” for the 1968-1984 era. Caylee Hammack delivered a stunning tribute performance of the classic.
Ashley Gorley claimed Songwriter of the Year for a record-breaking ninth time, celebrated with Tyler Hubbard performing “Park” and Dylan Scott delivering “This Town’s Been Too Good To Us.”
Josh Phillips, NSAI 2025 Songwriter of the Year with Lee Thomas Miller (NSAI Board President). Photo: Jason Davis
Matthew West was named 2025 Songwriter-Artist of the Year for the second time, with Anne Wilson joining the celebration to perform their co-written hit “My Jesus.”
Throughout the evening, 37 songwriters were honored with the peer-voted 10 Songs I Wish I’d Written awards. The song receiving the highest number of votes—and earning Song of the Year—was “Dirt Cheap,” written solely by Josh Phillips. Phillips shared his gratitude for the song’s success, noting how it has propelled his career forward.
Nearly all 10 Songs honorees performed their winning titles, including Ella Langley surprising the audience with co-writer Aaron Raitiere for a hilarious version of “You Look Like You Love Me.” Ian Munsick also performed “Espresso” to honor writers Amy Allen, Julian Bunetta, Sabrina Carpenter and Steph Jones.
The Nashville Songwriter Awards will return to the Ryman Auditorium for its ninth annual ceremony on Sept. 22, 2026.
Tyler Hubbard and Ashley Gorley (NSAI 2025 Songwriter of the Year) backstage at The Ryman. Photo: Jason Davis
Pictured (L-R): Bart Herbison (NSAI Executive Director, Matthew West (NSAI 2025 Songwriter of the Year), Lee Thomas Miller (NSAI Board President). Photo: Jason Davis
Donna Duncan Exits CMT
/by Madison HahnenDonna Duncan
Donna Duncan, Vice President, CMT Music & Talent, has exited her role at the company, due to organizational changes. Her last day on the job will be this Friday (Sept. 26).
Duncan joined CMT in 2006 as Executive Assistant for Program Enterprises & MTV, before being promoted to Coordinator, Series Production & Development where she worked with on-air talent and music programming including CMT on Tour, CMT Film and Rockband.
In 2012, she joined the talent team where she has since worked on booking, music specials and digital franchises, as well as close collaboration with the Integrated Marketing, Ad Sales and Digital teams across all CMT platforms. Duncan also served as Talent Executive for CMT Hot 20 Countdown, Talent Producer for the CMT Music Awards and CMT Crossroads, and has also worked across Paramount events including the recent MTV Video Music Awards.
Duncan graduated from Belmont University with a Bachelor of Business Administration and Masters of Sports Administration. She is a member of the Television Academy, CMA, ACM and WICT.
Kenny Chesney’s ‘Heart Life Music Tour’ To Visit Chicago, Nashville, Miami
/by Lorie HollabaughKenny Chesney. Photo: Danny Clinch
Kenny Chesney has added three more events for his upcoming book tour for Heart Life Music in Chicago, Nashville, and Miami in November.
“Heart Life Music: the Book Tour“ will go to Chicago the day after the book’s release on Nov. 5 for an event at the Copernicus Center. Chesney will then head to Nashville Nov. 6 for two book talks at the Country Music Hall of Fame and Museum’s CMA Theater. On Nov. 16 he will headline the Miami Book Fair’s opening weekend.
“I wanted to go to the heart of the country, and Chicago sure represents that for me,” says Chesney. “I wanted to go to the place where all of my music came together, the songwriters and creative community were so generous and encouraging to me. Teaming with Parnassus Books for an event at the Country Music Hall of Fame and Museum, yards from the Turf where I’d played for tips when I arrived, is a dream come true.
“And we were asked to be a headliner for the opening of the Miami Book Fair. I feel like we’re going back to the Super Bowl, which when you read the book, you’ll get the reference. It’s an honor to be part of such a respected and iconic event. And the way I love South Florida – from West Palm Beach’s Coral Sky to the Tortuga Music Festival, Miami and the Keys – this is a whole other homecoming.”
Chesney will be joined for the conversations that explore the story and process by two-time LA Press Club Music Criticism and Entertainment Journalist of the Year and co-author Holly Gleason.
The previously announced Johnson City and Boston events are sold-out. Tickets for Chicago and Nashville will go on-sale this Friday (Sept. 26) at 10 a.m. EST, while Miami will go on-sale on Oct. 13. More information for each event can be found here.
Heart Life Music Tour Dates:
Nov. 1- East Tennessee State University Martin Center for the Arts in the ETSU Foundation Grand Hall- Johnson City, TN
Nov. 2- Back Bay Events Center- Boston, MA
Nov. 5- Copernicus Center- Chicago, IL
Nov. 6- Country Music Hall of Fame and Museum’s CMA Theater- Nashville, TN
Nov. 16- Miami Book Fair- Miami, FL
Alison Prestwood To Be Country Music Hall Of Fame & Museum’s Next ‘Nashville Cats’ Honoree
/by Lorie HollabaughNashville bassist Alison Prestwood will be featured in the Country Music Hall of Fame and Museum’s in-depth interview series “Nashville Cats” on Nov. 22 in the museum’s Ford Theater.
Prestwood bought her first bass at 13, and after attending the University of Alabama, where she played in the school’s jazz ensemble, she spent 12 years performing in Atlanta’s live music scene. Upon moving to Nashville in the 1990s, she found touring work with Rodney Crowell, Patty Loveless, Olivia Newton-John and others. She also became an in-demand studio bassist and can be heard on several of Blake Shelton’s early hits, including his chart-topping debut, “Austin,” and his version of “Ol’ Red.”
Prestwood has also recorded with Trace Adkins, Frankie Ballard, Faith Hill, LoCash, Tim McGraw, Little Richard, Jessica Simpson, Brooks & Dunn and more. In recent years, she has served as Rock & Roll Hall of Fame member Peter Frampton’s touring bassist.
The interview will be moderated by museum writer-editor Jon Freeman and will be illustrated with rare photos, film and recordings. After the program, Prestwood will sign commemorative Hatch Show Print posters.
The “Nashville Cats”series began in 2006 by honoring Don Helms, Harold Bradley and Charlie McCoy. Since its inception nearly 20 years ago, it has showcased stories and songs from 55 musicians and session singers who have played important roles in support of artists in either the studio or on concert tours.