Gil Cunningham.
Gil Cunningham serves as Chairman of Neste Live!, a Live Nation joint venture specializing in talent buying and festival production. Based in Nashville, Cunningham has played a pivotal role in shaping the modern talent buying landscape, helping define how festivals, fairs and live events are programmed across the country. He continues to lead talent strategy for some of the largest country music festivals in North America, including the Country Thunder brand, which spans multiple markets across the U.S. and Canada.
Cunningham has been working in the live entertainment business since 1988, building his career on the talent buying side of the industry. He joined Neste Event Marketing, the company founded by his wife, in the mid-1990s, where the pair developed a business that combined sponsorship, marketing and talent buying services. Their complementary skill sets helped grow the company’s presence across the festival and event space over more than two decades.
In 2019, Live Nation acquired a majority stake in the company, forming Neste Live! and expanding its reach within the broader live entertainment landscape.
Cunningham is a five-time ACM Talent Buyer of the Year.
MusicRow: Where did you grow up?
I grew up in Des Moines, Iowa, and went to the University of Iowa.
Photo: Courtesy of Cunningham
Tell me a little bit about your childhood.
I really wasn’t into music as a kid. I mean, I went to concerts and I enjoyed music, but it wasn’t something I thought about as a passion or something that I wanted to do.
My ultimate goal was to get into the advertising business. I wanted to work for an ad agency in Chicago. I graduated from Iowa with a marketing and journalism degree, and when I graduated, we were in a bit of a recession.
I had gone to Chicago and set up around 20 interviews, but I ended up doing six because people weren’t hiring. I met with the creative director at one of the big ad agencies, and he recommended that I get some experience working in advertising at a radio station or at a newspaper.
I applied for a job at a newspaper in Burlington, Iowa, and worked in the ad department. I was there for about six months, and then I took another job working for an electronics company in a marketing department.
Photo: Courtesy of Cunningham
During my time there, I was asked to serve on an entertainment committee for an event called Burlington Steamboat Days, which was a three-day music festival that was originally a Dixieland jazz festival.
That’s where I kind of got the bug to get into the entertainment business.
I did that as a volunteer position for several years, and then I was offered a job working for Don Romeo, who was a talent buyer and producer in Omaha. That’s how I got on the talent buying side of the business.
What happened after that?
A few years later, I left the Romeo Agency and joined my wife [Liz Cunningham]. She had started a marketing company called Neste Event Marketing. I joined her buying talent for events.
She already had an established business. We’ve been partners for 27 years. Liz handled marketing and sponsorships, and I handled talent buying. If I had a potential client, I could always pitch my wife as offering marketing or sponsorship services, which gave me a bit of an edge in the marketplace.
In 2019, we sold the company to Live Nation. I’ve been under the Live Nation umbrella since then.
Liz did not sell her portion of the business. She kept the marketing and sponsorship side, and she still runs that.
Photo: Courtesy of Cunningham
We still work together on a number of events, so we’ve kept it in the family. Our oldest daughter, Lauren, went to Ole Miss and wanted to get into the music business. Today she’s an agent at WME. We also have a UGA graduate who studied music business and marketing. Abby now works at the Live Nation office as an assistant to Andrew Fortin, the President of Neste Live.
How did you get to Nashville?
We were living in Omaha when I joined Neste Event Marketing. I had been talking to a number of agents, and they told me, “If you’re going to be in this business, you really need to move to Nashville.”
My wife and I made the decision to move from Omaha to Nashville. It ended up being great advice because it was the place to be to get fully engaged in the music business at any level you wanted. It was very rewarding for us.
We made that move in 2004.
Photo: Courtesy of Cunningham
Can you tell me about your role now?
My current position is Chairman, and I work on a couple of major accounts. One of our biggest accounts is Country Thunder, which is probably the largest country music festival brand in the business. They operate seven festivals in North America.
I met Troy Vollhoffer, who got his start in the production business in Camrose, Alberta. We hit it off and started working together on events and haven’t looked back.
I was buying talent for a number of festivals in the States, and then he expanded into the U.S. He ended up buying the Country Thunder brand and I still buy for that group. I’ve been the talent producer for Country Thunder for over 30 years.
How would you explain the role of a talent buyer to someone outside of music?
If I had to explain what I do to someone outside the business, I would liken it to the role of movie producer. It’s my job to put all the parts and pieces together. As a talent producer, I buy the talent, arrange for production, marketing, publicity, whatever the client needs to have a successful show.
Most of the time, clients already have staff for those other areas, so we focus on talent buying. But for some events, like Headwaters Country Jam in Three Forks, Montana, we run the entire event and are involved in each aspect of the festival.
Photo: Courtesy of Cunningham
What is the best advice you’ve ever gotten?
Pay close attention to what experienced and knowledgeable people in the business tell you. You learn a lot from professionals who have been doing it for a long time.
When I first started, I learned a lot from agents in Nashville. There were a number of agents who were very willing to help and teach me about the nuances of talent buying business from their perspective.
I also think it’s important to listen to the artists.
Who were your mentors early on?
The major mentor I had was Don Romeo, who taught me a lot about the business.
I also learned from a number of agents. Steve Dahl at Monterey Peninsula Artists was a great teacher. He was completely transparent about how the business worked from the agent’s perspective. There were others—Rod Essig, Barry Jeffrey and Lance Roberts—who were very influential in teaching me that side of the business.
The thing about this industry is that there are so many different levels like songwriting, management and publishing. You may start out operating on one level, but you realize there are many others, and you can engage across all of them.
I still learn something every day. That’s what has made it so enjoyable for me. I always tell young people who want to get into the business that you have to start at the bottom and work your way up. That’s where you learn the most.
What is your favorite part of your job?
I get the most satisfaction out of booking an artist for a client and seeing it work for everyone. When it’s successful for the artist, successful for the client and the fans love it, that’s the best feeling. You’re always focused on how to help your client be successful, and when everything comes together, that’s really rewarding.
What’s your favorite memory of working in the business?
Photo: Courtesy of Cunningham
There are a lot. Early on, I was one of the first talent buyers in my space to bring rock acts into the fair circuit. Rock bands typically didn’t play fairs.
I put Nickelback, Def Leppard and NSYNC on the fair circuit, and the success of those shows was beyond expectations. It was very satisfying to look back and think “you identified and nailed NSYNC when they first came out.” I remember booking them early on for around $12,000, and by the time they played the shows, [all their tours] were selling out.
Another moment was booking The Monkees when they reunited. MTV started re-running their original show again right before their tour, and by the time summer rolled around, every single date was a massive sellout.
I’ve really enjoyed working on festivals. At one point, we were doing more than 20 festivals in North America and that was my favorite space. I also enjoy working with smaller fairs and helping them figure out how to spend their budget wisely and be successful. I still get great pleasure from that.
What advice would you share with someone entering the business?
I think it’s important to give back. I’ve served on the IEBA board and was president of IEBA. I’ve served on the CMA board and the TJ Martell Foundation board. Those kinds of things are really important, staying engaged and giving back to the community.
Mentoring young people is also important to me. I try to provide as much guidance as I can and help them find the right direction.
My Music Row Story: Neste Live!’s Gil Cunningham
/by Lauryn SinkGil Cunningham.
Gil Cunningham serves as Chairman of Neste Live!, a Live Nation joint venture specializing in talent buying and festival production. Based in Nashville, Cunningham has played a pivotal role in shaping the modern talent buying landscape, helping define how festivals, fairs and live events are programmed across the country. He continues to lead talent strategy for some of the largest country music festivals in North America, including the Country Thunder brand, which spans multiple markets across the U.S. and Canada.
Cunningham has been working in the live entertainment business since 1988, building his career on the talent buying side of the industry. He joined Neste Event Marketing, the company founded by his wife, in the mid-1990s, where the pair developed a business that combined sponsorship, marketing and talent buying services. Their complementary skill sets helped grow the company’s presence across the festival and event space over more than two decades.
In 2019, Live Nation acquired a majority stake in the company, forming Neste Live! and expanding its reach within the broader live entertainment landscape.
Cunningham is a five-time ACM Talent Buyer of the Year.
MusicRow: Where did you grow up?
I grew up in Des Moines, Iowa, and went to the University of Iowa.
Photo: Courtesy of Cunningham
Tell me a little bit about your childhood.
I really wasn’t into music as a kid. I mean, I went to concerts and I enjoyed music, but it wasn’t something I thought about as a passion or something that I wanted to do.
My ultimate goal was to get into the advertising business. I wanted to work for an ad agency in Chicago. I graduated from Iowa with a marketing and journalism degree, and when I graduated, we were in a bit of a recession.
I had gone to Chicago and set up around 20 interviews, but I ended up doing six because people weren’t hiring. I met with the creative director at one of the big ad agencies, and he recommended that I get some experience working in advertising at a radio station or at a newspaper.
I applied for a job at a newspaper in Burlington, Iowa, and worked in the ad department. I was there for about six months, and then I took another job working for an electronics company in a marketing department.
Photo: Courtesy of Cunningham
During my time there, I was asked to serve on an entertainment committee for an event called Burlington Steamboat Days, which was a three-day music festival that was originally a Dixieland jazz festival.
That’s where I kind of got the bug to get into the entertainment business.
I did that as a volunteer position for several years, and then I was offered a job working for Don Romeo, who was a talent buyer and producer in Omaha. That’s how I got on the talent buying side of the business.
What happened after that?
A few years later, I left the Romeo Agency and joined my wife [Liz Cunningham]. She had started a marketing company called Neste Event Marketing. I joined her buying talent for events.
She already had an established business. We’ve been partners for 27 years. Liz handled marketing and sponsorships, and I handled talent buying. If I had a potential client, I could always pitch my wife as offering marketing or sponsorship services, which gave me a bit of an edge in the marketplace.
In 2019, we sold the company to Live Nation. I’ve been under the Live Nation umbrella since then.
Liz did not sell her portion of the business. She kept the marketing and sponsorship side, and she still runs that.
Photo: Courtesy of Cunningham
We still work together on a number of events, so we’ve kept it in the family. Our oldest daughter, Lauren, went to Ole Miss and wanted to get into the music business. Today she’s an agent at WME. We also have a UGA graduate who studied music business and marketing. Abby now works at the Live Nation office as an assistant to Andrew Fortin, the President of Neste Live.
How did you get to Nashville?
We were living in Omaha when I joined Neste Event Marketing. I had been talking to a number of agents, and they told me, “If you’re going to be in this business, you really need to move to Nashville.”
My wife and I made the decision to move from Omaha to Nashville. It ended up being great advice because it was the place to be to get fully engaged in the music business at any level you wanted. It was very rewarding for us.
We made that move in 2004.
Photo: Courtesy of Cunningham
Can you tell me about your role now?
My current position is Chairman, and I work on a couple of major accounts. One of our biggest accounts is Country Thunder, which is probably the largest country music festival brand in the business. They operate seven festivals in North America.
I met Troy Vollhoffer, who got his start in the production business in Camrose, Alberta. We hit it off and started working together on events and haven’t looked back.
I was buying talent for a number of festivals in the States, and then he expanded into the U.S. He ended up buying the Country Thunder brand and I still buy for that group. I’ve been the talent producer for Country Thunder for over 30 years.
How would you explain the role of a talent buyer to someone outside of music?
If I had to explain what I do to someone outside the business, I would liken it to the role of movie producer. It’s my job to put all the parts and pieces together. As a talent producer, I buy the talent, arrange for production, marketing, publicity, whatever the client needs to have a successful show.
Most of the time, clients already have staff for those other areas, so we focus on talent buying. But for some events, like Headwaters Country Jam in Three Forks, Montana, we run the entire event and are involved in each aspect of the festival.
Photo: Courtesy of Cunningham
What is the best advice you’ve ever gotten?
Pay close attention to what experienced and knowledgeable people in the business tell you. You learn a lot from professionals who have been doing it for a long time.
When I first started, I learned a lot from agents in Nashville. There were a number of agents who were very willing to help and teach me about the nuances of talent buying business from their perspective.
I also think it’s important to listen to the artists.
Who were your mentors early on?
The major mentor I had was Don Romeo, who taught me a lot about the business.
I also learned from a number of agents. Steve Dahl at Monterey Peninsula Artists was a great teacher. He was completely transparent about how the business worked from the agent’s perspective. There were others—Rod Essig, Barry Jeffrey and Lance Roberts—who were very influential in teaching me that side of the business.
The thing about this industry is that there are so many different levels like songwriting, management and publishing. You may start out operating on one level, but you realize there are many others, and you can engage across all of them.
I still learn something every day. That’s what has made it so enjoyable for me. I always tell young people who want to get into the business that you have to start at the bottom and work your way up. That’s where you learn the most.
What is your favorite part of your job?
I get the most satisfaction out of booking an artist for a client and seeing it work for everyone. When it’s successful for the artist, successful for the client and the fans love it, that’s the best feeling. You’re always focused on how to help your client be successful, and when everything comes together, that’s really rewarding.
What’s your favorite memory of working in the business?
Photo: Courtesy of Cunningham
There are a lot. Early on, I was one of the first talent buyers in my space to bring rock acts into the fair circuit. Rock bands typically didn’t play fairs.
I put Nickelback, Def Leppard and NSYNC on the fair circuit, and the success of those shows was beyond expectations. It was very satisfying to look back and think “you identified and nailed NSYNC when they first came out.” I remember booking them early on for around $12,000, and by the time they played the shows, [all their tours] were selling out.
Another moment was booking The Monkees when they reunited. MTV started re-running their original show again right before their tour, and by the time summer rolled around, every single date was a massive sellout.
I’ve really enjoyed working on festivals. At one point, we were doing more than 20 festivals in North America and that was my favorite space. I also enjoy working with smaller fairs and helping them figure out how to spend their budget wisely and be successful. I still get great pleasure from that.
What advice would you share with someone entering the business?
I think it’s important to give back. I’ve served on the IEBA board and was president of IEBA. I’ve served on the CMA board and the TJ Martell Foundation board. Those kinds of things are really important, staying engaged and giving back to the community.
Mentoring young people is also important to me. I try to provide as much guidance as I can and help them find the right direction.
Jeff Bates Celebrates 25 Years Of Meth Sobriety With New Album
/by Madison HahnenJeff Bates will release his first gospel album, Hymns From the Church in the Wildwood, on May 1 via Tall Grass Records. The project will celebrate 25 years of sobriety after overcoming methamphetamine addiction and a period of incarceration.
“Twenty-five years clean and sober,” says Bates. “I know, without a shadow of a doubt, that there is no way I could have ever stayed clean without God! So, above all, I hope and pray that this album of hymns brings my Heavenly Father all the honor and all the glory He so richly deserves!”
The 12 track project was inspired by the hymns of Bates’ upbringing and the faith that guided him out of darkness. The album also features gospel standards sent through generations. The record represents themes of hope, redemption, and grace.
“When I was a small boy my Mama would sing old gospel hymns to me that she learned as a little girl in church,” shares Bates. “I’ve never forgotten her voice, her melodies, nor the reverence and love she held in her heart for these songs. I have dreamed of sharing these songs with you all for a long, long time.
“Thanks to my friend and brother Daniel ‘Stubbs’ Lucus, and his love for the same music that, like me, he grew up hearing, that dream has now become a reality,” he continues Bates. ‘We are both honored and blessed to present to you these Hymns From The Church In The Wildwood, and we hope you enjoy them as much as we do!”
Hymns From the Church in the Wildwood Track Listing:
1. “Sweet Beulah Land”
2. “The Church in the Wildwood”
3. “Precious Memories”
4. “How Great Thou Art”
5. “Shall We Gather at the River”
6. “Peace In the Valley”
7. “Were You There (When They Crucified My Lord)”
8. “Just As I Am”
9. “Have a Little Talk with Jesus”
10. “Old Rugged Cross”
11. “Amazing Grace”
12. “When The Roll Is Called Up Yonder”
CMA Celebrates Songwriting Excellence At 2026 Triple Play Awards
/by Madison HahnenCMA Triple Play Award recipients with the CMA’s Tiffany Kerns, host Jim Beavers, CMA CEO Sarah Trahern and songwriter advocate of the year Bart Herbison at CMA’s Triple Play Awards. Photo: Alyssa Barker/CMA
The Country Music Association brought together some of country music’s most accomplished songwriters Monday night (April 13) at the 2026 CMA Triple Play Awards, held at the Country Music Hall of Fame and Museum. The annual event recognizes the elite achievement of writing three No. 1 songs within a single year.
The full list of honorees includes Andy Albert, Louis Bell, John Byron, Jessie Jo Dillon, Ashley Gorley, Riley Green, Charlie Handsome, Jacob Kasher Hindlin, Ella Langley, Chase McGill, John Morgan, Blake Pendergrass, Taylor Phillips, Austin Post, Ernest Keith Smith and Morgan Wallen. Many of the honorees were in attendance, each taking a few moments to thank their families, teams and collaborators.
Jim Beavers, a CMA Board member and acclaimed songwriter, emceed the evening, infusing the event with his trademark wit and warmth. Sarah Trahern, CMA CEO, opened the ceremony with remarks, saying “CMA exists to celebrate excellence, to support and advocate for the people who make this music possible, and to help expand the reach of country music.”
Bart Herbison at the 16th Annual CMA Triple Play Awards. Photo: Alyssa Barker/CMA
CMA also honored 43 songwriters who earned their very first No. 1 hit since the last Triple Play celebration, may of whom were in attendance and received a commemorative medallion.
The annual in memoriam segment paid tribute tho those who the music community has lost over the past year, and was accompanied by a performance of The High Kings’ “The Parting Glass” performed by Cary Barlowe, Gordie Sampson and Hillary Lindsey.
One of the evening’s standout moments came as NSAI’s Executive Director Bart Herbison was honored with the 2025 CMA Songwriter Advocate Award, recognizing his decades of impact on the songwriting community. Ahead of the presentation, a video tribute featured messages from songwriters, and industry peers impacted by Herbison’s continuous advocacy for songwriters.
Before Herbison took the stage, Josh Osborne took the stage to perform one of Herbison’s favorite tunes, Keith Urban’s “John Cougar, John Deere, John 3:16.”
Taking the stage to a standing ovation, Herbison highlighted different legislation passed for songwriters and more on the horizon. He also thanked his family, team and mentors. Herbison closed with a statement that sent applause through the room: “Our trademark is ‘it all begins with a song.’ Here’s what I want it to say in a few years: ‘It all begins with a song, a song that a human wrote, a song from which they were fairly paid.’”
A surprise performance from Lee Roy Parnell followed, performing “They Don’t Know You” in honor of Herbison.
In the last surprise of the night, CMA honored Paul Overstreet for his pending induction into the Country Music Hall of Fame by bringing together four of his children, Chord, Nash, Harmony and Summer, to perform a medley of his hits. The medley captivated the room, and included hits such as Randy Travis’ “On The Other Hand,” Blake Shelton’s “Some Beach,” Paul’s own “Seein’ My Father In Me,” and many more.
Hillary Lindsey, Cary Barlow, and Gordie Sampson perform the In Memoriam tribute at the 16th Annual CMA Triple Play Awards. Photo: Alyssa Barker/CMA
Josh Osborne plays a tribute to Songwriter Advocate Award winner Bart Herbison at CMA’s Triple Play Awards. Photo: Alyssa Barker/CMA
Lee Roy Parnell plays a tribute to Songwriter Advocate Award winner Bart Herbison at CMA’s Triple Play Award. Photo: Alyssa Barker/CMA
Summer, Chord, Nash, and Charity Overstreet perform a medley in recognition of their father, Paul Overstreet at the CMA Triple Play Awards. Paul Overstreet is the 2026 Songwriter Inductee into the Country Music Hall of Hame. Photo: Alyssa Barker/CMA
Industry Ink: How Nashville Became Music City, Don McLean, Kameron Marlowe, The Nashville Briefing
/by Lauryn SinkRobert Oermann & Mark Montgomery To Host ‘How Nashville Became Music City’
Robert Oermann and Mark Montgomery will host “How Nashville Became Music City” on April 29 at The Nashville Entrepreneur Center.
Oermann’s presentation will begin at 5:30. After the presentation he will sit down for an exclusive interview with Montgomery.
The event is free, but registration is required.
Don McLean’s ‘Classics’ Album Earns Gold Certification
Pictured (L-R): Peyton Maria, Aaron Snavely, John Chapman, Jeff Tuerff, Don McLean, Benson Curb, Trevor Mathiesen, Giovanna Randolph, Chris Collins and Doris Bratcher. Photo: Jeremy Westby
Don McLean’s Classics Album has been certified Gold. The 10-song Curb Records project features some of his biggest hits from the 1970s, including “American Pie,” “Vincent, ” “Crying,” and “And I Love You So.”
“What an honor! To be back in Nashville, where I once recorded several albums with Larry Butler is always fun, but to be presented with a Gold album from Mike Curb and the great people of Curb Records is even more special,” says McLean. “I am consistently surprised to learn how many new people are learning about my songs. This digital streaming era has really given new life to so many older recordings. I just love it!”
Kameron Marlowe Plays At The Caverns
Pictured (L-R): Caryl Atwood, Christy Garbinski, Kameron Marlowe, Kaitlin Madewell, Lauren Taylor, Liz Cost and Rachel Hobbs.
Kameron Marlowe met up with the Sony Music Nashville team ahead of his show at The Caverns last week (April 10).
The Nashville Briefing Celebrates 30 Under 30
Pictured (L-R): Saxon Cury (Sticks Management), Dylan J (Artist/Songwriter), Ava Boney (Big Loud Rock), Zak Kuhn (The Nashville Briefing Founder), Emily Crews (Back Blocks Music), Hannah Barnes (The Nashville Briefing). Photo: Samuel Harris
The Nashville Briefing celebrated the release of its annual 30 UNDER 30 list on Monday with an event at JBJ’s Nashville.
“It’s been amazing to see how much this event has grown,” says The Nashville Briefing’s founder Zak Kuhn. “We have an incredible community of alumni who gather every year to celebrate a new generation of Nashville power players. We had everyone in attendance last night from agency heads to people who just moved to town. That’s the power of this list. Everyone wants to celebrate the next 30 Under 30 class and get to know them! Thanks also to our event partner, Loeb & Loeb LLP, who share a belief in shining a light on Nashville’s next batch of executives. They were the perfect partner for this event.”
Splice Extends Creator Compensation Model With New Generative AI Tools
/by Lorie HollabaughMusic creation platform Splice has announced a new suite of AI tools that extend Splice’s established creator payment model into generative AI.
Splice’s approach combines human-made, licensed sounds with new AI capabilities to unlock creative possibilities. With these new tools, every sample in Splice’s catalog of more than three million, remains traceable to its original creator, with compensation extending to AI-generated variations as well.
“Producers have always used samples as a foundation for new ideas; these tools extend that tradition, enabling sounds to be reshaped and reimagined. Grounded in deep, long-standing relationships with producers and sound creators, they reflect real creative workflows and reinforce the value of original work,” says CEO Kakul Srivastava.
Now available in Splice’s Sounds and Instrument plugins, these tools work directly in the DAW, giving producers the power to shape sounds with precision while ensuring all output is licensed for commercial use. Three tools make up the launch:
– Variations, available in the Sounds plugin, lets producers create new versions of any Splice sample – adjusting structure, key, and BPM while preserving the original’s core characteristics. The original creator is compensated each time their sound is used as a source and each time the variation is downloaded.
– Craft, a new feature in Splice INSTRUMENT, transforms samples into fully playable instruments.
– Magic Fit adapts any Splice sound to match the harmonic and rhythmic context of a session. (Available Summer 2026.)
Sample creator Oliver adds, “With so many AI tools rushing to market, artists often feel like an afterthought. Splice has taken the opposite approach, building with creators to ensure this technology supports artists, rather than replacing them.”
Sarah Trahern Honored With Robert E. Mulloy Award Of Excellence
/by Lorie HollabaughPictured (L-R): Belmont University President Greg Jones, Sarah Trahern and Curb College Dean Brittany Schaffer.
Country Music Association CEO Sarah Trahern was presented with the 2026 Robert E. Mulloy Award of Excellence from Belmont University’s Mike Curb College of Entertainment & Music Business during a ceremony before the University’s annual Best of the Best Showcase.
Established in 2008 in memory of music business program Founder Bob Mulloy, the award annually recognizes an individual who has achieved excellence in the music business and entertainment industries while demonstrating notable service to Belmont University and the Nashville community. Belmont University President Greg Jones presented Trahern with the award during the pre-show reception.
“Her impact on the music industry and growth of the CMA under her leadership is remarkable,” said Jones. “The generations of students aspiring to lead in the music industry, both on stage and behind the scenes, have Sarah to thank for so many past, present and future opportunities.”
“I have watched her impact firsthand and am proud to call her both a mentor and a friend,” shared Brittany Schaffer, Dean of the Curb College of Entertainment & Music Business. “There was not a doubt in my mind who should receive this year’s honor.”
Since taking the helm at CMA in 2014, Trahern has led CMA through a period of significant growth. She oversees the CMA Awards, CMA Fest, CMA Country Christmas, and serves as president of the CMA Foundation, which funds music education initiatives across the country. Her leadership has earned consistent recognition, including Billboard‘s Executive of the Year in 2017 and the Bob Kingsley Living Legend Award from the Grand Ole Opry in 2024.
Trahern’s commitment to the people behind the music has been equally defining. Most recently, CMA committed $3 million to Belmont’s Center for Mental Health in Entertainment, a first-of-its-kind initiative addressing mental health research, education and resources across the industry. A member of Belmont’s Board of Trustees, Trahern has brought that same investment to shaping the University’s future.
“To be included among the extraordinary individuals who have received this recognition — people who helped shape the sound and business and spirit of the industry — is both humbling and deeply meaningful,” said Trahern. “What makes this so special is the setting tonight. It is about the next generation. It’s about students stepping into their moment, finding their voice, and beginning to build what the future of music will look like. There’s nothing more energizing and hopeful than being in a room like this.”
Trahern joins a distinguished list of past recipients including Vince Gill, Gordon Kennedy, Doug Howard, Troy Tomlinson, Donna Hilley, Mike Curb and John Zarling, among others.
Keith Urban To Headline ‘ACM Next Wave: Country’s Beach Bash’
/by Lorie HollabaughThe ACM has announced additional performers and new event details for this year’s ACM Awards Week lineup, which will take place leading up to the 61st ACM Awards on May 17 at the MGM Grand Garden Arena in Las Vegas.
Keith Urban will headline “ACM Next Wave: Country’s Beach Bash” at Mandalay Bay Beach on May 16. Urban joins previously announced performers Flatland Cavalry, Ashley Cooke, Dasha, Braxton Keith and Tucker Wetmore, as well as members of the Opry NextStage Class of 2026 Willow Avalon, Graham Barham, Tyler Braden, Alexandra Kay, Vincent Mason, Emily Ann Roberts and Hudson Westbrook on the show.
Additionally, Avery Anna, The Band Perry, Jenna Paulette and Caroline Jones have been announced as performers for the “Whiskey Jam Welcome Party” on May 14, a free ACM Awards welcome party open to both fans and industry alike held at Ole Red Las Vegas. Additional performers will be announced for the “Whiskey Jam Welcome Party” soon.
“Whiskey Jam Welcome Party” joins the previously announced ACM Awards Week events including the “ACM Next Wave: Country’s Beach Bash” and “ACM Lifting Lives Country on the Green: Riley Green & Friends” at Topgolf Las Vegas on May 15. The event will feature an up-close concert experience with headliner Green, alongside Lauren Alaina, Rodney Atkins, and Randy Houser. Tickets are available at $200 for VIP Early Access to General Admission doors and $150 for General Admission at AXS.com. Proceeds benefit ACM Lifting Lives, the philanthropic partner of the Academy of Country Music.
Spotify & NIVA Form Partnership
/by Madison HahnenSpotify and the National Independent Venue Association (NIVA) have revealed a year-long partnership, which will help support independent live music across the country.
“Independent venues are the heartbeat of live music,” says Rene Volker, Senior Director, Live Music, Spotify. “They’re where artists take risks, build devoted communities, and where fans discover what they’ll love for the rest of their lives. This partnership with NIVA is about making sure Spotify’s platform, editorial, and product capabilities are working in direct service of that ecosystem. We’re here for the long game.”
“Independent stages are where every artist gets their start and where nearly 200 million fans a year experience the joy of music, comedy, and performance,” adds Stephen Parker, Executive Director, National Independent Venue Association. “NIVA’s Certified Live Independent is a seal that shows the sacrifices and ingenuity that goes into keeping their venue or festival independent. We’re grateful that Spotify is elevating that seal and independent stages on their platform to allow millions of fans to experience the magic of these spaces.”
Below are some of the new initiaives that will launch through the new partnership:
Amplifying independent events: Spotify will highlight independent venues through venue pages and the Live Events feed.
Monthly playlist spotlights: Spotify will launch the Independent Booker Spotlight playlist series this summer. NIVA will select a new independent booking agent each month to create a playlist alongside Spotify’s editorial team.
Recognizing independent venues: NIVA will have Certified Live Independent seal that marks independently owned venues. The seal is intended to elevate the quality and sustainability of independent live performances while safeguarding the authentic, distinctive character that defines these cultural spaces. By featuring this seal on venue pages on Spotify, it will give independent venues platform visibility that matches their impact on the broader ecosystem.
Investing in the future of live music: Spotify will invest in venues that showcase both early growth and long-term community building.
SoFi, Kelsea Ballerini & CMA Launch Amplify Your Ambitions Contest
/by Lauryn SinkSoFi, Kelsea Ballerini and CMA have partnered to launch the Amplify Your Ambitions Contest.
Today through April 30, artists can enter here for a chance to win the $200,000 grand prize or one of two $50,000 runner-up prizes. Three finalists will be selected by a panel of judges that includes Ballerini, Shane McAnally and Vivian Tu, SoFi’s Chief of Financial Empowerment and New York Times bestselling author. The winner will be revealed on June 4, when all three finalists perform in front of the judges at an intimate concert in Nashville.
“I know firsthand how much it takes to build a career in music, especially when you’re funding it on your own,” shares Ballerini. “That’s why I’m excited to partner with SoFi on this. We’re looking for artists with passion, determination, and a strong sense of who they are, artists who are not only committed to their craft but thoughtful about how they invest in themselves and their music.”
“At SoFi, we’re focused on helping people take control of their financial futures,” adds Lauren Staffor Webb, SoFi Chief Marketing Officer. “Our partnership with Kelsea and CMA reflects a shared commitment to investing in the next generation of artists and the fans who support them. As the presenting sponsor for CMA Fest, we’re extending our commitment by empowering SoFi members with the financial tools and support they need to build stability, grow their money, and make meaningful progress towards long term goals.”
More information about all eligibility requirements can be found here.
Rhonda Vincent, The Grascals, More Set To Play Blue Highway Fest In October
/by Lorie HollabaughBlue Highway Fest has revealed the first round of artists in the lineup for this year’s event in Big Stone Gap, Virginia, Oct. 8-11.
The 2026 lineup includes Doyle Lawson & Quicksilver, Rhonda Vincent & the Rage, The Grascals, and The Cleverlys, with the festival’s namesake and host band Blue Highway anchoring the weekend throughout.
The festival will open Oct. 8 with a songwriters’ night on the downtown 3rd Street stage. With performers to be announced, the event will highlight roots music songwriting, and also pay tribute to Ronnie Bowman, who was set to perform at this year’s festival but tragically passed away on March 22.
“This year we are listening to our fans and getting back to four full days of bluegrass, roots and Americana music with the major focus on bluegrass,” says Wayne Taylor of Blue Highway.
Festival tickets as well as camping and RV parking go on sale today (April 15). Additional performers, as well as daily tickets and schedules, will be announced at a later date.