Little Big Town. Photo: Becky Fluke
After more than two decades together, Little Big Town knows a thing or two about evolution. But on their new album, It’s A Dying Art, the band found itself looking backward in order to move forward.
The album’s title comes from the song of the same name, written by the band’s Karen Fairchild with Ashley Ray, Madi Yanofsky and Jonnie Simpson. What began as a love song about enduring the test of time eventually became a larger statement about the value of things made by hand and the human connection behind them.
“We as a band started talking about everything that’s going on in the world with AI and just the lack of getting back to making art,” Fairchild told MusicRow. “Things that you make with your hands, your voices, the instruments, that’s something that can’t be taken away from us.”
That idea became a guiding principle for the project, which the band created without the usual expectations surrounding radio hits or current trends.
“We always try to make records without boundaries, but we’re also human. Sometimes you can get the voices in your head of ‘you got to have a radio hit’ or whatever the trend is at the moment,” Fairchild says. “This time, we didn’t feel any pressure to do anything other than make what we felt like was relevant, good storytelling.” 
After 25 years as a band, Little Big Town’s anniversary could have easily shaped the album into a retrospective. Instead, the group approached the project as another opportunity to chase inspiration and see where the songs led.
That process led the band into new sonic territory. Jimi Westbrook says the album retains familiar elements of Little Big Town’s sound while presenting them in a different way, particularly through the production and vocal performances.
A major part of that shift came through working with Gena Johnson, who initially engineered the project before becoming more involved in its production. Fairchild had previously worked with her alongside Ashley Monroe and immediately felt she would be a natural fit for the group.
That openness gave Little Big Town room to experiment, with ideas often emerging spontaneously in the studio.
“Her spirit is just beautiful and open and encouraging,” Kimberly Schlapman says. “You don’t ever feel like you are very vulnerable, but you don’t feel inhibited or exposed for that vulnerability.”
The band also leaned into the imperfections and unexpected moments that come with making music organically. That philosophy can be heard in the album’s collaborations, including an appearance from Ashley Monroe and a contribution from Jason Isbell.
Monroe’s vocals were actually part of the song from its earliest stages, and the band decided to leave them intact after hearing how naturally her voice blended with Schlapman’s.
Isbell, meanwhile, was brought into the process through Johnson and quickly made an impression on the band.
“I am such a fan of his writing and his playing,” Westbrook says. “It was an awesome experience being in the studio with him. He’s such a warm guy. He’s just a great hang.”
The album also features Kelsea Ballerini on “Closing Time,” a song she co-wrote with Fairchild alongside Jessie Jo Dillon, Hillary Lindsey and Alysa Vanderheym several years ago. After Fairchild told Ballerini about the project, Ballerini asked to be part of the album, making the collaboration a natural extension of their friendship and songwriting history.
Another important piece of the album is “Hey There Sunshine,” which Little Big Town selected as the opening track. The song addresses mental health, grief and hope, offering a fitting introduction to a project centered on finding light in difficult moments.
Westbrook had actually first heard the song several years earlier and immediately connected with it.
“It’s such a powerful lyric and such hope in it that even in the darkness, hope comes through,” he says.
Little Big Town & Kelsea Ballerini – Courtsey Little Big Town
That balance of honesty and hope continues into songs such as “It’s A Long Way To Your Heart,” which explores the emotional distance that can exist within a long-term relationship, and “We Could Have It All,” a song Fairchild and Monroe wrote on the bus.
“I think it’s just telling the truth,” Fairchild says of “It’s A Long Way To Your Heart.” “It beautifully describes when you’re connected to someone, but you’re disconnected emotionally.”
Even the album artwork reflects the project’s themes. Inspired by New Orleans’ architecture, music and history, the band and its creative team ultimately created a new photograph using an old-fashioned process, including a vintage frame, canvas and a hand-finished backdrop.
For Little Big Town, It’s A Dying Art ultimately represents both where the band has been and where it is going. Westbrook sees the album as a snapshot of the group’s history, while Philip Sweet believes it captures the energy that has kept the band together for more than two decades.
“We are a band that has always had a spark,” Sweet says. “We always had a thing that just drove us always. And that youthful energy is what you hear in this music.”
After 26 years, Little Big Town is still chasing the same thing they always have: great songs, strong harmonies and the magic that happens when four musicians create something together in a room.
Kenny Chesney Notches A Fourth Week Atop The MusicRow Radio Chart
/by John Nix ArledgeKenny Chesney; Photo: Allister Ann
Kenny Chesney notches a fourth week at No. 1 on the MusicRow Radio Chart with “Carry On.”
The track comes off of Chesney’s 21st studio album Silver Sands Marina and was written by Chase McGill, Matt Jenkins and Jessi Alexander.
Today (Aug. 28), Chesney released his new track “Goldfish” alongside a music video filmed in Maui with his band ahead of his album due next month.
“Carry On” currently sits at No. 9 on the Billboard Country Airplay chart and No. 6 on the Mediabase chart.
Click here to view the latest edition of the MusicRow Weekly containing the MusicRow CountryBreakout Radio Chart.
Little Big Town Gets Back To What Matters On ‘It’s A Dying Art’ [Interview]
/by Madison HahnenLittle Big Town. Photo: Becky Fluke
After more than two decades together, Little Big Town knows a thing or two about evolution. But on their new album, It’s A Dying Art, the band found itself looking backward in order to move forward.
The album’s title comes from the song of the same name, written by the band’s Karen Fairchild with Ashley Ray, Madi Yanofsky and Jonnie Simpson. What began as a love song about enduring the test of time eventually became a larger statement about the value of things made by hand and the human connection behind them.
“We as a band started talking about everything that’s going on in the world with AI and just the lack of getting back to making art,” Fairchild told MusicRow. “Things that you make with your hands, your voices, the instruments, that’s something that can’t be taken away from us.”
That idea became a guiding principle for the project, which the band created without the usual expectations surrounding radio hits or current trends.
“We always try to make records without boundaries, but we’re also human. Sometimes you can get the voices in your head of ‘you got to have a radio hit’ or whatever the trend is at the moment,” Fairchild says. “This time, we didn’t feel any pressure to do anything other than make what we felt like was relevant, good storytelling.”
After 25 years as a band, Little Big Town’s anniversary could have easily shaped the album into a retrospective. Instead, the group approached the project as another opportunity to chase inspiration and see where the songs led.
That process led the band into new sonic territory. Jimi Westbrook says the album retains familiar elements of Little Big Town’s sound while presenting them in a different way, particularly through the production and vocal performances.
A major part of that shift came through working with Gena Johnson, who initially engineered the project before becoming more involved in its production. Fairchild had previously worked with her alongside Ashley Monroe and immediately felt she would be a natural fit for the group.
That openness gave Little Big Town room to experiment, with ideas often emerging spontaneously in the studio.
“Her spirit is just beautiful and open and encouraging,” Kimberly Schlapman says. “You don’t ever feel like you are very vulnerable, but you don’t feel inhibited or exposed for that vulnerability.”
The band also leaned into the imperfections and unexpected moments that come with making music organically. That philosophy can be heard in the album’s collaborations, including an appearance from Ashley Monroe and a contribution from Jason Isbell.
Monroe’s vocals were actually part of the song from its earliest stages, and the band decided to leave them intact after hearing how naturally her voice blended with Schlapman’s.
Isbell, meanwhile, was brought into the process through Johnson and quickly made an impression on the band.
“I am such a fan of his writing and his playing,” Westbrook says. “It was an awesome experience being in the studio with him. He’s such a warm guy. He’s just a great hang.”
The album also features Kelsea Ballerini on “Closing Time,” a song she co-wrote with Fairchild alongside Jessie Jo Dillon, Hillary Lindsey and Alysa Vanderheym several years ago. After Fairchild told Ballerini about the project, Ballerini asked to be part of the album, making the collaboration a natural extension of their friendship and songwriting history.
Another important piece of the album is “Hey There Sunshine,” which Little Big Town selected as the opening track. The song addresses mental health, grief and hope, offering a fitting introduction to a project centered on finding light in difficult moments.
Westbrook had actually first heard the song several years earlier and immediately connected with it.
“It’s such a powerful lyric and such hope in it that even in the darkness, hope comes through,” he says.
Little Big Town & Kelsea Ballerini – Courtsey Little Big Town
That balance of honesty and hope continues into songs such as “It’s A Long Way To Your Heart,” which explores the emotional distance that can exist within a long-term relationship, and “We Could Have It All,” a song Fairchild and Monroe wrote on the bus.
“I think it’s just telling the truth,” Fairchild says of “It’s A Long Way To Your Heart.” “It beautifully describes when you’re connected to someone, but you’re disconnected emotionally.”
Even the album artwork reflects the project’s themes. Inspired by New Orleans’ architecture, music and history, the band and its creative team ultimately created a new photograph using an old-fashioned process, including a vintage frame, canvas and a hand-finished backdrop.
For Little Big Town, It’s A Dying Art ultimately represents both where the band has been and where it is going. Westbrook sees the album as a snapshot of the group’s history, while Philip Sweet believes it captures the energy that has kept the band together for more than two decades.
“We are a band that has always had a spark,” Sweet says. “We always had a thing that just drove us always. And that youthful energy is what you hear in this music.”
After 26 years, Little Big Town is still chasing the same thing they always have: great songs, strong harmonies and the magic that happens when four musicians create something together in a room.
Women’s Audio Mission Announces WAMCon 2026 At Nashville’s Ocean Way Studios
/by Lorie HollabaughWomen’s Audio Mission, a nonprofit dedicated to advancing women and gender-expansive individuals in music production and the recording arts, is hosting WAMCon Nashville, a one-day conference designed to give attendees an inside look at the world of professional audio and music production.
Set for Oct. 30 at Ocean Way Nashville Recording Studios, WAMCon offers a lineup of hands-on workshops, studio experiences, demos and mentorship opportunities. Programming this year will include vocal production, vintage Neve console training, instrument recording workshops, mixing demos, Dolby Atmos and immersive audio demonstrations, and mentorship with experienced studio professionals. Attendees will have the opportunity to learn new skills, explore professional recording environments, and connect with working audio industry experts.
Featured speakers and mentors include: Gena Johnson – 2x Grammy winning Producer and Engineer (Brandi Carlile, Jason Isbell, Chris Stapleton); Shani Gandhi – Grammy winning Producer and Engineer (Miranda Lambert, Kacey Musgraves, Sierra Hull); Leslie Richter – Nashville-based Producer, Recording Engineer, and Educator (Sheryl Crow, Sara Bareilles, Kacey Musgraves); Kazuri Arai – Producer, Engineer, and Keyboardist (Alicia Keys, Jack White); Alex Hope – Australian Producer and Songwriter based in Nashville (Troye Sivan, Selena Gomez); Dr. Leslie Gaston-Bird – Audio Engineer, Educator, and Dolby Atmos Expert based in the UK; Maddie Harmon – Engineer, Producer, and Atmos mixer (Noah Kahan, Suki Waterhouse, Yelawolf); Jen Watman – Audio Engineer, Creative Producer, and Musician (SSL, Redbull, Spotify); Rachael Moser – Audio Systems Engineer at Clair Global (Chris Stapleton’s All-American Road); and Anika Heywood – Staff Engineer at Ocean Way Studios (Sony, Amazon).
“We are thrilled to be back at the iconic Ocean Way Nashville Recording Studios with this incredible line up of trailblazing engineers, producers, and songwriters, ” says Terri Winston, Founder & Executive Director. “WAMCon is an unparalleled, action-packed day of learning with the world’s leading industrypros on everything from live concert sound, to vocal production, to tracking and mixing in a world-renowned recording studio.”
Tickets and more information are available here.
Drake White’s ‘Benefit For The Brain’ Returns To Ryman Auditorium
/by Lauryn SinkDrake White. Photo: Zack Knudsen
Drake White is bringing his annual “Benefit For The Brain” show back to the Ryman Auditorium on Nov. 16.
The event will focus on raising money for mental wellness for military and veterans, especially PTSD, brain health in children and adolescents and innovative approaches to stroke recovery and neurological treatment. White’s non-profit The Benefit For The Brain will donate and disperse proceeds from the show to select charity organizations. This year’s lineup will be announced at a later date.
In 2019, White endured a stroke on stage that later led to a Arteriovenous Malformation (AVM) diagnosis that required seven brain surgeries.
Last year’s “Benefit For The Brain” raised a record-setting amount that surpassed the fundraising total of its inaugural concert, with proceeds supporting Make-A-Wish Middle Tennessee, CreatiVets and the Miracle Hope Foundation. The sold-out evening featured performances from White, Riley Green, Jon Pardi, Kassi Ashton, and surprise guests Jessi Alexander and Randy Owen of Alabama.
White will also present the first-ever Loblolly Fest on Oct. 17 in his hometown of Hokes Bluff, AL. Taking place at The Bluff Amphitheater, the festival will feature performances from White, The Marshall Tucker Band, Randy Houser and Ashton, with proceeds supporting The Benefit For The Brain.
Diane Pearson Elected President Of Leadership Music Board
/by Lauryn SinkNeal Spielberg and Diane Pearson. Photo: Courtesy of Leadership Music
Diane Pearson has been elected as President of Leadership Music Board for the 2026-27 fiscal year. Pearson, a member of the LM Class of 2007, is Senior Vice President, Entertainment & Sports Division at City National Bank Nashville.
“Leadership Music is an organization I care deeply about, and it is an honor to serve as Board President once again,” Pearson says. “I’ve seen firsthand the impact this organization has on the people who shape our creative community, and I’m continually inspired by the passion, talent, and generosity of our alumni. I’m excited to work alongside this outstanding board and our incredible staff as we continue to strengthen Leadership Music and its mission for the future.”
Officers joining Pearson include President-Elect Steve Eggart of Ground Control Business Management, Past President Neal Spielberg of Spielberg Entertainment, Treasurer Catherine Moore of Farris, Self and Moore, and Jackie Patillo of the Gospel Music Association as Secretary. Other members of the Executive Committee include Veteran Agent Brad Bissell, Andrew Kautz of Kautz & Associates, Manuel Delgado of Delgado Guitars, Scott Gerow of Battery Lane Music, Tera Healy of The Recording Academy and Rondal Richardson of the Community Foundation of Middle Tennessee.
Leadership Music has appointed four new board members, including Mitch Glazier of Recording Industry Association of America (RIAA), Scott Jungmichel of SESAC, Stacy Blythe of Big Loud Records, and Kris Ahrend of The Mechanical Licensing Collective (The MLC).
Will Cheek and Lynn Morrow of Adams & Reese LLP serve as legal counsel.
To date, Leadership Music has graduated 1,400 leaders from across the country in virtually every segment of the entertainment industry, as well as community leaders, including two Nashville mayors, the deputy chief of police, and a Tennessee Congressman.
Leadership Music Board Members:
Kris Ahrend, The Mechanical Licensing Collective (The MLC)
Brad Bissell, Veteran Agent
Stacy Blythe, Big Loud Records
Manuel Delgado, Delgado Guitars
Nic Dugger, MultyCam/TNDV: Television LLC
Beville Dunkerley, Maverick Nashville
Craig Dunn, One Spark Entertainment
Steve Eggart, Ground Control Business Management
Randall Foster, Symphonic
Joe Galante, Galante Entertainment
Scott Gerow, Battery Lane Music
Mitch Glazier, Recording Industry Association of America (RIAA)
Tera Healy, The Recording Academy
Phil Hughley, Musician/Songwriter
Scott Jungmichel, SESAC
Michelle Tigard Kammerer, Amazon Music
Andrew Kautz, Kautz & Associates
Victoria Mason, Warner Music Nashville
Gina Waters Miller, Waters Edge Entertainment
Catherine Moore, Farris, Self and Moore
Jason Oschwald, Big Spring Entertainment
Jackie Patillo, Gospel Music Association
Diane Pearson, City National Bank
Rondal Richardson, Music Community Foundation
Leslie Richter, Belmont University
Colin Rushing, Digital Media Association (DiMA)
Neal Spielberg, Spielberg Entertainment
DISClaimer Single Reviews: Wynonna’s ‘Emotional Ballad’ Nabs Disc Of The Day
/by Robert K OermannWynonna Judd. Photo: Thomas Crabtree
Women are in the driver’s seat in today’s DISClaimer column.
Leading the pack is Wynonna with her powerful Disc of the Day performance. Such sisters in song as Reba, Ashley Cooke, Emily Ann Roberts, Kaitlin Butts, Mae Estes, Tigirlily Gold and the dynamic duo of Jenny Tolman & Gretchen Wilson are adding their voices to this playlist.
The trend of the day is an avalanche of Dolly tribute tracks by Miley Cyrus, Pink, Chris Stapleton, Ella Langley, Alan Jackson, Celine Dion, Keith Urban, Rihanna, Jelly Roll, Ed Sheeran, and others. These tunes are apparently AI generated.
JENNY TOLMAN & GRETCHEN WILSON / “Honky Tonk Songs”
Writers: Dave Brainard/Jeff Silbar/Jenny Tolman; Producer: Dave Brainard; Label: Old Sol Records
– Tolman delighted the crowd at her album-release showcase at City Winery on Monday. She and her band were the picture of classy country stardom in their matching sparkled stage wear. The album, her third, is Music City Mutt, and it brims with country charm and wit on tracks like “Two Ring Circus,” “Retail Therapy” and “Big Mama.” On this frisky hillbilly celebration she enlisted the Redneck Woman, herself, as her perfect duet partner. Heartily endorsed.
WYNONNA JUDD / “Girl Who Could Sing”
Writers: Brant Colella/CACTUS MOSER/Clara Calaway/Melissa Forrette/Wynonna; Producer: CACTUS MOSER; Label: Anti/Epitaph
– When she was 30, Wy learned that she was the biological daughter of a man she never met. When he died, they found press clippings about her that he had saved. In this stunning, emotional ballad, she wonders if he was proud of her success and aches with the knowledge that she’ll never know why he didn’t make contact. Powerful stuff.
TODD SNIDER / “Solid Country Gold”
Writers: Jack Ingram/Jon Randall/Todd Snider; Producers: Joe Bisirri, Robbie Crowell, Todd Snider; Label: Aimless Records/Thirty Tigers
– Alt-country songwriting great Snider died suddenly last November at age 59. He left behind the vocals of the songs he intended for a new album. His band has flushed out the sound, and My Second Rodeo will be issued in October. In the meantime, its advance single gives off a bluesy, funky vibe. His quirky, drawling vocal meanders in a woosie wobble while the sidemen keep up with his shifting pace. Groovy and loosey goosey in all the best ways.
RILEY GREEN / “That’s Just Me”
Writer: Riley Green; Producer: Dann Huff; Label: Nashville Harbor Records & Entertainment
– The title tune of Green’s forthcoming album is a heartache ballad with acoustic accompaniment and understated production. His role as a judge on season 30 of The Voice premiers on Sept. 21 on NBC.
EMILY ANN ROBERTS / “Laundry”
Writers: Ben Williams/Emily Ann Roberts/Jessi Alexander/Wyatt McCubbin; Producer: Frank Rogers; Label: RECORDS Nashville/Sony Music Nashville
– He’s off cheating, while she’s doing dishes, washing clothes, and keeping house. The languid waltz is simultaneously accusatory and aching. Solidly country and undeniably listenable. Applause, applause.
REBA McENTIRE / “Tourist”
Writers: Brandy Clark/Jeremy Spillman/Travis Meadows; Producers: Buddy Cannon, Reba McEntire; Label: Rockin’ R Records
– Slow, mournful, and lovely. He abandoned her while she was in love and he was just passing by. Beautifully written and produced.
KAITLIN BUTTS / “I Wanna Be Bad”
Writers: Kaitlin Butts/Natalie Hemby; Producer: Tofer Brown; Label: Republic Records
– Frisky fun in a night on the town. With characteristic wit and verve, this youngster romps through this rockin’ honky tonker with plenty of saucy sass.
COLE SWINDELL / “Bronco”
Writers: Cole Swindell/Jameson Rodgers/Lauren Hungate/Seth Mosley; Producer: Seth Mosley; Label: Warner Records Nashville
– A bopping ode to his dad’s old truck. Infectious and summer-y.
THE KENTUCKY GENTLEMEN / “Dear Radio”
Writers: Brandon Campbell/Derek Campbell/Noah Henson/Paul Wrock; Producer: Noah Henson; Label: Neon Holler
– This is a decided change of pace for the duo. It’s a full-on heartbreak song, begging radio not to play sad things with steel guitars. It turns out that they are just as effective tugging at emotions as they are summoning us to the dancefloor.
MAE ESTES & SHENANDOAH / “Moon Over Georgia”
Writer: Mark Narmore; Producer: Paul Sikes; Label: Blue Highway Records
– Mae Estes jumps into the nostalgic trend for ‘90s country with this lilting performance of Shenandoah’s 1991 hit. She’s a heckuva country singer, as is the band’s Marty Raybon. Plus, the song’s a proven winner.
TIGIRLILY GOLD / “Something to Drink About”
Writers: Kendra Slaubaugh/Krista Slaubaugh/Pete Good/Shane McAnally; Producers: Pete Good, Shane McAnally; Label: Sony Music Nashville
– The duo gives a wandering beau fair warning. If he thinks he has a reason to drink now, just wait until they get done with his sorry ass. Cheers!
WAYLON JENNINGS / “Diamonds”
Writers: Glen Campbell/Waylon Jennings; Producers: Richie Albright, Shooter Jennings, Tony Joe White, Waylon Jennings; Label: Son of Jessi
– Shooter has unearthed more previously unreleased performances by papa Waylon. This tune is the advance title track for a second album of these, to be issued in November. It rumbles with outlaw energy and snarls with passion. Co-writer and fellow Hall of Fame member Glen Campbell provides the scampering guitar solo.
ASHLEY COOKE / “Famous to Frances”
Writers: Ashley Cooke/Johnny Clawson/Kyle Sturrock; Producer: Dann Huff; Label: Big Loud Records
– Cooke’s “Baby Blues” single hit the top of the charts on SiriusXM’s The Highway chart earlier this year. This second track from her new album is written with wit and insight. Frances, you see, is her therapist, so the heartbreaker is well known to at least one other person. The lyric is laced with lively details and clever therapy language. Highly rewarding listening.
Brandon Wisham Makes Grand Ole Opry Debut
/by Lauryn SinkBrandon Wisham.
Brandon Wisham made his Grand Ole Opry debut last night (Aug. 26).
Introduced by fellow artist Mae Estes, Wisham performed “Other Side of Lonely,” “Back Together” and “Growin’ Up.” He dedicated his set to the late Dolly Parton before marking the career-defining night with a deeply personal tribute to his late father, who passed away during the COVID-19 pandemic, by carrying his father’s boots into the circle and placing them beside him as he performed.
The South Carolina native has amassed more than 14 million streams and 23 million social media views, and shared stages with Tyler Hubbard, Bailey Zimmerman, Nate Smith, Priscilla Block, Lakeview, Austin Snell and more. His debut EP, Ain’t What It Looks Like, is available now. He has upcoming shows in Illinois, North Carolina and Georgia.
Photo: Courtesy of Wisham
Services Set For Actor Buck Ford
/by Robert K OermannJeffrey “Buck” Buckner Ford
A celebration of life for Nashville actor Jeffrey “Buck” Buckner Ford is slated for Saturday, Aug. 29 at Ruby Nashville.
Ford appeared in more than 20 films and in hundreds of television and radio commercials. He was the son of Country Music Hall of Fame member Tennessee Ernie Ford (1919-1991).
The actor was cast in character parts and/or supporting roles in Living Proof: The Hank Williams Jr. Story (1983), What Comes Around (1985), The Last Days of Frank & Jesse James (1986), King Kong Lives (1986), Ernest Goes to Camp (1987), Nashville Beat (1989), Ernest Goes to Jail (1990), The Firm (1993), The Client (1994), Big Dreams & Broken Hearts: The Dottie West Story (1995), Last Dance (1996), Pirates of the Plains (1999), Country Strong (2010), Blue Like Jazz (2012), and other feature films and made-for-TV movies.
Ford was a regular on the CBS TV series Christy in 1994-95. He had roles on In the Heat of the Night, I’ll Fly Away, Walker Texas Ranger, The Forgotten, and other TV series. He was variously billed as “Jeffrey Ford,” “Jeffrey Buckner Ford” or “Buck Ford.”
He inherited his father’s resonant speaking voice and was in demand for voice-over work. Buck Ford narrated audio books, did radio commercials, and acted in video games. He was noted as a local acting coach/teacher and mentor to countless pupils.
He was also a screenwriter and the author of River of No Return: Tennessee Ernie Ford & the Woman He Loved – A Memoir (2008). He cared for his family’s legacy as the manager of Tennessee Ernie Ford Enterprises. His father scored more than 20 big country hits in the 1940s and 1950s, notably the million-selling miners’ saga “Sixteen Tons.” Tennessee Ernie Ford starred in his own NBC-TV series in 1956-61. His boyhood home is a tourist attraction in Bristol, Tennessee.
Jeffrey Buckner Ford passed away at age 76 on June 21 while in hospice care in Nashville. He is survived by sons Tucker Ford and James Ford, daughter Jesse Harbison, their mother Murphy Ford, and by grandson Lee. In lieu of flowers, the family requests donations to Alive Hospice Residence Nashville.
The memorial celebration on Saturday will begin with visitation at 11 a.m. and services at 1 p.m. Ruby Nashville is located at 2411 Blakemore Ave., Nashville, TN 37212. For more information, contact Tucker Ford: tuckerford@gmail.com.
WMOT Roots Radio Celebrates Decade As A Leading Voice In Americana
/by Lorie HollabaughSince flipping its format to Americana on Sept. 2, 2016, the 100,000-watt station has been an early supporter of artists including Billy Strings, Sturgill Simpson, Tyler Childers, Sierra Ferrell, The War And Treaty, Allison Russell, and more. WMOT has grown during the decade from a regional radio station into a national and international destination for Americana and roots music, with an online and app-based audience now reaching roughly one million and growing.
“At WMOT we’re celebrating 10 years as THE Americana music station in Middle Tennessee,” says WMOT Executive Director Val Hoeppner. “I think our success is because we are a public radio station, charged with following the interests of our listeners, not stockholders. At a time when algorithms and computers drive songs on streaming platforms, WMOT plays artists’ careers. With authenticity as the core of our brand we employ human hosts that handcraft playlists for exploration and music discovery.”
WMOT is inviting listeners to celebrate the anniversary alongside station staff at two longtime Nashville institutions on Sept. 2. The festivities begin at 11:30 a.m. at Brown’s Diner, where listeners can join the WMOT team for lunch and performances from Roderick August at 11:30 a.m. and Lucciana Costa at 12:15 p.m. From 4:30-6:30 p.m., the celebration moves to Robert’s Western World for happy hour and live performances from Paul Kramer and Kelley’s Heroes.
WMOT first went on the air in 1969 and became a charter member of NPR in 1970. After three decades as a jazz station and a later period of mixed programming, the station underwent a dramatic reinvention in 2016. Then-MTSU media and entertainment dean Ken Paulson proposed an all-Americana format built around the music being written, recorded and performed throughout Nashville. Hoeppner backed the vision, and WMOT partnered with the nationally syndicated Music City Roots to develop Roots Radio. Veteran programmer and DJ Jessie Scott joined as program director, and the new format launched September 2, 2016, with a live broadcast from the Country Music Hall of Fame and Museum featuring Jim Lauderdale, Suzy Bogguss, Mike Farris, Will Hoge and a cast of bluegrass artists.
In the decade since, WMOT has developed an ecosystem that includes Finally Friday, which presents three artists live each week from Nashville’s 3rd & Lindsley; Wired In brings leading Americana artists into intimate performances for sustaining members; and The Local Brew provides a dedicated platform for emerging Nashville artists. Its specialty programming explores bluegrass, old-time, gospel and the outer reaches of roots music.
WMOT also produces the official AmericanaFest Day Stage in collaboration with NPR Music and World Cafe, an annual partnership that began in 2017 and has become a centerpiece of the festival. The station has expanded its live video production through performances at its East Nashville studio and the 30A Songwriters Festival, while its YouTube channel has surpassed one million cumulative views.
Posthumous Todd Snider Project ‘My Second Rodeo’ Due In October
/by Lorie HollabaughMy Second Rodeo, a posthumous album by Todd Snider, is set to be released by Thirty Tigers and Aimless, Inc. on Oct. 9, just days before what would have been his 60th birthday,
Snider had recorded the 10-song collection of brand new songs last fall just before his passing. The album’s lead single “Solid Country Gold” is out now, which Snider co-wrote with Jack Ingram in August of 2025 and would ultimately become the spark for My Second Rodeo.
The album was completed over the course of the last year by producer/engineer and Snider’s longtime friend Joe Bisirri and co-producer Robbie Crowell, and is the realization of Snider’s very distinct vision for the follow-up to 2025’s High, Lonesome and Then Some project. He was determined to record an album of songs that deconstructed country music. Beginning with the retrospective opening track, My Second Rodeo is filled with wry talking-blues, gospel rockers, celebrations of weed, irreverent dissertations on religion, social class, and politics and more, in classic Snider style. The album also includes a completed version of “(I Got That) Déjà Vu,” which he co-wrote with the late country outlaw Billy Joe Shaver many years before.
“This album is a glimpse into the creative outpouring from Todd in September and October of 2025,” says Bisirri. “His ‘sound of country music 10 years from now’ meant taking his favorite country music tropes, dismantling and reassembling them over stretched-out, swampy grooves with New Orleans-style horns. He was so sure of this sound, feel, and his studio band’s pliability that he insisted on recording his vocal and guitar first, with no accompaniment or click track. Todd wanted the band to record after him, so they would HAVE to follow his lead wherever it went.”
“Todd had an amazing knack for knowing where he wanted to go next musically,” adds Crowell. “Helping to realize that vision was always one of my favorite things to do. It was always left of center, unexpected, and deeply layered.”
My Second Rodeo will be available digitally, on CD, and on vinyl, including a limited purple pressing exclusive to Nashville record stores, a “synthwave” variant available through the Todd Snider Shop, a yellow variant available at other independent record stores, as well as the standard black variant.
My Second Rodeo Track List:
1. “Freewheelin’ (Every Day at a Time)”
2. “Solid Country Gold”
3. “(I Got That) Déjà Vu”
4. “Can Your Monkey Do the Splits”
5. “Stoner Yodel Number 3 (Give Me a D for Gym Glass)”
6. “The Manifesto”
7. “One Nation Under Fire”
8. “My Second Rodeo”
9. “Sunday Go to Meeting Looking”
10. “The Moon Tonight”