Chris Farren
The “My Music Row Story” weekly column features notable members of the Nashville music industry selected by the MusicRow editorial team. These individuals serve in key roles that help advance and promote the success of our industry. This column spotlights the invaluable people that keep the wheels rolling and the music playing.
Chris Farren is a tenured, multi-talented music executive, singer-songwriter, producer and founder of Nashville-based Combustion Music. Starting his career in Los Angeles in the ’80s, Farren was a young writer/artist known for his extensive work writing and performing jingles, as well as music for film and TV projects. After a few successful trips eastbound to Music City, he made the move to Nashville and quickly found his bearings as a hit writer-producer.
Farren produced Deana Carter’s breakthrough 1996 album Did I Shave My Legs for This?, earned 9 No. 1 singles as a songwriter and found his true calling discovering and investing in developing talent, signing three-time BMI Songwriter of the Year Jeffrey Steele, four-time Billboard Songwriter of the Year Ashley Gorley, four-time Grammy-winning rock band Kings of Leon and eight-time Christian ASCAP Songwriter of the Year Matthew West early in their careers.
Most recently, Farren has been a pivotal part of launching and producing fast-rising stars Corey Kent, Kolby Cooper, Jameson Rodgers, Payton Smith and Daphne. As a writer himself, Farren has cuts on artists like The Backstreet Boys, Greg Allman, Michael McDonald, Air Supply, Rascal Flatts, Christopher Cross, Trace Adkins, 98 Degrees and Olivia Newton-John, has amassed an impressive lineup of accolades including 11 ASCAP Awards, six Grammy nominations and both an ACM and a CMA Award.
Farren’s legacy lies both in his eye for developing talent, and in the 24+ year story of independent music hub, Combustion Music. To date, he’s led the charge as the company has claimed 108 No. 1 songs from a roster that includes writers like five-time Grammy Award-nominee Matthew West, “Man Made A Bar” co-writer Brett Tyler, “This Heart” co-writer Thomas Archer, perennial hitmaker Gorley and budding songwriters Austin Goodloe, Jessica Farren and Sam Bergeson, alongside a motivated and loyal staff.
Farren’s heart for music has translated into passion projects and philanthropic endeavors, culminating in the creation of his annual Combustion Music Hope Town Music Festival in Elbow Cay, Bahamas. Over the last decade, the festival has raised over $3 million for the local community, bringing some of the world’s best songwriters and artists to donate their time and talents.
Photo: Courtesy of Farren
MusicRow: Where did you grow up?
I grew up in Washington, D.C., just outside the city, in the Maryland suburbs. I lived there until I was 18.
Was music part of your household growing up?
Not in a formal way. No one in my family was a musician, but they were supportive. I got into music very young. My older brother and sister were quite a bit older than me, so when The Beatles hit, they were all in—and so was I, by default. I was maybe five years old, listening to what they listened to. That was 1968, and music was just everywhere. It was a golden era for pop, and I soaked it all up.
When did you go from fan to participant?
Pretty early. In elementary school I started playing every instrument I could find. I was in the school band on saxophone, in choir, and also playing in little garage bands after school. I just wanted to be around it. In high school, I was in a rock band, a jazz band, and a bluegrass band all at once. I didn’t know what direction I was heading—I just loved it all.
Photo: Courtesy of Farren
Did you know then that music was going to be your career?
Yeah, I really did. I was already making money singing and playing in clubs before I graduated. I didn’t want to go to college, I was ready to chase it. But after my dad passed away suddenly, my mom asked me to go, and I’m really glad I did. It ended up being a huge growth period for me, musically and personally.
Where did you go?
East Carolina University. I was shy and kind of nerdy, and music gave me a way to connect. I started playing the local college bars, and that opened a lot of doors. I became kind of a big deal in that town. I was 19, making decent money, and learning how to perform. You can’t be shy on stage. I learned to step into that frontman role even though I was introverted at heart.
Photo: Courtesy of Farren
So what came next after college?
I packed up and moved to L.A. in 1982. Drove across the country alone in a new Volvo I’d saved up for. I thought I was ready, but it was a rude awakening.
I’d had some success back home and thought, “If I can make it there, I can make it anywhere.” But L.A. was a different beast. I assumed I’d be able to support myself playing bars and clubs while I wrote songs and chased a record deal, but most of the venues didn’t even pay. Too many people were willing to play for free.
How did you find your footing?
By being unusually bold for me. I cold-called a guy who booked music at a place in Pasadena. I told him, “I’ve been to your club three nights in a row and I’m 10 times better than anyone I’ve seen.” That’s not who I normally am, but something came over me.
He laughed and said, “Okay, Mr. Big Stuff. Come in and audition.” I did, and he hired me on the spot. I played four nights a week there for the next two years. That moment taught me: you don’t get what you don’t ask for.
Photo: Courtesy of Farren
What was life like during those years?
I was writing constantly, trying to get demos made and meet people—but it wasn’t easy. There were no home studios back then, so recording meant spending real money in a real studio. And I was writing everything by myself. I didn’t even know co-writing was a thing. I came up idolizing guys like Billy Joel and James Taylor, so I just assumed that was how it was done.
Did anything break through?
Yeah, in a very L.A. kind of way. A neighbor in my apartment complex was a low-level guy at MCA Publishing. Another neighbor was making a low-budget sci-fi movie and needed music. I said, “I’ve got music.” He said, “It has to be cheap,” and I said, “My music is cheap.” [Laughs]
I ended up writing and performing a bunch of songs for that movie. It was called Night of the Comet. It wasn’t a great film, but it became a cult classic. I had the end title and a few other tracks on the soundtrack, which got released by a small label. One of the songs, a duet with Amy Holland, even got some radio play on an alternative station. That was the first time I heard myself on the radio.
Photo: Courtesy of Farren
And that led to your first publishing deal?
Yep. That MCA guy saw what was happening and helped me get in the door. It was a small deal, but it paid something. I kept gigging, singing demos, doing jingles and writing for low-budget films. I probably wrote and recorded over 100 songs for B-movies in the ’80s. I wish I’d stuck with that world—it’s huge now—but I was giving music away cheap back then just to get it out there.
Did you ever get close to launching an artist career?
I had a couple of record deals, did a duet with the teenage star Tiffany, and even played The Tonight Show. At one point I was working with the producer of the Eagles and thought we were on our way. But nothing really stuck. Eventually my publisher told me, “You’re a singer-songwriter. That’s not what labels want here right now. You should go to Nashville.”
Photo: Courtesy of Farren
How did you feel about that?
I kind of turned my nose up at it. I didn’t consider myself country. I’d never really listened to country music. But I went anyway, and on my first trip, I wrote 10 songs and six of them got cut. That got my attention. I also met some great people and realized how incredible the songwriters in Nashville were. I couldn’t deny the talent, or the results.
I started making regular trips. Around that time, I met Jeffrey Steele, who was also from L.A. but had country roots. We became great friends and collaborators. I hired him to lead the band for a record I was making, and we ended up writing all the time. He got a record deal, I produced it, and we had some success with his band Boy Howdy—four top 10 singles. That gave me a real foothold in Nashville.
You also started your own publishing company.
Jeffrey couldn’t land a deal, and I believed in him, so I signed him myself. That was the beginning. I was doing okay financially from jingles and other work, so I took the leap. He was the first writer I ever signed.
Photo: Courtesy of Farren
When did you officially move to Nashville?
I rented a condo in ’92, bought a house in ’95 when my wife got pregnant, and moved the whole family in 2000. My daughter was starting kindergarten, and it just made sense. Plus, I’d just produced “Strawberry Wine” for Deana Carter, and that opened a lot of doors.
Did you feel like an outsider in the Nashville scene?
A little bit. Most of the successful producers and writers were Nashville-grown, and here was the guy from L.A. with some heat. I think there was curiosity, maybe a little resentment, but it helped me stand out. I wasn’t trying to be different—it’s just that my path had been different.
Between 1995 and 2000, I made about 20 records and had 9 No. 1 hits as a writer. Most of my cuts were on those projects, but I had outside hits too—Colin Raye, Back Strret Boys, Trace Adkins, Diamond Rio and even a pop No. 1. I had young kids and was working nonstop. It was a grind, but I loved it.
And then you expanded the publishing arm?
Right. When it was time for my next deal, Windswept offered me a joint venture. I told them I wanted to do it for real—not just sign one person, but build something. We opened an office, hired a team, and started signing writers.
The first three I signed were Jeffrey Steele, Kings of Leon and Ashley Gorley.
Photo: Courtesy of Farren
That’s quite a start.
Not bad, right? [Laughs] That gave me the confidence to keep going. I realized I might have a knack for identifying talent.
How did you adjust to the shift from creator to mentor?
It’s a different muscle. A lot of songwriters don’t make great publishers. I think I did well because I committed to it. I wasn’t just looking for another way to make money—I really cared about the writers. And I knew how they felt, because I’d been through all of it: the highs, the disappointments, the frustrations. I tried to be empathetic, and I made a conscious decision not to compete with them. I didn’t sign myself to my own company. I wanted my writers to know I was in their corner.
What are you most proud of when you look at Combustion?
Longevity. I worked with Jeffrey Steele for 12 years, Ashley Gorley for 16. I’ve been working with Matthew West for 14. Most publishing relationships don’t last that long. Either the writer doesn’t perform, or they blow up and want out of their deal. I’m proud that so many of our relationships have lasted.
I’m proud of the 109 No. 1s. I’m proud that we’re still standing after 25 years. And I’m proud that we’ve done it with class.
Photo: Courtesy of Farren
What part of the job brings you the most joy today?
Getting back to the creative side. For a while, I became “the business guy.” I’d walk into meetings and people would say, “Oh, I thought you were an accountant or a lawyer.” That crushed me. I started in the studio—I’m a producer and songwriter at heart. A few years ago, I got back into production, and it saved me. I needed to remind myself—and others—that I can still make records.
Who have been some of your mentors?
Jonathan Stone at Windswept Pacific was a big one—he believed in me and gave me the green light to start my own company. David Foster was another. I worked with him a lot in L.A., and I admired how he balanced being a phenomenal musician with being a sharp businessman. That left brain/right brain blend really spoke to me.
And my dad—he had a go-for-it attitude. That shaped me too.
Final thought—what makes you proudest today?
I’ve been doing this since I was 12 years old. I produced “Strawberry Wine” in 1995, and I produced Corey Kent’s “This Heart,” [which just hit No. 1] in 2025. That’s 30 years between hits. I’m still here. I’m still doing what I love. That’s something to be proud of.
My Music Row Story: Combustion Music’s Chris Farren
/by LB CantrellChris Farren
Chris Farren is a tenured, multi-talented music executive, singer-songwriter, producer and founder of Nashville-based Combustion Music. Starting his career in Los Angeles in the ’80s, Farren was a young writer/artist known for his extensive work writing and performing jingles, as well as music for film and TV projects. After a few successful trips eastbound to Music City, he made the move to Nashville and quickly found his bearings as a hit writer-producer.
Farren produced Deana Carter’s breakthrough 1996 album Did I Shave My Legs for This?, earned 9 No. 1 singles as a songwriter and found his true calling discovering and investing in developing talent, signing three-time BMI Songwriter of the Year Jeffrey Steele, four-time Billboard Songwriter of the Year Ashley Gorley, four-time Grammy-winning rock band Kings of Leon and eight-time Christian ASCAP Songwriter of the Year Matthew West early in their careers.
Most recently, Farren has been a pivotal part of launching and producing fast-rising stars Corey Kent, Kolby Cooper, Jameson Rodgers, Payton Smith and Daphne. As a writer himself, Farren has cuts on artists like The Backstreet Boys, Greg Allman, Michael McDonald, Air Supply, Rascal Flatts, Christopher Cross, Trace Adkins, 98 Degrees and Olivia Newton-John, has amassed an impressive lineup of accolades including 11 ASCAP Awards, six Grammy nominations and both an ACM and a CMA Award.
Farren’s legacy lies both in his eye for developing talent, and in the 24+ year story of independent music hub, Combustion Music. To date, he’s led the charge as the company has claimed 108 No. 1 songs from a roster that includes writers like five-time Grammy Award-nominee Matthew West, “Man Made A Bar” co-writer Brett Tyler, “This Heart” co-writer Thomas Archer, perennial hitmaker Gorley and budding songwriters Austin Goodloe, Jessica Farren and Sam Bergeson, alongside a motivated and loyal staff.
Farren’s heart for music has translated into passion projects and philanthropic endeavors, culminating in the creation of his annual Combustion Music Hope Town Music Festival in Elbow Cay, Bahamas. Over the last decade, the festival has raised over $3 million for the local community, bringing some of the world’s best songwriters and artists to donate their time and talents.
Photo: Courtesy of Farren
MusicRow: Where did you grow up?
I grew up in Washington, D.C., just outside the city, in the Maryland suburbs. I lived there until I was 18.
Was music part of your household growing up?
Not in a formal way. No one in my family was a musician, but they were supportive. I got into music very young. My older brother and sister were quite a bit older than me, so when The Beatles hit, they were all in—and so was I, by default. I was maybe five years old, listening to what they listened to. That was 1968, and music was just everywhere. It was a golden era for pop, and I soaked it all up.
When did you go from fan to participant?
Pretty early. In elementary school I started playing every instrument I could find. I was in the school band on saxophone, in choir, and also playing in little garage bands after school. I just wanted to be around it. In high school, I was in a rock band, a jazz band, and a bluegrass band all at once. I didn’t know what direction I was heading—I just loved it all.
Photo: Courtesy of Farren
Did you know then that music was going to be your career?
Yeah, I really did. I was already making money singing and playing in clubs before I graduated. I didn’t want to go to college, I was ready to chase it. But after my dad passed away suddenly, my mom asked me to go, and I’m really glad I did. It ended up being a huge growth period for me, musically and personally.
Where did you go?
East Carolina University. I was shy and kind of nerdy, and music gave me a way to connect. I started playing the local college bars, and that opened a lot of doors. I became kind of a big deal in that town. I was 19, making decent money, and learning how to perform. You can’t be shy on stage. I learned to step into that frontman role even though I was introverted at heart.
Photo: Courtesy of Farren
So what came next after college?
I packed up and moved to L.A. in 1982. Drove across the country alone in a new Volvo I’d saved up for. I thought I was ready, but it was a rude awakening.
I’d had some success back home and thought, “If I can make it there, I can make it anywhere.” But L.A. was a different beast. I assumed I’d be able to support myself playing bars and clubs while I wrote songs and chased a record deal, but most of the venues didn’t even pay. Too many people were willing to play for free.
How did you find your footing?
By being unusually bold for me. I cold-called a guy who booked music at a place in Pasadena. I told him, “I’ve been to your club three nights in a row and I’m 10 times better than anyone I’ve seen.” That’s not who I normally am, but something came over me.
He laughed and said, “Okay, Mr. Big Stuff. Come in and audition.” I did, and he hired me on the spot. I played four nights a week there for the next two years. That moment taught me: you don’t get what you don’t ask for.
Photo: Courtesy of Farren
What was life like during those years?
I was writing constantly, trying to get demos made and meet people—but it wasn’t easy. There were no home studios back then, so recording meant spending real money in a real studio. And I was writing everything by myself. I didn’t even know co-writing was a thing. I came up idolizing guys like Billy Joel and James Taylor, so I just assumed that was how it was done.
Did anything break through?
Yeah, in a very L.A. kind of way. A neighbor in my apartment complex was a low-level guy at MCA Publishing. Another neighbor was making a low-budget sci-fi movie and needed music. I said, “I’ve got music.” He said, “It has to be cheap,” and I said, “My music is cheap.” [Laughs]
I ended up writing and performing a bunch of songs for that movie. It was called Night of the Comet. It wasn’t a great film, but it became a cult classic. I had the end title and a few other tracks on the soundtrack, which got released by a small label. One of the songs, a duet with Amy Holland, even got some radio play on an alternative station. That was the first time I heard myself on the radio.
Photo: Courtesy of Farren
And that led to your first publishing deal?
Yep. That MCA guy saw what was happening and helped me get in the door. It was a small deal, but it paid something. I kept gigging, singing demos, doing jingles and writing for low-budget films. I probably wrote and recorded over 100 songs for B-movies in the ’80s. I wish I’d stuck with that world—it’s huge now—but I was giving music away cheap back then just to get it out there.
Did you ever get close to launching an artist career?
I had a couple of record deals, did a duet with the teenage star Tiffany, and even played The Tonight Show. At one point I was working with the producer of the Eagles and thought we were on our way. But nothing really stuck. Eventually my publisher told me, “You’re a singer-songwriter. That’s not what labels want here right now. You should go to Nashville.”
Photo: Courtesy of Farren
How did you feel about that?
I kind of turned my nose up at it. I didn’t consider myself country. I’d never really listened to country music. But I went anyway, and on my first trip, I wrote 10 songs and six of them got cut. That got my attention. I also met some great people and realized how incredible the songwriters in Nashville were. I couldn’t deny the talent, or the results.
I started making regular trips. Around that time, I met Jeffrey Steele, who was also from L.A. but had country roots. We became great friends and collaborators. I hired him to lead the band for a record I was making, and we ended up writing all the time. He got a record deal, I produced it, and we had some success with his band Boy Howdy—four top 10 singles. That gave me a real foothold in Nashville.
You also started your own publishing company.
Jeffrey couldn’t land a deal, and I believed in him, so I signed him myself. That was the beginning. I was doing okay financially from jingles and other work, so I took the leap. He was the first writer I ever signed.
Photo: Courtesy of Farren
When did you officially move to Nashville?
I rented a condo in ’92, bought a house in ’95 when my wife got pregnant, and moved the whole family in 2000. My daughter was starting kindergarten, and it just made sense. Plus, I’d just produced “Strawberry Wine” for Deana Carter, and that opened a lot of doors.
Did you feel like an outsider in the Nashville scene?
A little bit. Most of the successful producers and writers were Nashville-grown, and here was the guy from L.A. with some heat. I think there was curiosity, maybe a little resentment, but it helped me stand out. I wasn’t trying to be different—it’s just that my path had been different.
Between 1995 and 2000, I made about 20 records and had 9 No. 1 hits as a writer. Most of my cuts were on those projects, but I had outside hits too—Colin Raye, Back Strret Boys, Trace Adkins, Diamond Rio and even a pop No. 1. I had young kids and was working nonstop. It was a grind, but I loved it.
And then you expanded the publishing arm?
Right. When it was time for my next deal, Windswept offered me a joint venture. I told them I wanted to do it for real—not just sign one person, but build something. We opened an office, hired a team, and started signing writers.
The first three I signed were Jeffrey Steele, Kings of Leon and Ashley Gorley.
Photo: Courtesy of Farren
That’s quite a start.
Not bad, right? [Laughs] That gave me the confidence to keep going. I realized I might have a knack for identifying talent.
How did you adjust to the shift from creator to mentor?
It’s a different muscle. A lot of songwriters don’t make great publishers. I think I did well because I committed to it. I wasn’t just looking for another way to make money—I really cared about the writers. And I knew how they felt, because I’d been through all of it: the highs, the disappointments, the frustrations. I tried to be empathetic, and I made a conscious decision not to compete with them. I didn’t sign myself to my own company. I wanted my writers to know I was in their corner.
What are you most proud of when you look at Combustion?
Longevity. I worked with Jeffrey Steele for 12 years, Ashley Gorley for 16. I’ve been working with Matthew West for 14. Most publishing relationships don’t last that long. Either the writer doesn’t perform, or they blow up and want out of their deal. I’m proud that so many of our relationships have lasted.
I’m proud of the 109 No. 1s. I’m proud that we’re still standing after 25 years. And I’m proud that we’ve done it with class.
Photo: Courtesy of Farren
What part of the job brings you the most joy today?
Getting back to the creative side. For a while, I became “the business guy.” I’d walk into meetings and people would say, “Oh, I thought you were an accountant or a lawyer.” That crushed me. I started in the studio—I’m a producer and songwriter at heart. A few years ago, I got back into production, and it saved me. I needed to remind myself—and others—that I can still make records.
Who have been some of your mentors?
Jonathan Stone at Windswept Pacific was a big one—he believed in me and gave me the green light to start my own company. David Foster was another. I worked with him a lot in L.A., and I admired how he balanced being a phenomenal musician with being a sharp businessman. That left brain/right brain blend really spoke to me.
And my dad—he had a go-for-it attitude. That shaped me too.
Final thought—what makes you proudest today?
I’ve been doing this since I was 12 years old. I produced “Strawberry Wine” in 1995, and I produced Corey Kent’s “This Heart,” [which just hit No. 1] in 2025. That’s 30 years between hits. I’m still here. I’m still doing what I love. That’s something to be proud of.
Krista Dykes Launches She Laughs Media
/by Lorie HollabaughKrista Dykes. Photo: Lex What Wear
Krista Dykes has exited her role as Senior Media Relations Manager at PLA Media to launch She Laughs Media, a podcast booking and publicity agency.
She Laughs Media seeks to help entrepreneurs, artists and experts amplify their voices through strategic storytelling and media placements and specializes in podcast tours, thought leadership positioning and campaigns that reach and resonate with key audiences. Rooted in Proverbs 31:25 – “she laughs at the time to come” – the company blends faith-forward values with media savvy to deliver results with integrity, creativity and heart. Dykes is launching the company for personal/professional flexibility, citing her family’s recent decision to become foster parents.
Prior to her time at PLA Media, Dykes previously worked as Media Relations Manager at the Country Music Association from 2015-2023. She’s been at the helm of various award-winning projects, helping companies secure IABC’s Gold Quill Award, Best in Business Award (25 employees or less) and “Behind the Scenes” Impact Award from Nashville Business Journal, Nashville Area Chamber of Commerce’s Music City Future 50, BusinessTN’s Hot 100 and Inc. magazine’s Reader Favorite for Entrepreneur of the Year.
“I’ve enjoyed my time back on Music Row and the meaningful work I’ve been involved with,” says Dykes. “As family decisions require more flexibility, my entrepreneurial spirit has been re-ignited and I’m excited to launch She Laughs Media—founded on Proverbs 31:25. My 20 years of publicity experience are perfectly coalescing with my passion for podcasting.”
Dykes continues to host and produce Secret Mom Hacks, a podcast she launched in 2023. Through 106 episodes, she has interviewed notable guests including best-selling authors Annie F. Downs and Peter Shankman, Hollywood actress Alessandra Torresani and ACM Head of Awards & Industry Relations/Family Alliance in Music co-founder Haley Montgomery, among others. In August 2024, she created the MomCom Database (the first-ever national database of mom communities).
Dustin Lynch Celebrates The 4th With New ‘Club Set Remixes’ EP
/by Lorie HollabaughDustin Lynch. Photo: Jack Owens
Dustin Lynch is adding some firepower to this Fourth of July with the release of his high-octane Club Set Remixes EP, a five-track collection fusing some country charm with dance-floor heat out July 4.
The adrenaline-infused project reinvents some of Lynch’s biggest hits through the lens of late-night club sets and his sun-drenched pool parties in Vegas, Nashville and beyond. The Club Set Remixes EP features pulse-pounding reworks of chart-toppers including “Small Town Boy,” “Seein’ Red,” “Thinking ’Bout You,” “Stars Like Confetti,” and his latest single “Easy To Love.” Remixers on the new project include high-profile DJs MOONLGHT, MC4D and more, who helped transform Lynch’s music into genre-defying anthems lighting up the nightlife scenes.
“Putting together the Club Set Remixes EP was a fun ride,” says Lynch. “This year, I’ve been spinning these tracks in my club sets, and the energy they bring is next level. It’s a new way to experience some of my biggest songs – plus ‘Easy To Love’ – in a way that hits different after dark. These remixes are built for the party, and I can’t wait for y’all to turn them up.”
Lynch has become a nightlife headliner from his Wynn Nightlife Las Vegas Residency and surprise club and Pool Situation sets in cities across the country, where he performs live over real-time DJ mixes alongside longtime collaborator Grant Fisher to keep the crowds on their feet.
He recently dropped his laid-back single “Easy To Love,” which was the most-added song at country radio the week of release, and he kicks off his “Two For The Road Tour” with Scotty McCreery this fall.
Club Set Remixes EP – Track List:
1. “Thinking ‘Bout You” (feat. MacKenzie Porter) [MCAD Remix]
2. “Easy To Love” (MOONLGHT Remix)
3. “Small Town Boy” (Dirty Audio and Grant Fisher Remix)
4. “Seein’ Red” (WARINER Remix)
5. “Stars Like Confetti” (WARINER Remix)
Grand Ole Opry To Make One-Night Return To Ryman Auditorium
/by Lauryn SinkGrand Ole Opry’s final night at the Ryman Auditorium on March 15, 1974. Photo: Courtesy Grand Ole Opry archives
The Grand Ole Opry is set to return to its former home at the Ryman Auditorium on July 17. This special performance is a tribute to the historic March 15, 1974 Grand Ole Opry broadcast, the final night of the Opry’s original Ryman run. Throughout that portion of the show, moments from the 1974 broadcast will be closely recreated for the Ryman and radio audiences.
“I am certain this is going to be another unforgettable part of our 100th year,” said Opry Executive Producer Dan Rogers. “For generations of Opry fans and artists, the Opry’s 1943 – 1974 run at the Ryman was a truly magical part of the Opry’s 100-year history. While we can’t actually turn back time, we’re going to do our best with performances and even commercial reads to transport fans to that historic evening when the Opry said farewell to the Mother Church of Country Music. I grew up listening to my parents talk about having witnessed Opry shows at the Ryman during that era, and for an hour or so on July 17, we’ll all have an experience similar to theirs.”
The Opry’s longest-serving member ever, Country Music Hall of Famer Bill Anderson, was among those who performed on March 15, 1974 and is scheduled to return to reprise his set from that historic evening. “The last Grand Ole Opry show at the Ryman would have been special under any circumstances,” Anderson recalls, “but it was made extra special for me by the fact that my mom and dad had driven up from Georgia to be in the audience. Twenty years earlier, in 1954, they had brought me to Nashville and to the Ryman to see the Opry for the very first time. None of us could have ever imagined the summer before my senior year in high school that only a few years later I would be performing on that very stage, let alone go on to become the longest serving Opry member in history. That night in 1974 I stood alongside many of my heroes from those earlier days, smiling down at my parents, and saying so long to the only Opry home I had ever known…definitely a moment I will remember for the rest of my life. When the Opry asked me if I’d be part of helping to re-create that last night at the Ryman in 1974…and sing the songs I sang back then…I readily agreed. ‘Just don’t ask me to wear the same clothes I wore that night,’ I quipped. ‘Even if I could find them, I’d never be able to get in them!’”
Among those joining Anderson during the throwback will be Lorrie Morgan, whose father George Morgan was the final artist to perform on the March 15, 1974 Opry show, as well as Mandy Barnett and Chuck Mead. Among those appearing earlier in the night will be CMA award-winning group The Band Perry.
Southall Celebrates Platinum At Opry Debut
/by Lorie HollabaughSouthall makes their Grand Ole Opry debut. Photo: Chris Hollo for Grand Ole Opry
Southall made their Grand Ole Opry debut last Wednesday (June 25), taking part in this year’s historic Opry 100 celebration.
The band performed “Scared Money” and “Why” to the packed house in the milestone career moment for the band. “Can’t tell you what it means to be able to do this,” shared frontman Read Southall from the circle. “We’re just glad to be a part of this, and glad to be here tonight. Thank y’all for listening to our racket a little bit.”
The group celebrated a career milestone backstage as well, receiving their first-ever Platinum plaque for their hit, “Why.” The Red Dirt rockers followed that up with a show for fans at Chief’s on Broadway the following night as well in Nashville.
Pictured (L-R): John Tyler Perry, Read Southall, Reid Barber, Ryan Wellman, Braxton Curliss and Jeremee Knipp. Photo: Steven Contreras
Boasting nearly 700 million career streams, Southall has spent the last decade building a rabid grassroots following and winning over crowds while headlining their own dates across the country and opening for Jamey Johnson, Chase Rice and Blackberry Smoke. Next up on their run is support slots with Whiskey Myers, Ole 60 and ZZ Top.
Texas Songwriter U Program Now Accepting Submissions
/by Lorie HollabaughSubmissions are now open for the Texas Songwriter U 2026 program and will remain open through Nov. 1.
Texas singer-songwriter Jack Ingram will host the three-day songwriter discovery and development program in partnership with BMI, the Texas Heritage Songwriters Association and NSAI.
Texas Songwriter U features showcases, feedback sessions, co-writing opportunities, and direct access to top industry leaders. Mentors for the 2026 season include Jack Ingram, a fierce advocate for emerging artists and longtime champion of TXSU, along with Grammy-winning songwriter & Hall of Fame inductee Liz Rose and Grammy-winning songwriter Lori McKenna.
Eight finalists will be selected to attend the 2026 program Feb. 1-4 at a private ranch just outside Austin. Applicants must be at least 18, and have either been born in Texas, currently live in Texas, or have lived in the state for five consecutive years. Applicants may hold a current publishing agreement, and TxSU will accept both self-published and co-written songs. A $25 processing fee is required for all contest applicants, and songwriters can submit their songs at texassongwriteru.com.
AD/HD Inks With The Neal Agency
/by Lauryn SinkAD/HD’s Jesse Frasure and Ashley Gorley. Photo: Delaney Royer
AD/HD, the duo composed of Ashley Gorley and Jesse Frasure, has inked with The Neal Agency for booking representation.
The duo was born while on the road with Thomas Rhett in 2018 when the pair would spend their days writing and their evenings deejaying before Rhett took the stage. With more than 100 No. 1 hits collectively between them, Gorley and Frasure each have multiple Grammy nominations, ACM and CMA Awards wins, and Songwriter of the Year wins at ASCAP and BMI. Most recently, Gorley was inducted into the National Songwriter’s Hall Of Fame. Through Gorley’s Tape Room Music and Frasure’s Rhythm House publishing companies, each of them also foster Nashville’s burgeoning songwriting community.
“I literally would not have a career in songwriting if not for my background as a DJ,” reflects Frasure. “Ashley and I have had some amazing moments warming up crowds for some of our favorite artists on the road, so we’re honored to be able to join The Neal Agency roster. The idea of being able to remix radio hits we’ve written and spin them in a DJ set for country music-loving fans sounds like one hell of a good time. Neal Agency is the perfect partner and we’re very excited for the future.”
Adding to Frasure, Gorley says, “We both grew up DJing before we met in Nashville and became close friends and hit co-writers. It’ll be fun to get back in front of country fans together and play new versions of songs that I’m thankful they’ve loved over the years. I work with several of The Neal Agency’s artists and respect the roster and brand they’ve built, so it was a no-brainer to jump in with the team.”
“I had the privilege of working with Ashley and Jesse for nearly a decade during my time at Warner Chappell, so when Jesse called to tell me what they’ve been working on for AD/HD, it was an honor to jump on board,” shares Ryan Beuschel, general manager of TNA. “To have two of the most prolific songwriters in Nashville, and to be able to bring the DJ side of their creativity to the masses, is such a unique opportunity. I know I speak for everyone at The Neal Agency when I say we’re looking forward to bringing their show on the road in the very near future.”
Apple Music Honors Toby Keith With Exclusive Apple Music Nashville Sessions
/by Lauryn SinkPhoto: Courtesy of Apple Music
Apple Music has honored the legacy of Toby Keith with its newest release, titled “Apple Music Nashville Sessions: Toby Keith Covered Collection,” featuring live-recorded covers of the icon’s catalog performed by Ashley McBryde, Ella Langley, Megan Moroney, Parker McCollum, Riley Green and Tucker Wetmore.
“Toby Keith loved music and especially singer-songwriters. He would be so proud of this group of monster talent that covered his songs,” said TK Kimbrell, Toby Keith’s longtime manager and friend. “Thanks, Ashley, Ella, Megan, Parker, Riley and Tucker! Y’all are truly the hottest of the hot, and Toby’s music lives on!”
All covers are available exclusively on Apple Music and include “A Little Less Talk and a Lot More Action” by McBryde, “Wish I Didn’t Know Now” by Langley, “Who’s Your Daddy?” by Moroney, “Who’s That Man” by McCollum, “Should’ve Been a Cowboy” by Green and “As Good As I Once Was” by Wetmore.
“‘A Little Less Talk and a Lot More Action’ comes from Toby’s first record in 1993. I’m 10, and I’m at an age now where I can pick songs that I listen to,” says McBryde. “When I think of the word ‘honky-tonk’ and what that would sound like, this is one of my references, like Brooks & Dunn would be a reference. Mark Chesnutt would be a reference. Toby Keith is definitely a reference, especially this song. And then, in my adult life, this song has stayed on my playlist, my bonfire playlist, my go-hang-out-on-a-boat-with-my-friends playlist, or pools or whatever the event is. This is one of my mainstays.”
“When I hear the word ‘legacy,’ I think of legends, and Toby Keith is definitely one of those legends in my book,” says Wetmore. “Like the old saying goes, legends never die, and neither will his music. Toby Keith’s music, in three words, is legendary, nostalgic, and just something that’ll never grow old.”
“It’s one of my favorite Toby songs and one of my favorite country songs of all time,” adds McCollum. “I feel like as a songwriter, I’m always trying to write songs from that perspective of the sad, heartbreak love songs about everything going terribly wrong, which this song encapsulates pretty well. You never had to wonder whose song it was when you heard a Toby song, and this one’s at the top of my list in his catalog. It’s an honor to get to do it.”
Noeline Hofmann Inks With Sony Music Publishing
/by Lauryn SinkNoeline Hofmann.
Noeline Hofmann has inked a global publishing agreement with Sony Music Publishing.
Hailing from Canada, Hofmann has quickly garnered attention with the release of her debut EP, Purple Gas. The EP received recognition from Zach Bryan, who featured the title track “Purple Gas” as a duet on his latest album, The Great American Bar Scene. The track broke into the Billboard Hot 100, marking her first-ever debut on the chart.
“I am a songwriter first, above all else. It’s all about the song and always will be. I’m in the business of writing songs I hope will outlive my pen, and I’m excited to partner with Sony Music Publishing to continue bringing them into the world,” Hofmann says.
“Noeline is an exceptional songwriter, and she is already connecting with audiences in a profound way,” adds Scout Easley, Vice President, Creative A&R, Sony Music Publishing. “Helen Lazenby and I are so excited to welcome her to the SMP family and to support her as she continues to make her mark.”
Hofmann is set to continue touring this summer alongside Zach Bryan, Colter Wall, Charley Crockett, Turnpike Troubadours and 49 Winchester.
Eric Church To Livestream Trilogy Of Red Rocks Shows Exclusively On Nugs
/by Lorie HollabaughEric Church. Photo: Anthony D’Angio
Eric Church’s three-night run of shows at Red Rocks Amphitheatre over July 14-16 are now available to fans around the globe as a pay-per-view event via nugs, the live concert streaming platform.
In the exclusive, pay-per-view event fans can tune in as Church curates a unique, immersive experience for each of the special shows. On July 14 Eric Church vs. The Machine will feature a full-scale production featuring his band joined by a dynamic ensemble of strings, horns and choir. On July 15 Eric Church vs. The ECB will include a raw, high-energy set with his original band, including longtime collaborator Joanna Cotten. The July 16 show Eric Church vs. The Guitar will feature a stripped-down, intimate evening with Church delivering an acoustic performance.
Available in both HD and 4K, the pay-per-view events can be purchased now via the nugs mobile app on iOS and Android or online via nugs.net. While mobile and desktop are the points of purchase, the shows can also be streamed on the big screen via the nugs app on Roku or AppleTV. Church has a long, storied history at Red Rocks, making his debut on the legendary stage in August 2007. His August 2016 performance at the venue was captured for a PBS special, highlighted by his striking cover of Leonard Cohen’s “Hallelujah.”
With the recent release of his new album Evangeline vs. The Machine, Church will also bring this next chapter of his live show to fans in arenas coast to coast with his 22-date “Free the Machine Tour,” which kicks off on Sept. 12.