Craig Shelburne
As the Grand Ole Opry celebrates its centennial, a new hardcover book offers fans and industry insiders a deeper understanding of the institution that helped shape country music itself. 100 Years of Grand Ole Opry, released by Abrams Books this spring, is a visually rich, narrative-driven look at the venue’s remarkable history, crafted through archival materials, exclusive interviews and untold stories spanning generations.
Spearheaded by longtime music journalist Craig Shelburne, the book captures the Opry’s evolution from a live radio experiment in 1925 to a modern-day cultural touchstone. “The Opry itself is the main character,” Shelburne tells MusicRow. “Like a movie, we found the plot twists and built the story around them.”
Shelburne—whose writing credits include CMT.com, The Bluegrass Situation and MusicRow—first approached the Opry team about the project in 2017, knowing the 100-year milestone was on the horizon. After several years of conversations, the concept took shape and was officially greenlit in 2023. From there, he worked closely with Opry historian Brenda Colladay and a full team to bring the idea to life.
The book’s structure follows key eras across the century, organized loosely by decade. Shelburne and his team leaned into the idea that each ten-year span brought pivotal changes, whether in membership, sound, technology or audience engagement.
“We started with 1925 to 1940 and closed with 2019 to 2025, because so much has happened in just the last six years,” he explains. “We wanted to give space to the newer members and moments that are shaping the next chapter.”
Throughout the process, the project remained deeply collaborative. The Opry opened its archives, giving access to rare photos, artifacts and memorabilia. Their talent division helped connect Shelburne with dozens of current and former members. The result is a layered portrait of the Opry’s legacy told through multiple voices, perspectives and memories.
“I didn’t want it to be a quick, ‘I love the Opry’ kind of thing,” Shelburne says. “I wanted to ask, ‘How did you get here? Why does this place matter to you?’ A lot of people got emotional. They were thinking about the history, but also realizing they’re part of it now.”
From those conversations came vivid stories—some moving, others just plain fun. Reba McEntire’s memories of attending as a child, and Marty Stuart’s tale of arriving at the Ryman by bus as a kid from Mississippi, wide-eyed and alone, ready to join Lester Flatt’s band on the Opry stage.
Shelburne also highlights moments of resilience, like the 2010 Nashville flood. “At one point, they took the podium from the flooded Opry House and brought it to War Memorial Auditorium, where the Opry had performed in the ’40s,” he says. “That night was historic. They hadn’t been back there in decades.”
What’s remained consistent across the years, he notes, is the focus on quality and community. “You really have to be good to play the Opry,” Shelburne says. “They don’t hand that out. And they’ve kept it going nearly every Saturday night for 100 years. That kind of consistency is rare.”
Still, the book doesn’t ignore how the Opry has changed. One shift Shelburne sees as promising is the renewed investment in younger artists and broader genres. Where the mid-century cast was tight-knit and member-heavy, today’s Opry features more balance between members and guests, bringing in Americana acts, comedians, Christian artists and newcomers making their debut.
“They make a big deal out of those debuts now,” he says. “Younger artists get really excited, and they bring their fans into it, too. That’s the ticket to the future.”
The Opry’s livestreams during the pandemic introduced the show to new, international audiences for the first time. And yet, for those who grew up with it—like Shelburne, who watched weekly broadcasts on TNN with his grandparents—it remains deeply personal.
“I didn’t realize at the time that the Opry was my first real resource for understanding country music history,” he says. “You’re discovering a new generation while learning the roots. And now with this book, someone can pick it up and see how we got here.”
100 Years of Grand Ole Opry is as much a collector’s item as it is a storytelling vessel. Richly illustrated and carefully written, it preserves the past while offering a window into what’s next. For readers steeped in the business or simply fans of the format, it’s an invitation to walk through a century’s worth of moments, on stage and behind the curtain.
For Shelburne, the experience has also been full circle. “Once I started working on the book, I was out there all the time—doing interviews, research, you name it. Seeing it that often made me realize what a massive operation it is,” he says. “They really go the extra mile. Nothing is done halfway. It’s a special place.”
A Century On The Stage: New Book ‘100 Years Of Grand Ole Opry’ Offers Intimate Look At The Institution [Interview]
/by LB CantrellCraig Shelburne
As the Grand Ole Opry celebrates its centennial, a new hardcover book offers fans and industry insiders a deeper understanding of the institution that helped shape country music itself. 100 Years of Grand Ole Opry, released by Abrams Books this spring, is a visually rich, narrative-driven look at the venue’s remarkable history, crafted through archival materials, exclusive interviews and untold stories spanning generations.
Spearheaded by longtime music journalist Craig Shelburne, the book captures the Opry’s evolution from a live radio experiment in 1925 to a modern-day cultural touchstone. “The Opry itself is the main character,” Shelburne tells MusicRow. “Like a movie, we found the plot twists and built the story around them.”
Shelburne—whose writing credits include CMT.com, The Bluegrass Situation and MusicRow—first approached the Opry team about the project in 2017, knowing the 100-year milestone was on the horizon. After several years of conversations, the concept took shape and was officially greenlit in 2023. From there, he worked closely with Opry historian Brenda Colladay and a full team to bring the idea to life.
The book’s structure follows key eras across the century, organized loosely by decade. Shelburne and his team leaned into the idea that each ten-year span brought pivotal changes, whether in membership, sound, technology or audience engagement.
“We started with 1925 to 1940 and closed with 2019 to 2025, because so much has happened in just the last six years,” he explains. “We wanted to give space to the newer members and moments that are shaping the next chapter.”
Throughout the process, the project remained deeply collaborative. The Opry opened its archives, giving access to rare photos, artifacts and memorabilia. Their talent division helped connect Shelburne with dozens of current and former members. The result is a layered portrait of the Opry’s legacy told through multiple voices, perspectives and memories.
“I didn’t want it to be a quick, ‘I love the Opry’ kind of thing,” Shelburne says. “I wanted to ask, ‘How did you get here? Why does this place matter to you?’ A lot of people got emotional. They were thinking about the history, but also realizing they’re part of it now.”
From those conversations came vivid stories—some moving, others just plain fun. Reba McEntire’s memories of attending as a child, and Marty Stuart’s tale of arriving at the Ryman by bus as a kid from Mississippi, wide-eyed and alone, ready to join Lester Flatt’s band on the Opry stage.
Shelburne also highlights moments of resilience, like the 2010 Nashville flood. “At one point, they took the podium from the flooded Opry House and brought it to War Memorial Auditorium, where the Opry had performed in the ’40s,” he says. “That night was historic. They hadn’t been back there in decades.”
What’s remained consistent across the years, he notes, is the focus on quality and community. “You really have to be good to play the Opry,” Shelburne says. “They don’t hand that out. And they’ve kept it going nearly every Saturday night for 100 years. That kind of consistency is rare.”
Still, the book doesn’t ignore how the Opry has changed. One shift Shelburne sees as promising is the renewed investment in younger artists and broader genres. Where the mid-century cast was tight-knit and member-heavy, today’s Opry features more balance between members and guests, bringing in Americana acts, comedians, Christian artists and newcomers making their debut.
“They make a big deal out of those debuts now,” he says. “Younger artists get really excited, and they bring their fans into it, too. That’s the ticket to the future.”
The Opry’s livestreams during the pandemic introduced the show to new, international audiences for the first time. And yet, for those who grew up with it—like Shelburne, who watched weekly broadcasts on TNN with his grandparents—it remains deeply personal.
“I didn’t realize at the time that the Opry was my first real resource for understanding country music history,” he says. “You’re discovering a new generation while learning the roots. And now with this book, someone can pick it up and see how we got here.”
100 Years of Grand Ole Opry is as much a collector’s item as it is a storytelling vessel. Richly illustrated and carefully written, it preserves the past while offering a window into what’s next. For readers steeped in the business or simply fans of the format, it’s an invitation to walk through a century’s worth of moments, on stage and behind the curtain.
For Shelburne, the experience has also been full circle. “Once I started working on the book, I was out there all the time—doing interviews, research, you name it. Seeing it that often made me realize what a massive operation it is,” he says. “They really go the extra mile. Nothing is done halfway. It’s a special place.”
Go West Creative Elevates Jeremy Vaughn To Director of Entertainment & Experiential [Exclusive]
/by Lauryn SinkJeremy Vaughn.
Go West Creative has elevated Jeremy Vaughn to Director of Entertainment & Experiential.
Vaughn recently served as Entertainment Producer for Nashville’s Variety Power of Women event, and managed a full buyout and rebranding of the “Friends In Low Places” venue on Broadway for a major U.S.-based brand. Additionally, his experience includes creating brand partnerships for the Official CMA Awards After Party, acting as talent liaison for CMA Fest, and leading the creation and production of Wells Fargo’s high-end brand activation at the Aspen Ideas Festival for the last four years.
“Jeremy Vaughn has been an invaluable part of the Go West team for nearly four years, bringing intentional creativity, meticulous attention to detail, and a visionary approach to every project,” shares Eileen Valois, CEO, President & Executive Producer at Go West Creative. “I’m thrilled to share his well-earned promotion to Director, Entertainment & Experiential—a role that highlights his incredible impact and the importance of creating unforgettable, innovative experiences for our clients. Working directly with me as we continue to push the boundaries of best-in-class brand activations and entertainment strategies, I can’t wait to see Jeremy thrive in this new role.”
In his new role, Vaughn will focus on crafting partnerships between global brands and Nashville’s entertainment scene. His vision is set to further position Go West Creative as a leader in merging entertainment with strategic brand storytelling.
Vaughn can be reached at jeremy@gwcg.com.
Third Day Plots 30th Anniversary Tour For 2026
/by Lorie HollabaughThird Day. Photo: Diego Brawn
Third Day will reunite for a special “30th Anniversary Tour” that will hit arenas across the U.S. in spring 2026. Zach Williams will join the band as a special guest on the new anniversary trek.
For the first time in 11 years, the hall-of-fame band’s original four members, Mac Powell, Mark Lee, David Carr and Tai Anderson will reunite on stage for 30 shows. Fans will experience crowd favorites, pulling from the band’s 31 No. 1 singles across 14 albums. Kicking off March 19 in Jacksonville, the band will visit Austin, Tulsa, Grand Rapids, Chicago, San Diego, Kansas City, and many more through May 10, where they will wrap in their hometown of Atlanta. The tour also includes a Nashville Bridgestone Arena date on April 12.
“I’ve been getting asked the question for many years, ‘when is Third Day going to do a tour again’ and I’ve always said… One day soon I hope!,” says Third Day Founding Member Mac Powell. “I’m so excited that we finally get the chance to play music together again on stage and give our fans what they’ve been waiting for.”
“Third Day has always been, first and foremost, a live band,” adds Mark Lee.”The best way to celebrate 30 years is to get back together for a tour. I can’t wait to get back out on the road with these guys and put on a big show for our fans.”
Tickets go on sale June 27 at ThirdDay.com and AwakeningFoundation.com.
“Third Day 30th Anniversary Tour” Dates:
3/19/26- Jacksonville, FL – VyStar Veterans Memorial Arena
3/20/26- Estero, FL – Hertz Arena
3/21/26- Pensacola, FL – Pensacola Bay Center
3/22/26- Orlando, FL – Kia Center
3/26/26- Austin, TX – Moody Center
3/27/26- Grand Prairie, TX (Dallas) – Texas Trust CU Theatre at Grand Prairie
3/28/26- Sugar Land, TX (Houston) – Smart Financial Centre at Sugar Land
3/29/26- Tulsa, OK – BOK Center
4/2/26- Toledo, OH – Huntington Center
4/3/26- Youngstown, OH – Covelli Centre
4/4/26- Grand Rapids, MI – Van Andel Arena
4/9/26- Minneapolis, MN – Target Center
4/10/26- Chicago, IL – Credit Union 1 Arena
4/11/26- St. Louis, MO – Chaifetz Arena
4/12/26- Nashville, TN – Bridgestone Arena
4/16/26- Henderson, NV – Lee’s Family Forum
4/17/26- Stateline, NV – Tahoe Blue Event Center
4/18/26- Portland, OR – Veterans Memorial Coliseum
4/19/26- Kent, WA (Seattle) – accesso ShoWare Center
4/23/26- Sacramento, CA – Golden 1 Center
4/24/26- Inglewood, CA (Los Angeles) – Kia Forum
4/25/26- San Diego, CA – Pechanga Arena San Diego
4/26/26- Glendale, AZ (Phoenix) – Desert Diamond Arena
4/29/26- Kansas City, MO – T-Mobile Center
4/30/26- Fishers, IN (Indianapolis) – Fishers Event Center
5/1/26- Birmingham, AL – Legacy Arena at BJCC
5/7/26- Dayton, OH – Wright State University Nutter Center
5/8/26- Fairfax, VA – EagleBank Arena
5/9/26- Charlotte, NC – Bojangles’ Coliseum
5/10/26- Duluth, GA (Atlanta) – Gas South Arena
Sun Records & McIntosh Honor Johnny Cash With New Vinyl Release
/by Lauryn SinkSun Records and McIntosh have teamed up to honor the legacy of Johnny Cash through the release of an 18-track vinyl of remastered and rarely heard recordings, dubbed McIntosh Sessions Volume 2: Pure Johnny Cash. The reworked tracks include “Train of Love,” “Ballad of a Teenage Queen,” “I Walk the Line” and many more.
“Sam Phillips had a way of capturing lightning in a bottle, and these early recordings of Johnny Cash perfectly exemplify that,” says Chase Gregory, Senior Director A&R + Sync, Sun Records. “Remastering them in high fidelity is a way of honoring that legacy with the care it deserves. This album is a glimpse into the recording session, as everything you hear was performed in one take with no overdubs. The result is a powerfully authentic, yet refined listening experience, that reminds us just how revolutionary Cash was from the very beginning.”
As part of the collaboration, McIntosh and Sun Records produced a limited-edition Sun Records MTI100 Integrated Turntable that combines a turntable, amplifier and preamplifier into one, Bluetooth-friendly design. More information on the vinyl and turntable is available here.
Sydney Quiseng Inks With BMG
/by Madison HahnenPictured (L-R): VP, Head of Creative, BMG Publishing Chris Oglesby; Sydney Quiseng; and Manager, A&R, BMG Publishing Camryn Clark.
Sydney Quiseng has signed a worldwide publishing deal with BMG.
Quiseng is known for being apart of the band Echosmith, with hits like “Cools Kids” and “Bright.” Now carving out her own path, she has previously released her solo singles “I Need Findin'” and “Leftover Coffee.” Quiseng will release her debut EP Phases this Friday (June 20). She recently performed at CMA Fest at Gibson Garage and PBR Cowboy Bar.
“I’m absolutely thrilled to welcome Sydney to the BMG family,” says Camryn Clark, BMG Publishing’s Manager, A&R. “From our very first meeting, her talent was undeniable. Sydney brings a positive, honest voice to every room she walks into, and I’m honored and inspired to be part of her journey. This next chapter is going to be something special.”
2025 BMI Christian Awards Honors Year’s Best & Brightest
/by Lorie HollabaughPictured (L-R): BMI’s Leslie Roberts, Capitol CMG Publishing Ryan Dahl, EJ Gaines, Be Essential Songs’ Holly Zabka, Capitol CMG Publishing’s David Gutekunst, Capitol CMG Publishing’s Ellie McKay, BMI Songwriter of the Year Jeff Pardo, Capitol CMG Publishing’s Katie Barolak, Capitol CMG Publishing’s Isabel Newell, Capitol CMG Publishing’s Kelly Redfern, BMI Spotlight Award Honoree Jackie Patillo, Capitol CMG Publishing’s Brad O’Donnell, Capitol CMG Publishing’s Kent Draughon and BMI’s Mike Steinberg. Photo: Larry McCormack for BMI
The 2025 BMI Christian Awards honored the best in Christian music last night (June 17) at a celebration at its Nashville office on Music Row hosted by BMI’s AVP, Creative, Leslie Roberts.
The evening paid tribute to the top Christian writers and publishers behind the 25 most-performed songs of the previous year, and also revealed BMI’s Christian Songwriter, Song and Publisher of the Year. Jackie Patillo, President of the Gospel Music Association and the GMA Foundation, was also honored during the evening with the BMI Spotlight Award for her unwavering dedication to the genre and her illustrious career.
BMI Spotlight Award honoree Jackie Patillo at the 2025 BMI Christian Awards. Photo: Larry McCormack for BMI
As BMI’s Spotlight Award honoree, Patillo was celebrated as a visionary leader and for her dedication to shaping and championing the world of Christian and Gospel music. As a surprise tribute, five-time GMA Dove Awards Female Vocalist of the Year Natalie Grant gave a compelling performance of her very first recording, “I Am Not Alone” accompanied by Bernie Herms. After receiving the Spotlight Award, Patillo thanked her family, friends, and those who have impacted the community, including BMI.
“This is more than just a business. We are all making a difference and impacting culture, and that’s what we get up for every day. I don’t know that anyone really feels worthy, but I truly feel this is what amazing grace looks like.”
BMI’s Christian Song of the Year went to “Praise,” written by Chris Brown, Cody Carnes, Stephen Furtick and Chandler Moore. The hit song from Elevation Worship’s 11th album, Can You Imagine?, spent 31 weeks at No. 1 on Billboard’s Hot Christian Songs chart, reached the top 20 on the Christian Airplay chart and currently has over 171 million streams on YouTube.
Leading up to Song of the Year, BMI named the 25 most-performed Christian songs of the previous year including “Good Day,” written by Forrest Frank; “I Believe” written by Chris Davenport, Jonathan Smith and Phil Wickham; “Praise You Anywhere” written by Hank Bentley and Ben Fielding (APRA); “That’s My King” written by Lloyd Nicks Jr. and Jessica Patrice Russ; and “What Are We Waiting For?” written by Sean Douglas, Josh Kerr and Luke Smallbone, among others. In naming the top songs, BMI also recognized 18 first-time award winners.
Pictured (L-R): BMI’s Leslie Roberts, BMI Songwriter of the Year Jeff Pardo, BMI’s Mike Steinberg and BMI’s Clay Bradley celebrate Pardo as this year’s BMI Songwriter of the Year. Photo: Larry McCormack for BMI
Jeff Pardo was named BMI Christian Songwriter of the Year for penning five of the 25 most-performed songs including “Don’t Stop Praying,” “Heaven Changes Everything,” “Praise The Lord” with Jake Henry and Micah Tyler, and “Running Home” and “Strong” with Anne Wilson. The previously-named 2023 BMI Christian Songwriter of the Year and Grammy-nominated songwriter has successfully crossed genres as well, working with artists such as Lady A, Ben Rector, Tauren Wells and more.
Capitol CMG Publishing received Publisher of the Year honors for representing 17 of the 25 most-performed songs of the year including BMI’s Christian Song of the Year, “Praise,” as well as “Don’t Stop Praying,” “I Believe,” “Jesus Does” and “Take It All Back,” to name a few.
Among the special moments during this year’s ceremony were Roberts calling BMI’s 2019 Compass Award winner Elwyn Raymer up to the stage to kick off the celebration with a prayer, country songwriter Jordan Rowe giving the audience a preview of his unreleased song, “Way Back,” and first-time BMI award-winner Seph Schlueter sharing his uplifting hit “Counting My Blessings.”
Pictured (L-R): BMI’s Clay Bradley, Be Essential Songs’ Holly Zabka, BMI’s Leslie Roberts, BMI’s Mike Steinberg, EJ Gaines and Capitol CMG Publishing’s David Gutekunst celebrate BMI’s Song of the Year “Praise.” Photo: Larry McCormack for BMI
Natalie Grant performing at the 2025 BMI Christian Awards. Photo: Larry McCormack for BMI
Jason Isbell And The 400 Unit Announce 2025 Ryman Residency
/by Lauryn SinkJason Isbell And The 400 Unit
Jason Isbell and the 400 Unit will return to the Ryman Auditorium for their 10th annual residency this fall. This year’s event will feature six nights of unique shows. For their opening acts, Jason Isbell and the 400 Unit have partnered with public schools and music programs across the southeast to highlight some of the educators and students working to shape the next generation of live music.
Tickets go on sale this Friday (June 20) and more information is available here.
Jason Isbell and the 400 Unit 2025 Ryman Residency Dates:
Oct. 16 with Nuçi’s Space Camp Amped Program featuring Women in STEM
Oct. 17 with Yeah!
Oct. 18 with O.R.F. (Otis Redding Foundation) Allstars
Oct. 23 with Wright Middle School Mariachi Ensemble
Oct. 24 with Nashville School of the Arts
Oct. 25 with LoveUnited
Kate Bowling Named Director Of Creative At The Core Entertainment
/by Lorie HollabaughKate Bowling
Kate Bowling has joined The Core Entertainment as Director of Creative.
In her new role, Bowling will lead all visual branding and creative direction across the management, label and publishing company, overseeing everything from photo shoots and music videos to digital content and long-term creative strategy for The Core Records roster. Bowling will report to Jamie Younger, VP of Artist Development, and will be based in The Core’s Nashville offices.
Bowling joins The Core from Warner Music Nashville, where she played a key role in creative campaigns for artists and was heavily involved in the visual direction for Bailey Zimmerman’s debut album Religiously. The Album., a collaboration that initially connected her with The Core team. While at Warner, she also directed videos and served as creative director for album artwork across multiple projects including Ashley McBryde, Avery Anna, Bailey Zimmerman, Braxton Keith, The Castellows and Redferrin.
“Kate is a powerhouse creative who understands how to translate an artist’s vision into powerful, resonant visuals,” share Chief Zaruk and Simon Tikhman, Co-Founders and Co-CEOs, The Core Entertainment. “Her instincts, experience, and passion for storytelling make her an incredible addition to our team. As we continue to grow The Core, bringing in talent like Kate ensures we’re building a creative infrastructure that matches the ambition of our artists.”
“Joining The Core feels like a full-circle moment,” says Bowling. “From our earliest projects together, I felt a deep creative connection with the team and their artists. I’m excited to step into this role and continue building compelling visuals and creative worlds for our artists that elevate their music and help them connect with fans everywhere.”
Bowling will work closely with The Core’s roster of artists, which includes Bailey Zimmerman, Nate Smith, Josh Ross, Hannah McFarland and Nickelback.
Blessing Offor Slates Second Album ‘Real’ For August
/by Lorie HollabaughBlessing Offor will release his sophomore album Real on August 8.
The 16-song project includes the recently-released “Lift Me Up” and “The Morning,” and is a followup to his Grammy- nominated debut 2023 album My Tribe. The new album features production by Henrick Michelsen and Morgan Taylor Reid and songs co-written by writers Hank Bently, Fraser Churchill and more, and explores themes of loss and heartache while still infusing optimism.
“About two and a half years ago life got crazy,” shares Blessing. “I lost a bunch of people, got nominated for Grammys, just so much was happening all at once and it was like whiplash. I started writing this record from that time and I think it hits every emotion, talks about everything. I’m excited to get this out in the world and open this next chapter.”
Late last month, Blessing debuted some of the songs from Real at the inaugural “Read with Jenna Book Festival” in Nashville and spoke with Jenna Bush Hager about the new music and also played at CMA Music Fest.
Real Track List:
1. “Real” (Blessing Offor, Hank Bentley)
2. “Oh Child” (Blessing Offor, Henrik Michelsen, Bill Maybury)
3. “Lift Me Up” (Blessing Offor, Morgan Taylor Reid, Fraser Churchill, Pablo Hurtado)
4. “The Morning” (Blessing Offor, Rita Springer, Dan Muckala)
5. “The Roses” (Blessing Offor, Dalton Diehl, David Alexander, Midi Jones)
6. “Set It In Stone” (Blessing Offor, Dan Muckala)
7. “Rise Again” (Blessing Offor, Edd Holloway)
8. “Where My Feet Are” (Blessing Offor, Mark Pellizzer, Dominique Sanders)
9. “Jordans” (Blessing Offor, Hank Bentley)
10. “Carry On” (Blessing Offor, Dan Muckala)
11. “The Time It Takes” (Blessing Offor, Sandra McCracken)
12. “Barricades” (Blessing Offor, David Mescon)
13. “Somebody’s Child” (feat. Dolly Parton) (Blessing Offor, Joy Williams, Josh Ronen)
14. “Crying Out Loud” (Blessing Offor, Morgan Taylor Reid, Fraser Churchill)
15. “Just For You” (Blessing Offor, JC Stewart)
16. “What Tomorrow’s For” (Blessing Offor, AJ Pruis, Laura Veltz)
Ryan Kohn Signs With Concord Music Publishing
/by Madison HahnenPictured (L-R, back row): John Dennis, Ryan Kohn and Brad Kennard (Concord). (L-R, front row): Lily Fine (Dennis Entertainment) and Melissa Spillman (Concord). Photo: Audrey Spillman for Concord
Ryan Kohn has inked a global publishing deal with Concord Music Publishing, in partnership with John Dennis‘ InDent Music, the publishing arm of Dennis Entertainment. The deal includes Kohn’s full catalog and future works.
“It has been my dream for many years to become a professional songwriter, and signing with a team who is so beloved and respected in this industry is such a dream come true,” says Kohn. “This team has been so warm and welcoming to me, especially my biggest champions, Melissa Spillman and John Dennis. There is no one I’d rather partner with in this ever-changing industry, I am so excited to see what lies ahead for all of us.”
The producer and songwriter first moved to Music City to study music business at Belmont University. Since graduating in 2022, Kohn has worked with Erin Kirby, Cole Goodwin, Grace Tyler, Callista Clark, Ashley Anne, Callie Prince, Randall Fowler, Stanton Langley, Emmy Moyen and more.
Kohn has also released a number of singles as an artist, including “The Man She Used to Know,” “Headed Nowhere” and “Lifetime, Lover.” His EP November Skies was released in 2021 and portrayed a vulnerable picture of post-college graduation life. This past April, he performed at Key West Songwriters Festival.
“Ryan is already so well-connected in our music community, it was easy to see the path of success in front of him,” adds Melissa Spillman, VP of A&R at Concord Music Publishing in Nashville. “To find someone who is so loved and respected among writers, artists and executives alike is a rare thing! He’s a joy to work with, and his passion for music is infectious. I’m thrilled to be on his team!”