Sara Knabe. Photo: Brayln Kelly Smith
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.
Industry veteran Sara Knabe is SVP of A&R at Big Loud, where she works in tandem with both the Big Loud Records and Big Loud Publishing A&R teams, leading across both.
She joined Big Loud in 2023, after spending just under a year founding and cultivating her own Cake Maker Music, a music publishing, artist development and A&R consulting company. Prior to that, Knabe was VP of A&R at BBR Music Group, VP of Creative at BMG Music Publishing, and had prior career stops at Bug Music, Windswept Holdings, LLC and Harlan Howard Songs. Knabe is a Belmont University graduate.
Photo: Courtesy of Knabe
MusicRow: Where did you grow up?
I grew up in Jackson, Missouri, but I moved here in 2001. So I’ve been in Nashville for 24 years now.
What was your childhood like? What were you into?
I was a pastor’s kid, so we moved around a bit. Jackson is where I went to high school, but my childhood was the typical preacher’s kid experience — loud and a little chaotic. I was obsessed with both music and sports. Volleyball was my sport, but I was also in band and choir. I was always listening to records and falling in love with songs.
We didn’t have many concerts come through town, but the Bootheel Rodeo in Sikeston was my place. Every summer I lived for that week. That was my concert experience growing up. I saw Kenny Chesney, Toby Keith, Clint Black, Lonestar, Jo Dee Messina and more there.
Photo: Courtesy of Knabe
What was your dream? Did you imagine yourself doing this back then?
I knew I wanted to work in music, but I had no idea what that looked like. I started college at Southeast Missouri State in ’99 as a vocal performance major, but I quickly realized I wasn’t good enough to make it as a singer. I switched to business.
Over Christmas break, my dad ran into someone I went to high school with who had moved to Nashville and was attending Belmont. She told us about the school, and I was like, wait — there’s a place you can go to actually study the music industry? I only knew about managers because I’d seen the movie Pure Country, so I came to Belmont thinking I’d be one.
On my first day, a professor asked if anyone knew what they wanted to do. I shot my hand up and said, “I want to be a manager and help artists find their songs.” He told me that was actually A&R or publishing. As soon as I heard about publishing, I was hooked.
What internships did you do?
I interned at EMI Publishing and with Scott Hendricks and Jason Krupeck in A&R. Jason let me sit in on all his meetings, which was huge — that’s where I met so many of my first publishing contacts.
I also interned at Teracel Music during peak Rascal Flatts, when Brett James was there as both an artist and writer, along with Mark Beeson, Philip White and others. It was an amazing environment.
Photo: Courtesy of Knabe
Then I got an internship at Harlan Howard Songs. Honestly, I didn’t know much about Harlan at the time. But he had just passed, and his friends would come by the office to sit in his chair, smoke cigars and tell stories. It was like a baptism into country music. I learned so much about songs, the history and the community. That internship turned into my first full-time job, and I stayed there four years.
What did you get to do there once you were full time?
I started as catalog manager and assistant to Melanie Howard. It was just the two of us, so I did a little bit of everything — front desk, admin, catalog recapture. I learned a ton about copyright and paperwork, especially on songs from the ’50s and ’60s.
But I knew I wanted to pitch songs. A few months in, I asked Melanie if I could start taking meetings when my work was done. She graciously said yes. My first pitch meeting was with Erv Woolsey for George Strait, and my second was with Scott Hendricks. Looking back, I probably didn’t pitch great songs that day, but what an opportunity.
Photo: Courtesy of Knabe
While I was there, we signed Lori McKenna and Mary Gauthier. Lori’s career exploded, and that opened every door for me. Artists were calling, fighting to hear her songs first. Having Harlan’s catalog gave me credibility, and Lori’s writing gave me access I probably hadn’t earned yet.
Melanie also included me in the Chicks With Hits meetings, which were like grad school for pitching. Those women were relentless about the songs they believed in, and the artists who walked into those offices blew my mind. I always say the Chicks With Hits raised me.
What was your next step?
Steve Markland hired me at Windswept Music Publishing, which was such a thrill. They were coming off a huge run of hits with Jeffrey Steele and Kendell Marvel, and they had Randy Houser, who was still looking for a record deal. That era was so fun — Tuesday nights at 12th & Porter with Randy, Jamey Johnson, Jared Neiman, Ken Johnson, Lee Brice… everyone was getting signed, playing shows, and hanging out. After work we’d bounce from Tin Roof to 12th & Porter to Douglas Corner to 3rd & Lindsley. The whole scene felt like it was rising together.
Windswept had that kind of culture. It was a hang — even if you didn’t write there, you could show up and know someone would be around. My very first day of work, everyone was at the Key West Songwriters Festival, so it was just me and the receptionist. I hadn’t met most of the writers yet, when I suddenly heard someone in the kitchen. This guy is loading beers into his cargo pockets at nine in the morning. I introduced myself: “Hi, I’m Sara, the new plugger.” He goes, “Oh, I don’t actually write here. I just knew you guys had beer. I’m writing across the street at Starstruck.” [Laughs] That was Windswept in a nutshell — open, fun and creative.
Photo: Courtesy of Knabe
Unfortunately, the company sold not long after I started. I was technically only at Windswept for about nine months before Bug Music bought them, and we became Bug Windswept for a while.
What was that transition like?
It was interesting because the two companies had very different approaches. Windswept was a creative, artist-development kind of place, while Bug was known more as an Americana-leaning administration company. But when they came together, it actually created a perfect mix.
I got to work with people like Darrell Scott, Buddy Miller and Jim Lauderdale, and catalogs from legends like Townes Van Zandt. At the same time, we had writers cutting songs for George Strait and Gary Allan, and Randy Houser as an artist. It gave me the chance to be part of both worlds, which was ideal for my ear.
Photo: Courtesy of Knabe
How long were you there?
Bug was eventually bought by BMG, and I stayed through all of that — from Windswept to Bug Windswept, then Bug, then BMG. All told, it was a 17-year run. I spent 12 years at BMG, seven on the publishing team and five at Broken Bow.
Tell me about working in publishing at BMG.
Those were some of the most fun years of my career. The catalog was incredible. Because I’d stayed on through the Windswept and Bug acquisitions, I had access to everything — Windswept, BMG, Cherry Lane, Stage Three, Corlew — all at my fingertips. For someone who loves digging for songs and finding homes for them, it was heaven.
I also worked with some amazing writers: Tony Lane, Wynn Varble, Ruston Kelly, Lucie Silvas, Emily Shackelton, Adam James… just a really strong creative group. And the team itself was great — Daniel Lee, Chris Oglesby, Kevin Lane — we had such good synergy. It was just fun.
And then you transitioned to the label side. Was that something you’d always imagined?
Not at all. I kind of fell into it and ended up loving it. When BMG bought Broken Bow, there were a couple of projects that needed to be wrapped up — a Runaway June record and a Joe Nichols record. They didn’t have a dedicated A&R team at the time, so I just started jumping in, mostly clueless but having fun.
Photo: Courtesy of Knabe
At first, I was suggesting names for the role, throwing out peers and friends, but meanwhile I was realizing how much I enjoyed the flip side — listening for songs, having those creative conversations. Publishing had shifted to being more calendar-driven: scheduling writes, managing rooms. That wasn’t my strength or passion. I’ve always loved the creative side — hearing songs and finding where they belong. Weirdly enough, A&R felt like a better fit for that than publishing had become.
So finally, I threw my own name in the mix. Jon Loba took a chance on me, and I’ll always be thankful for that. I jumped in not knowing much, just trying to figure it out. Honestly, I still feel like I’m figuring it out.
Do you have any early wins that gave you confidence?
I feel really lucky to have worked on the Lainey Wilson projects. But honestly, that was just about giving her the opportunity and staying out of her way.
Helping with those first two records was exciting, but she knew exactly who she wanted to be. My role was just narrowing down songs — going through hundreds and helping her land on the best 12 — and having ongoing conversations. From the beginning, I just trusted my gut. I loved her voice, her songwriting, and when I met her, I thought, this girl has everything she needs.
It’s been so fun to watch her career take off. I’m grateful to have played even a small part in her journey, but that’s all her. What I’ve learned is my job works best when I’m just championing talented people and giving them the runway to do their thing.
Photo: Courtesy of Knabe
Then you started a new chapter. Tell me about that.
During COVID, I burned out. I loved my time at Broken Bow — it was an exciting run with Lainey, Dustin Lynch, Jelly Roll early on — but being on Zoom from eight to six every day fried my brain. I wasn’t being the mom, wife, daughter or friend I wanted to be, and I didn’t feel like I was being the A&R I wanted to be either. After 20 years of hustling, I knew I needed a break.
I left with no real plan other than starting something that gave me more balance — which became Cake Maker. The idea was to create a space where I could help artists develop and get them to the point where they were ready for a label. I thought I’d take a year off, but three months in I was bored.
So I launched my consulting company. Around then, Seth [England] called. We’d known each other since he was my intern back at Harlan Howard Songs, and we’d worked together for years. He asked what I was doing, and I said, “I went to Costco twice today — I need a job.” He brought me on to consult for Big Loud, just listening for songs, and I loved it.
I also covered a maternity leave at Creative Nation, which was really important to me. I wanted to show that women can be working moms — it’s hard, you’ll never be perfect at it all, but you don’t have to “fail” at one thing to succeed at another. That idea is where the name Cake Maker came from: I wanted to make my cake and eat it too by creating the environment I needed.
You eventually joined Big Loud full time.
Big Loud’s philosophy of “best song wins” really resonated with me. Whether the artist wrote it or not, the bar is always high. And the environment is so creative — writers and artists are constantly hanging out, rising together.
Photo: Courtesy of Knabe
At first, I was hesitant to join full-time because I didn’t want to get overwhelmed again. Seth told me to call other SVPs with kids and ask them about work-life balance. Almost all of them had young families, and they said the culture allowed for it. We work hard, but if you need to leave for a baseball game, you go.
The moment that sealed it was going to Seth’s son’s birthday party. Everyone from the office was there with their kids. I left and cried in the car because I realized, this is the crew that gets what I’m trying to do.
So I joined Big Loud two years ago, and it’s been such a great fit. The team is fantastic, the roster is strong, and while work-life balance will always be something I have to manage, I’ve gotten better at setting boundaries. And I’ve learned that makes me better at my job.
What would you say is your favorite part of your job today?
I love that every day is different. No two days look the same. I get to be in creative conversations on both the publishing and label sides — hearing songs from writers, meeting new talent, talking with producers and artists about their vision for a record, even sitting in marketing meetings and throwing out the occasional crazy idea.
Photo: Courtesy of Knabe
At the heart of it, my favorite thing is sitting down with a writer or artist and asking, What do you want to accomplish? What do you want to say? Helping them clarify that vision and then giving them opportunities to get there — that’s the best part.
And of course, just hearing a great song. Getting to send it to someone with, “You’ve got to hear this one.” Or getting a text from Ernest with something brand new he’s excited about — that never gets old.
I also love mentoring. Guiding young A&R and publishing staff is so rewarding. I’ve had great mentors myself, so it’s important to me to give that back.
Have you had any mentors?
So many. Stephanie Cox has always been incredible — when I was at Harlan Howard Songs, her office was upstairs at Larga Vista Music and she was so generous with her time. Kos Weaver was amazing, always pulling me into meetings and letting me learn by doing.
Photo: Courtesy of Knabe
I’ve also had peers who mentor each other — Beth Laird and I talk all the time about how we’d handle different situations. The Chicks With Hits raised me; they taught me how to pitch songs and be relentless about ones you believe in.
Others who made a big impact: Steve Markland, in the way he nurtures songwriters. Stephanie Wright — I can talk to her about anything. Allison Jones has been a great mentor too.
I’ve been really fortunate to have so many positive influences — men and women — from the very beginning, and I’m grateful for every one of them.
My Music Row Story: Big Loud’s Sara Knabe
/by LB CantrellSara Knabe. Photo: Brayln Kelly Smith
Industry veteran Sara Knabe is SVP of A&R at Big Loud, where she works in tandem with both the Big Loud Records and Big Loud Publishing A&R teams, leading across both.
She joined Big Loud in 2023, after spending just under a year founding and cultivating her own Cake Maker Music, a music publishing, artist development and A&R consulting company. Prior to that, Knabe was VP of A&R at BBR Music Group, VP of Creative at BMG Music Publishing, and had prior career stops at Bug Music, Windswept Holdings, LLC and Harlan Howard Songs. Knabe is a Belmont University graduate.
Photo: Courtesy of Knabe
MusicRow: Where did you grow up?
I grew up in Jackson, Missouri, but I moved here in 2001. So I’ve been in Nashville for 24 years now.
What was your childhood like? What were you into?
I was a pastor’s kid, so we moved around a bit. Jackson is where I went to high school, but my childhood was the typical preacher’s kid experience — loud and a little chaotic. I was obsessed with both music and sports. Volleyball was my sport, but I was also in band and choir. I was always listening to records and falling in love with songs.
We didn’t have many concerts come through town, but the Bootheel Rodeo in Sikeston was my place. Every summer I lived for that week. That was my concert experience growing up. I saw Kenny Chesney, Toby Keith, Clint Black, Lonestar, Jo Dee Messina and more there.
Photo: Courtesy of Knabe
What was your dream? Did you imagine yourself doing this back then?
I knew I wanted to work in music, but I had no idea what that looked like. I started college at Southeast Missouri State in ’99 as a vocal performance major, but I quickly realized I wasn’t good enough to make it as a singer. I switched to business.
Over Christmas break, my dad ran into someone I went to high school with who had moved to Nashville and was attending Belmont. She told us about the school, and I was like, wait — there’s a place you can go to actually study the music industry? I only knew about managers because I’d seen the movie Pure Country, so I came to Belmont thinking I’d be one.
On my first day, a professor asked if anyone knew what they wanted to do. I shot my hand up and said, “I want to be a manager and help artists find their songs.” He told me that was actually A&R or publishing. As soon as I heard about publishing, I was hooked.
What internships did you do?
I interned at EMI Publishing and with Scott Hendricks and Jason Krupeck in A&R. Jason let me sit in on all his meetings, which was huge — that’s where I met so many of my first publishing contacts.
I also interned at Teracel Music during peak Rascal Flatts, when Brett James was there as both an artist and writer, along with Mark Beeson, Philip White and others. It was an amazing environment.
Photo: Courtesy of Knabe
Then I got an internship at Harlan Howard Songs. Honestly, I didn’t know much about Harlan at the time. But he had just passed, and his friends would come by the office to sit in his chair, smoke cigars and tell stories. It was like a baptism into country music. I learned so much about songs, the history and the community. That internship turned into my first full-time job, and I stayed there four years.
What did you get to do there once you were full time?
I started as catalog manager and assistant to Melanie Howard. It was just the two of us, so I did a little bit of everything — front desk, admin, catalog recapture. I learned a ton about copyright and paperwork, especially on songs from the ’50s and ’60s.
But I knew I wanted to pitch songs. A few months in, I asked Melanie if I could start taking meetings when my work was done. She graciously said yes. My first pitch meeting was with Erv Woolsey for George Strait, and my second was with Scott Hendricks. Looking back, I probably didn’t pitch great songs that day, but what an opportunity.
Photo: Courtesy of Knabe
While I was there, we signed Lori McKenna and Mary Gauthier. Lori’s career exploded, and that opened every door for me. Artists were calling, fighting to hear her songs first. Having Harlan’s catalog gave me credibility, and Lori’s writing gave me access I probably hadn’t earned yet.
Melanie also included me in the Chicks With Hits meetings, which were like grad school for pitching. Those women were relentless about the songs they believed in, and the artists who walked into those offices blew my mind. I always say the Chicks With Hits raised me.
What was your next step?
Steve Markland hired me at Windswept Music Publishing, which was such a thrill. They were coming off a huge run of hits with Jeffrey Steele and Kendell Marvel, and they had Randy Houser, who was still looking for a record deal. That era was so fun — Tuesday nights at 12th & Porter with Randy, Jamey Johnson, Jared Neiman, Ken Johnson, Lee Brice… everyone was getting signed, playing shows, and hanging out. After work we’d bounce from Tin Roof to 12th & Porter to Douglas Corner to 3rd & Lindsley. The whole scene felt like it was rising together.
Windswept had that kind of culture. It was a hang — even if you didn’t write there, you could show up and know someone would be around. My very first day of work, everyone was at the Key West Songwriters Festival, so it was just me and the receptionist. I hadn’t met most of the writers yet, when I suddenly heard someone in the kitchen. This guy is loading beers into his cargo pockets at nine in the morning. I introduced myself: “Hi, I’m Sara, the new plugger.” He goes, “Oh, I don’t actually write here. I just knew you guys had beer. I’m writing across the street at Starstruck.” [Laughs] That was Windswept in a nutshell — open, fun and creative.
Photo: Courtesy of Knabe
Unfortunately, the company sold not long after I started. I was technically only at Windswept for about nine months before Bug Music bought them, and we became Bug Windswept for a while.
What was that transition like?
It was interesting because the two companies had very different approaches. Windswept was a creative, artist-development kind of place, while Bug was known more as an Americana-leaning administration company. But when they came together, it actually created a perfect mix.
I got to work with people like Darrell Scott, Buddy Miller and Jim Lauderdale, and catalogs from legends like Townes Van Zandt. At the same time, we had writers cutting songs for George Strait and Gary Allan, and Randy Houser as an artist. It gave me the chance to be part of both worlds, which was ideal for my ear.
Photo: Courtesy of Knabe
How long were you there?
Bug was eventually bought by BMG, and I stayed through all of that — from Windswept to Bug Windswept, then Bug, then BMG. All told, it was a 17-year run. I spent 12 years at BMG, seven on the publishing team and five at Broken Bow.
Tell me about working in publishing at BMG.
Those were some of the most fun years of my career. The catalog was incredible. Because I’d stayed on through the Windswept and Bug acquisitions, I had access to everything — Windswept, BMG, Cherry Lane, Stage Three, Corlew — all at my fingertips. For someone who loves digging for songs and finding homes for them, it was heaven.
I also worked with some amazing writers: Tony Lane, Wynn Varble, Ruston Kelly, Lucie Silvas, Emily Shackelton, Adam James… just a really strong creative group. And the team itself was great — Daniel Lee, Chris Oglesby, Kevin Lane — we had such good synergy. It was just fun.
And then you transitioned to the label side. Was that something you’d always imagined?
Not at all. I kind of fell into it and ended up loving it. When BMG bought Broken Bow, there were a couple of projects that needed to be wrapped up — a Runaway June record and a Joe Nichols record. They didn’t have a dedicated A&R team at the time, so I just started jumping in, mostly clueless but having fun.
Photo: Courtesy of Knabe
At first, I was suggesting names for the role, throwing out peers and friends, but meanwhile I was realizing how much I enjoyed the flip side — listening for songs, having those creative conversations. Publishing had shifted to being more calendar-driven: scheduling writes, managing rooms. That wasn’t my strength or passion. I’ve always loved the creative side — hearing songs and finding where they belong. Weirdly enough, A&R felt like a better fit for that than publishing had become.
So finally, I threw my own name in the mix. Jon Loba took a chance on me, and I’ll always be thankful for that. I jumped in not knowing much, just trying to figure it out. Honestly, I still feel like I’m figuring it out.
Do you have any early wins that gave you confidence?
I feel really lucky to have worked on the Lainey Wilson projects. But honestly, that was just about giving her the opportunity and staying out of her way.
Helping with those first two records was exciting, but she knew exactly who she wanted to be. My role was just narrowing down songs — going through hundreds and helping her land on the best 12 — and having ongoing conversations. From the beginning, I just trusted my gut. I loved her voice, her songwriting, and when I met her, I thought, this girl has everything she needs.
It’s been so fun to watch her career take off. I’m grateful to have played even a small part in her journey, but that’s all her. What I’ve learned is my job works best when I’m just championing talented people and giving them the runway to do their thing.
Photo: Courtesy of Knabe
Then you started a new chapter. Tell me about that.
During COVID, I burned out. I loved my time at Broken Bow — it was an exciting run with Lainey, Dustin Lynch, Jelly Roll early on — but being on Zoom from eight to six every day fried my brain. I wasn’t being the mom, wife, daughter or friend I wanted to be, and I didn’t feel like I was being the A&R I wanted to be either. After 20 years of hustling, I knew I needed a break.
I left with no real plan other than starting something that gave me more balance — which became Cake Maker. The idea was to create a space where I could help artists develop and get them to the point where they were ready for a label. I thought I’d take a year off, but three months in I was bored.
So I launched my consulting company. Around then, Seth [England] called. We’d known each other since he was my intern back at Harlan Howard Songs, and we’d worked together for years. He asked what I was doing, and I said, “I went to Costco twice today — I need a job.” He brought me on to consult for Big Loud, just listening for songs, and I loved it.
I also covered a maternity leave at Creative Nation, which was really important to me. I wanted to show that women can be working moms — it’s hard, you’ll never be perfect at it all, but you don’t have to “fail” at one thing to succeed at another. That idea is where the name Cake Maker came from: I wanted to make my cake and eat it too by creating the environment I needed.
You eventually joined Big Loud full time.
Big Loud’s philosophy of “best song wins” really resonated with me. Whether the artist wrote it or not, the bar is always high. And the environment is so creative — writers and artists are constantly hanging out, rising together.
Photo: Courtesy of Knabe
At first, I was hesitant to join full-time because I didn’t want to get overwhelmed again. Seth told me to call other SVPs with kids and ask them about work-life balance. Almost all of them had young families, and they said the culture allowed for it. We work hard, but if you need to leave for a baseball game, you go.
The moment that sealed it was going to Seth’s son’s birthday party. Everyone from the office was there with their kids. I left and cried in the car because I realized, this is the crew that gets what I’m trying to do.
So I joined Big Loud two years ago, and it’s been such a great fit. The team is fantastic, the roster is strong, and while work-life balance will always be something I have to manage, I’ve gotten better at setting boundaries. And I’ve learned that makes me better at my job.
What would you say is your favorite part of your job today?
I love that every day is different. No two days look the same. I get to be in creative conversations on both the publishing and label sides — hearing songs from writers, meeting new talent, talking with producers and artists about their vision for a record, even sitting in marketing meetings and throwing out the occasional crazy idea.
Photo: Courtesy of Knabe
At the heart of it, my favorite thing is sitting down with a writer or artist and asking, What do you want to accomplish? What do you want to say? Helping them clarify that vision and then giving them opportunities to get there — that’s the best part.
And of course, just hearing a great song. Getting to send it to someone with, “You’ve got to hear this one.” Or getting a text from Ernest with something brand new he’s excited about — that never gets old.
I also love mentoring. Guiding young A&R and publishing staff is so rewarding. I’ve had great mentors myself, so it’s important to me to give that back.
Have you had any mentors?
So many. Stephanie Cox has always been incredible — when I was at Harlan Howard Songs, her office was upstairs at Larga Vista Music and she was so generous with her time. Kos Weaver was amazing, always pulling me into meetings and letting me learn by doing.
Photo: Courtesy of Knabe
I’ve also had peers who mentor each other — Beth Laird and I talk all the time about how we’d handle different situations. The Chicks With Hits raised me; they taught me how to pitch songs and be relentless about ones you believe in.
Others who made a big impact: Steve Markland, in the way he nurtures songwriters. Stephanie Wright — I can talk to her about anything. Allison Jones has been a great mentor too.
I’ve been really fortunate to have so many positive influences — men and women — from the very beginning, and I’m grateful for every one of them.
John C. Reilly To Host 2025 Americana Honors & Awards
/by Lorie HollabaughJohn C. Reilly
Actor John C. Reilly has been tapped as host of this year’s 2025 Americana Honors & Awards, set for September 10 at the Ryman Auditorium.
Buddy Miller continues his reign as awards band leader with Don Was, The McCrary Sisters, Fred Eltringham, Jen Gunderman, Jim Hoke and Larry Campbell comprising the 2025 house band.
Nominees for this year’s awards include Artist of the Year contenders Charley Crockett, Sierra Ferrell, Joy Oladokun, Billy Strings, and Waxahatchee, along with many more.
The program is the hallmark event of AMERICANAFEST, which returns for its 25th year on Sept. 9-13, 2025. For more than two decades, the prestigious ceremony has celebrated pioneering mainstays and trailblazing newcomers, while featuring unforgettable moments in music history including Johnny Cash & June Carter Cash’s last live performance together, as well as show-stopping appearances by k.d. lang, Van Morrison, Mavis Staples, Bob Weir, Buddy Guy, George Strait, Don Henley, John Prine with Bonnie Raitt, The Avett Brothers, Mumford & Sons, Alabama Shakes, Levon Helm, Robert Plant and many more.
The Haley Gallery At CMHOFM To Host Earl Newman Exhibit
/by Lauryn SinkThe Haley Gallery at the Country Music Hall of Fame and Museum will host Earl Newman: Six Decades of Lyrical Compositions, an art exhibition showcasing the works of the renowned poster printmaker. Newman is also serving as the 2025 Hatch Show Print Visiting Artist. The exhibition, which is free and open to the public beginning the evening of Sept. 18 through Nov. 14, will include vintage silkscreened posters by Newman and new works created in collaboration with Hatch Show Print.
With over 70 years of experience in making posters, he is most often recognized for the posters he made for the Monterey Jazz Festival. He designed one of the very first promotional posters for the festival in 1963 and produced more than 62 unique posters for the festival over the next 46 years. The Smithsonian’s Division of Musical History in Washington, D.C., has acquired a complete collection of numbered and signed editions of Newman’s Monterey Jazz Festival posters. Newman has also designed posters for the Abbot Kinney Festival, the Northwest Art & Air Festival, the Oregon Country Fair, the Oregon Shakespeare Theater and more.
The gallery will host a free reception that is open to the public with Newman to celebrate the exhibition opening on Sept. 18. On Sept. 20 from 10 a.m. to 2 p.m., Hatch Show Print will host “Papercuts and Rainbows,” a workshop inspired by Newman’s posters and the type collection at Hatch Show Print led by Wendy Murray.
All work on view in the Haley Gallery is available for purchase.
Jimi Bell Renews Publishing Deal With Warner Chappell & Worktape Music [Exclusive]
/by LB CantrellPictured (L-R): Phil May (WCM), TD Ruth (Serling Rooks), Jimi Bell, Travis Gordon (Worktape Music), Bryce Sherlow (WCM) and Benji Amaefule (WCM)
Chart-topping songwriter Jimi Bell has renewed his publishing deal with Warner Chappell Music Nashville and Worktape Music.
The news comes as Bell’s co-written “Back Up Plan” (Bailey Zimmerman and Luke Combs) is climbing the country radio charts. The single follows Bell’s first No. 1, “Last Night Lonely,” recorded by Jon Pardi, as well as other cuts with Post Malone, Riley Green, Dylan Marlowe, Brantley Gilbert, The Castellows and more.
Hailing from Hawkinsville, Georgia, Bell moved to town in 2014 with friends Seth Ennis, Jon Sherwood and Chris Poole—all of whom have found success in the music business. Bell and Sherwood wrote “Back Up Plan” together alongside Tucker Beathard.
“When you’re writing, you’re creating something that lasts,” Bell shares with MusicRow. “You’re building a catalog, you’re handing songs down to your kids. Music is creative, but it’s also lasting—that’s the tradition I love.”
Reflecting on his breakout success, he adds, “It feels like you’ve worked hard to get to this one place, but at the end of the day, it’s not the end goal. Somebody told me, ‘You moved to town to be a hit songwriter, not to write a hit song.’ That stuck with me.”
“From Post Malone to Jon Pardi, Jimi’s lyrical integrity and unique perspective span the modern country music landscape,” says Travis Gordon, Owner/Operator, Worktape Music. “We’re so happy to continue our partnership with our good friends at Warner Chappell as Jimi expands his repertoire as a proven and consistent hitmaker.”
Benji Amaefule and Bryce Sherlow, Managers, A&R, WCM Nashville, add, “We are absolutely thrilled that Jimi is continuing his partnership with us at Warner Chappell alongside Worktape Music. Jimi’s laser focus, compelling storytelling, and unique ability to connect with artists at every stage of their careers make him truly special. His dedication to his craft has clearly paid off, and we’re honored to represent him. Through this partnership, country music fans around the world will continue to enjoy his incredible songs for years to come.”
Bell concludes, “To have Warner Chappell stick with me for the five years when I didn’t have anything going on meant the world. Now that things are happening, it feels good to start seeing a return on their investment. It really is a family, and I’m grateful to have their belief and support behind me — and having Travis Gordon in my corner through Worktape has brought such great energy and direction.”
Tyler Childers’ Healing Appalachia Partners With The Matthew Perry Foundation
/by Lauryn SinkHealing Appalachia, the nonprofit festival created by Tyler Childers and his manager to raise money to fight opioid addiction, has partnered with The Matthew Perry Foundation. This year’s festival will be held Sept. 19–20 in Ashland, Kentucky, with Childers and Chris Stapleton headlining.
The Matthew Perry Foundation will provide housing and amenities for more than 400 volunteers camping on-site, alongside 500 additional day volunteers drawn from recovery facilities across Appalachia. Over the course of the weekend, volunteers serve in every role including security, hospitality, green team and stage crew.
“We believe magic blossoms when we are all welcomed at the table together to foster recovery as a community,” says Dave Lavender, Board President of Hope in the Hills. “As Matthew Perry said, ‘Addiction is too powerful for anyone to defeat alone. But together, and one day at a time, we can beat it down. Which is why at Healing Appalachia, we will come together and one day at a time work to be our best selves and help our brothers and sisters beat down addiction and celebrate recovery.”’
“The Matthew Perry Foundation exists to ensure that no one is denied care or healing because of stigma,” share Doug Chapin, Board President of MPF and Lisa Kasteler-Calio, Executive Director of MPF. “By supporting grassroots organizations like Healing Appalachia, we are standing with the recovery community, lifting up the work being done every day, and helping create a future where compassion leads the way.”
The partnership will extend past the festival with initiatives including National Expansion Partners for SOAR WV’s Save A Life Day, supporting a stagehands workforce training pilot program and other regional grants, strengthening recovery and reentry pathways across Appalachia and more.
Cam To Launch ‘The Slow Down Tour’ In October
/by Lorie HollabaughCam. Photo: Szilveszter Mako
Cam has announced “The Slow Down Tour” through the U.S., UK and the EU beginning Oct. 20 at New York’s Gramercy Theatre.
The tour will make stops in Chicago, Washington D.C., Philadelphia, San Francisco and more through Nov. 17, with a hometown show at Nashville’s Ryman Auditorium Oct. 26 (marking her third time headlining the venue and where she first took the stage as an opener for Harry Styles.) Pre-sales for tour begin today (Aug. 20) with general on-sale starting this Friday (Aug. 22) at Camcountry.com.
“Alright sweet friends, I’m traveling through the U.S. and Europe to bring you this beautiful and raw album along with the hits to dance and cry to,” says Cam. “And as always there will be some belly laughs in between because in my family, we heal by making a punchline out of everything.”
Cam’s new full-length project, All Things Light, arrived in July. She celebrated the album at The Grammy Museum’s intimate 200-seat Clive Davis Theater in Los Angeles earlier this month with a special performance and a discussion about her creative process, rising career and more. Album opener “Turns Out That I Am God” was released in June. The album also includes previously released singles “Alchemy,” as well as the recent heavy-hearted “Everblue.” Alongside the album’s release, she also shared two additional James Mackel-directed videos for “Slow Down” and “Hallelujah.”
This year marks the 10-year anniversary of Cam’s major-label debut, Untamed, via RCA Records. The album featured the four-times Platinum hit “Burning House,” which earned Cam her first Grammy nomination for Best Country Solo Performance.
“The Slow Down Tour” Dates:
October 20, 2025 – New York, NY – The Gramercy Theatre
October 24, 2025 – Chicago, IL – Studebaker Theater
October 26, 2025 – Nashville, TN – Ryman Auditorium
October 28, 2025 – Alexandria, VA – The Birchmere
October 29, 2025 – Ardmore, PA – Ardmore Music Hall
November 14, 2025 – San Francisco, CA – Bimbo’s 365 Club
November 17, 2025 – Los Angeles, CA – El Rey Theatre
February 17, 2026 – Glasgow, UK – Old Fruitmarket
February 18, 2026 – Belfast, UK – Limelight 2
February 21, 2026 – Manchester, UK – New Century Hall
February 22, 2026 – Birmingham, UK – O2 Institute2
February 25, 2026 – London, UK – KOKO
February 27, 2026 – Amsterdam, NL – Melkweg Oz
February 28, 2026 – Cologne, DE – Bürgerhaus Stollwerck
Red Creative Group Appoints Kaileen Smith As Director of A&R
/by Lauryn SinkKaileen Smith. Photo: Rachel Deeb
RED Creative Group, the Nashville-based independent music publishing and artist development company founded by Jeremy Stover, has appointed Kaileen Smith as its new Director of A&R, effective immediately. In her new role at RED, Smith will oversee publishing operations, support the company’s roster of writers and artists and help drive continued creative growth across all facets of the business.
“Kaileen’s experience in both publishing and promotion gives her a rare perspective that will strengthen our creative team. She has a deep understanding of creatives’ needs and a wide understanding of how to create opportunities for success,” says Stover.
“I couldn’t be more excited to join Jeremy Stover and John Cantu at RED Creative Group,” adds Smith. “I’m thankful for Jeremy’s belief in me, and honored to get to work with the amazing roster he has built.”
Smith joins RED from her most recent role as Creative Manager at Boom Music Group. Before that, she made stops at UMG Nashville and Sony Music Nashville, contributing to multiple No. 1 singles from artists including Jordan Davis, Sam Hunt, Parker McCollum and Ryan Hurd.
Trey Hensley Inks With Pinecastle Records
/by Lorie HollabaughTrey Hensley
Grammy-winning singer-songwriter Trey Hensley has signed with Pinecastle Records.
He is kicking off this new chapter with the release of the edgy, acoustic “Can’t Outrun The Blues” on Sept. 26 across all digital and streaming platforms. Penned by Hensley and Bobby Starnes, the fiery track serves as the lead single from his upcoming 2026 full-length album, now in the final stages of production.
“We’re thrilled to welcome Trey Hensley to the Pinecastle Records family,” says Pinecastle CEO Ethan Burkhardt. “Trey’s artistry, unmatched guitar talent, and deep respect for the roots of American music make him a perfect fit for our roster. We’re excited to help bring his next chapter of music to fans around the world.”
“I’m so excited to be working with Pinecastle and thrilled to get new music out into the world,” says Hensley. “Upon my first meeting with the Pinecastle team, I knew this would be a great fit. I’ve had the vision for this record for a while now, and I’m so excited for the future!”
Hensley has made a lasting mark across the bluegrass, Americana, folk and roots music worlds, earning the title of 2023 Guitar Player of the Year from the International Bluegrass Music Association. The 2025 IBMA Guitar Player of the Year nominee has built a career as both as a solo artist and as one-half of the award-winning duo with Rob Ickes.
He has collaborated with legends such as Johnny Cash, Vince Gill, Earl Scruggs, Dolly Parton, Taj Mahal, Tommy Emmanuel, Peter Frampton, Nitty Gritty Dirt Band, Rodney Crowell, Little Feat and more, and Hensley’s signature sound has been featured on the 2023 Ickes & Hensley album Living In A Song, “John Deere Tractor” with Rob Ickes and Molly Tuttle from A Tribute To The Judds (2023), and as part of The Taj Mahal Sextet on the Grammy-winning album, Swingin’ Live at the Church in Tulsa (2024).
A 2023 Eric Clapton’s Crossroads Guitar Festival invitee, Hensley and his impressive guitar skills have received praise from an eclectic group of guitar legends including Ritchie Blackmore, Steve Wariner, Mike Campbell, Tommy Emmanuel, Steve Vai and Joe Bonamassa.
BREAKING: Stephanie Wright Returns To MCA As EVP/Head Of A&R
/by Madison HahnenStephanie Wright. Photo: Aña Monique
Stephanie Wright has returned to MCA as Executive Vice President/Head of A&R. In her new role, she will helm the A&R team in talent scouting, in addition to the label’s creative direction and development. She will report to Mike Harris, MCA President & CEO.
Wright has worked in the industry for over 25 years, where she has gained immense experience in developing and working with some of country music’s most influential artists at UMG Nashville such as Kacey Musgraves, Sam Hunt, Parker McCollum, and Jordan Davis. She joins MCA from her previous role as Senior Vice President of A&R at Warner Music Nashville, where she worked with Gavin Adcock, Hudson Westbrook, Jamey Johnson, Cole Swindell and The Castellows.
“Stephanie is a brilliant A&R executive whose insight, creativity and passion for artist development are second to none,” says Harris. “Her experience shaping the careers of some of the biggest names in modern country music makes her the perfect fit to lead our A&R efforts at MCA. We’re thrilled to welcome her to the team and look forward to the incredible artists and projects she’ll help to bring to life, while continuing to make MCA a creative hub for innovation and artistry.”
“Rejoining MCA is an exciting opportunity to continue doing what I love most: discovering and developing incredible artists while helping them realize their full creative potential,” adds Wright. “I’m inspired by the team here, the label’s legacy, and its commitment to fostering authentic, groundbreaking music. I’m excited to work alongside talented songwriters and artists to amplify their stories and connect with global audiences in meaningful ways.”
The full A&R team under Wright includes Austin Jenkins, Hannah Galluzzi, Hannah Wilson and Grace Howe. She can be reached at stephanie.wright@umusic.com.
Industry Ink: Vince Gill, Lainey Wilson, Jason Aldean, CMHOFM, More
/by Lauryn SinkVince Gill Wraps Ryman Residency
Pictured (L-R): Chrissy Hall, Director of Concerts / Ryman Auditorium; Corrina and Vince Gill. Photo: Catherine Powell
Vince Gill wrapped up his five-night, sold-out residency at the Ryman on Saturday (8/16). Gill will return to the Ryman this winter for his annual “Christmas at the Ryman” residency with Amy Grant.
Lainey Wilson Performs for SiriusXM’s Small Stage Series
Lainey Wilson. Photo: Emma McIntyre/Getty Images for SiriusXM
Lainey Wilson performed live for SiriusXM’s Small Stage Series to a packed room of SiriusXM listeners and fans at the El Rey Theatre in Los Angeles. The exclusive intimate show featured hits “Somewhere Over Laredo” and “Watermelon Moonshine” along with other new songs and familiar hits.
SiriusXM listeners will be able to experience Wilson’s performance on SiriusXM’s The Highway (ch. 56) on Aug. 22 as well as on the SiriusXM app.
Jason Aldean Partners With 13-Year-Old Houston Native To Raise $200,000 For Heroes For Children
Jason Aldean & DJ Daniel
Before taking to the stage at his Houston stop on the “Full Throttle Tour,” Jason Aldean joined Devarjaye “DJ” Daniel, members of the Houston Astros baseball team, and families, staff and children from Texas-based non-profit Heroes for Children for a full day of mini-golf at Puttshack and baseball after being asked by Daniel to help raise money for children fighting cancer in a viral video.
Aldean, in partnership with “Full Throttle Tour” sponsor Patriot Mobile, also presented a surprise check for $200,000 to Heroes for Children.
CMHOFM Hosts Concert & Conversation With Jessi Alexander
Jessi Alexander & Aimee Graham (CMHOFM Public Programs Manager)
The Country Music Hall of Fame and Museum hosted a concert and conversation with hit songwriter Jessi Alexander over the weekend.
Alexander wrote Lee Brice’s “I Drive Your Truck,” Luke Combs’ “Ain’t No Love in Oklahoma,” Miley Cyrus’ “The Climb” and Blake Shelton’s “Mine Would Be You,” among other hits. Her songs have also been recorded by Jelly Roll, Cody Johnson, Dustin Lynch, Midland, Megan Moroney, Eric Paslay, Morgan Wallen, Lainey Wilson, Trisha Yearwood, Country Music Hall of Fame members Patty Loveless and Reba McEntire and more. Alexander was nominated for Songwriter of the Year, Non-Classical at the 2025 Grammy Awards and is currently featured in the museum’s annual exhibition American Currents: State of the Music.
The program was filmed and will premiere at a later date as part of the museum’s Live at the Hall digital program series.
Tyler Childers Partners With Weiss Watch Company To Launch Limited-Edition Watch
Photo: Emma Delevante
Tyler Childers has partnered with the Weiss Watch Company to launch a limited-edition Snipe Hunter Field Watch.
The watch features a case machined from 316L stainless steel, a richly textured deep green dial, beveled sapphire crystals on both the front and back, a hand-stitched leather strap and is packaged in a custom Mossy Oak–branded camouflage pouch stamped in bright orange. The collaboration is named for Childers’ most recent album and is inspired by his Appalachian roots.
SOLID To Hold Open House Next Week
SOLID is set to host is open house event next Tuesday (Aug. 26) at New Heights Brewing Company from 6:30 p.m. until 9:30 p.m.. The event is open to the public and will feature networking opportunities. RSVP for the event here.
Applications for SOLID’s new member class are open until Sept. 28.
Bandit Lites Elevates Nino Monserrate & Kris Naylor To Full-Time Lighting Technicians
Bandit Lites has elevated Nino Monserrate and Kris Naylor to Full-Time Lighting Technicians.
In this role, they will oversee the setup, operation, and maintenance of complex lighting systems for concerts, festivals and live events. Their responsibilities include supervising crew members, assisting with warehouse prep, and ensuring all equipment is properly maintained, packed and transported.
“Both show up when they say they will, work hard, and push themselves to be the best,” says Kelly Field, Bandit’s Director of Touring Personnel. “They’ve earned the trust and respect of everyone they’ve worked with, and we couldn’t be happier to bring them on full time.”