Hunter Williams
Hunter Williams is a Music Agent at Creative Artists Agency (CAA). Based in the Nashville office, Williams works with a wide variety of touring artists across multiple genres of music, including Jelly Roll, Pretty Lights, Mark Ronson, GRiZ, HUGEL, Icona Pop, Fetty Wap, Three 6 Mafia and Moon Taxi, among others.
Since joining CAA in 2012 from The Progressive Global Agency, Williams has helped guide the growth and development of the agency’s country and electronic music departments.
MusicRow: Where did you grow up?
I was born in Macon, Georgia, and I lived there till I was about six. Then I grew up in Darien, Connecticut, which is about an hour outside of New York City.
Were you into music or instruments or as a child?
I played the cello, the baritone horn, drums, and the piano early on and sang in the church choir until I was about 14 years old. Music was definitely a pretty big influence in part of my life when I was a kid.
Very musical! Did you know you wanted to go into the music business or even be a musician growing up?
I wanted to play music. As a youngster, you have these dreams. I played so many different instruments and honestly, I wasn’t that great at any of them [laughs].
I wanted to be on stage. Whether that was a DJ or producer or whatever, but that was my dream as a kid. Then I quickly figured out that’s a lot harder than it seemed.
Photo: Courtesy of Williams
Tell me about college.
I went to University of Tennessee for two years and studied business management. Then I moved to Wilmington, North Carolina, and attended University of North Carolina, Wilmington. That’s where I started getting into the business side of music.
I started going to clubs and listening to all the DJs. I also played percussion in a band called Waylandsphere. I helped book gigs for them and assisted with the logistics. We played around North and South Carolina, so I was getting my feet wet.
Did you have any other internships or music jobs in college?
I interned for my dad at The Progressive Global Agency when I was 16 or so, I interned for him for a full summer during R.E.M,’s “Monster Tour which was pretty exciting. I answered phones, highlighted finals in Pollstar, all the odds and ends of things.
What was your first job out of college?
I started working at full-time at Progressive Global Agency after graduation. We represented R.E.M, Widespread Panic and The Wailers. There were only five agents, so I was able to really learn a lot and get a lot of hands-on training. My dad was there everyday and my mom did the accounting, so it was fun being in the family business.
How long were you there for?
12 years. As time went on, the booking and touring world got more competitive. I had some acts such as Pretty Lights, and things were really starting to pick up. It felt like the time for me to make a move to a larger agency. My dad was super supportive.
So that’s how you ended up at CAA?
Yes, I went straight to CAA. It’ll be 14 years in November.
Wow! So tell me about your first few months at CAA.
The first few months were awesome. already had some existing friends here, Bobby Cory and Jeff Krones. The first couple months, it was definitely a transition, but it was also the bright lights and all the shiny things I didn’t get at a small agency.
Who were some of your first clients at CAA?
When I came over to CAA, I brought GRiZ, Pretty Lights, Fort Knox Five, Tipper, DJ Logic, 3LAU and a few others. I was predominantly focused on electronic music at the time.
One of the reasons I really wanted to come over to CAA is because you can do all sorts of genres here. By the time I came over here, I knew I wanted to do more than just dance music. I always loved hip hop, country and rock. Here you have an opportunity to branch out.
Photo: Courtesy of Williams
Who were some of your first clients outside the dance genre?
While at PGA, I was working on Widespread Panic. I was their agent for about 8 years. I did a lot in the jamband space with acts like The New Mastersounds, John Popper Project and Stockholm Syndrome.
Then at CAA, I signed Jelly Roll back in 2019. I also work with Three 6 Mafia, STS9, Fetty Wap and Mark Ronson now who sit outside of the dance world.
How has it been seeing Jelly Roll’s rise since signing him?
It’s been a great ride. I signed Jelly July of 2019 at The Signal in Chattanooga. I just saw a business that could really be built with him. He had done a really good job building his own independent business. I could see at least amphitheaters in his future. He also had this Phish or Grateful Dead type cult following. That’s what was really attractive to me. I saw something there that I could build from a touring standpoint.
He started building his team around him; John Meneilly and his management team, who have been a huge, great partners for Jelly. Also his label at BMG. All these pieces started coming together that we didn’t have when I started with him.
In the beginning, in my mind, I see a guy, he’s got a developing touring business, a lovely human being, and he’s built something that I think I can take to this next level. All of a sudden, all these things started happening that I never even factored in. No.1s, country hits, rock hits, an incredible label and manager, and then everything started taking off from there. It’s been a really fun ride with the whole team.
How does the festival space play into your job?
I interact with all of the festivals for my clients. I booked all of the festivals while I was at Progressive, so by the time I got to CAA, I was good friends with almost all of the festival buyers.
For GRiZ, we’ve even built out his own festival that’s 25,000 tickets, taking place outside Charlottesville, called Seven Stars.
Do you book the whole lineup for Seven Stars?
We do. From the start, the hardest part was actually finding the right site and finding the right time of year, since there’s all these other artist curated festivals in that genre. We wanted a site that really connected with GRiZ, where he could see the vision and he feels like he can give the fans the experience that he envisioned. He had a very distinct idea of what he wanted to deliver.
Now when it comes down to the festival, we do literally everything, we have a huge team around this. The whole team in general is involved in basically every piece of the festival to a degree and nothing that happens without them.
Over the last 14 years with your time at CAA, how have you seen yourself and the Nashville office grow overall?
We’ve had smart growth, but also we’ve grown businesses outside of just our touring business. We have TV, sports, digital businesses in Nashville. When I first came over, we had a couple brand people here and we had touring. Sports came in a couple years later. Where it is now is a completely different office in a good way.
There’s so many different areas of the entertainment business that are based in Nashville, and there’s so many great folks that have moved here internally to work in Nashville and in this office. So it’s been really cool to watch it grow and be a part of it.
Photo: Courtesy of Williams
What’s been your favorite moment from your time at CAA so far?
We have parties around CMA that have always been fun. They started off as a barbecue, and now we’ve built out these crazy cool parties. We did one on the rooftop this year with Stella Lefty, Tyler Hubbard, and a bunch of other acts. It’s been fun building out events together. That’s when we all shine is when we’re all together, and we’re all having fun too.
It’s also fun to go to a festival with all your coworkers and have 30 of us running around together.
Who have some of your mentors been over your career?
My dad has always been my biggest mentor. He was an agent, so I grew up learning from him and seeing the business through his perspective. One of the great things about CAA is that mentorship is everywhere, across every facet of the company. Whether it’s Rob Light, Darryl Eaton, Richard Lovett or people outside of touring, there are so many people here to learn from. The doors are always open, and you’re constantly surrounded by people who challenge you to think differently and get better.
That was a big part of why I wanted to make the move to CAA, to put myself in an environment where I could continue learning and be mentored in new ways.
What’s one of the best pieces of advice you’ve ever gotten?
Stay levelheaded through the highs and the lows. Be humble when things are going well and resilient when they’re not. This business can change quickly, one day can feel like the best day in the world, and the next you’re dealing with canceled shows or unexpected challenges. You have to keep perspective, take care of your mental health and not let any single moment define you.
What’s a moment that your younger self would be most proud of?
Running around Stagecoach with Jelly Roll headlining is definitely one of those moments. Another would be Art Basel, having 10 clients performing in a single night and running from venue to venue at all hours. Those are the nights where you look around and realize, this is exactly what I dreamed of doing.
2026 CCMA Awards Unveils Second Round Of Performers
/by Lorie HollabaughA second wave of performers has been announced for the upcoming 2026 Canadian Country Music Association Awards, taking place in in Saskatoon, Saskatchewan on Sept. 19.
Newly announced additions to the star-studded 2026 lineup include three-time 2026 CCMA Award nominee Nate Haller, 2026 Group or Duo of the Year nominees High Valley, multi-Platinum alt-folk band The Strumbellas, five-time 2026 CCMA Award nominees Thelma & James, and five-time 2026 CCMA Award nominee Tenille Townes, who is this year’s top nominated female artist.
The show will also feature previously announced performances from Dean Brody, James Barker Band, The Reklaws, Owen Riegling, and homegrown Saskatchewan stars including Tenille Arts, Hunter Brothers, Kalsey Kulyk and Jess Moskaluke.
This year’s nominees include 197 artists and industry professionals, with 72 earning their first-ever nomination. Country Music Week 2026 kicks off in Saskatoon on Sept. 16. More announcements about the 2026 awards are set to come soon.
Ben Van Maarth Signs With Back Row Publishing
/by Lauryn SinkPictured (L-R): Lindsay Will (VP A&R, Back Row Publishing), Taylor Antle (Director A&R, Back Row Publishing), Ben Van Maarth, Michael Kozelj (President, Back Row Music).
Ben Van Maarth has signed with Back Row Publishing.
Van Maarth began his career in 2018 as a touring guitarist for Tucker Beathard and Troy Cartwright before shifting his focus to production in 2022, going on to shape records for Dipper, Cartwright, Clayton Mullen and others. He has since landed writing cuts with Tyler Nance, Your Neighbors, Ian Harrison, Cole Phillips and Thomas Ventura. Van Maarth also maintains his own artist project, Benny Vans.
“I’m so lucky to have found a team who’s just as excited about the music I’m making as I am,” says Van Maarth. “They tell you to find your champion, and I’m incredibly lucky to say I’ve found mine. Taylor and the entire team are building something truly special at Back Row, and I’m honored to be a part of it.”
“Ben is the type of writer I’ve always wanted to work with,” adds Director of A&R Taylor Antle. “He is a true triple-threat in the writing room who possesses a great ability to adapt to an artist’s vision while still producing unique and exciting elements in every song. His raw talent is undeniable. I have loved everything Ben has done in the past and present, but I am even more excited for what the future holds.”
John PayCheck’s Slates New LP ‘Better Plan’ For November
/by Lorie HollabaughJohn PayCheck will release his third studio album Better Plan on Nov. 27 from HorseBite Entertainment.
He just dropped the album’s title track, which is about self-reflection, resilience and the lifelong pursuit of becoming a better man.
“‘This is a song about the quiet struggle to become a better person in a world that is quick to judge and slow to understand,” PayCheck shares. “It follows a man who has made mistakes, carried pain and doesn’t claim to have all the answers, but refuses to stop trying. It’s not about chasing perfection. It’s about choosing humility, hope, forgiveness and the determination to keep searching for a better you with a better plan.”
Better Plan was recorded at Gnome Studios in Nashville with producer Bill McDermott. “Better Plan” arrives after the May release of PayCheck’s breakout outlaw country collaboration with Struggle Jennings on “Sons Of The Spark,” which has generated more than 50,000 streams.
Better Plan Track List:
1. “Better Plan” (John PayCheck)
2. “Clover” (John PayCheck, Scott Gabbey)
3. “Sons Of The Spark” (John PayCheck, Struggle Jennings)
4. “Point Them North” (John PayCheck)
5. “Uber To The Opry” (John PayCheck, Scott Gabbey)
6. “Battles You Never Knew” (John PayCheck)
7. “Pieces” (John PayCheck)
8. “Texan One Day” (John PayCheck)
9. “Stop and Say Hello” (Scott Gabbey)
10. “All Up To Time” (John PayCheck)
11. “Daddy Are You Listening” (John PayCheck)
12. “JD Foster” (John PayCheck)
13. “Turn the Page” (John PayCheck)
14. “Shine” (John PayCheck)
BMI’s Rooftop On The Row Hosts Pynk Beard & Bryan Martin
/by Lauryn SinkPynk Beard. Photo: Erika Goldring Photo
BMI held the latest installment of its Rooftop On The Row series on Tuesday night (Aug. 18) hosted by Mason Hunter.
DJ Smoke warmed up the crowd for Bryan Martin, who performed “More Than The Shine,” “Rather Be The Fire” and his latest single “Take It From Me.” He closed his set with the 2025 BMI Country Award-winning song “We Ride.”
Pynk Beard followed, with soulful performances of “Tin Mill Road,” “Gotta Be Rich” and the standout song from his America’s Got Talent audition, “Mine, Lord Willing.” The Alabama native wrapped his set with unreleased songs “On My Hood” and “Church.”
BMI’s Rooftop On The Row will conclude its eighth season on Sept. 15, serving as the official kickoff to AMERICANAFEST. The show will feature Hayes Carll, Clay Street Unit, Flying Mojito Bros, Meels, Abigail Rose and Weston Hunter.
Pictured (L-R): BMI’s Clay Bradley, BMI’s Shannon Sanders, Bryan Martin, Pynk Beard, BMI’s Mason Hunter and BMI’s Nina Carter. Photo: Erika Goldring for BMI
My Music Row Story: CAA’s Hunter Williams
/by Madison HahnenHunter Williams
Hunter Williams is a Music Agent at Creative Artists Agency (CAA). Based in the Nashville office, Williams works with a wide variety of touring artists across multiple genres of music, including Jelly Roll, Pretty Lights, Mark Ronson, GRiZ, HUGEL, Icona Pop, Fetty Wap, Three 6 Mafia and Moon Taxi, among others.
Since joining CAA in 2012 from The Progressive Global Agency, Williams has helped guide the growth and development of the agency’s country and electronic music departments.
MusicRow: Where did you grow up?
I was born in Macon, Georgia, and I lived there till I was about six. Then I grew up in Darien, Connecticut, which is about an hour outside of New York City.
Were you into music or instruments or as a child?
I played the cello, the baritone horn, drums, and the piano early on and sang in the church choir until I was about 14 years old. Music was definitely a pretty big influence in part of my life when I was a kid.
Very musical! Did you know you wanted to go into the music business or even be a musician growing up?
I wanted to play music. As a youngster, you have these dreams. I played so many different instruments and honestly, I wasn’t that great at any of them [laughs].
I wanted to be on stage. Whether that was a DJ or producer or whatever, but that was my dream as a kid. Then I quickly figured out that’s a lot harder than it seemed.
Photo: Courtesy of Williams
Tell me about college.
I went to University of Tennessee for two years and studied business management. Then I moved to Wilmington, North Carolina, and attended University of North Carolina, Wilmington. That’s where I started getting into the business side of music.
I started going to clubs and listening to all the DJs. I also played percussion in a band called Waylandsphere. I helped book gigs for them and assisted with the logistics. We played around North and South Carolina, so I was getting my feet wet.
Did you have any other internships or music jobs in college?
I interned for my dad at The Progressive Global Agency when I was 16 or so, I interned for him for a full summer during R.E.M,’s “Monster Tour which was pretty exciting. I answered phones, highlighted finals in Pollstar, all the odds and ends of things.
What was your first job out of college?
I started working at full-time at Progressive Global Agency after graduation. We represented R.E.M, Widespread Panic and The Wailers. There were only five agents, so I was able to really learn a lot and get a lot of hands-on training. My dad was there everyday and my mom did the accounting, so it was fun being in the family business.
How long were you there for?
12 years. As time went on, the booking and touring world got more competitive. I had some acts such as Pretty Lights, and things were really starting to pick up. It felt like the time for me to make a move to a larger agency. My dad was super supportive.
So that’s how you ended up at CAA?
Yes, I went straight to CAA. It’ll be 14 years in November.
Wow! So tell me about your first few months at CAA.
The first few months were awesome. already had some existing friends here, Bobby Cory and Jeff Krones. The first couple months, it was definitely a transition, but it was also the bright lights and all the shiny things I didn’t get at a small agency.
Who were some of your first clients at CAA?
When I came over to CAA, I brought GRiZ, Pretty Lights, Fort Knox Five, Tipper, DJ Logic, 3LAU and a few others. I was predominantly focused on electronic music at the time.
One of the reasons I really wanted to come over to CAA is because you can do all sorts of genres here. By the time I came over here, I knew I wanted to do more than just dance music. I always loved hip hop, country and rock. Here you have an opportunity to branch out.
Photo: Courtesy of Williams
Who were some of your first clients outside the dance genre?
While at PGA, I was working on Widespread Panic. I was their agent for about 8 years. I did a lot in the jamband space with acts like The New Mastersounds, John Popper Project and Stockholm Syndrome.
Then at CAA, I signed Jelly Roll back in 2019. I also work with Three 6 Mafia, STS9, Fetty Wap and Mark Ronson now who sit outside of the dance world.
How has it been seeing Jelly Roll’s rise since signing him?
It’s been a great ride. I signed Jelly July of 2019 at The Signal in Chattanooga. I just saw a business that could really be built with him. He had done a really good job building his own independent business. I could see at least amphitheaters in his future. He also had this Phish or Grateful Dead type cult following. That’s what was really attractive to me. I saw something there that I could build from a touring standpoint.
He started building his team around him; John Meneilly and his management team, who have been a huge, great partners for Jelly. Also his label at BMG. All these pieces started coming together that we didn’t have when I started with him.
In the beginning, in my mind, I see a guy, he’s got a developing touring business, a lovely human being, and he’s built something that I think I can take to this next level. All of a sudden, all these things started happening that I never even factored in. No.1s, country hits, rock hits, an incredible label and manager, and then everything started taking off from there. It’s been a really fun ride with the whole team.
How does the festival space play into your job?
I interact with all of the festivals for my clients. I booked all of the festivals while I was at Progressive, so by the time I got to CAA, I was good friends with almost all of the festival buyers.
For GRiZ, we’ve even built out his own festival that’s 25,000 tickets, taking place outside Charlottesville, called Seven Stars.
Do you book the whole lineup for Seven Stars?
We do. From the start, the hardest part was actually finding the right site and finding the right time of year, since there’s all these other artist curated festivals in that genre. We wanted a site that really connected with GRiZ, where he could see the vision and he feels like he can give the fans the experience that he envisioned. He had a very distinct idea of what he wanted to deliver.
Now when it comes down to the festival, we do literally everything, we have a huge team around this. The whole team in general is involved in basically every piece of the festival to a degree and nothing that happens without them.
Over the last 14 years with your time at CAA, how have you seen yourself and the Nashville office grow overall?
We’ve had smart growth, but also we’ve grown businesses outside of just our touring business. We have TV, sports, digital businesses in Nashville. When I first came over, we had a couple brand people here and we had touring. Sports came in a couple years later. Where it is now is a completely different office in a good way.
There’s so many different areas of the entertainment business that are based in Nashville, and there’s so many great folks that have moved here internally to work in Nashville and in this office. So it’s been really cool to watch it grow and be a part of it.
Photo: Courtesy of Williams
What’s been your favorite moment from your time at CAA so far?
We have parties around CMA that have always been fun. They started off as a barbecue, and now we’ve built out these crazy cool parties. We did one on the rooftop this year with Stella Lefty, Tyler Hubbard, and a bunch of other acts. It’s been fun building out events together. That’s when we all shine is when we’re all together, and we’re all having fun too.
It’s also fun to go to a festival with all your coworkers and have 30 of us running around together.
Who have some of your mentors been over your career?
My dad has always been my biggest mentor. He was an agent, so I grew up learning from him and seeing the business through his perspective. One of the great things about CAA is that mentorship is everywhere, across every facet of the company. Whether it’s Rob Light, Darryl Eaton, Richard Lovett or people outside of touring, there are so many people here to learn from. The doors are always open, and you’re constantly surrounded by people who challenge you to think differently and get better.
That was a big part of why I wanted to make the move to CAA, to put myself in an environment where I could continue learning and be mentored in new ways.
What’s one of the best pieces of advice you’ve ever gotten?
Stay levelheaded through the highs and the lows. Be humble when things are going well and resilient when they’re not. This business can change quickly, one day can feel like the best day in the world, and the next you’re dealing with canceled shows or unexpected challenges. You have to keep perspective, take care of your mental health and not let any single moment define you.
What’s a moment that your younger self would be most proud of?
Running around Stagecoach with Jelly Roll headlining is definitely one of those moments. Another would be Art Basel, having 10 clients performing in a single night and running from venue to venue at all hours. Those are the nights where you look around and realize, this is exactly what I dreamed of doing.
Industry Ink: Luke Combs, Ian Munsick, Erin Kinsey, Haley Gallery
/by Lorie HollabaughColumbia PFG Celebrates 30 Years Of Bahama Shirt With Special Luke Combs Edition
Columbia PFG’s is introducing the Bahama™ II
“I’ve worn the Bahama for years because it works – whether I’m stepping out on stage or casting a line,” says Combs. “Wear the hell out of it, make some memories, and enjoy the ride. I hope you love it as much as I do.”
Ian Munsick Partners With Schaefer Outfitter For New Clothing Line
Ian Munsick and friends pose in Schaefer Outfitter shirts. Photo: Ben Christensen
Ian Munsick is celebrating the launch of his capsule collaboration collection with Schaefer Outfitter. The Jackson Hole, Wyoming company has spent four decades providing western wear to working cowboys and ranchers. Their collection with Munsick includes custom pearl snap shirts, outerwear, hats and graphic tees designed collaboratively between Munsick and the Schaefer team. As Munsick embarks on his “Road to the Mountain Goat Western Tour,” Schaefer Outfitter will join on select stops in Park City, Laramie, and Deadwood, and at each location, fans will have the opportunity to see and try pieces from the collection. The tour’s merch operation will also carry Schaefer Outfitter hats and tees for fans to purchase.
Erin Kinsey Earns Gold Certification For ‘Trouble’
Erin Kinsey. Photo: Amanda L. Torgersen
Erin Kinsey has earned her first RIAA Gold certification for her single “Trouble.” Kinsey received the news when her manager surprised her onstage with the plaque during her headline show at Rockefeller Music Hall in Oslo, Norway, on Aug. 14. Released Oct. 11, 2024, “Trouble” first appeared on Kinsey’s EP Getting Away With It and earned its certification in less than two years. The surprise came just one week after Kinsey independently released her debut album, Suede. Kinsey is currently touring Europe and returns stateside this fall for U.S. dates with Lily Rose and Alana Springsteen.
Haley Gallery To Present *uter(us) Exhibit By Sarah Matthews
The Haley Gallery at the Country Music Hall of Fame and Museum is presenting *uter(us), an art exhibit showcasing the works of printmaker Sarah Matthews, who is also serving as the 2026 Hatch Show Print Visiting Artist. The exhibit, which is free and open to the public beginning Sept. 18-Nov. 13, will include a series of letterpress prints and artists’ books created at Hatch Show Print.
The exhibition examines women’s health through the language of medicine, exploring the words and phrases physicians and nurses use when speaking to patients. It also addresses critical issues including period poverty, the maternal mortality crisis, the pink tax and reproductive healthcare. By transforming medical language into visual narratives, the exhibit invites viewers to confront these disparities, amplifying conversations about bodily autonomy, informed consent and equitable healthcare for all women. On Sept. 18, the Haley Gallery will host a reception with Matthews to celebrate the exhibition opening. which is free and open to the public.
Alison Nichols Inks With BMG
/by Madison HahnenPictured (L-R): Chris Oglesby, VP, Head of Creative, BMG Publishing; Sherrie Austin, Go Long Entertainment Management; Amy Hendon Scott, Director, Creative, BMG Publishing; Alison Nichols; Jon Loba, President, Recorded Music, North & South America; Peter Strickland, General Manager, BBR Music Group/BMG Nashville and JoJamie Hahr, EVP, Recorded Music, BBR Music Group/BMG Nashville. Photo: Kevin Grace
Alison Nichols has signed a worldwide publishing deal with BMG.
One of the first Asian-American artists in country music, Nichols describes herself as “half Korean, half redneck, and 100% American.” Raised in Georgia and influenced by her time in Texas, she has built an identity around her personality, attitude and honest storytelling. Her music combines modern country with personal lyrics, gaining attention through songs including “is it just me?,” “HOOPS,” “John Deere Green,” “Box Wine Problems,” “Dressin’ Down” and most recently, “All Heaven Broke Loose.”
“Signing my first publishing deal is something I’ve dreamed about for a long time, and I’m so thankful to be doing it with the BMG family. Having people like Amy who believed in me and my songwriting from the very beginning makes this moment even more meaningful, and I can’t wait to see where this next chapter leads,” says Nichols.
“We’re thrilled to continue building alongside Alison as she enters this next chapter of her career,” adds Amy Scott, Director, Creative BMG Publishing. “As both an artist and songwriter, she brings a rare combination of authenticity, passion and humor to everything she creates. Her ability to tell honest stories in a way that feels both deeply personal and universally relatable is what makes her such a special talent, and we’re excited to help champion her songwriting for years to come.”
Tony Hannah To Release New Album ‘Love It Or Leave It’ Aug. 21
/by Lorie HollabaughTony Hannah is releasing her new album Love it or Leave it on Aug. 21.
The 10-track album pairs the polish of ’90s country with the East Tennessee native’s tales about work, money, heartbreak, bad decisions, reinvention, fresh starts and knowing when enough is enough.
The four tracks previously released from Hannah’s new project reveal the grit, wit and vulnerability running through Love it or Leave it. “Comin’ Up Short” captures the exhaustion of working hard, struggling to make ends meet, while “Easy on the Eyes” offers a playful warning about a barroom heartbreaker whose looks conceal the trouble underneath. “What the Heart Wants” trades sass for vulnerability, capturing the lingering ache of loving someone who no longer feels the same, while “It Takes a Man,” turns the indignity of being ghosted into a classic-country lament about having the courage to simply say goodbye.
The album also carries Hannah’s family country music legacy forward with “An Old Pair of Shoes,” written by her late uncle Art “AJ” Masters with Jerry Foster and Johnny Morris and recorded by Randy Travis. Hannah grew up singing around the campfire with her uncle and credits him with planting the seed that eventually led her toward Nashville.
Katy Nichole Signs With WME Christian Media Group
/by Madison HahnenKaty Nichole is pictured with WME (William Morris Endeavor) executives (l-r): Kevin Huffman, Agent; Mark Claassen, Partner; and Mike Snider, Partner and Head of the Christian Music/Media Division.
RIAA Platinum-selling, Dove Award-winning Katy Nichole has signed with WME Christian Media Group for booking representation.
Nichole made her international debut with her 2023 album Jesus Changed My Life, which featured the No. 1 radio hit “In Jesus Name (God of Possible),” along with “Hold On” and “God Is In This Story.” The album earned her an American Music Award nomination, the Gospel Music Association’s 2023 New Artist of the Year honor and a K-LOVE Fan Award. She was also named a Billboard Chartbreaker and has performed three times on the Grand Ole Opry.
Following the success of the album’s deluxe edition, which included “My God Can” featuring Naomi Raine, Nichole joined K-LOVE Radio Network tours and performed for hundreds of thousands of fans on Winter Jam ’24 and ’26, as well as Universal Studios’ Rock The Universe. She has also toured with artists including Chris Tomlin, Casting Crowns, Jeremy Camp, Matthew West, Tauren Wells and CAIN.
Nichole continued her momentum with the release of Honest Conversations, which produced the No. 1 radio hit “Have Your Way” and the top 5 hit “When I Fall.”
“We are very excited about partnering with Katy,” says Mark Claassen, Partner at WME. “It was clear when we met with her, she connects with fans on a personal level. She has a lot of momentum, and we have a great opportunity to help build her touring career.”
Nichole also recently announced her “Honest Conversations tour, which will kick off Oct. 22 and visit Fort Wayne, Kansas City, Toronto and more. Tickets will be available beginning this Friday (Aug. 21).
CMHOFM To Feature Pat McLaughlin As Next Poets And Prophets Honoree
/by Madison HahnenMcLaughlin is one of three 2026 honorees selected for the series, which highlights songwriters who have made significant contributions to country music. The interview will be moderated by Museum Writer-Editor Allison Moorer and will feature rare photos, film and recordings. Following the program, McLaughlin will sign commemorative Hatch Show Print posters.
The program is included with museum admission and is free for museum members. Seating is limited, and a program ticket is required. Tickets go on sale to the public tomorrow (Aug. 20) at 10 a.m.
A Waterloo, Iowa, native, McLaughlin moved to Nashville in 1977 after living in San Francisco and Boston. He was drawn to the city’s diverse music community and spent his nights immersed in music while working as a carpenter during the day. His first major songwriting success came in 1987 when Steve Wariner took “Lynda” to No. 1 on the country charts.
Along with writing for other artists, McLaughlin has released 10 solo albums, including his latest, Nashville After Dark. He has also recorded collaborative projects including Tiny Town and The World Famous Headliners.
His songwriting credits include “Tell Me About It,” a No. 4 country hit for Tanya Tucker and Delbert McClinton; “Firecracker,” a No. 2 hit for Josh Turner; “Songs About Rain,” a No. 12 hit for Gary Allan; and “Years,” the title track of John Anderson’s acclaimed comeback album.
His songs have also been recorded by artists including Dan Auerbach, Phoebe Bridgers, Marcus King, Taj Mahal, Bonnie Raitt and Lee Ann Womack.
A longtime collaborator and band member with the late John Prine, McLaughlin co-wrote several songs with Prine, including five tracks on The Tree of Forgiveness. In 2021, McLaughlin won a Grammy for Best American Roots Song and the Americana Music Association’s Song of the Year award for co-writing Prine’s final recorded song, “I Remember Everything.”