Paige Maloney
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.
Nashville-based Wasserman Music VP Paige Maloney represents a diverse roster of popular artists, including Noah Kahan, Bob Weir, Black Pumas, Katie Pruitt, Elizabeth Cook, Emily Nenni and Kelsey Waldon.
In particular, Maloney has played an instrumental role in the remarkable success of her client, Noah Kahan. As part of his booking team since 2016, Maloney’s meticulous execution has helped to propel Kahan’s touring business to unprecedented heights. The culmination of her efforts materialized in the past two years, as he transitioned from selling out clubs and theaters to selling out arenas, amphitheaters, and headlining major festivals. In 2024, Kahan hit many career milestones, including a Grammy nomination and fully sold out tour, all culminating in his first stadium shows for two sensational sold out nights at Fenway Park.
Additionally, Maloney steers the touring trajectory of iconic Grateful Dead founding member Bob Weir, and the electrifying buzz band Black Pumas. In 2024, the Pumas played historic venues like Radio City Music Hall, the Ryman and Wolf Trap, and performed at festivals like Pitchfork, Fairwell, Newport Folk and Ohana. Maloney is renowned for her keen eye for talent and unwavering dedication to nurturing the careers of developing acts including Katie Pruitt, Elizabeth Cook, Emily Nenni and Kelsey Waldon.
MusicRow: Where did you grow up?
I’m originally from the Philadelphia area. I grew up in a suburb just outside the city.
What was your childhood like? What were you into?
I played a lot of sports and ran around with friends. I have three siblings, so it always felt like there was a lot going on.
What sports did you play?
I mostly did soccer, softball, and dance. Then in high school, I started playing ultimate Frisbee.
Paige Maloney, Kelsey Waldon and Jonathan Levine pose backstage at the Opry. Photo: Courtesy of Maloney
Were you into music too, or was it just something around you?
I tried to be. I took guitar lessons and played in elementary school band, but I wasn’t very good. So it was more about being into music as a fan. The more I learned, the more obsessed I became—going to shows and just immersing myself in it.
Do you remember your first concert?
The Spice Girls. I was probably around 10—maybe third grade—and it was obviously incredible. I went with my two best friends and one of their moms. It was at what’s now the Wells Fargo Center.
I grew up going to the amphitheater in Camden—back then it was the Tweeter Center. That was a formative place for me. We’d go to Dave Matthews shows every summer. I also saw a lot of shows at the Electric Factory (now Franklin Music Hall), the TLA and the Tower Theater in Philly. Those were my regular spots.
What was your dream back then? Did you ever imagine doing what you’re doing now?
Honestly, no. I never even thought of music as a career path—it was such a passion and hobby that I didn’t realize it could be a job. I always thought I’d work in sports or at a nonprofit. After college, I explored both, but I became a bit disillusioned. What I loved most was the live event aspect, so I started thinking about how to pivot.
I worked in the box office for the Philadelphia Eagles—game days, concerts, monster truck shows, soccer matches. That opened my eyes to the broader entertainment industry.
Was that during college or after?
That started as a college internship that I kept. I was on the game day staff for years—probably six or seven. The realization was gradual, but that job was a turning point.
So how did you go from there to officially getting into the music business?
I graduated in 2011, still during the post-2008 economic recovery, so I was juggling part-time jobs while figuring out what really lit me up. I was drawn to concerts and the live event space.
My first full-time job was at Live Nation in Philly. It was entry-level—handling contracts, ticket counts, that kind of thing—but it gave me a wide view of the industry. That’s when I had the “aha” moment. I realized how many roles existed in music, and I became obsessed. Starting at Live Nation was such a privilege. The people I worked with taught me so much, and many of them are still doing amazing things in the industry. That experience made me curious about artist development, and I became especially interested in what agents do.
At the same time, I was looking to relocate. I’d lived in the same area my whole life and wanted a change. Nashville was calling. Paradigm (now Wasserman) had my favorite roster, and when I interacted with different agencies through Live Nation, everyone at Paradigm stood out—they were personable, approachable, not robotic. Their email signatures even had names. [laughs]
Eventually, I applied for a role supporting Joe Atamian as he transitioned from Monterey to Nashville. I got the job, moved down here in 2015, and I’ve been here ever since.
Paige Maloney, Joe Atamian and Noah Kahan on the set of SNL. Photo: Courtesy of Maloney
Going back a bit—were there any agents early on who made you think, “This could be the path for me”
Honestly, everyone I interacted with here. The culture just felt different and special—especially in Nashville. It’s familial, collaborative, and not cutthroat. It’s very much “rising tides raise all ships.” A lot of that credit goes to Jonathan Levine. He came from Monterey a few years before me to help grow the Nashville office. He’s built something incredible. The people I started with—and still work with—are here for the right reasons. They believe in artistry and artist development, and I’m still inspired by them every day. Working for Joe right off the bat was a huge blessing. He’s brilliant, has incredible taste and leads with integrity. He’s calm and kind, which is rare—and I didn’t realize just how rare until later on.
What kinds of things were you doing as an assistant? Any moments that solidified this as your career path?
It was a gradual build. You start with the basics, and as you get things right, you gain more responsibility. Learning from Joe, JL, Keith Levy—seeing different ways to do this job that I could actually relate to—was huge. Because honestly, I’d often look around and think, “I’m not that, and I’m not that… so who can I be?” I’ve since learned everyone does this job differently, but your values and priorities can be a through-line.
Watching amazing artist development stories unfold around me was also a big part of it. At the time, we were working with artists like Sturgill Simpson and Tyler Childers. It really felt like a golden era in Nashville—especially in the Americana and left-of-center country scenes. We’d compare it to the early ’90s in the Pacific Northwest. It felt like we were living inside a moment—and we knew it, even then.
That same creative wave is still growing. Just look at what’s happened with Zach Bryan and Noah Kahan. I feel so lucky to have had a front-row seat.
How did your path progress from assistant to agent?
I was Joe’s assistant for a few years, then promoted to coordinator. I started working more with Jonathan and other agents. After about three years, I was promoted to agent—right around when COVID hit, which was an interesting time to transition. [laughs] It all felt like a natural progression. I’m lucky—it was a smooth path, and I got to learn from so many incredible agents along the way.
Who was the first artist you signed?
The first was a band called Animal Years—they don’t exist anymore, unfortunately. Kind of an Americana indie group that disbanded during COVID. But it was my first real “this is yours” moment—even though, of course, you’re never truly alone. One thing I love about Wasserman is that we don’t work in territories; it’s roster-based. We often co-rep artists, which allows for collaboration and idea-sharing. It’s more work but totally worth it.
You mentioned him earlier, but tell me about working with Noah Kahan.
We signed Noah in either late 2016. His managers, Drew Simmons and Ryan Langlois from Foundations, had just started working with him and brought him to us. Joe signed him, and I supported the project early on. I’ll never forget seeing his first show at the original Basement. He was 17, and the songwriting already felt so special. He was hilarious, awkward, and totally himself—which hasn’t changed. He’s been an absolute joy to work with. We took the long road, like we always do. 250-cap clubs, then 500, then 1,000. Festival slots, opening tours—no skipped steps. At one point he said, “This is all I ever wanted.” And then he launched.
What’s especially beautiful is that during COVID, he stepped away from trying to fit the Nashville pop mold and wrote the record he truly wanted to make—and that’s the one that connected. It gives me hope. I know I’m being cheesy, but that kind of honesty still works. Fans can tell when an artist is authentic, and Noah returning to himself is what made it all click. The whole team has been there since day one. It’s rare and really special.
Paige Maloney, Justin Osborne (SUSTO), Keith Levy, Marshall Hudson (SUSTO), and Carter King (Futurebirds) at Basement East after a SUSTO show. Photo: Courtesy of Maloney
What’s bringing you joy right now? What are you excited about?
So many things. I feel lucky every day to work with artists I believe in.
Katie Pruitt has a stripped-back duo tour this fall, which we’ve been talking about for a while. She also has a new EP coming—it’s just stunning. Her honesty in songwriting blows me away. Kelsey Waldon’s new record comes out in June, and I think it’s her best yet. It’s raw and personal. She’s been through a lot, and this record reflects that. There’s a young artist from Georgia named Clover County I’m excited about. Her full record drops this fall. Her talent and perspective are so impressive for her age. I’m also working with a songwriter out of LA named Tyler Ballgame. He only has a couple of songs out, but his full record floored me. His sound is totally unique—someone described it as “Roy Orbison sings Kevin Morby,” and I love that.
And on the legacy side, I work with Bobby Weir and worked with Phil Lesh before he passed. I got into music because of the Grateful Dead, so that’s incredibly meaningful. Watching these artists still create and evolve after 60 years is just… it’s the dream.
Who have been your biggest mentors?
Joe Atamian, Keith Levy and Jonathan Levine. This company is full of generous, thoughtful people, but those three have shaped me the most.
What advice would you give someone like you once were—obsessed with live music and trying to figure out how to get in?
I’d say this: It’s a fun and rewarding job, but it’s also incredibly demanding. You’ll work harder than you think you can—but if you do, the rewards are worth it. Also, it’s part hard work and part luck. You can do everything right and still not make it, which is hard to hear—but true. Same goes for artists. Sometimes great work just doesn’t connect, and there’s no clear reason why.
But if you’re passionate about this—go for it. Taking the leap was the best decision I’ve ever made. Surround yourself with good people, and be ready to grind. This job rules.
My Music Row Story: Wasserman Music’s Paige Maloney
/by LB CantrellPaige Maloney
Nashville-based Wasserman Music VP Paige Maloney represents a diverse roster of popular artists, including Noah Kahan, Bob Weir, Black Pumas, Katie Pruitt, Elizabeth Cook, Emily Nenni and Kelsey Waldon.
In particular, Maloney has played an instrumental role in the remarkable success of her client, Noah Kahan. As part of his booking team since 2016, Maloney’s meticulous execution has helped to propel Kahan’s touring business to unprecedented heights. The culmination of her efforts materialized in the past two years, as he transitioned from selling out clubs and theaters to selling out arenas, amphitheaters, and headlining major festivals. In 2024, Kahan hit many career milestones, including a Grammy nomination and fully sold out tour, all culminating in his first stadium shows for two sensational sold out nights at Fenway Park.
Additionally, Maloney steers the touring trajectory of iconic Grateful Dead founding member Bob Weir, and the electrifying buzz band Black Pumas. In 2024, the Pumas played historic venues like Radio City Music Hall, the Ryman and Wolf Trap, and performed at festivals like Pitchfork, Fairwell, Newport Folk and Ohana. Maloney is renowned for her keen eye for talent and unwavering dedication to nurturing the careers of developing acts including Katie Pruitt, Elizabeth Cook, Emily Nenni and Kelsey Waldon.
MusicRow: Where did you grow up?
I’m originally from the Philadelphia area. I grew up in a suburb just outside the city.
What was your childhood like? What were you into?
I played a lot of sports and ran around with friends. I have three siblings, so it always felt like there was a lot going on.
What sports did you play?
I mostly did soccer, softball, and dance. Then in high school, I started playing ultimate Frisbee.
Paige Maloney, Kelsey Waldon and Jonathan Levine pose backstage at the Opry. Photo: Courtesy of Maloney
Were you into music too, or was it just something around you?
I tried to be. I took guitar lessons and played in elementary school band, but I wasn’t very good. So it was more about being into music as a fan. The more I learned, the more obsessed I became—going to shows and just immersing myself in it.
Do you remember your first concert?
The Spice Girls. I was probably around 10—maybe third grade—and it was obviously incredible. I went with my two best friends and one of their moms. It was at what’s now the Wells Fargo Center.
I grew up going to the amphitheater in Camden—back then it was the Tweeter Center. That was a formative place for me. We’d go to Dave Matthews shows every summer. I also saw a lot of shows at the Electric Factory (now Franklin Music Hall), the TLA and the Tower Theater in Philly. Those were my regular spots.
What was your dream back then? Did you ever imagine doing what you’re doing now?
Honestly, no. I never even thought of music as a career path—it was such a passion and hobby that I didn’t realize it could be a job. I always thought I’d work in sports or at a nonprofit. After college, I explored both, but I became a bit disillusioned. What I loved most was the live event aspect, so I started thinking about how to pivot.
I worked in the box office for the Philadelphia Eagles—game days, concerts, monster truck shows, soccer matches. That opened my eyes to the broader entertainment industry.
Was that during college or after?
That started as a college internship that I kept. I was on the game day staff for years—probably six or seven. The realization was gradual, but that job was a turning point.
So how did you go from there to officially getting into the music business?
I graduated in 2011, still during the post-2008 economic recovery, so I was juggling part-time jobs while figuring out what really lit me up. I was drawn to concerts and the live event space.
My first full-time job was at Live Nation in Philly. It was entry-level—handling contracts, ticket counts, that kind of thing—but it gave me a wide view of the industry. That’s when I had the “aha” moment. I realized how many roles existed in music, and I became obsessed. Starting at Live Nation was such a privilege. The people I worked with taught me so much, and many of them are still doing amazing things in the industry. That experience made me curious about artist development, and I became especially interested in what agents do.
At the same time, I was looking to relocate. I’d lived in the same area my whole life and wanted a change. Nashville was calling. Paradigm (now Wasserman) had my favorite roster, and when I interacted with different agencies through Live Nation, everyone at Paradigm stood out—they were personable, approachable, not robotic. Their email signatures even had names. [laughs]
Eventually, I applied for a role supporting Joe Atamian as he transitioned from Monterey to Nashville. I got the job, moved down here in 2015, and I’ve been here ever since.
Paige Maloney, Joe Atamian and Noah Kahan on the set of SNL. Photo: Courtesy of Maloney
Going back a bit—were there any agents early on who made you think, “This could be the path for me”
Honestly, everyone I interacted with here. The culture just felt different and special—especially in Nashville. It’s familial, collaborative, and not cutthroat. It’s very much “rising tides raise all ships.” A lot of that credit goes to Jonathan Levine. He came from Monterey a few years before me to help grow the Nashville office. He’s built something incredible. The people I started with—and still work with—are here for the right reasons. They believe in artistry and artist development, and I’m still inspired by them every day. Working for Joe right off the bat was a huge blessing. He’s brilliant, has incredible taste and leads with integrity. He’s calm and kind, which is rare—and I didn’t realize just how rare until later on.
What kinds of things were you doing as an assistant? Any moments that solidified this as your career path?
It was a gradual build. You start with the basics, and as you get things right, you gain more responsibility. Learning from Joe, JL, Keith Levy—seeing different ways to do this job that I could actually relate to—was huge. Because honestly, I’d often look around and think, “I’m not that, and I’m not that… so who can I be?” I’ve since learned everyone does this job differently, but your values and priorities can be a through-line.
Watching amazing artist development stories unfold around me was also a big part of it. At the time, we were working with artists like Sturgill Simpson and Tyler Childers. It really felt like a golden era in Nashville—especially in the Americana and left-of-center country scenes. We’d compare it to the early ’90s in the Pacific Northwest. It felt like we were living inside a moment—and we knew it, even then.
That same creative wave is still growing. Just look at what’s happened with Zach Bryan and Noah Kahan. I feel so lucky to have had a front-row seat.
How did your path progress from assistant to agent?
I was Joe’s assistant for a few years, then promoted to coordinator. I started working more with Jonathan and other agents. After about three years, I was promoted to agent—right around when COVID hit, which was an interesting time to transition. [laughs] It all felt like a natural progression. I’m lucky—it was a smooth path, and I got to learn from so many incredible agents along the way.
Who was the first artist you signed?
The first was a band called Animal Years—they don’t exist anymore, unfortunately. Kind of an Americana indie group that disbanded during COVID. But it was my first real “this is yours” moment—even though, of course, you’re never truly alone. One thing I love about Wasserman is that we don’t work in territories; it’s roster-based. We often co-rep artists, which allows for collaboration and idea-sharing. It’s more work but totally worth it.
You mentioned him earlier, but tell me about working with Noah Kahan.
We signed Noah in either late 2016. His managers, Drew Simmons and Ryan Langlois from Foundations, had just started working with him and brought him to us. Joe signed him, and I supported the project early on. I’ll never forget seeing his first show at the original Basement. He was 17, and the songwriting already felt so special. He was hilarious, awkward, and totally himself—which hasn’t changed. He’s been an absolute joy to work with. We took the long road, like we always do. 250-cap clubs, then 500, then 1,000. Festival slots, opening tours—no skipped steps. At one point he said, “This is all I ever wanted.” And then he launched.
What’s especially beautiful is that during COVID, he stepped away from trying to fit the Nashville pop mold and wrote the record he truly wanted to make—and that’s the one that connected. It gives me hope. I know I’m being cheesy, but that kind of honesty still works. Fans can tell when an artist is authentic, and Noah returning to himself is what made it all click. The whole team has been there since day one. It’s rare and really special.
Paige Maloney, Justin Osborne (SUSTO), Keith Levy, Marshall Hudson (SUSTO), and Carter King (Futurebirds) at Basement East after a SUSTO show. Photo: Courtesy of Maloney
What’s bringing you joy right now? What are you excited about?
So many things. I feel lucky every day to work with artists I believe in.
Katie Pruitt has a stripped-back duo tour this fall, which we’ve been talking about for a while. She also has a new EP coming—it’s just stunning. Her honesty in songwriting blows me away. Kelsey Waldon’s new record comes out in June, and I think it’s her best yet. It’s raw and personal. She’s been through a lot, and this record reflects that. There’s a young artist from Georgia named Clover County I’m excited about. Her full record drops this fall. Her talent and perspective are so impressive for her age. I’m also working with a songwriter out of LA named Tyler Ballgame. He only has a couple of songs out, but his full record floored me. His sound is totally unique—someone described it as “Roy Orbison sings Kevin Morby,” and I love that.
And on the legacy side, I work with Bobby Weir and worked with Phil Lesh before he passed. I got into music because of the Grateful Dead, so that’s incredibly meaningful. Watching these artists still create and evolve after 60 years is just… it’s the dream.
Who have been your biggest mentors?
Joe Atamian, Keith Levy and Jonathan Levine. This company is full of generous, thoughtful people, but those three have shaped me the most.
What advice would you give someone like you once were—obsessed with live music and trying to figure out how to get in?
I’d say this: It’s a fun and rewarding job, but it’s also incredibly demanding. You’ll work harder than you think you can—but if you do, the rewards are worth it. Also, it’s part hard work and part luck. You can do everything right and still not make it, which is hard to hear—but true. Same goes for artists. Sometimes great work just doesn’t connect, and there’s no clear reason why.
But if you’re passionate about this—go for it. Taking the leap was the best decision I’ve ever made. Surround yourself with good people, and be ready to grind. This job rules.
The Jack Wharff Band To Release Debut EP ‘Richmond’s Most Wanted’
/by Lorie HollabaughThe Jack Wharff Band‘s debut EP, Richmond’s Most Wanted, is set for release June 20 via Big Machine Records.
The debut project from the rising band includes the title track, “Washed,” “Picture Perfect” and the band’s beloved debut track “Burnin’ It Down,” in addition to two never-before-heard songs, “Otherwise” and “Don’t Hold Your Breath.”
The Richmond natives will make their CMA Fest debut today (June 5) with a performance at the Good Molecules Reverb Stage at Bridgestone Arena before hitting the road to play a number of fairs and festivals this summer, including Carolina Country Music Fest, Barefoot Country Music Fest and Summerfest. This fall, they will act as support on select dates of Ole 60’s “U.S. Tour 2025.”
Richmond’s Most Wanted Track List:
1. “Washed” (Jack Wharff, Ryan Barrett Atchison, Joe Clemmons, Garrett Howell)
2. “Burnin’ It Down” (Jack Wharff, Ryan Barrett Atchison, Garrett Howell)
3. “Otherwise” (Jack Wharff, Marc Beeson, Steve Moakler, Chase McDaniel)
4. ” Don’t Hold Your Breath” (Jack Wharff, Ryan Barrett Atchison, Evan Novoa, Cole Miracle)
5. “Picture Perfect” (Jack Wharff, Ryan Barrett Atchison, Brian Bunn, Garrett Howell, Ben Wagner, Tyler Woodward)
6. ” Richmond’s Most Wanted” (Jack Wharff, Ryan Barrett Atchison, Beau Bailey, Garrett Howell)
BREAKING: MCA Names Rob Femia Chief Operating Officer
/by LB CantrellRob Femia. Photo: Sam Kelly | Courtesy of MCA
Music Corporation of America (MCA) has promoted Rob Femia to Chief Operating Officer. Femia adds COO to his duties as Executive Vice President of Business & Legal Affairs for the label group consisting of EMI Records Nashville, Lucille Records, Mercury Nashville and MCA Nashville.
Femia joined UMG Nashville in 2013 as VP of Business & Legal Affairs, was upped to SVP in 2018 then rose to EVP of BLA in 2023. In addition to leading MCA’s BLA team, Femia, now as COO, is responsible for overseeing the label group’s day-to-day operational functions, ensuring efficiency, and alignment with strategic goals and long-term growth. Femia is a graduate of Rutgers Law School with prior work history at Sony BMG, Virgin Records/Capitol Music Group/EMI Music North America, and Atlantic Records.
“Having someone with Rob’s experience on MCA’s executive team is invaluable, especially as we enter the new chapter in the company’s history,” shares MCA President & CEO, Mike Harris. “I have worked with Rob for a good portion of my own career, and he has always been knowledgeable, hardworking, and honest – which are characteristics we strive to bring to MCA’s roster of artists every day. We are very excited that Rob has agreed to take on the expanded role of COO and we look forward to him being a big part of MCA’s future.”
“I am honored that Mike is entrusting me with this expanded role at MCA as we reshape and refocus our priorities around the core of what defines us—a best-in-class record label with a deep roster of hit makers and history makers alike,” says Femia. “From today’s most talented and brilliant artists in Country music to a rich catalog representing some of the most important and influential Country music spanning generations, MCA has always stood at the heart of the genre’s legacy and evolution. I thank Mike, a friend and colleague for over 18 years, for his confidence in me and for inviting me to stand beside him as we lead MCA into this exciting new era. Together with our extraordinary team, we will continue to champion our artists, honor our history, and push the boundaries of what’s next in Country music.”
TikTok Launches New Insights Platform For Artists
/by Madison HahnenTikTok has launched its new platform, TikTok For Artists. The new program will allow artists and their labels/team members with data that can allow them to reach the global TikTok community, promote music and earn success on and off the app.
Example of Jordan Adetunji’s TikTok for Artist’s dashboard using mock data for illustrative purposes
The platform will include a dashboard that is updated daily that includes insights for song performance, post performance, follower insights and guides for TikTok’s tools and features. Included with the launch is also the Pre-Release Tool, which will give artists promotional tools to promote an upcoming album on TikTok, including the ability to pre-save the album directly from the app.
“TikTok is already well known for being the world’s best platform for music discovery and promotion, and with the launch of TikTok for Artists, all tiers of artists will gain insights on TikTok that they can use to take their careers to a whole new level,” says Tracy Gardner, TikTok’s Global Head of Music Business Development. “We built the platform to give artists transparent access to useful, actionable data about their music and their fans, to help them better engage with the TikTok community and supercharge their careers both on and off the platform.”
“My team and I rely on TikTok for Artists daily, sometimes even hourly,” adds early tester Cyril Riley. “In such a rapidly evolving industry, it’s crucial for us to consistently monitor and review the analytics of my account.”
TikTok for Artists is available now for all artists with a certified TikTok Artist Account. Artists are also able to provide account access to their artist teams and to label teams.
Example of Tate McRae’s pre-release campaign
Industry Ink: Carrie Underwood, Riley Green, Ole 60, Preston Cooper, More
/by Lorie HollabaughCarrie Underwood Unveils Special Opry 100 Rhinestone Mic Stand
Opry member Carrie Underwood unveiled the Opry 100 rhinesteone-designed Opry mic stand on Tuesday night’s Opry. Photo: Chris Hollo for Grand Ole Opry
Longtime Opry member Carrie Underwood gave fans a sneak peek of the custom rhinestone-themed Opry 100 mic stand during a performance at her fan club party at the Opry House on Tuesday afternoon (June 3), where she was also celebrating the two-year anniversary of her SiriusXM channel, Carrie’s Country. Later that evening, Underwood revealed the specially-designed mic stand during her performances in both Opry shows.
The stand was commissioned exclusively for the Opry’s 100th year and will be used for special performances throughout the Opry’s centennial celebration. During the Tuesday night Opry show kicking off CMA Fest, Underwood also surprised the audience by joining Ben Fuller during his set for their duet of “If It Was Up To Me.” On Thursday-Sunday, the Opry 100 Rhinestone mic stand will be at the Grand Ole Opry booth at CMA Fest in downtown Nashville, where fans can stop by and get a 360 “glam cam” photo with it.
Riley Green’s Buford Bonds Fund Donates $75,000 To Folds of Honor
Riley Green donates $75,000 to Folds of Honor
Riley Green donated $75,000 to Folds of Honor through his Buford Bonds Fund during the Rock ‘N Jock Celebrity Softball game on June 2. Established in honor of his grandfathers, Green’s charitable fund supports nonprofits around the country, and this marks Green’s fifth consecutive year participating in the event, which raises funds to provide educational scholarships to the families of fallen or disabled service members and first responders.
The cause is especially meaningful to Green, whose grandfathers proudly served in the military. Green’s Buford Bonds Fund most recently also supported The Recording Academy’s fire and hurricane relief efforts, hosted its first annual golf tournament which raised over $150,000 for the fund, and more.
Ole 60 Celebrates Platinum ‘Smoke & A Light’
Ole 60. Photo: John Park
Kentucky’s independent six-piece Ole 60 is soaring to new heights, earning Platinum-certification on their breakout single “Smoke & a Light.” The bad was recently highlighted by Billboard in their 2025 Country Power Players issue, and last weekend, Ole 60 played for a packed-out Railbird Music Festival in their home state.
“It’s surreal – we haven’t been doing this even 18 months. Hitting these milestones as an independent band from small town Kentucky is a really cool, crazy thing to experience and celebrate” the band shares collectively. “We have the greatest fans in the world, and this proves it.”
Preston Cooper Previews ‘Toledo Talkin” For Fans, Industry Crowd
Pictured (L-R, back row): Fusion Music’s Daniel Miller, Red Light Management’s Zach Sutton, The Valory Music Co.’s George Briner and Brett Warren; (L-R, middle row): The Valory Music Co.’s Ashley Sidoti, Preston Cooper, Big Machine Label Group’s Scott Borchetta, Big Machine Label Group’s Sandi Borchetta and Fusion Music’s Chris Ferren; (L-R, front row): Big Machine Label Group’s Allison Jones and Brad Warren. Photo: Nick Rau for The Valory Music Co.
Preston Cooper celebrated his new album at a special preview party last week. Cooper took the stage at Skinny Dennis to share a sneak peek of his upcoming debut album, Toledo Talkin’, which is set to drop on Aug. 29. More than 200 fans and industry partners came out to support Preston and experience the preview of what’s to come from the rising artist.
Markus Koger Launches Black Horse Pike Media Podcast Distribution Company
Markus Koger has officially launched Black Horse Pike Media (BHP Media), a podcast distribution company headquartered in Nashville. BHP Media will serve as the home and distributor for the widely followed Smoking Section Podcast and three brand-new original shows: YaNoFershure, Talk Dat Sh*t and Nashville Noise Podcast. BHP Media is stepping into the digital audio arena with a mission to spotlight culture-shifting dialogue, authentic storytelling and the kind of unfiltered perspectives that resonate with real listeners.
“Black Horse Pike Media is more than just a distributor — it’s a movement,” says Koger, Founder and CEO of BHP Media. “We’re here to shake things up. Whether you’re tuning in for the raw truth, the real laughs, or the rhythm of culture, BHP Media is your destination.”
Tristan Roberson Inks With The Kirby Organization
Tristan Roberson and TKO’s Michael Kelley. Photo: Natalie Roberson Photography
Tristan Roberson has signed with The Kirby Organization (TKO) booking agency. The 17-year-old singer-songwriter and multi-instrumentalist from Frisco, Texas, will be represented by veteran agent Michael Kelley. Roberson has distinguished himself as one of the genre’s most compelling new voices, and since releasing his debut single in May 2024, he has amassed over six million streams across platforms, driven by the viral success of his breakout track, “Somewhere in Texas,” which soared to No. 1 on the Texas radio charts in just 17 weeks.
Big Machine Records To Host Star-Studded 20th Anniversary Bash In August
/by Lorie HollabaughBig Machine Label Group is celebrating its 20th anniversary with a special Big Machine 20 Concert in downtown Nashville on Aug. 29 to kick off the Borchetta Bourbon Music City Grand Prix Weekend.
The free concert will feature performances from Riley Green, Sheryl Crow, Brett Young and Preston Cooper, joined by stars from throughout BMLG’s 20-year history, including The Band Perry, RaeLynn, Danielle Peck, Danielle Bradbery, Jack Ingram and Jimmy Wayne.
Big Machine 20 will toast to two decades of chart-topping hits and genre-defining talent, and serves as the official kick-off party for the newly rebranded Borchetta Bourbon Music City Grand Prix NTT Indycar Series Championship weekend. The event will also include the fifth annual Freedom Friday event, honoring members of the Military, Police, Fire, First Responders and Frontline Heroes. Last year’s Freedom Friday concert saw more than 118,000 attendees. VIP viewing tickets for Big Machine 20 are available here.
“This year’s event has even more meaning as we celebrate 20 years of Big Machine,” shares BMLG Founder, Chairman and CEO Scott Borchetta. “Nobody could’ve predicted our incredible success in a city we love so much. This is our thank you to Nashville and all the fans of our amazing artists and their music. This is going to be a once-in-a-lifetime event and one we’ll never forget!”
Founded by Borchetta on September 1, 2005, Big Machine Label Group has sold more than 226 million albums and tallied 185 No. 1 songs with more than 400 RIAA-certified tracks. Artists on the label’s roster have scored 76 Grammy nominations, 54 ACM Awards wins and 28 CMA Awards wins, as well as multiple American Music Awards, Billboard Music Awards, CMT Awards and more.
Presley Barker Inks With UMPG
/by Lauryn SinkPictured (L-R, front row): Missy Roberts (UMPG Nashville) and Presley Barker. (L-R, back row): Chip Petree (Ritholz Levy Fields) and Troy Tomlinson (UMPG Nashville). Photo: UMPG Nashville
Presley Barker has inked an exclusive publishing deal with Universal Music Publishing Nashville.
The North Carolina native began playing festivals around the south at age seven and has made appearances on The Today Show and the Grand Ole Opry, and has shared the stage with Billy Strings, Ricky Skaggs, Marty Stuart and Brad Paisley.
“Presley has the voice and songwriting prowess to usher classic country music into the future. His vocals and songs showcase a soul beyond his years, growing a fanbase that spans generations. Presley is a rare and special talent. I am honored to be a part of what is a very bright future ahead,” shares Missy Roberts, VP, A&R, UMPG Nashville.
“I’m incredibly grateful and honored to be joining the Universal Music Publishing family,” adds Barker. “From the very beginning, the team has made me feel right at home, and I couldn’t ask for a more passionate, talented and supportive group of people to work with and who love country music. Their belief in me and my vision means the world, and I’m so excited for what’s ahead!”
Hudson Westbrook Signs Record Deal
/by LB CantrellPictured (L-R): Zebb Luster (EVP / Artist Manager, River House Artists), Cris Lacy (Co-Chair / Co-President, Warner Music Nashville), Hudson Westbrook, Gregg Nadel (Co-Chair / Co-President, Warner Music Nashville) and Lynn Oliver-Cline (Founder / Owner, River House Artists). Photo: Emma Kate Golden
Breakout Texas country artist Hudson Westbrook has signed a record deal with River House Artists / Warner Music Nashville. The news was celebrated last night (June 3) at River House Artists’ Whiskey Jam takeover at Whiskey Row, where the young artist was surprised with a plaque presentation for his newly-minted RIAA Gold certified single “House Again.”
Westbrook just announced his debut album, Texas Forever, will release on July 25. It includes his top 30-and-climbing single “House Again” as well other buzzworthy tracks like “Sober,” “Mine Tomorrow” and “Dressed Down.”
A native of Stephenville, Texas, Hudson made his debut in 2024 with his viral first release “Take It Slow,” Westbrook quickly strung together a series of grassroots hits while enrolled at Texas Tech University, including debut Texas radio single and chart-topper, “Two Way Drive” and “House Again.” Amassing 400 million global streams in his first year as an artist and averaging over 20 million streams per week, Westbrook was named Billboard’s December Country Rookie of the Month and a 2025 Artist to Watch by Country Now, Holler, The Country Wire and more.
He takes the stage across CMA Fest this week, with performances slated at the Chevy Riverfront Stage, Spotify House, Warner Music Nashville’s Heatwave House and more.
Frank Ray Inks With Sony Music Publishing Nashville
/by Madison HahnenPictured (L-R): Kenley Flynn, Frank Ray, Rusty Gaston and Oscar Chavira.
Country singer-songwriter Frank Ray has signed a worldwide publishing deal with Sony Music Publishing Nashville.
“I can’t express how excited I am to be a part of the Sony familia! It’s always been a dream of mine to write songs for a major publishing company in the heart of music city and now I get to say that out loud,” says Ray. “I’m grateful to the Sony team and the writers for helping me tell my story and to hone the craft of songwriting when I’m blessed enough to share someone else’s. I’d also like to express my appreciation for my manager, Oscar Chavira, without whom this dream wouldn’t be possible!”
Currently signed with BBR Music Group/Stoney Creek Records, Ray has earned a No. 1 on Texas Country Radio, and has received praise from Country Radio Seminar (CRS), Rolling Stone, CMT, TIME, Good Morning America and more. His hit breakout single “Country’d Look Good on You” scaled the country airplay charts, leading him to his 2022 Grand Ole Opry debut.
Ray has cemented his Mexican American roots into modern country music and songwriting, paving a path for the next generation of Latino country artists. His fan favorites “Streetlights” and “Uh-huh (Ajá)” have grown his fan base, leading him into performances with Luke Combs, Kane Brown, Old Dominion, Luke Bryan, Kip Moore and Brett Eldredge. His latest single “Miami In Tennessee” has amassed over 42,000 Spotify streams to date.
“Frank is a one-of-a-kind talent, and his authenticity shines through in every song he writes,” shares Vice President, Creative A&R, Sony Music Publishing Nashville Kenley Flynn. “We are thrilled to welcome Frank to the SMP family and can’t wait to see all that’s ahead for him.”
Lukas Nelson To Receive Music Heals International Rob Wasserman Memorial Ambassador Award
/by Lorie HollabaughLukas Nelson. Photo: Matthew Berinato
Lukas Nelson will be honored as the first-ever annual recipient of the MHI Rob Wasserman Memorial Ambassador Award in partnership with Gibson Gives at a special one-night-only event on June 18.
The event at Gibson Garage Nashville will also feature live performances from Nelson and Friends, including Paul Beaubrun from Arcade Fire. Music Heals International’s global mission is to bring music and musicians to children in need to rebuild communities and inspire resilience and creativity. MHI is recognizing Nelson, whose commitment to music and its healing power beautifully reflects the spirit of this award, at the inaugural event.
“Music Heals International is proud to honor Lukas for his incredible contributions to our work and mission over the past decade by presenting him with the first-ever Rob Wasserman Memorial Ambassador Award, alongside our wonderful partner, Gibson Gives,” says Sara Wasserman, Founder and Executive Director, MHI. “This award is especially meaningful-not only does it celebrate Lukas as an extraordinary artist and musician whose gifts uplift the world, but it also honors the enduring legacy of my father, which continues to live on through the work of MHI.”
“Gibson Gives is proud to support the remarkable programs and mission of Music Heals International,” adds Erica Krusen, Global Executive Director of Gibson Gives. “We are especially excited to honor Gibson artist Lukas Nelson with the inaugural Rob Wasserman Memorial Ambassador Award at our Gibson Garage in Nashville–celebrating not only his artistry, but the profound impact he and Music Heals International continue to make through the power of music.”
All proceeds from the event will benefit Music Heals International, and tickets for the event are limited and on sale now here.
Following Haiti’s devastating earthquake in 2010, Music Heals International Founder and Executive Director Sara Wasserman began volunteering in the country through J/P Haitian Relief Organization, now CORE. After seeing the unmistakable impact of music as a tool to help children cope and find joy after this traumatic uprooting, she started Music Heals International as a way to bring music education to the children of Delmas 32 and communities beyond.