Singer-songwriter Levi Riggs, a Danville, Ind., native, has spent the better part of the past decade blending his interests in music and agriculture. This talented newcomer earned a degree in Agricultural sales from Purdue University. His strong Country voice began to garner notice while he performed in the school’s glee club.
While spending seven years working full-time in agriculture business (and pursuing his music career after hours), Riggs began touring and using social media to build a solid fanbase of followers. His tour schedule intensified, prompting Riggs to begin working as an independent seed dealer. “It gives me a more flexible schedule for songwriting, touring and performing,” says Riggs.
He formed his own label, Windridge Records and released projects including There’s Still A Place For That, Hillbilly Superstar, and his latest, I’m Good.
Riggs’ began his MusicRow office performance with “Down Home Boy,” written by Jon Henderson and Jason Matthews. The clever “My Best Friend’s A Girl,” was penned by Will Nance, Sherrie Austin and John Edwards.
Riggs’ latest project, I’m Good, was produced by Matt McClure (best known for his work with Lee Brice). Riggs recounted how a random connection resulted in McClure’s involvement with the album. “We were playing a gig in the middle of nowhere–we didn’t have a bass player for that show, and it was on a flatbed trailer–and this guy comes up and begins taking video of the show on his phone. I talked to him after the show, and he said he has a cousin who is a record producer in Nashville. He wanted to send along my information to his cousin. Later I get an email from Matt asking if he can come down to see a show. He liked what he heard, and invited me to Nashville to create this album.”
Riggs has been criss-crossing the country on a radio tour in the past several weeks, which has visited Arkansas, Tennessee, Iowa, Wisconsin and Missouri. He concluded his three-song performance with his current single, “I’m Good,” penned by Mark Nesler, Dean Dillon, Dale Dodson, Ashton Shepherd, and Marty Dodson.
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Justin Moore and Big Machine Label Group President/CEO Scott Borchetta were both named “Congressman Bill and Beverly Young Humanitarian of the Year” by the Armed Forces Foundation (AFF), for service and commitment to the welfare of military families. Borchetta and Moore were honored during the 10th annual Congressional Gala in Washington, D.C., on Wednesday evening (April 9).
“The work that Patricia Driscoll and the Armed Forces Foundation is doing is extraordinary – and unfortunately – beyond necessary. She and the AFF have identified the real challenges that so many of our troops go through upon their reentry into society. This is the kind of organization that the Big Machine Label Group and I will always support,” said Borchetta.
“Although extremely grateful, I feel a little uncomfortable being honored at an event where there are decorated war heroes present. I feel that my contributions are much less significant than theirs … they are the true American heroes,” stated Moore. “However, I’m thrilled to know that what I do with the AFF has helped, and that it is appreciated by all. Both of my grandpas served in our military and they, along with my parents, instilled in me what our servicemen and women mean to us. It was an honor to tell some of them face to face last night. God bless our troops and God bless America.”

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When selecting songs for her latest album, Carter Girl, Carlene Carter certainly had no shortage of material to choose from. Carter, a third generation member of the Carter Family, comes from an immensely talented bloodline. Her grandmother is Mother Maybelle Carter, and her mother is June Carter Cash. June, along with sisters Helen and Anita, comprised The Carter Sisters. Carlene’s father is Country singer Carl Smith.
Carlene Carter comes full circle on Carter Girl (Rounder Records), reviving several classic Carter songs, along with some of her own creations. The album includes several songs penned by A.P. Carter, Mother Maybelle and Sara Carter, the original Carter Family, as well as songs written by her mother and aunts, and a couple of her own compositions, including “Me and the Wildwood Rose” and “Lonesome Valley 2003″ (featuring Vince Gill).
“Mom dubbed [Rosie Nix Adams] Rosie ‘The Wildwood Rose,'” said Carter before performing “Me and the Wildwood Rose” for MusicRow staff. “We would get on the floorboard of the car, and grandma drove. I remember driving all night and getting to a fair and we would watch them perform. After grandma passed in 1978, I wanted to write about what those days meant.” The song was originally included on Carlene’s 1990 project, I Fell In Love.
Other guest vocalists on the project include Kris Kristofferson offers harmony on “Black Jack David.” Elizabeth Cook guests on “Blackie’s Gunman,” while Willie Nelson guests on “Troubled Waters.” Carter Girl also boasts a new version of “I Ain’t Gonna Work Tomorrow,” featuring the guitar work of Cowboy Jack Clement and the voices of Helen, Anita, June and Johnny Cash. “The musicians played along to Cowboy’s original guitar work,” said Carlene. “I redid my vocal on it, and of course at that time [of the original recording], John always wanted to be in the studio, so his voice is on there.”
During her MusicRow visit, she offered up “Lonesome Valley 2003” and  “Little Black Train,” a song the Carter family performed, that Carlene Carter later discovered when she was selecting songs for the project. “Give Me Roses” is a well-crafted reminder to appreciate loved ones while they are still alive. “This is how I view my life and how I want to live it,” she said. Her voice took center stage throughout each song, backed only by her self-accompanying guitar picking in the famous “Carter Scratch” style of guitar playing, characterized by the thumb picking out the melody while the fingers simultaneously brush the strings in rhythm. The Carter Scratch, of course, helped shape the sound of Country music.
Don Was produced the project. “I always wanted to work with Don and I waited to work with him,” said Carlene. “I think that’s the reason it came out so well. He got me to trust my instincts.” she shares. “I wanted to fire myself from playing guitar because I felt we had so many talented guitarists in the studio, but Don said no, they were playing with me. I came to really own these songs as my own, to take them out into the world and keep alive the legacy of the Carter family.”
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