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.

Joining BMG in 2020, Katie Kerkhover currently serves as SVP, A&R, North America, a position she was elevated to in December 2024. Her first position at BMG was as Senior Director, Creative, in music publishing, where she managed BMG’s Nashville roster of songwriters, including Kurt Allison, Tully Kennedy, Stephen Wilson Jr., Emily Landis and Chayce Beckham, among others, while also signing and developing new songwriters and artists.

Kerkhover was promoted to VP, A&R, Frontline Recordings for BMG Nashville in 2022, where she was responsible for BBR Music Group’s (BBRMG) roster of recording artists across its imprints Broken Bow Records, Stoney Creek Records and Wheelhouse Records, as well as scouting, signing and developing new talent. Since leading A&R for BBRMG, she’s worked with Jelly Roll, Lainey Wilson, Jason Aldean and Beckham and is working with Blake Shelton’s team on his BMG Nashville debut.

Previously, Kerkhover served nearly three years as a Creative Manager at Sony/ATV and garnered experience as A&R, Creative at CAM Creative. Before jumping behind the scenes of the music industry, she spent years on the road as a performing musician often playing fiddle, guitar or providing backing vocals for acts like Sara Evans and Rebecca Lynn Howard.

Kerkhover will be honored as part of MusicRow‘s Rising Women on the Row class of 2025 on March 20 at the Omni Nashville Hotel. Read more about the event here.

MusicRow: Where did you grow up?

I’m from a very small town in southern Illinois called Rockwood. When I moved away, the population was 47 people. It’s actually classified as a village, not even a town, because there are so few residents.

Wow. Did you go to school there?

No, we didn’t have a school. I had to go to the neighboring town. When I was a kid, there was one little school bus that would come through and pick everybody up. It was all rock roads. Even now, my parents still don’t have city water. They have to have water hauled in.

That’s a small town. What was your childhood like?

I’m the youngest of three, but with my siblings being 11 and 16 years older than me, I basically grew up as an only child.

My mom started me in violin lessons when I was four, and every week, we’d drive an hour and a half each way for my lessons. Growing up, I was a total tomboy. I did everything with my dad—baling hay, driving the truck, and picking up hay bales by the time I was nine. We didn’t have central heat, so we relied on a wood-burning stove to get through the winter. In the fall, I was out with my dad, cutting firewood.

Life on the farm was typical, ours was a grain farm. And then, of course, there was music. I started with the Suzuki method but quickly got into bluegrass because I just wanted to play fast songs.

We’d go to church picnics and town festivals, and I’d find local musicians to play with. Our house became a gathering place for musicians, and Sundays turned into big jam sessions. We’d put food out, and people would start showing up to play music.

How did you start to make a name for yourself as a performer outside of your hometown?

My mom started taking me to violin lessons when I was four. Violin came naturally to me, and I constantly wanted to learn new songs.I started to get asked to play at church functions—first at church picnics and town festivals, then I’d get invited to perform in the next town over, and from there, another town. Before I knew it, I was doing these little tours as a kid.

We started making trips to Nashville, about four hours away. When I was 12, I started playing in the bars on Broadway with my bluegrass band. I’d play from 10 a.m. to 2 p.m. at one place, then another from 2 p.m. to 6 p.m. At six, I’d get kicked out because I wasn’t 21.

That’s when I started meeting a lot of people in Nashville. One of the first was John Carter Cash. When I was 15, I made a CD with John Carter at Cash Cabin, which led to a Kennedy Center honor and a chance to perform at the Kennedy Center. By 16, I got my first offer to go on a country tour as a fiddle player and background singer, but my parents were like, “No way.” [Laughs]

Then what?

When I was 17, I met Buddy Cannon. He recorded an EP with me and started shopping me as an artist. That’s when I first felt the challenge and constant judgment that comes with being in the industry as a songwriter and artist. At 17, that didn’t sit well with me.

After that, I went on the road with Rebecca Lynn Howard, then toured with Billy Currington for a bit. Then I got offered the Sara Evans tour, and I was with her for about three or four years. After being on the road, I realized touring wasn’t what I wanted to do for my entire career.

I left the road and started a teaching business, which funded my daily life, and I started another band. Then labels and managers started reaching out again, and I did another round of label meetings. But once again, I got to that same point where, in the pit of my stomach, it didn’t feel right.

So, I left the band. I stopped chasing that. Instead, I focused on playing demo sessions, side gigs and teaching. That’s when I met Jon Nite [through a gig]. He was one of the first people to ask me, “What do you want to do with all of this?”

What was your answer?

By then, I was in my late twenties, and I told him, “Now that I’ve been through the experience of having people try to tell me who I am and what I should create, I’d love to be in a position where I can prevent that from happening to others. I want to help artists bring their vision to life—to be an advocate for them.”

And he said, “You need to meet my team at Sony.” So I met Josh Van Valkenburg, Troy Tomlinson and the team at Sony. Josh and Troy took me to lunch to talk about a Manager position. At the end of the meeting, I told them, “If you give me six months in the job, and I don’t create value, learn fast enough or achieve the goals you expect, you won’t have to fire me—I’ll leave. Just give me a shot.”

You got the job. What did you discover in that transition from live music to the business side of things?

I had never worked for someone else in a corporate setting before, so I had to learn a whole new set of rules. I also had to really understand what their goals were and figure out how I could be a connector. No matter what role I’ve had, I’ve always seen myself as an advocate for songwriters, artists and producers. I just happened to have the chair inside the company that allowed me to push their vision forward.

Once I figured some of the business out, I got excited because I was surrounded by people who genuinely loved music and songs. Carol Ann Mobley hired me for some A&R work before I worked at Sony, and I’ll never forget she told me, “In publishing, you never have to give up on a song.” That was very useful advice for me when I got into the business, learning that if you’re excited and passionate about something, you don’t have to let it go.

After a few years, you transitioned to BMG. Tell me about that.

During the pandemic, Jon Loba and Chris Oglesby called and asked if I’d be interested in joining their team. For me, it was an opportunity to grow and take on an expanded role. I moved to BMG in 2020 and started in publishing. I worked with Stephen Wilson Jr. and worked closely with Chayce Beckham on his first project.

You’ve moved through the ranks, first to VP, A&R for the Nashville office and then to Sr. VP of A&R, North America.

Yes, Sara Knabe was fantastic to work with. Through Chayce Beckham’s project, I started getting a look behind the curtain at the label side. When Sara decided to leave, she graciously recommended me for her position, and when Jon and I talked about it, I told him, “I know how to make records, and I love songwriters, but I don’t know much about the other side. If you teach me the rest, I’ll deliver the best projects for you.”

One of the first albums I was honored to be a part of was Jelly Roll’s Whitsitt Chappell. After that, I just had to keep figuring things out, realizing what I didn’t know, asking questions—getting thrown into the deep end over and over again. The best part is that Jon always leads with the music. Everything is about the music and letting that guide decisions.

Eventually, the North America A&R position opened up. Jon asked if I wanted it, and I told him no. [Laughs] I was in the middle of Jelly’s next record and said, “I can’t take on more and risk not delivering at the highest level.” Once I got through that album, we revisited the conversation and here I am!

What’s your favorite part of your job now?

It’s always finding “THAT ONE” song. The other part of it is reaching the finish line—for an artist’s vision to finally be an album and not just live in their head. They create it, I’m just next to them in the weeds, trying to cut the path to the finish line.

Who have been your mentors along the way?

Carol Ann Mobley, Troy Tomlinson, Josh Van Valkenburg and Jon Loba have been amazing mentors. JoJamie Hahr, Cris Lacy and Kerri Edwards have always been there when I needed advice or a tequila night. [Laughing]

What’s the best advice you’ve ever gotten?

Troy once told me, “Don’t be afraid of something just because someone else sees your potential before you do.”That really stuck with me. Jon always says, “Stay humble, hungry and curious.”

What are you most proud of?

It’s hard to pick just one moment or project, but one of the people I’m most proud of is Trannie Anderson. She was the first songwriter I signed at Sony. She was so hungry to learn and grow. We’d have long talks about her goals. Watching her achieve them is incredible.

What has your experience been like as a woman in the business?

I’ve been fortunate to have amazing women pave the way. I’ve also been surrounded by great people in general. There have been times I’ve felt pre-judged coming into situations, but once I’ve had the opportunity to share my perspective, it’s always been met with respect. I also think we’re in a different time now. Women have raised the bar and set high expectations, and I’m honored to be part of that.

What advice would you give to someone who wants to do what you do?

It’s about passion, it’s about commitment and it’s about being an advocate for others. This job isn’t about you. It’s about elevating other people’s visions. And when you do that, it’s fulfilling in ways you can’t imagine.