Rakiyah Marshall
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.
Rakiyah Marshall is the Founder and CEO of Back Blocks, a full-service publishing, management and artist development company. Under her leadership, Back Blocks has guided the careers of Blake Pendergrass, Ashley Cooke, Tucker Wetmore and Lily Rose. Marshall and her team recently celebrated major milestones, including Cooke and Wetmore’s first No. 1 hits.
Before founding Back Blocks, Marshall built a strong foundation in pop promotion at Republic Records in NYC, including time at UMG’s classical division (now Verve). She later brought her expertise in radio, streaming, marketing, and artist development to Nashville, working at Cornman Music under hall of fame songwriter, Brett James and BMG under Kos Weaver. There, she advocated for writers, placed notable songs and bridged Nashville with the global creative community.
Now, Marshall continues to shape Back Blocks into a leading force in the industry, driving success for her roster through innovative strategies and dedicated advocacy.
Marshall 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.
Photo: Courtesy of Marshall
MusicRow: Where did you grow up?
I’m from Long Island, New York. I was born in Queens but moved to Long Island when I was about four. I lived there after college until about 2014, then moved to Manhattan before making my way to Nashville.
What was your childhood like? What were you into?
I was really into sports. I played basketball and ran track, which took up a lot of my time. I had a great childhood. Long Island, at least where I grew up, is very suburban, so we spent a lot of time outside. You could just run around the neighborhood without a parent hovering. I’m still friends with most of the people from my street.
I practically lived at my grandmother’s—she was still in Queens while I was in Long Island, so I feel like I had two childhoods. Queens was a little more tough, and Long Island was where I built my foundation of friendships and family. But I loved both.
Photo: Courtesy of Marshall
Were you into music?
Music was always in my household. My grandfather had a basement where he played records—lots of Caribbean music because my grandparents were from the islands. There was also a lot of Motown and hip-hop from my dad. Growing up in New York, Broadway and Madison Square Garden were like my backyard. I saw every Broadway play and went to a lot of concerts with my mom. I was in band for a short time—I played the drums—and I was in chorus, but neither felt right. Once it wasn’t a requirement, I was out. Sports were more important to me.
Photo: Courtesy of Marshall
Do you remember any standout concerts at MSG?
I saw Usher on his birthday, which was a big one. I also saw a lot of shows at Nassau Coliseum since it was closer to my house.
I also saw Plain White T’s at my local mall. Justin Bieber actually ended mall concerts for all of us—so many people showed up that they had to stop hosting them.
That’s so fun. So, you went to college and then full speed ahead?
Not quite. Freshman year, I focused on partying. [Laughs] My mom was like, “I’m not paying for this for nothing.” So sophomore year, I got serious, started caring about my classes and went to the career center. I knew I loved entertainment—sports, TV, film, music—but didn’t know where I fit. I applied to Universal thinking it was just a film company, and I also applied to sports jobs. Universal was the first to call me back, along with the Staten Island Yankees. I almost took the Yankees job, but the first day, I realized it wasn’t for me.
Photo: Courtesy of Marshall
Universal kick-started everything. Walking into their building on Broadway was nuts. It was eight floors of pure energy, and I knew I wanted to be part of it. That’s when my drive really started. I loved taking the train every day, and it put a pep in my step. I changed my major, basically making up my own since we didn’t have a music history major. I also interned at MSG, which filled my sports void, but nothing matched how the record label felt.
What was your trajectory within Universal?
I started as an intern, then temped for about a year before moving to Classics/Verve for another year. Then I went back to Republic. I basically never left the building—I temped in any department I could. I even temped for Steve Gawley, who’s now the lawyer I’ve worked with. I started at Universal before I was 21 and left at 25.
Photo: Courtesy of Marshall
What was next?
I moved to Nashville and went to Cornman Music with Brett James. That was an amazing experience. I worked with some incredible songwriters—Caitlyn Smith, Steven Lee Olsen, Brett himself, Josh Mirenda, Josh Miller, Kip Moore. I got to see all types of writers, and it gave me range. Then I went to BMG eight months later.
Tell me about that time.
I worked for Kos Weaver, and he was amazing. I was there for about two and a half years until he left. He was a great boss—he really focused on the individual and results. He asked, “What do you want?” I told him I never wanted to run a company—which is ironic now—and that I just wanted to be a VP of a publishing company and build my roster. That’s what we worked toward.
My first signing was Emily Landis, who wrote “The Good Ones” with Gabby Barrett. She had just been dropped from her last deal, and we set a two-year goal to get a single on the radio. And two years later, we got it. That was a huge moment. I also worked with Russell Dickerson, Lindsay Ell, Nate Cypert, Busbee’s writers and a lot of pop writers. We were building a team, and then—the pandemic.
Photo: Courtesy of Marshall
Yeah, that thing.
I tried doing the Zoom thing, but I’m a visual learner. Sitting on a laptop for hours pitching songs wasn’t fulfilling. I felt myself drifting, and I told my husband, “I don’t think I need to be here anymore.”
Around that time, I met Ashley Cooke, and she was open to ideas I suggested and learning along with me. I told her, “You have all these TikTok followers but they have nothing to listen to—let’s fix that.” We put out one song together before I left BMG. Then I met Blake Pendergrass and Lily Rose, and that’s when I left and started my company. It happened fast—I left BMG on a Friday, and on Monday, Back Blocks Music was born.
That’s so brave.
Yeah, I think it surprised everyone, but that’s what makes it fun. You have to love what you’re working on. I only take risks on people I believe in. I only want to work with people who want to work with me. That’s the difference between being independent and working for a corporation. You’re personally invested. That’s why I pass on a lot and sign slow.
Photo: Courtesy of Marshall
When did you first feel validation that it was going to work?
I think when Ashley got On The Verge—that really felt like a big win. Even though so many things happened before that, it felt like radio believed in her. And that’s such a big hurdle for females. Tucker [Wetmore’s] success has been validating, too, because it was really important to me to break a male artist.
Seeing how much the town has loved on Blake Pendergrass. He is the kind of talent that reminds you why hard work always wins. His relentless drive, sharp instincts and pure dedication to the craft have been undeniable. Part of being a songwriter isn’t just about landing the perfect line or cut—it’s about rebooking the room. Blake is the pure definition of that, showing up with full ideas, verses, and choruses, ready to connect with artists and writers across all genres. And without fail, I always get a call after a session saying the same thing: We need to write with him again. Not just for one song but to help create the album. His work ethic doesn’t just push him forward; it reinforces what Back Blocks stands for—championing the ones who show up, outwork the rest and keep the bar high.
Photo: Courtesy of Marshall
What would you say is your favorite part of your job now?
The beginning is still my favorite. I love that raw, vulnerable stage—when there’s no music recorded yet, just learning each other, figuring out what works.
There are so many fun moments after that, but that early stage—before they become a butterfly—that’s my favorite. Late nights, talking about dreams, their favorite venue to play, who they want to collaborate with. We put it all on a wall and start working toward it. It’s a beautiful process.
Who have been your mentors?
My bosses at Republic were huge for me—Gary Spangler, Monte Lipman and Avery Lipman, and more —they’ve all been part of my career forever.
Shani Gonzalez was a major influence on me. Even though we didn’t spend years together, seeing her presence at BMG was everything. It was the first time I saw a reflection of myself, and I thought, “I want to be like her.” In the time we did have together, I was constantly learning. She taught me how to handle things, what deals to make, what deals not to make.
It might sound cliche, but my husband is a mentor to me too. Ben Vaughn was great to me. I’m really thankful for Brett James taking a chance on me. I love talking to Candice Watkins, because we have a lot in common and she is someone I really admire.
Photo: Courtesy of Marshall
You became a mom around the same time you launched Back Blocks. What’s it been like juggling everything?
It’s been hard but rewarding. I didn’t plan to get pregnant back-to-back while starting a company, so it was a lot all at once. Meeting the artists’ needs while making sure I’m present as a mom is tough—you’re either missing out on music class but making the music video, or skipping the music video to be at music class.
Postpartum didn’t exist for me—I went right back to work. No pats on the back, no grace period. That was really hard. I’m getting better at the balance, knowing what I need to be at and what I don’t. Having clients who understand is huge.
Moms and work need to be a bigger conversation. We’re still expected to show up, even if our kid just threw up on us five seconds before the meeting. I’ve breastfed at every artist event I’ve been to. It doesn’t stop, but I think I’m better for it.
When you look to the future, what do you see for yourself?
I hope my company’s still buzzing. I want to have every department grown out. I live very much in the moment, so I don’t look too far ahead. I’d like to think if you look too far, you can get lost in the future. And I’m not guaranteed to be here in five years, so I focus on the now more.
Photo: Courtesy of Marshall
But I do want my company to grow. I want to have more artists, continue to be a strong representation for country music, and have a staff that stands on their own and proud to work at back blocks
What advice would you give someone if they wanted to do what you do?
Confidence is key. If you dream it, believe it, and say it out loud. Don’t let anyone tell you otherwise—especially men.
Remember, someone is always watching you. Be a great example. That’s what I tell myself—especially when people may push buttons. [Laughs] I remind myself that there’s a girl coming up who needs to see me doing this.
My Music Row Story: Back Blocks Music’s Rakiyah Marshall
/by LB CantrellRakiyah Marshall
Rakiyah Marshall is the Founder and CEO of Back Blocks, a full-service publishing, management and artist development company. Under her leadership, Back Blocks has guided the careers of Blake Pendergrass, Ashley Cooke, Tucker Wetmore and Lily Rose. Marshall and her team recently celebrated major milestones, including Cooke and Wetmore’s first No. 1 hits.
Before founding Back Blocks, Marshall built a strong foundation in pop promotion at Republic Records in NYC, including time at UMG’s classical division (now Verve). She later brought her expertise in radio, streaming, marketing, and artist development to Nashville, working at Cornman Music under hall of fame songwriter, Brett James and BMG under Kos Weaver. There, she advocated for writers, placed notable songs and bridged Nashville with the global creative community.
Now, Marshall continues to shape Back Blocks into a leading force in the industry, driving success for her roster through innovative strategies and dedicated advocacy.
Marshall 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.
Photo: Courtesy of Marshall
MusicRow: Where did you grow up?
I’m from Long Island, New York. I was born in Queens but moved to Long Island when I was about four. I lived there after college until about 2014, then moved to Manhattan before making my way to Nashville.
What was your childhood like? What were you into?
I was really into sports. I played basketball and ran track, which took up a lot of my time. I had a great childhood. Long Island, at least where I grew up, is very suburban, so we spent a lot of time outside. You could just run around the neighborhood without a parent hovering. I’m still friends with most of the people from my street.
I practically lived at my grandmother’s—she was still in Queens while I was in Long Island, so I feel like I had two childhoods. Queens was a little more tough, and Long Island was where I built my foundation of friendships and family. But I loved both.
Photo: Courtesy of Marshall
Were you into music?
Music was always in my household. My grandfather had a basement where he played records—lots of Caribbean music because my grandparents were from the islands. There was also a lot of Motown and hip-hop from my dad. Growing up in New York, Broadway and Madison Square Garden were like my backyard. I saw every Broadway play and went to a lot of concerts with my mom. I was in band for a short time—I played the drums—and I was in chorus, but neither felt right. Once it wasn’t a requirement, I was out. Sports were more important to me.
Photo: Courtesy of Marshall
Do you remember any standout concerts at MSG?
I saw Usher on his birthday, which was a big one. I also saw a lot of shows at Nassau Coliseum since it was closer to my house.
I also saw Plain White T’s at my local mall. Justin Bieber actually ended mall concerts for all of us—so many people showed up that they had to stop hosting them.
That’s so fun. So, you went to college and then full speed ahead?
Not quite. Freshman year, I focused on partying. [Laughs] My mom was like, “I’m not paying for this for nothing.” So sophomore year, I got serious, started caring about my classes and went to the career center. I knew I loved entertainment—sports, TV, film, music—but didn’t know where I fit. I applied to Universal thinking it was just a film company, and I also applied to sports jobs. Universal was the first to call me back, along with the Staten Island Yankees. I almost took the Yankees job, but the first day, I realized it wasn’t for me.
Photo: Courtesy of Marshall
Universal kick-started everything. Walking into their building on Broadway was nuts. It was eight floors of pure energy, and I knew I wanted to be part of it. That’s when my drive really started. I loved taking the train every day, and it put a pep in my step. I changed my major, basically making up my own since we didn’t have a music history major. I also interned at MSG, which filled my sports void, but nothing matched how the record label felt.
What was your trajectory within Universal?
I started as an intern, then temped for about a year before moving to Classics/Verve for another year. Then I went back to Republic. I basically never left the building—I temped in any department I could. I even temped for Steve Gawley, who’s now the lawyer I’ve worked with. I started at Universal before I was 21 and left at 25.
Photo: Courtesy of Marshall
What was next?
I moved to Nashville and went to Cornman Music with Brett James. That was an amazing experience. I worked with some incredible songwriters—Caitlyn Smith, Steven Lee Olsen, Brett himself, Josh Mirenda, Josh Miller, Kip Moore. I got to see all types of writers, and it gave me range. Then I went to BMG eight months later.
Tell me about that time.
I worked for Kos Weaver, and he was amazing. I was there for about two and a half years until he left. He was a great boss—he really focused on the individual and results. He asked, “What do you want?” I told him I never wanted to run a company—which is ironic now—and that I just wanted to be a VP of a publishing company and build my roster. That’s what we worked toward.
My first signing was Emily Landis, who wrote “The Good Ones” with Gabby Barrett. She had just been dropped from her last deal, and we set a two-year goal to get a single on the radio. And two years later, we got it. That was a huge moment. I also worked with Russell Dickerson, Lindsay Ell, Nate Cypert, Busbee’s writers and a lot of pop writers. We were building a team, and then—the pandemic.
Photo: Courtesy of Marshall
Yeah, that thing.
I tried doing the Zoom thing, but I’m a visual learner. Sitting on a laptop for hours pitching songs wasn’t fulfilling. I felt myself drifting, and I told my husband, “I don’t think I need to be here anymore.”
Around that time, I met Ashley Cooke, and she was open to ideas I suggested and learning along with me. I told her, “You have all these TikTok followers but they have nothing to listen to—let’s fix that.” We put out one song together before I left BMG. Then I met Blake Pendergrass and Lily Rose, and that’s when I left and started my company. It happened fast—I left BMG on a Friday, and on Monday, Back Blocks Music was born.
That’s so brave.
Yeah, I think it surprised everyone, but that’s what makes it fun. You have to love what you’re working on. I only take risks on people I believe in. I only want to work with people who want to work with me. That’s the difference between being independent and working for a corporation. You’re personally invested. That’s why I pass on a lot and sign slow.
Photo: Courtesy of Marshall
When did you first feel validation that it was going to work?
I think when Ashley got On The Verge—that really felt like a big win. Even though so many things happened before that, it felt like radio believed in her. And that’s such a big hurdle for females. Tucker [Wetmore’s] success has been validating, too, because it was really important to me to break a male artist.
Seeing how much the town has loved on Blake Pendergrass. He is the kind of talent that reminds you why hard work always wins. His relentless drive, sharp instincts and pure dedication to the craft have been undeniable. Part of being a songwriter isn’t just about landing the perfect line or cut—it’s about rebooking the room. Blake is the pure definition of that, showing up with full ideas, verses, and choruses, ready to connect with artists and writers across all genres. And without fail, I always get a call after a session saying the same thing: We need to write with him again. Not just for one song but to help create the album. His work ethic doesn’t just push him forward; it reinforces what Back Blocks stands for—championing the ones who show up, outwork the rest and keep the bar high.
Photo: Courtesy of Marshall
What would you say is your favorite part of your job now?
The beginning is still my favorite. I love that raw, vulnerable stage—when there’s no music recorded yet, just learning each other, figuring out what works.
There are so many fun moments after that, but that early stage—before they become a butterfly—that’s my favorite. Late nights, talking about dreams, their favorite venue to play, who they want to collaborate with. We put it all on a wall and start working toward it. It’s a beautiful process.
Who have been your mentors?
My bosses at Republic were huge for me—Gary Spangler, Monte Lipman and Avery Lipman, and more —they’ve all been part of my career forever.
Shani Gonzalez was a major influence on me. Even though we didn’t spend years together, seeing her presence at BMG was everything. It was the first time I saw a reflection of myself, and I thought, “I want to be like her.” In the time we did have together, I was constantly learning. She taught me how to handle things, what deals to make, what deals not to make.
It might sound cliche, but my husband is a mentor to me too. Ben Vaughn was great to me. I’m really thankful for Brett James taking a chance on me. I love talking to Candice Watkins, because we have a lot in common and she is someone I really admire.
Photo: Courtesy of Marshall
You became a mom around the same time you launched Back Blocks. What’s it been like juggling everything?
It’s been hard but rewarding. I didn’t plan to get pregnant back-to-back while starting a company, so it was a lot all at once. Meeting the artists’ needs while making sure I’m present as a mom is tough—you’re either missing out on music class but making the music video, or skipping the music video to be at music class.
Postpartum didn’t exist for me—I went right back to work. No pats on the back, no grace period. That was really hard. I’m getting better at the balance, knowing what I need to be at and what I don’t. Having clients who understand is huge.
Moms and work need to be a bigger conversation. We’re still expected to show up, even if our kid just threw up on us five seconds before the meeting. I’ve breastfed at every artist event I’ve been to. It doesn’t stop, but I think I’m better for it.
When you look to the future, what do you see for yourself?
I hope my company’s still buzzing. I want to have every department grown out. I live very much in the moment, so I don’t look too far ahead. I’d like to think if you look too far, you can get lost in the future. And I’m not guaranteed to be here in five years, so I focus on the now more.
Photo: Courtesy of Marshall
But I do want my company to grow. I want to have more artists, continue to be a strong representation for country music, and have a staff that stands on their own and proud to work at back blocks
What advice would you give someone if they wanted to do what you do?
Confidence is key. If you dream it, believe it, and say it out loud. Don’t let anyone tell you otherwise—especially men.
Remember, someone is always watching you. Be a great example. That’s what I tell myself—especially when people may push buttons. [Laughs] I remind myself that there’s a girl coming up who needs to see me doing this.
Sacks & Co. Grows Nashville Team
/by LB CantrellCatherine Snead, Jessica Vandergriff
Award-winning PR firm Sacks & Co. has expanded its Nashville team, promoting Catherine Snead to Senior Director and hiring Jessica Vandergriff as Associate. The news comes on the heels of the company’s Carla Sacks being named Publicist of the Year at the 2025 CMA Touring Awards.
Sacks shares, “I’m incredibly thankful and inspired to work with this best in class team. For us, Nashville has been a 15 year town and I wouldn’t change a single minute. Our artists are legends and we’re so proud and grateful to stand side stage.”
Executive VP Asha Goodman adds, “Catherine has been an absolute force in our Nashville office since 2017. It’s been a joy working beside her and watching her continued growth and success.” She continues, “We are so lucky to have Jessica join our team⎯she’s already made such a positive impact and is a wonderful addition to our office here.”
A native of Richmond, Virginia, Snead moved to Nashville in 2017 after graduating from the University of Virginia to pursue a career in the music industry. She started working as a publicist at Sacks & Co. shortly after arriving in Nashville and has since spent her entire professional career to date with the company, working with artists across genres.
Vandergriff earned a degree in Public Relations from Western Kentucky University and moved to Nashville in 2020 to pursue a career in music publicity. She started at Post Hill Press, managing PR efforts for authors across various genres. In 2021, she joined 117 Entertainment, where she spent three years refining her skills and building industry relationships. In the summer of 2024, she joined Sacks & Co. as a publicist.
2nd Annual Boots On The Water Cruise To Set Sail In February 2026
/by Lorie HollabaughThe second sailing of Boots on the Water is set for February 13-18, 2026 aboard the Norwegian Jewel.
Presented by Sixman and Vibee, the cruise will leave from Tampa and travel to Costa Maya and Cozumel, Mexico, with performances and more from Clint Black, Terri Clark, Diamond Rio, Chris Cagle, David Lee Murphy, Deana Carter, Sarah Gayle Meech, Boot Scoot USA and Shut Up & Dance.
Presale Signups will conclude this Wednesday (March 12). Public on-sale will begin this Friday (March 14) here.
2025’s debut voyage of Boots on the Water featured 10 artists and 11 country songwriters performing for nearly 2,000 guests. Moments include performances by Big & Rich featuring Gretchen Wilson, Craig Morgan, Lonestar, Pam Tillis and Montgomery Gentry with Eddie Montgomery. The event also featured an “Acoustic Morning” session with Little Texas’ Dwayne O’Brien, along with a heartfelt tribute to the late Toby Keith, featuring Suzie Boggus, Little Texas, Sarah Gayle Meech, and Boot Scootin’ Boogie Nights.
Wynonna Judd Slates New ‘Greatest Hits Tour’ For June
/by Lorie HollabaughWynonna Judd. Photo: Jim Wright
Wynonna Judd has announced her new “Wynonna Judd: The Greatest Hits Tour,” celebrating four decades of chart-topping hits.
Kicking off June 13 in LaGrange, Georgia, Judd’s first-ever greatest hits tour will honor her career, spotlighting unforgettable songs from her time as one-half of the legendary duo The Judds, along with her powerhouse solo career. She will visit Wilmington, Virginia Beach, Boise, Albuquerque and more on the new trek, which will feature Judds chart-toppers like “Mama He’s Crazy” and “Grandpa (Tell Me ‘Bout The Good Old Days),” as well as solo anthems “No One Else On Earth” and “Tell Me Why” and more, offering fans a night of nostalgia, soul, and the raw energy that only Wynonna can deliver.
“I continue to marvel at the fact that I still get to do what I love, after all these years. I feel incredibly blessed to have experienced so many chapters of my career, which is constantly evolving,” Wynonna shares. “I’ve been pouring my heart into new music, and I cannot wait to share it with you! And right now, it’s time to celebrate my musical journey, and honor the songs that shaped who I am.”
“Wynonna Judd: The Greatest Hits Tour” Dates:
June 13 – LaGrange, GA @ Sweetland Amphitheatre *
June 14 – Cherokee, NC @ Harrah’s Cherokee
June 15 – Wilmington, NC @ Wilson Center at Cape Fear Community College
June 18 – Greenville, SC @ Peace Center
June 20 – Virginia Beach, VA @ The Dome
June 23 – Lancaster, PA @ American Music Theatre
June 25 – Grand Rapids, MI @ Venue TBA ^
June 26 – Interlochen, MI @ Interlochen Center for the Arts – Kresge Auditorium
July 11 – Council Bluffs, IA @ Harrah’s Stir Cove
July 12 – Mankato, MN @ Vetter Stone Amphitheatre
July 15 – Saskatoon, SK @ TCU Place
July 16 – Calgary, AB @ Grey Eagle Resort & Casino
July 18 – Fort St John, BC @ Energetic County Fair *
July 23 – Rapid City, SD @ The Monument
July 24 – Waukee, IA @ Vibrant Music Hall
July 25 – Rockford, IL @ Hard Rock Live at Hard Rock Casino Rockford
July 26 – Gary, IN @ Hard Rock Casino Northern Indiana
August 7 – Sedalia, MO @ Missouri State Fair ^
August 21 – Kennewick, WA @ Benton Franklin County Fair
August 22 – Boise, ID @ Western Idaho State Fair ^
August 23 – Jacksonville, OR @ Britt Pavilion ^
August 25 – Monroe, WA @ Evergreen State Fair ^
September 5 – Albuquerque, NM @ New Mexico State Fair *
* On sale now
^ On sale date varies per market
Dead Rose Records & Walk Off Entertainment Establish Partnership
/by Madison HahnenPictured: (L-R, front row): Day-To-Day Manager Sydney Hannon and Founder/Manager Carrie Lelwica, Soar Entertainment; Artist/CEO Sammy Arriaga; Walk Off Entertainment CEO Chris Ruediger; Senior Director Regional Promotion (Virgin Music) John Mayer. (L-R, back row): Studio Bank’s Kari Barnhart; Lewis Brisbois Bisgaard & Smith LLP Attorney Matt Cottingham; Walk Off Entertainment Publicist Anna Scott; Walk Off Entertainment Project Manager Kyra Manager; Walk Off Entertainment Coordinator Gianluca Maffei. Photo: Courtesy of Walk Off Entertainment and Dead Rose Records.
Sammy Arriaga‘s Dead Rose Records has established a partnership with Chris Ruediger‘s Walk Off Entertainment.
“I have known Sammy for quite some time and have always been impressed by his voice,” shares Ruediger. “His ability to blend his Latin roots with his love for country music is really exciting. We know there is a growing need for the intersection of these genres and have full confidence that Sammy can lead with his artistry.”
“Every artist dreams of a moment like this one,” says Arriaga. “I wish I could tell my younger, stubborn self to slow down, be more patient, and trust the process. This team proves that great things take time and shouldn’t be rushed. We work incredibly together and align perfectly on the same vision. God is so good!”
Since February 2024, Arriaga has gained over 182k followers on Instagram, 200k on TikTok and 168k on Facebook, showcasing his talent for connecting with fans in a way that truly reflects his authenticity as an artist. He has consistently captivated listeners with his tenor voice, storytelling and Latin-infused country sound, carving out a unique space for himself. His first single under the new partnership, “Left My Heart In Texas,” will release Friday (March 14).
“I’ve always wanted to merge my background with the country genre,” adds Arriaga. “I’m an artist that can wear that Hispanic-American crown proudly, because I was raised that way. It’s who I am. I speak it, I live it, I am it. So much of what I do celebrates that – many of my songs are also done in Spanish, and some Spanglish.”
Shenandoah Launches ‘The Extra Mile Tour’
/by Lorie HollabaughShenandoah. Photo: Justin Mayotte
Shenandoah embarked on their new “The Extra Mile Tour 2025” over the weekend (March 7). The 50-city tour pays homage to the band’s 1990 album and runs through early November.
The first part of the tour features Rock The Country and Rock The South with Nickelback and Kid Rock, Country Thunder with Jelly Roll, along with Cattle Country 2025, Country Stampede and more. Additional stops will include Savannah, Fort Worth, Little Rock, Sioux Falls and more, with additional dates will be announced in the coming months.
“Big goings on in the Shenandoah camp,” says Shenandoah frontman Marty Raybon. “Looking forward to getting into the New Year and playing the big stages with our friends. It’s never a bad thing taking the ‘Extra Mile’ and getting to see fans and friends alike across the country. It’s going to be a blast and a great year.”
Shenandoah recently made waves with a newly recorded version of “Sunday in the South” featuring Jason Aldean and Luke Bryan. The song’s video, released in December, quickly climbed to the top of both the iTunes All Genres and Country charts, earning Shenandoah its 16th No. 1 single. Within just 48 hours of its release, the video garnered over eight million views across social media and became the No.9 trending music video on YouTube.
“The Extra Mile Tour” Dates:
Mar. 21 – Newkirk, OK
Mar. 22 – Refugio, TX
Mar. 23 – Opp, AL
Mar. 28 – Salado, TX
Mar. 29 – Montgomery, TX
Apr. 4 – Livingston, LA
Apr. 5 – Mineral Point, MO
Apr. 10 – Gonzales, TX
Apr. 12 – New Castle, TX
Apr. 17 – Savannah, GA
Apr. 18 – Fayetteville, NC
Apr. 25 – Knoxville, TN
Apr. 26 – Marietta, OH
May 2 – Highfill, AR
May 3 – Tilden, TX
May 10 – Dalton, GA
May 11 – Ft. Myers, FL
May 16 – Hamler, OH
May 17 – Osceola, AR
May 23 – Wytheville, VA
May 24 – Burlington, NC
May 31 – Ft. Worth, TX
June 5 – Nashville, TN
June 7 – Higbee, MO
June 20 – Little Rock, AR
June 21 – Cullman, AL
June 27 – Franklin, OH
June 28 – Bonner Springs, KS
July 11 – Ashland, KY
July 12 – Mt. Vernon, KY
July 18 – Sioux Falls, SD
July 19 – Twin Lakes, WI
July 25 – Anderson, SC
July 26 – Owensville, MO
Aug. 2 – Thackerville, OK
Aug. 16 – Worthington, IA
Aug. 31 – Orkney Springs, VA
Sept. 4 – Unionville, MO
Sept. 6 – Montgomery, IN
Sept. 13 – Corinth, MS
Oct. 2 – Perry, GA
Oct. 4 – Powderly, TX
Oct. 17 – Magnolia, TX
Nov. 1 – Franklin, GA
Nov. 8 – Pharr, TX
ACM Reveals 60th Radio Award Nominees
/by Lorie HollabaughThe Academy of Country Music has announced the Radio Awards nominees for the upcoming 60th Academy of Country Music Awards on May 8 in Frisco, Texas.
Double nominees included KCLR-FM in Columbia, Missouri; WHKO-FM in Dayton, Ohio; WIVK-FM in Knoxville; WQDR-FM in Raleigh, North Carolina; WSIX-FM in Nashville; WUSN-FM in Chicago; WUSY-FM in Chattanooga and WYCT-FM in Pensacola, Florida. There were ties in the Large Market and Medium Market Radio Station of the Year categories, resulting in six and seven nominees in those categories, respectively.
Winners of the ACM Radio Awards will be announced ahead of the 60th ACM Awards and celebrated during ACM Awards week, with more information to follow. The 60th Academy of Country Music Awards, hosted by Reba McEntire, will take place at Ford Center at The Star in Frisco, Texas and will stream live exclusively on Prime Video around the globe. Tickets are available to purchase now at ACMawards.com, and ACM Members and those who work in the country industry can email ticketing@acmcountry.com for direct access to ACM Awards tickets.
The full list of nominations will be announced in the coming weeks, as will performers, presenters and detailed plans for ACM Awards week events taking place around the Dallas area, including opportunities for fans to take part in ticketed as well as free and open-to-the-public programming.
The 60th ACM Radio Awards nominees are:
NATIONAL DAILY ON-AIR PERSONALITY OF THE YEAR
Ashley Till – Y2Kountry with Ashley Till
Big D, Bubba – Big D & Bubba
Buzz Brainard, Nick Ultra – The Music Row Happy Hour with Buzz Brainard
Cody Alan – Highway Mornings with Cody Alan
Patrick Thomas – PickleJar Up All Night
NATIONAL WEEKLY ON-AIR PERSONALITY OF THE YEAR
Kelleigh Bannen – Today’s Country Radio
Lorianne Crook, Charlie Chase – Crook & Chase Countdown
Steve Harmon – Country Gold with Steve Harmon
Wayne D, Tay Hamilton – iHeartCountry House Party
Whitney Allen – The Big Time Saturday Night
ON-AIR PERSONALITY OF THE YEAR – MAJOR MARKET
The Lo Show – Lo Sessions – KKBQ-FM Houston
The Morning Wolfpack with Matt McAllister – Matt McAllister, Gabe Mercer, “Captain Ron” Koons – KKWF-FM
Seattle
John and Tammy: San Diego’s Morning Show –John Flint, Tammy Lee – KSON-FM. San Diego
The Scotty Kay Show – Scotty Kay – WUSN-FM – Chicago
Josh, Rachael and Grunwald In The Morning – Josh Holleman, Rachael Hunter, Steve Grunwald – WYCD-FM. Detroit
ON-AIR PERSONALITY OF THE YEAR – LARGE MARKET
Heather Froglear – Heather Froglear – KFRG-FM – Riverside, CA
Deb & Matt in the Morning – Deborah Honeycutt, Matt Malone – WFMS-FM – Indianapolis, IN
Wayne D and Tay – Wayne D, Tay Hamilton – WSIX-FM – Nashville
The Big Dave Show – Big Dave, Stattman – WUBE-FM – Cincinnati, OH
The Q Morning Crew with Mike and Amanda – Amanda Daughtry, Mike Wheless – WQDR-FM – Raleigh, NC
ON-AIR PERSONALITY OF THE YEAR – MEDIUM MARKET
The Bee Morning Coffee Club – TJ Sharp, Bo Jaxon, Hope Breen – WBEE-FM – Rochester, NY
New Country Mornings with Nancy and Woody – Nancy Wilson, Aaron Woods – WHKO-FM – Dayton, OH
Joey & Nancy – Joey Tack, Nancy Barger – WIVK-FM – Knoxville, TN
Julie and DJ in the Morning – Julie Kansy, Dale Sellers – WPCV-FM – Lakeland, FL
Mo & StyckMan – Mo, StyckMan – WUSY-FM – Chattanooga, TN
ON-AIR PERSONALITY OF THE YEAR – SMALL MARKET
Hilley & Hart – Kevin Hilley, Erin Hart – KATI-FM – Jefferson City, MO
Liz & Scotty in the Morning – Liz DelGrosso, Scotty Cox – KCLR-FM – Columbia, MO
Ben & Arnie – Ben Butler, Arnie Andrews – WCOW-FM – Sparta, WI
The Dr. Shane and Tess Show – Dr. Shane, Tess – WPAP-FM – Panama City, FL
The Cat Pak Morning Show – Brent Lane, Mel McCrae – WYCT-FM -Pensacola, FL
RADIO STATION OF THE YEAR – MAJOR MARKET
KSCS-FM – Dallas-Fort Worth, TX
KYGO-FM – Denver
WMZQ-FM – Washington, D.C.
WPOC-FM – Baltimore
WUSN-FM – Chicago
RADIO STATION OF THE YEAR – LARGE MARKET
KNCI-FM – Sacramento
WDSY-FM – Pittsburgh
WGH-FM – Virginia Beach
WQDR-FM – Raleigh
WSIX-FM – Nashville
WWKA-FM – Orlando
RADIO STATION OF THE YEAR – MEDIUM MARKET
KUZZ-FM – Bakersfield
KXKT-FM – Omaha
WHKO-FM – Dayton
WIRK-FM – West Palm Beach
WIVK-FM – Knoxville
WLFP-FM – Memphis
WUSY-FM – Chattanooga
RADIO STATION OF THE YEAR – SMALL MARKET
KCLR-FM – Columbia, MO
KFGE-FM – Lincoln, NE
WKML-FM – Fayetteville, NC
WXBQ-FM -Bristol, VA
WYCT-FM -Pensacola, FL
Nashville To Celebrate Bobby Bare’s 90th Birthday With Bobby Bare Week In April
/by Lorie HollabaughBobby Bare
Nashville will celebrate the 90th birthday of Country Music Hall of Fame legend Bobby Bare the week of April 7 with a series of special music events throughout the city.
Country music pinnacles the Country Music Hall of Fame and Museum and the Grand Ole Opry will celebrate the 2012 and 2018 inductee, respectively, in special programming focused on Bare’s contributions to country music. The Opry will salute Bare on April 10, while the Country Music Hall of Fame and Museum will host a “Writers Round: The Songs of Bobby Bare” featuring Buddy Cannon, Todd Snider and Bobby Bare Jr. on April 12.
“An Americana Salute to Bobby Bare” will be held at the Basement East on April 7 hosted by Bare Jr. with family and friends, and the Bluebird Cafe will host a “For The Love of The Songwriter Round” featuring Mary Gauthier, Max T. Barnes and Bobby Bare Jr.on April 9.
Country Music Hall of Fame and Grand Ole Opry member Bobby Bare is one of the most legendary country artists of our time with genre-shaping songs like “Detroit City,” “500 Miles,” “Marie Laveau” and more. From country legends like Little Jimmy Dickens and Hank Williams to big band acts like Phil Harris and the Dominoes, Bare’s style was molded and led him to nearly five dozen top 40 hits from 1962-1983.
An original “outlaw” of country music, Bare has been honored with multiple Grammy nominations and wins. Throughout his career, Bare championed the works of legendary songwriters like Tom T. Hall, Kris Kristofferson and Shel Silverstein, whose collaboration with him resulted in the landmark album Bobby Bare Sings Lullabys, Legends and Lies. 2018 marked his 60th anniversary in the music business and the release of his studio album, Things Change.
Monday, April 7:
An Americana Salute to Bobby Bare: Hosted by Bobby Bare Jr. with Family & Friends
Proceeds Benefiting MusiCares®
The Basement East
Tickets: ticketweb.
On sale March 7
Wednesday, April 9:
The Bluebird Cafe
For The Love of The Songwriter: Bobby Bare
Featuring Mary Gauthier, Max T. Barnes, and Bobby Bare Jr.
Tickets Here: ticketweb.
On-sale April 2
Thursday, April 10:
Grand Ole Opry House
Opry Country Classics
Tickets Here: opry.com/show/
Saturday, April 12:
Country Music Hall of Fame and Museum
Writers Round: The Songs of Bobby Bare
Featuring Buddy Cannon, Todd Snider, and Bobby Bare Jr.
Tickets Here: countrymusichalloffame.org/
Charlie Peacock Reflects On Five Decades Of Music & Meaning In New Memoir [Interview]
/by LB CantrellCharlie Peacock. Photo: Jeremy Cowart
Few artists can claim a career as diverse and impactful as Charlie Peacock. With a résumé spanning jazz, gospel rock, folk, pop, Americana and beyond, he’s spent five decades shaping the musical landscape, both as an artist and a producer behind some of the most influential records of the last 40 years. Now, with the release of his memoir, Roots & Rhythm: A Life in Music, Peacock offers an intimate, deeply personal look at the journey that brought him here.
Published via Wm. B. Eerdmans in February, Roots & Rhythm isn’t just a chronological account of accolades and accomplishments. Instead, Peacock weaves a literary tapestry that explores his ancestral, musical and spiritual roots. The book has already made waves, landing in the Top 5 of multiple Amazon music categories, and for good reason: it’s a story that extends far beyond music, touching on themes of faith, creativity, reinvention and resilience.
A fourth-generation musician, Peacock’s great-grandfather was a Louisiana fiddler, an early thread in the expansive musical fabric he would later stitch together. His own journey began with a love of jazz, honed under the mentorship of legends like Herbie Hancock. From there, his career took an unpredictable turn—discovered in northern California’s punk and pop underground by industry giants Bill Graham and Chris Blackwell, Peacock soon became a key figure in the rise of gospel rock in the 1980s.
His production work has defined multiple genres, from the soaring anthems of Switchfoot to the haunting harmonies of The Civil Wars. His contributions to film and television—such as 12 Years a Slave and A Walk to Remember—have further cemented his reputation as an artist with a singular vision.
“Well, that’s just in my blood,” Peacock says when asked about his multi-genre mastery. “That’s what I grew up with in my home and as a young musician in northern California. The very first thing we learned to play was the blues. If you were a working musician as a teenager there, you were playing every form of Black American music—modern jazz, funk and all points in between.
“Then there was the whole singer-songwriter era of my teenage years—Paul Simon, Jackson Browne, James Taylor—and my North Stars in jazz were Miles Davis and John Coltrane. So all of that just made me eclectic.”
But Peacock’s memoir isn’t just about the music; it’s about how the music was made. In Roots & Rhythm, he approaches storytelling much like he approaches making music—blending keen observation with emotional depth. Figures like beat poet Gary Snyder, evangelist Billy Graham and producer T Bone Burnett make appearances, creating a sweeping narrative where literature, faith and music collide. Throughout his career, Peacock has navigated the complexities of faith in the music industry, balancing artistic integrity with spiritual conviction.
He has never been one to fit neatly into labels—whether in genre or theology. His influences extend beyond the Bible Belt, drawing from European Christian thinkers like C.S. Lewis and the philosophical roots of ministries such as L’Abri in Switzerland. In Roots & Rhythm, Peacock reflects on how this perspective shaped his approach to music and creativity, rejecting a purely pragmatic view of art in favor of beauty for beauty’s sake.
“When I was a very young follower of Christ, I did a lot of reading and thinking about what it meant to be fully a disciple of Christ, but always fully an artist too. So I didn’t have a pragmatic view of art—I felt like art was meant to be allowed to just do its thing.
“I was never someone who thought, ‘Well, this music is useful because we can use it for evangelism.’ I definitely rebelled against the idea that something is only good if it’s useful,” Peacock says. “To me, nature itself is both useful and beautiful, and I’ve always followed that. At the end of the day, if I have no idea how something will be used but I think it’s beautiful, I’m completely content with that.”
That philosophy has guided his career, allowing him to cross musical boundaries with ease. From jazz to pop, gospel to folk, his work remains unified by a deep respect for the creative process itself. Even as his career reached new heights, life threw unexpected challenges his way. In 2017, Peacock was diagnosed with Dysautonomia and Central Sensitization, a disorder affecting the brain and central nervous system. His once-relentless pace came to a halt, forcing him to focus entirely on recovery. But even in the midst of illness, music remained a lifeline.
“There was something about the brain on music—it took my attention away from the intense pain I was in. It was as if it sort of said, ‘You need to go away for a bit, we’re busy making something.’ And it was pretty phenomenal because when I would stop making music, the pain would surge forward again. So for a while, every waking hour when I wasn’t sleeping, I was in my bonus room making music—every kind of music. That was a saving grace for me.”
During his treatment, Peacock continued to create, collaborating with artists around the world and finding new ways to channel his passion. That resilience is evident in both his memoir and his most recent album, Every-Kind Of Uh Oh, co-produced with his son, Sam Ashworth. The record, released in 2024, marks a return to the core influences that first inspired him—classic singer-songwriters, jazz and gospel—offering a reflective companion piece to Roots & Rhythm.
At its heart, Roots & Rhythm is more than just a memoir—it’s an invitation. Peacock encourages readers, particularly aspiring musicians, to embrace the rhythms of their own lives, to let music and faith lead them toward gratitude and wonder. His journey is a testament to the power of reinvention, of pushing past limitations and of staying true to the art that calls you.
“I’m always listening—paying attention not just to my life, but to the community around me, looking for signs and symbols of direction. Some people need chaos to create, others need solitude. For me, it’s about staying open, being willing to follow where the music and life want to take me next.”
From his early days as a jazz prodigy to his pioneering work in folk and Americana, from Grammy-winning productions to deeply personal songwriting, Peacock’s story is one of boundless creativity and unwavering passion. With Roots & Rhythm, he shares not just the highlights, but the lessons learned along the way—offering a guide for those willing to listen. And for Peacock, as always, it’s all part of the same song.
Ian Munsick Becomes First Wyoming Native To Headline Cheyenne Frontier Days
/by Lorie HollabaughIan Munsick will become the first Wyoming native to headline Cheyenne Frontier Days on July 18, fulfilling a lifelong dream of his.
The show was booked after a group of fans started a Facebook page petitioning for Munsick to headline CFD in response to his Red Rocks show, and the page caught the eye of Wyoming paper Cowboy State Daily, who published a story sharing the fans’ pleas. Tickets will go on sale March 13 at CFDRodeo.com.
“The zenith of my musical ambition has always been to headline Cheyenne Frontier Days. No event symbolizes Wyoming or the west better than the Daddy of Em All,” remarks Munsick. “That’s where my music belongs because that’s where my inspiration comes from. The great honor of being the first Wyoming native to headline CFD is most definitely the highlight of my touring career and quite possibly my musical career as a whole… truly a once in a lifetime opportunity. It will be a night I will never forget.”
Munsick’s CFD headlining set will follow the April 18 release of his upcoming third studio album, Eagle Feather, which expands on the concepts of the land, people, culture and stories that inspire him, as depicted in his 2023 release, White Buffalo. While the white buffalo represents prosperity and rebirth, the eagle feather is inspired by the native symbol representing honor, strength and wisdom, and serves as a continuation of his sophomore project by highlighting Munsick’s personal growth through life experiences and lessons learned that have shaped him into who he is.
Eagle Feather includes duets with Lainey Wilson and Flatland Cavalry lead singer Cleto Cordero, with songwriter credits by fellow singer-songwriters Caitlyn Smith and Stephen Wilson Jr. as well as two rare outside cuts in “Drink Around” and “Horses Not Hearts.”
Munsick is currently headlining his spring 2025 “Horses Are Faster Tour” featuring a rotating lineup of support including Colby Acuff, Avery Anna, Chayce Beckham, Bayker Blankenship, Kashus Culpepper, Hudson Westbrook and Jake Worthington.