The third annual “Opry Goes Dolly” event celebrating Dolly Parton will take place on Jan. 18, the day before Parton’s birthday (Jan. 19).

While the country superstar will not appear in person, the celebration will honor her with tributes while serving as one of the first “Opry 100” shows. Those set to take the stage to perform their favorite Parton tunes include Bill Anderson, Rhonda Vincent, Ashley Cooke and Chapel Hart along with Shaboozey, who will make the first Opry debut of 2025 during the show.

“Opry Goes Dolly” will also feature birthday treats baked using Parton’s Duncan Hines mixes, a large birthday card for fans to sign, photo ops with a Parton impersonator on the Opry Plaza and signature drinks at all Opry House bars. Five dollars from every ticket sold for will be donated to Parton’s Imagination Library, a program that mails free, high-quality books to children from birth to age five, no matter their family’s income.

Fans attending the show can also purchase a ticket to join a “Dolly-oke” fundraiser in Studio A, headlined by Chapel Hart, following the event. All proceeds will support the Opry Trust Fund, which offers financial assistance to those in the country music industry during times of crisis or emergency.

For more information, click here.

The Society of Composers & Lyricists (SCL) recently held its annual holiday soirees in Nashville, Los Angeles and New York City to celebrate and recognize accomplishments of many of the world’s top music creators in films, television and other visual media.

At the Nashville event, Emmy-winning composer Brian D. Siewert and Steve Schnur, Worldwide Executive & President of Music for Electronic Arts, were each presented with the SCL Trailblazer Award. This award honors a select group of composers and lyricists whose groundbreaking contributions have shaped the landscape of scoring for film, television and other visual media in Nashville. Their creative work has been instrumental in enriching the local music community. The inaugural recipient of the SCL Trailblazer Award was Paul Mills last year.

The SCL is a nonprofit organization that serves as the leading professional association for composers and lyricists in film, television, video games and musical theater as well as industry professionals, such as orchestrators, arrangers, music supervisors, agents, attorneys, editors, copyists, recording engineers and other related roles. With a history spanning nearly 76 years, SCL members include some of the most accomplished creative professionals.

As the year comes to a close, it’s impossible to overlook Breland’s contributions to country music. His ability to challenge conventions and create something uniquely his own deserves recognition before the calendar turns.

Breland has established himself as a boundary-pushing voice in country music, and his latest EP, released in October, further cements his reputation as a genre innovator. Titled Project 2024, the new music showcases Breland’s commitment to blending country with other styles, while also diving deeper into more personal storytelling.

“When you hear a name like Project 2024, people might think it’s political, but it’s not. It’s a musical, creative agenda,” Breland shares with MusicRow. “Over the last five years, I’ve been playing at the intersection of country music and other genres, and this project takes that even further. It’s also more autobiographical, with real lyrics that push the boundaries of what country music can sound like. Putting more effort into the lyrics gives me room to experiment sonically.”

Known for hits like his Platinum-certified debut single “My Truck,” Breland continues to push the envelope, this time taking a more introspective approach. Several tracks on the EP draw from his own experiences and family history.

A trip to Selma, Alabama—where some of his ancestors lived—played a key role in shaping the themes of resilience and faith found throughout the EP. Selma’s rich civil rights history and ongoing struggles inspired Breland to explore his roots and reflect on the sacrifices of past generations.

“Selma has a rich history in civil rights, but it’s a community struggling in many ways. It’s a food desert with no hospital within 30 miles. Tornado damage from over a year ago remains unrepaired, and the downtown feels like a ghost town,” he says. “Despite these challenges, the people there hold onto faith and resilience, which inspired a couple of songs on this project.”

There’s also a strong theme of appreciation for women on Project 2024. “Grandmaman’em,” in particular, honors the perseverance of his great-grandmother, an opera singer who never got the chance to pursue her dreams professionally. “What You’ve Been Through” finds Breland recognizing the plight of a woman in his life, and gassing her up.

“I come from a matriarchal family. My mom, Tonya Breland, is incredibly powerful, as were the women in Selma, like my great-grandma. I admire their strength, resilience, and quiet—or loud—power,” Breland says. “Women go through so much daily that we don’t often recognize. I’ve learned a lot from the women in my life and wanted to honor them in this project.”

A standout track, “Icing,” blends clever wordplay with Breland’s signature mix of humor and vocal prowess. While its playful hook might feel lighthearted, it underscores his knack for crafting memorable, multi-dimensional songs.

“It’s just one of those songs that lyrically is really funny and fun, and I’m probably one of the only people in country music that could get that off,” he shares with some humble hesitation.

When asked whether leaning into the things that set him apart from his peers in country music is challenging, Breland admits it can be.

“I wish it were easier. For years, I was told I’d only ever be a songwriter, not an artist. Writing for others involves telling their stories, so transitioning to sharing my own took time. This project is the first where I’ve fully embraced my voice, my story and my style,” he says, crediting his producers and new management team for encouraging him to take risks and focus on authenticity.

Another highlight on the EP, “Same Work,” was inspired by a conversation with a veteran after a show during CMA Fest in 2022. Breland was expressing his gratitude for the veteran’s service, while at the same time, devaluing the importance of his own work. The veteran responded with the beautifully poignant, “isn’t it the same work, if we’re trying to heal the same hurt? Isn’t love the whole point of it all?”

Featuring The War and Treaty, the song adds depth to the EP with its exploration of human connection and shared struggles.

“I did a holiday train tour with Tenille Townes last year, and shared the story about the veteran with her. We wrote the song on the train,” Breland shares. “Having The War and Treaty on the track elevates it, given Michael [Trotter Jr.]’s story as a veteran and their close friendship with me. This song fits the deeper themes of the project.”

Throughout Project 2024, Breland leans into his unique style, pairing sharp storytelling with a genre-fluid sound that includes country, Afrobeats and pop influences. Tracks like “Motion” showcase this sonic experimentation, offering listeners a blend of emotional depth and upbeat rhythms.

The EP’s overarching themes of resilience, family and individuality come at a pivotal point in Breland’s career. After taking a much-needed break to avoid burnout, he has returned with renewed energy and a sharper creative vision.

“I’ve been having fun making music again,” Breland says. “There was a period where I wasn’t having as much fun, but now I feel reinvigorated.”

His willingness to get vulnerable and lean into what makes him unique sets Project 2024 apart as a thoughtful, engaging addition to his discography—and to country music as a whole.

Don’t let the year end without diving into the new music, a testament to Breland’s artistry and the bright future of country music.

Signups are officially open for songwriters of all genres to participate in the seventh annual statewide Tennessee Songwriters Week.

Songwriters of all genres can sign up to perform in qualifying rounds all over Tennessee and compete for a chance to play their originals at venues across the state including The Bluebird Cafe in Nashville. Tennessee Songwriters Week begins in late January with qualifying rounds taking place at nearly 50 participating music venues throughout the state including cafes, listening rooms, breweries, distilleries, museums and historic theaters.

From there, select songwriters will advance to one of seven Tennessee Songwriters Week showcases at Lafayette’s Music Room in Memphis (Feb. 25), The Bijou in Knoxville (Feb. 25), Ole Red in Gatlinburg (Feb. 26), Paramount Bristol in Bristol (Feb. 26), Bessie Smith Cultural Center in Chattanooga (Feb. 27), The Temple Theatre in Portland (Feb. 28) and Franklin Theatre in Franklin (March 1).

The showcase events highlight cities and regions that have played a major role in the musical development of Tennessee across a diverse range of genres. One songwriter from each showcase will be chosen to perform at Nashville’s iconic Bluebird Cafe during a private event in March. Each of the finalists will also receive additional prizes, including a one-year membership to Nashville Songwriters Association International and a commemorative Taylor guitar.

Helmed by the Tennessee Department of Tourist Development, Tennessee Songwriters Week supports music venues, provides songwriters with live performance opportunities, drives visitation and inspires travelers to experience the state’s musical stories, history, attractions and venues. Since its inception in 2019, more than 4,000 songwriters have shared their original songs on Tennessee stages during the annual celebration each February.