Damon Whiteside. Photo: Katie Kauss
As Damon Whiteside steps away from his role as CEO of the Academy of Country Music after more than six years, he’s leaving behind an organization that looks much different than the one he joined in early 2020. During his tenure, the Academy weathered a global pandemic, relocated its headquarters from Los Angeles to Nashville, transitioned the ACM Awards from broadcast television to streaming on Prime Video and expanded its footprint through new events and initiatives. As he begins his six-month term as CEO Emeritus today (July 1), Whiteside reflects on the milestones, challenges and moments that defined his tenure.
When he joined the Academy in January 2020, he expected to spend his first few months learning the organization and settling into the role, but the COVID-19 pandemic quickly upended those plans, forcing the Academy to rethink nearly every aspect of its operations.” A lot of stuff changed really fast,” Whiteside tells MusicRow. “It caused a very quick pivot within my first three months on the job.”
Pictured (L-R): Adam Stotsky, Dolly Parton and Damon Whiteside attend the 57th Academy of Country Music Awards. Photo: Kevin Mazur/Getty Images for ACM
One of Whiteside’s first major decisions as CEO was canceling the 2020 ACM Awards in Las Vegas as the pandemic brought the live entertainment industry to a standstill. But rather than waiting for normalcy to return, the Academy reimagined the show in Nashville, staging the ceremony across the Grand Ole Opry House, the Ryman Auditorium and the Bluebird Cafe.
That willingness to adapt extended beyond the pandemic. Looking back on his tenure, Whiteside points to several milestones that reshaped the Academy, beginning with relocating its headquarters from Los Angeles to Nashville. Founded in California in 1964, the Academy’s move marked a significant shift, one that he says took time but ultimately allowed the organization to become more deeply integrated into the heart of the country music industry.
Another defining moment came in 2022, when the Academy became the first major awards show to move exclusively to streaming through Prime Video. The move not only expanded the show’s global reach but also changed the viewing experience, allowing for fewer commercial breaks and a greater emphasis on music.
Returning the ACM Awards to Las Vegas marked yet another major step for the Academy. After three years in Texas, the Academy brought the event back to its longtime home, a decision Whiteside said was embraced by artists, fans and the industry and resulted in one of the organization’s most successful weekends. Reflecting on his final ACM Awards as CEO, Whiteside said the show represented everything he hoped it would.
“I sat there that night watching it, and I was just kind of blown away at the quality of the show. I feel like for me, that was the best show that I’ve been a part of since I’ve been in this role … It really captured what country music is right now… It’s still paying respect to the legacy of it, but it was very much of the moment.”
But for Whiteside, the show’s success wasn’t just measured by what happened on stage.
“I’m very proud of the ACM staff, honestly, because moving a show to a new city, and standing up new events… that is a huge undertaking for our small staff. It is a testament to the passion here and the leadership here. Everybody’s here because they want to be here and because they want it to be great for the artists and industry.”
Looking back, Whiteside said one of the biggest surprises of leading the Academy wasn’t navigating award shows or industry changes, but discovering just how much leadership centered on the people around him.
“Leadership is leading a company, yes. It is about experience in the actual business and having business acumen for sure. But, so much of it is about what you accomplish as a leader is with your team and how you develop them. What I love is just [watching] people that I’ve hired or mentored and seeing them grow. It just makes me really proud and happy to see that I could just be one part of their journey.”
Beyond the milestones and organizational changes, Whiteside said it’s the moments along the way that he’ll remember most. Bringing the ACM Awards to Nashville during the pandemic remains at the top of that list. “We weren’t going to let COVID keep us from awarding our artists,” he said. “Being able to do it at the three most iconic venues in Nashville, the Opry, and the Ryman, and the Bluebird, which hadn’t been done before. That’s always going to be kind of on my Mount Rushmore of cool things I got to do.”
Shania Twain & Damon Whitside. Photo: Courtesy of Whiteside
He also points to the Academy’s 60th anniversary celebration in 2025 as another career highlight, saying he was proud to help commemorate the organization’s legacy while showcasing where country music is today. Beyond the events themselves, Whiteside said one of the unexpected joys of the role came from working alongside some of the genre’s biggest names. “Reba is absolutely undeniably the hardest working person in showbiz, and she is just lovely and just such a wonderful human being,” he says. “Getting to work with her and see her work ethic was a great memory.” He also recalled working alongside Dolly Parton, Garth Brooks and Shania Twain, saying those experiences are memories he’ll carry with him long after leaving the Academy.
As the industry continues to evolve, Whiteside said he’s encouraged by the next generation of artists finding success while continuing to embrace country music’s traditions. “I think what I’m excited about is that we still have this tight [country music] community. There is a lot of pride and camaraderie, but everyone is willing to open their arms and let the new class in.”
While he’ll remain involved with the Academy through the end of the year as CEO Emeritus, Whiteside said he’s also looking ahead to new opportunities. He expects to help guide the organization’s leadership transition while continuing to explore ways to support country music beyond the CEO position.
“I’m kind of just a consultant,” he says. “I’m just going to be available the rest of the year and on call for the new leadership here to just help guide, answer questions, make recommendations, however they need support.”
Beyond that, Whiteside hopes to continue working at the intersection of Nashville and Hollywood, helping tell artists’ stories while introducing more of the entertainment industry to country music.
“I really enjoy that intersection of educating the media world about country music and what it is,” he says. “I love being that bridge and making that connection to show someone that’s not been part of our community, to come into the community and see what it’s about.”
As he prepares to close this chapter, Whiteside said he believes both he and the Academy are ready for what’s next.
“I’m just thrilled at where we are today, and the fact that the organization is really reestablished and thriving and it’s really set up for success for the future,” he says. “I feel like I’m leaving at the right time for me and for the organization. It’s a really exciting opportunity for a new leader to come in and continue to evolve it and strengthen it.”
Moving forward Whiteside can be reached at damon@nomadentertain.com
No Ka ‘Oi Songwriter Festival Returns In November With Riley Green, Lukas Nelson, More
/by Lorie HollabaughThe first wave of performers has been announced for the The No Ka ‘Oi Songwriters Festival on the shores of South Maui Nov. 5–7, which features three days of music, storytelling and community impact.
Presented by the Heart and Hook Foundation, the festival’s initial lineup for 2026 includes Riley Green, Ernest, Randy Houser, Liz Rose, Lukas Nelson, Margo Price, Phil Barton, Gail Swanson and Erik Dylan. Returning as festival host is radio personality Storme Warren of The BIG 615, who will also record a special live episode of his Exit 209 podcast during the weekend.
All festival proceeds benefit two organizations making a meaningful difference across Maui including the Lele Aloha Foundation, which continues to provide direct assistance to families impacted by the 2023 Lahaina wildfires through housing initiatives, essential supplies and community support programs, and the Maui Family YMCA Music Programs, which have delivered more than 600 free music lessons in piano and ukulele to local youth, supported in part by festival contributions that help fund instruments, instructors, and program operations.
“What makes No Ka ‘Oi special is the combination of world-class songwriting, genuine community connection, and a commitment to giving back,” says festival co-founder Dan Goodfellow. “Every year we bring incredible artists to Maui, but the real success of the festival is measured by the impact it creates for local families and organizations. We’re excited to welcome fans from Hawaii and the mainland for our biggest festival yet.”
Additional performers, special guests, and event details will be announced throughout the summer, with the festival’s complete lineup revealed in August.
Morgan Wallen’s ‘Don’t We’ Claims Fifth Week Atop The MusicRow Radio Chart
/by John Nix ArledgeMorgan Wallen. Photo: Spidey Smith
Morgan Wallen claims his fifth consecutive week atop the MusicRow CountryBreakout Radio Chart with “Don’t We.”
The hit comes off of his fourth studio album I’m The Problem and was written by Wallen, Rocky Block, John Byron, Ashley Gorley, Blake Pendergrass and Charlie Handsome.
Wallen is currently on the road wrapping up his Still The Problem Tour with three final stops in Baltimore, Ann Arbor, and Philadelphia.
“Don’t We” currently sits at No. 4 on the Billboard Country Airplay chart and No. 3 on the Mediabase chart.
Click here to view the latest edition of the MusicRow Weekly containing the MusicRow CountryBreakout Radio Chart.
Ashley McBryde’s Redemption Bar To Host First-Ever Canadian Pop-Up At Cavendish Beach Music Festival
/by Lorie HollabaughAshley McBryde. Photo: Nathan Chapman
Ashley McBryde‘s Redemption Bar is holding its first-ever Canadian pop-up at the Cavendish Beach Music Festival July 9-11 in Prince Edward Island.
The non-alcoholic-forward bar activation will be open to festival attendees throughout the duration of CBMF with selections from Redemption’s signature mocktail menu, including a limited-time creation tied to McBryde’s fifth studio album Wild, alongside some of the East Coast’s best non-alcoholic offerings. The mocktail menu will also be available at the CBMF backstage artist bar. A portion of proceeds from every sale will go to the Light On Fund, McBryde’s charitable initiative.
“I’m excited to partner with Cavendish Beach Music Festival to make a space where everyone feels welcome,” says McBryde. “It’s been an honor to see how Redemption has encouraged people to show up and share their stories and I can’t wait to bring it to Canada for the first time.”
“Cavendish Beach Music Festival has long been committed to ensuring that all guests feel welcome, and the Redemption Bar pop-up represents a first for the festival: its inaugural fan-facing, non-alcoholic-forward bar experience,” says Taylor Jack, Chief Entertainment Officer, Whitecap Entertainment. “The partnership marks a milestone for Canadian country music culture, creating an intentional space for the sober community at one of the country’s largest and most beloved outdoor music events. We’re proud to share this experience with both performers and guests.”
DISClaimer Single Reviews: New Jelly Roll Tune Is ‘An Instant Classic’
/by Robert K OermannJelly Roll. Photo: Jen Rosenstein
As we head into the holiday weekend, the country superstars are singing our steamy-hot soundtrack.
Miranda Lambert, Brad Paisley, Shania Twain, Tanya Tucker, Alan Jackson, Tim McGraw and Luke Bryan are all on board today. Also flavoring the listening session were outstanding performances by Margo Price, Russell Dickerson and our Disc of the Day winner, Jelly Roll.
Nashville singer-songwriter Bennett Woolsey stages his DISClaimer debut and earns a DISCovery Award for his effort.
ALAN JACKSON / “Still the One”
Writers: Johanna Hall/John Hall; Producer: Keith Stegall; Label: EMI Records Nashville
– An eternally great song in the throat of an eternally great artist. Jackson takes the 1976 Orleans oldie and country-fies it with fiddling and hillbilly vocal charm. He’s celebrating the 50th anniversary of both the song and his marriage to Denise.
TIM McGRAW / “Song for America”
Writers: JT Harding/Tom Douglas; Producers: Byron Gallimore, Tim McGraw; Label: Turbo Tonk Records
– Perfect for Independence Day. The lyric splashes poetic images across an anthem-like tune to convey joy and hope.
RHIANNON GIDDENS / “Carolina Rain”
Writers: Dirk Powell/Rhiannon Giddens; Producers: Dirk Powell, Rhiannon Giddens; Label: Nonesuch
– The spare, stripped-down production features acoustic, banjo/fiddle, instrumentation backing her folk soprano. The vibe is wistful and nostalgic. The soul-sister vocal flourishes at the finale weaken the mood.
BRAD PAISLEY / “Treading Whiskey”
Writers: Brad Paisley/Chris DuBois; Producers: Brad Paisley, Luke Wooten; Label: Brad Paisley
– The honky-tonk ballad wallows deliciously in heartache and self-pity. Country music with its stomping boots on and twang a-plenty.
MARGO PRICE WITH JOAN BAEZ & MEMPHIS MARIACHI / “Deportee (Plane Wreck At Los Gatos)”
Writers: Martin Hoffman/Woody Guthrie; Producer: Matt Ross-Spang; Label: Loma Vista Recordings
– Baez and Price sing with aching emotion on this dynamite revival of a social-justice classic. The video makes it explicit that this is an anti-ICE statement. The lilting mariachi track appears on Price’s Days of Unrest collection, which drops tomorrow (July 3), just in time for her appearance at Willie Nelson’s 4th of July Picnic in Austin.
RUSSELL DICKERSON & FETTY WAP / “Boots”
Writers: Dylan Marlowe/Matt Dragstrem/Russell Dickerson/Willie Maxwell; Producers: Josh Kerr, Matt Dragstrem, Russell Dickerson; Label: Triple Tigers
– The rap icon’s appearance with Dickerson was one of the highlights of this year’s CMA Fest. All 50,000 fans were on their feet, and the Tennessee Titans cheerleaders danced along. Now the tune is a bopping, rhythm-happy music video.
GUSTAVO MIOTO / “Last Goodbye”
Writers: Andrew Capra/GIANA/Gustavo Mioto/James Slater/Josh Dorr; Producer: Andrew Capra; Label: Universal Music Ltda
– Mioto is a Brazilian star with zillions of streams. To create his first English-language recording, he spent months in Music City immersing himself in the town’s songwriting culture. The result is a debut country single that’s marvelously melodic, infused with sincerity and packed with authenticity. Play this.
SHANIA TWAIN & TANYA TUCKER / “Little Miss Twain”
Writers: Shania Twain; Producer: Zach Dawes; Label: Republic Records
– “According to my mother/I’m the next Tanya Tucker/I’m gonna be a star,” sings Twain in this moving autobiographical outing. The song recalls her upbringing as a child singing in bars and idolizing Tanya. Amid a lovely swirl of echoey production, the voice of Tucker, herself, emerges in a smoky duet. A terrific single from an international superstar and a Country Music Hall of Famer.
MIRANDA LAMBERT / “Til the Going’s Gone”
Writers: Brendan McLoughlin/Jesse Frasure/Josh Osborne/Miranda Lambert/Natalie Hemby; Producers: Jesse Frasure, Miranda Lambert; Label: MCA
– Breezy, silky and dreamy. She’s a ramblin’ gal who doesn’t let grass grow under her feet. Wafting, celestial strings soar high above. Cool and refreshing.
LUKE BRYAN / “Made It a Memory”
Writers: Jamie Paulin/Matt Alderman/Shane Profitt; Producers: Jeff Stevens, Jody Stevens; Label: Capitol Records Nashville
– “Country and She Knows It” remains the current single. Bryan releases this love ballad as another advance of his ninth studio album, Signs, due this fall. In the soaring tune’s lyric, she turns an ordinary night into a romantic memory.
KALIKO / “Whiskey Nights”
Writers: Robin Williams; Producers: Daniel Ramirez, Deangelo Khonaisser, Sigh Griffin; Label: Soundgame Supreme
– Mixed messages of heartbreak, perseverance and resilience wrapped up in a wildly catchy and infectious groove. His jaunty tenor vocal draws on soul and honky-tonk influences in equal measure.
JELLY ROLL / “Hands Up”
Writers: Chase McGill/Jason DeFord/Joe Fox/Michael Hardy/Rocky Block; Producers: Ben Johnson, Charlie Handsome; Label: Stoney Creek Records
– Throbbing and uplifting. He goes to a concert and “gets religion” in the communal experience. Now he urges us all to raise our imperfect souls up toward heaven. An instant classic.
BENNETT WOOLSEY / “Cigarettes and Alcohol”
Writer: Bennett Thomas Woolsey; Producer: Tone Def; Label: Third Generation Music Group
– There’s something wonderfully mysterious and graceful about this echoey production. His soothing, laid-back delivery settles into its groove as he muses about leaving his misspent youth behind and growing up with a heartache. Very promising. Send more.
Crossroads Appoints New President/CEO, Chairman Of The Board
/by Lorie HollabaughScott Wagner
The Crossroads Board of Directors has named Scott Wagner President/CEO, and elected Jon Weisberger Chairman of the Board following Mickey Gamble’s passing this spring.
Wagner brings decades of experience to the position, with more than 20 years at Crossroads. Before joining Crossroads, Wagner held various leadership positions including Senior Vice President, Vice President of Sales and Label Operations, and Director of Sales at Pamplin Music Group. He also served as a National Account Executive for WEA Christian and held the positions of Regional Sales and Marketing Director at EMI Christian (now Capitol Christian) and Territory Representative at Spectra Distribution.
“Crossroads has always had a commitment to great music, great artists, lasting relationships and forward thinking, says Wagner. “As we look ahead, I’m focused on continuing that legacy and creating opportunities for the next generation of artists and industry leaders. I’m excited to continue to work alongside our team as we build on our strong foundation.”
Weisberger joined Crossroads’ staff as an A&R director in 2019, and is best known as a Grammy-nominated songwriter who earned International Bluegrass Music Association Songwriter of the Year trophies in 2012 and 2025. He has extensive additional career credits as a performer, producer, broadcaster and award-winning music journalist, and spent 11 years as a member of the IBMA’s Board of Directors, including two years as Chair.
“Mickey Gamble, who held both of these positions, was a commanding figure, not only at Crossroads but in the wider bluegrass and Southern Gospel worlds,” Weisberger says. “Among other things, he believed strongly in music’s ability to foster community, building a company committed to supporting a wide-ranging roster – a family, he often said – of legends, leaders and developing artists in the Southern Gospel, Bluegrass, Folk and Americana fields. Like Scott, I look forward to continuing that work with the talented and dedicated people we have here at Crossroads.”
Aubory Bugg Readies Debut Album
/by Lauryn SinkAubory Bugg will release her debut album, i think i had something once, Sept. 18 via Dualtone.
An Illinois native, Bugg began performing at a young age. In 2024, she began posting covers on Tiktok and garnered over 110,000 new followers from a viral cover of Reneé Rapp’s “Tummy Hurts.” Now based in Nashville, Bugg has earned over 187k TikTok followers. She recently completed a run of tour dates as direct support to Courtney Marie Andrews.
In celebration of the announcement, Bugg released a new track, “nosedive.” “Nosedive came from a time when a former partner put me in a very awkward situation. Writing this song was the only way to really put into words the way I felt in that moment,” Bugg shares.
Bugg will support Grace Enger on the road this fall.
i think i had something once Tracklist
1. “i think i had something once”
2. “circumstances”
3. “wasted potential”
4. “the one you want to lose”
5. “nosedive”
6. “still want you to”
7. “i’ve come to realize”
8. “just embers now”
9. “i can’t”
10. “farewell to dreaming”
11. “close enough”
12. “sometimes (i love you)”
Texas Songwriter U Accepting Submissions For 2027 Program
/by Lorie HollabaughTexas Songwriter U has now opened submissions for its 2027 discovery and development program.
The three-day event features showcases, feedback sessions, co-writing opportunities, and direct access to top industry leaders. Mentors for the 2027 season include Liz Rose, Lori McKenna and Jack Ingram.
Eight finalists will be selected to attend the 2027 program, hosted Jan. 31–Feb. 3 at a private ranch just outside Austin. Applicants must be at least 18, and have either been born in Texas, currently live in Texas, or have lived in Texas for five consecutive years. Applicants may hold a current publishing agreement, and TxSU will accept both self-published and co-written songs. Previous winners are not eligible to apply. Songwriters can register and upload songs here. Submissions will remain open through Nov. 1.
Warner Chappell Music/Warner Records Nashville Host 2nd Annual Kinfolk Nashville Writers Camp
/by Lauryn SinkKinfolk Nashville Writers Camp. Photo: Dai Visions
Warner Chappell Music and Warner Records Nashville hosted the second Annual Kinfolk Nashville Writers Camp last week (June 23-25) in honor of Black Music Month.
The three-day songwriting and industry intensive united over 50 songwriters and producers, including Reyna Roberts, Mickey Guyton, Justin Love, Skimmy, Lauren Evans, Mimi McCarley, Millie Manny and Daisha McBride. Nearly 60 original songs were created, spanning multiple genres and many crafted for major label artists and high-profile sync opportunities.
Beyond the writing sessions, key programming included “Rights And Revenue,” an educational session diving deep into income streams and legal structures with Oronde Jenkins (WMG) and attorney Anjlee Khurana; “Shifting Sounds,” a conversation with Shannon Sanders, Gina Miller and James Marsh on their illustrious careers and thoughts on the current Nashville music ecosystem; “Creative Check-In,” led by Nina Teapot Owens, opening up transparent dialogue around the pressures creators face and paired with a calming meditation; and “The Playback,” a listening showcase of the camp’s creations that signaled the birth of what industry insiders expect to be future major-label hits.
The celebration extended to Broadway for the SOLID x Kinfolk Whiskey Jam Takeover featuring performances from Kenny Sharp, Shelldhn, Sarah Gerald, Hew & The Gees, Nanseera and Mille Manny.
Upcoming Kinfolk supported events include Groove And Give and The Cookout Nashville.
Adia Clark Lay and Tomy Ge. Photo: Dai Visionz
Hew & The Gees at Whiskey Jam. Photo: Mackenzie Boyd
Apple Music Releases Second Set Of ‘Apple Music Nashville Sessions: Toby Keith Covered’
/by Lorie HollabaughPhoto: Courtesy of Apple Music
Apple Music is releasing a second edition of the Apple Music Nashville Sessions:Toby Keith Covered collection, once again celebrating Keith’s life and his undeniable impact on country music with an all-new slate of Keith classics.
The project features live covers of the icon’s catalog by Tyler Hubbard, Jackson Dean, Kameron Marlowe and Emily Ann Roberts. Recorded live in Apple Music’s Nashville studio, the covers reimagine some of Toby Keith’s biggest hits, with each artist putting their own spin on their track and honoring the late star’s lasting impact on country music. All covers are exclusively on Apple Music and include “I Love This Bar” by Hubbard, “I Wanna Talk About Me” by Dean, “How Do You Like Me Now” by Marlowe, and “Red Solo Cup” by Roberts.
Ahead of the release, each artist sat down with Apple Music’s Ty Bentli to chat about the project and share more about their personal connections to Keith. The Ty Bentli Show will air the full interviews with each artist throughout the week.
The project marks the second edition of the Apple Music Nashville Sessions: Toby Keith Covered collection as Hubbard, Dean, Marlowe, and Roberts join Ashley McBryde, Ella Langley, Megan Moroney, Parker McCollum, Riley Green and Tucker Wetmore in honoring the late country music icon.
“Like you said with Toby, I love that he not only was an incredible songwriter himself, but poured into the Nashville songwriting community and the writers around him and the people,” Hubbard told Bentli about covering “I Love This Bar”. “I think he understood the value of a song and the value of the songwriter. So, really a lot of respect and love for him for that for sure… “I Love This Bar” had not been done. And I was like, oh my gosh, how has this song not been done yet? So, yeah, pretty quickly I was like, yep, I want that song. That’ll be a blast. I’ve sung it for years anyways. So yeah, it was fun to bring it to life today.”
Damon Whiteside Reflects On Leadership, Growth & His ACM Tenure [Interview]
/by Lauryn SinkDamon Whiteside. Photo: Katie Kauss
As Damon Whiteside steps away from his role as CEO of the Academy of Country Music after more than six years, he’s leaving behind an organization that looks much different than the one he joined in early 2020. During his tenure, the Academy weathered a global pandemic, relocated its headquarters from Los Angeles to Nashville, transitioned the ACM Awards from broadcast television to streaming on Prime Video and expanded its footprint through new events and initiatives. As he begins his six-month term as CEO Emeritus today (July 1), Whiteside reflects on the milestones, challenges and moments that defined his tenure.
When he joined the Academy in January 2020, he expected to spend his first few months learning the organization and settling into the role, but the COVID-19 pandemic quickly upended those plans, forcing the Academy to rethink nearly every aspect of its operations.” A lot of stuff changed really fast,” Whiteside tells MusicRow. “It caused a very quick pivot within my first three months on the job.”
Pictured (L-R): Adam Stotsky, Dolly Parton and Damon Whiteside attend the 57th Academy of Country Music Awards. Photo: Kevin Mazur/Getty Images for ACM
One of Whiteside’s first major decisions as CEO was canceling the 2020 ACM Awards in Las Vegas as the pandemic brought the live entertainment industry to a standstill. But rather than waiting for normalcy to return, the Academy reimagined the show in Nashville, staging the ceremony across the Grand Ole Opry House, the Ryman Auditorium and the Bluebird Cafe.
That willingness to adapt extended beyond the pandemic. Looking back on his tenure, Whiteside points to several milestones that reshaped the Academy, beginning with relocating its headquarters from Los Angeles to Nashville. Founded in California in 1964, the Academy’s move marked a significant shift, one that he says took time but ultimately allowed the organization to become more deeply integrated into the heart of the country music industry.
Another defining moment came in 2022, when the Academy became the first major awards show to move exclusively to streaming through Prime Video. The move not only expanded the show’s global reach but also changed the viewing experience, allowing for fewer commercial breaks and a greater emphasis on music.
Returning the ACM Awards to Las Vegas marked yet another major step for the Academy. After three years in Texas, the Academy brought the event back to its longtime home, a decision Whiteside said was embraced by artists, fans and the industry and resulted in one of the organization’s most successful weekends. Reflecting on his final ACM Awards as CEO, Whiteside said the show represented everything he hoped it would.
“I sat there that night watching it, and I was just kind of blown away at the quality of the show. I feel like for me, that was the best show that I’ve been a part of since I’ve been in this role … It really captured what country music is right now… It’s still paying respect to the legacy of it, but it was very much of the moment.”
But for Whiteside, the show’s success wasn’t just measured by what happened on stage.
“I’m very proud of the ACM staff, honestly, because moving a show to a new city, and standing up new events… that is a huge undertaking for our small staff. It is a testament to the passion here and the leadership here. Everybody’s here because they want to be here and because they want it to be great for the artists and industry.”
Looking back, Whiteside said one of the biggest surprises of leading the Academy wasn’t navigating award shows or industry changes, but discovering just how much leadership centered on the people around him.
“Leadership is leading a company, yes. It is about experience in the actual business and having business acumen for sure. But, so much of it is about what you accomplish as a leader is with your team and how you develop them. What I love is just [watching] people that I’ve hired or mentored and seeing them grow. It just makes me really proud and happy to see that I could just be one part of their journey.”
Beyond the milestones and organizational changes, Whiteside said it’s the moments along the way that he’ll remember most. Bringing the ACM Awards to Nashville during the pandemic remains at the top of that list. “We weren’t going to let COVID keep us from awarding our artists,” he said. “Being able to do it at the three most iconic venues in Nashville, the Opry, and the Ryman, and the Bluebird, which hadn’t been done before. That’s always going to be kind of on my Mount Rushmore of cool things I got to do.”
Shania Twain & Damon Whitside. Photo: Courtesy of Whiteside
He also points to the Academy’s 60th anniversary celebration in 2025 as another career highlight, saying he was proud to help commemorate the organization’s legacy while showcasing where country music is today. Beyond the events themselves, Whiteside said one of the unexpected joys of the role came from working alongside some of the genre’s biggest names. “Reba is absolutely undeniably the hardest working person in showbiz, and she is just lovely and just such a wonderful human being,” he says. “Getting to work with her and see her work ethic was a great memory.” He also recalled working alongside Dolly Parton, Garth Brooks and Shania Twain, saying those experiences are memories he’ll carry with him long after leaving the Academy.
As the industry continues to evolve, Whiteside said he’s encouraged by the next generation of artists finding success while continuing to embrace country music’s traditions. “I think what I’m excited about is that we still have this tight [country music] community. There is a lot of pride and camaraderie, but everyone is willing to open their arms and let the new class in.”
While he’ll remain involved with the Academy through the end of the year as CEO Emeritus, Whiteside said he’s also looking ahead to new opportunities. He expects to help guide the organization’s leadership transition while continuing to explore ways to support country music beyond the CEO position.
“I’m kind of just a consultant,” he says. “I’m just going to be available the rest of the year and on call for the new leadership here to just help guide, answer questions, make recommendations, however they need support.”
Beyond that, Whiteside hopes to continue working at the intersection of Nashville and Hollywood, helping tell artists’ stories while introducing more of the entertainment industry to country music.
“I really enjoy that intersection of educating the media world about country music and what it is,” he says. “I love being that bridge and making that connection to show someone that’s not been part of our community, to come into the community and see what it’s about.”
As he prepares to close this chapter, Whiteside said he believes both he and the Academy are ready for what’s next.
“I’m just thrilled at where we are today, and the fact that the organization is really reestablished and thriving and it’s really set up for success for the future,” he says. “I feel like I’m leaving at the right time for me and for the organization. It’s a really exciting opportunity for a new leader to come in and continue to evolve it and strengthen it.”
Moving forward Whiteside can be reached at damon@nomadentertain.com