Big Loud Records has promoted Jess Anderson to Sr. Director, Media.

“Jess continues to remain a powerful force in spearheading our Publicity department,” share Big Loud CEO/Partner Seth England and SVP, Marketing Candice Watkins. “We’re grateful for her leadership in executing brilliant campaigns for our artists and organization, and for her exemplary collaboration with our independent publicity partners. It’s our honor to recognize Jess with this well-deserved promotion.”

Having worked with the Big Loud roster since late 2018, Anderson joined the label in-house in 2021 and assisted in creating its internal Publicity department as Director, Media Relations in 2022.

During her time with Big Loud, she’s spearheaded and supported campaigns for Morgan Wallen’s Dangerous: The Double Album, Hardy’s A Rock and The Mockingbird & The Crow, Ernest’s Flower Shops: The Album, Stephen Wilson Jr.’s Søn Of Dad, Charles Wesley Godwin’s Family Ties, the entire Hixtape trilogy and introductory campaigns for Dylan Gossett, MacKenzie Porter, Lauren Watkins and the label’s latest addition, Kashus Culpepper, among others.

Before joining Big Loud, the University of Oklahoma graduate spent time at Sweet Talk Publicity, The Press House and Big Machine Label Group.

Singer-songwriter Claire Leslie has signed with Capitol Christian Music Group. In celebration of the signing, Leslie is releasing her debut single, “Original.”

Leslie has increased her following by 630% on her socials by teasing new songs and demos over the past two months. Her content strategy and unique sound have helped her audience grow, reaching over two million views on vertical content before her first major label debut.

“We couldn’t be more excited to have Claire be part of the Capitol CMG family,” shares Garrett Davis, A&R, Capitol Christian Music Group. “From the first time our team met Claire, we knew she was special and that we wanted to be a part of bringing her music to the world.  She’s infectious, caring, and a bright spot in an industry that needs it.  I can’t wait for people to hear what she has to say.”

“Capitol is my absolute dream label,” shares Leslie. “I have to pinch myself daily, like, ‘Is this real life?’ It still doesn’t feel quite real. The entire team at Capitol is incredibly supportive and feels like my second family. What excites me the most is that they share my vision and are enthusiastic about experimenting with me to bring a fresh creative perspective to this industry.”

“I think more than ever, it’s easy to feel pressure to conform to what society says and fit into a box,” she continues. “At 22 years old, this is something I find that I’m reminding myself of daily—I have to consciously decide to be confident in my skin before stepping out the door. Understanding the person that God made me to be and finding security in that has been crucial. But there is a beauty in embracing our uniqueness and staying true to ourselves.”

The War And Treaty has assembled a team of fellow Americana and country artists for their Celebrity Family Feud debut, airing tomorrow (July 30) at 7 p.m. CT.

The husband-and-wife duo will be joined by Valerie June, Rissi Palmer, Breland and Dom Flemons as they compete against the legendary Earth, Wind & Fire.

“We wanted to use this time to speak to our country music genre and let them see a united front with Americana artists,” says Michael Trotter Jr. of The War And Treaty. “We also wanted Earth, Wind & Fire to look across at us and be proud that they’ve influenced artists of all genres, especially ones that look like them.”

The War And Treaty received their first-ever Grammy nominations this year, and followed nods from the Academy of Country Music, Country Music Association and CMT with a string of festival appearances at Stagecoach and CMA Fest, among others. The pair is also currently up for Duo/Group of the Year at the 23rd annual Americana Honors & Awards.

Hootie & The Blowfish—made up of lead vocalist Darius Rucker, guitarist Mark Bryan, bassist Dean Felber and drummer Jim “Soni” Sonefeld—brought their low-country style and homey harmonies to Nashville’s Bridgestone Arena on Saturday night (July 27) as part of their “Summer Camp With Trucks Tour,” which marks the band’s first full outing in five years.

Having recently received a plaque for their 22-time Platinum debut album, Cracked Rear View, during their appearance on ABC’s Good Morning America, the group was joined by the Recording Industry Association of America (RIAA)’s Chief Policy Officer Morna Willens ahead of the show for a special presentation of the prestigious Double-Diamond trophies—solidifying Cracked Rear View as one of the top 10 best-selling albums in music history.

Fellow South Carolina talent Edwin McCain kicked off the evening with his strong yet soothing vocals. His name encircled a palmetto tree projecting above him as he serenaded the stands with “Darwin’s Children” and more before closing with smash hit “I’ll Be.” The swirling lights blazed royal blue as Bridgestone belted the final chorus.

Spotlights then scanned the pitch-black arena, and bulbs embedded into the sunburst-shaped structure suspended from the ceiling began to flash in time with the strums of an electric guitar as Collective Soul took the stage. Frontman Ed Roland‘s sequined ensemble glistened as the Georgia-born rock band commenced their head-banging set with “Mother’s Love.” Roland waved to each side of the arena as the band poured themselves into “Bluer Than So Blue,” “Heavy” and “Shine,” giving the audience the mic for a portion of the tune. The lead singer then introduced the group and grabbed his guitar for “The World I Know.”

Roland shared that he had dreamed of being in a rock band since he was 12 years old. He recalled dancing in the mirror with his mother’s clothes on and hearing AC/DC’s “Dirty Deeds Done Dirt Cheap” on the radio for the first time. “I’m going to show you the dance moves I learned from [ages] 12 through 14,” Roland stated before McCain returned to the stage to cover the song alongside Collective Soul. The band continued jumping and jiving continued “Where The River Flows” and “December.”

“We’re only here to preach about peace and love, being the best parents you can be [as well as] being the best siblings you can be and the best neighbors you can be,” said Roland. “That’s all there is, baby.”

He thanked the all the crew members involved in the production, McCain and Hootie & The Blowfish before expressing his gratitude for his bandmates, highlighting them individually, as well as the crowd. Roland brought his guitar back out and the rest of the group stepped away from the instruments and joined him in the middle of the platform to jam out to “Run.”

After a brief intermission, every section of Bridgestone darkened besides the stage, which was now enclosed by a giant orange and blue curtain depicting a mountain range with the tour logo on either side. An instrumental number reminiscent of those heard at the beginning of a film blared through the speakers and amped up the anticipation as it intensified. Finally, the large curtain was pulled to reveal the headliners as they sprung into their hit cover of 54-50’s “I Go Blind.”

A retro movie marquee image twinkled behind as Sonefeld slammed the powerful first beats of “Wishing.” The marquee was soon replaced by a lighthouse set against a deep blue sky, its lifelike ray radiating and rotating, as Rucker’s comforting vocals filled the venue with “I Will Wait.”

He took moment to check in with Nashville, stating that it had “been a minute” since the band’s last performance in Music City.

Everybody was on their feet for the nostalgic notes of “Time” that followed, and kept their toes tapping for “Running From an Angel.” Bryan then took a moment to state what a blessing it was to playing at Bridgestone Arena. He asked the audience to make some noise for the openers before the band treated fans to another incredible cover with Buffalo Springfield’s “For What It’s Worth,” a song that “still registers in this day and age.”

Rucker took some time to cherish that fact that this year marks Hootie’s 40th anniversary. “That’s a long damn time,” he marveled.

Bryan jumped into the air as the group rocked out to “Hannah Jane.” He then led fans in cheers, lifting up his glass, as the tempo slowed for “Not Even the Trees.” They recalled their bluegrass phase and took seats in the middle of the stage. As a gate comprised of logs lifted to unveil a bonfire graphic aflame behind them, Hootie & The Blowfish managed to make the enormous arena feel intimate and cozy as they sang “Will the Circle Be Unbroken?” an “Desert Mountain Showdown.” The fire slowly went out as they serenaded the seats with Tom Waits’ “I Hope I Don’t Fall in Love With You.”

They then paid homage to the success Rucker has achieved as a solo artist with his renowned rendition of Old Crow Medicine Show’s “Wagon Wheel,” which had everyone singing along. The foursome maintained their streak of exceptional covers with Radney Foster‘s “Fine Line,” accompanied by the established creator himself,” and Led Zeppelin’s “Hey, Hey, What Can I Do.” The covers didn’t stop there, as they welcomed McCain back for his track “Solitude.”

They returned to their own music, playing “Old Man & Me” and “Unk.” Rucker recalled writing the next tune, the touching “Let Her Cry,” which he beautifully rendered with his guitar as a carousel of sparking stars circled above. The group then honored one of their musical influences, R.E.M., with “Losing My Religion,” before moving into in Rucker’s “Alright.”

The energy remained high as they brought out Christian music star Matthew West for a heartwarming performance of “Hold My Hand,” and disclosed the story of its writer, Sonefield, performing it for them for the first time. After vanishing for a moment, the band emerged for an encore of “Go and Tell Him (Soup Song)” and Stone Temple Pilots’ “Interstate Love Song,” ending with a blend of fan-favorites “Only Wanna Be With You” and Kool & The Gang’s “Get Down on It.”

They took a bow all together, appreciation gleaming in their eyes, as the show concluded. While everyone was exiting the arena, John Denver’s “Take Me Home, Country Roads” came across the speakers and everyone began to sing all together—indicative of how acts like Hootie & The Blowfish connect us.

The Grammy-winning group has already visited Boston’s Fenway Park, among other arenas, amphitheaters and select stadiums. The University of South Carolina alums will also make their way to Columbia, South Carolina, where it all began, next month to perform at the Colonial Life Arena before headlining Rucker’s Riverfront Revival Music Festival in October.