Victoria Mason
Warner Records Nashville’s Senior Vice President of Marketing, Victoria Mason, continues to lead Nashville’s charge in optimizing audience, fan development and fan engagement in country music. She joined the Warner Music ranks in 2011 after a three-year tenure working with audience and data giant Nielsen and became the driving force behind Warner Music Nashville’s implementation of analytics for the next six years.
In 2017, Mason was promoted to VP, Research & Analytics, where she increased the label’s focus on broader industry and genre-level trends, as well as deepening her oversight of ROI and marketing spend analysis. WRN expanded Mason’s duties in October 2019 into artist development, while also leading in-house analytics, and overseeing the day-to-day functions of the digital and strategic partnerships teams. She then moved from VP, Strategic Marketing to SVP Marketing & Analytics, where she merged and rebranded the Artist Development team into the comprehensive Marketing department, which encompasses Artist Marketing, Digital Marketing, Analytics, Brand Partnerships, and Industry + Fan Events, all reporting to Mason.
Mason is a current member of the Leadership Music Board of Directors (2022-2026) and has been named a Billboard Country Power Player, Nashville Briefing Power Player and a Billboard Woman In Music.
Mason will be honored as part of MusicRow’s Rising Women on the Row class of 2026 on March 3 at the JW Marriott. Read more about the event here.
Photo: Courtesy of Mason
MusicRow: Where’d you grow up?
I grew up in a small town called Bourbon, Indiana. It’s in northern Indiana, just south of South Bend, a one-stoplight town. My childhood home is across the street from a cornfield, so I basically grew up in a country song.
Did your family listen to country music?
It was very prevalent in our community, but in my house it was more like the big cultural zeitgeist artists of the time. I grew up on Whitney Houston, Garth Brooks, Backstreet Boys and Boyz II Men. My dad listened to classic rock. It was a pretty mixed bag; I have always been open to exploring all different types of music.
In high school, one of my best friends, Kelly Whiteman, made me a mix CD of country hits at the time, and I remember hearing Tracy Lawrence’s “Paint Me a Birmingham” and Tim McGraw’s “Live Like You Were Dying” for the first time. Those songs really cracked the genre open for me…shoutout to Kelly for unknowingly setting me out on this path!
Photo: Courtesy of Mason
What did you want to be when you grew up?
I grew up kind of always being music-adjacent. I danced growing up. I wanted to play the drums, but my parents vetoed it, so I opted for tap class. [Laughs] I sang in a barbershop quartet and did choir, but I was never really talented enough to consider a life in music. Also, growing up in a small town, I think you just don’t really even imagine that there could be a lane for you in the music industry if you’re not famous or you don’t know someone famous. So I went to business school at Indiana University (go Hoosiers!) and focused on marketing.
While in college, I felt like I wanted to be a brand manager. I liked the idea of owning the responsibility of a brand, helping to shape its narrative and drive results. I imagined that I might work for a company like Procter & Gamble, and maybe manage a brand like Tide laundry detergent. In my mind, that was sort of the most classic, well-rounded marketing track.
I didn’t end up doing that exactly. I went and worked for The Nielsen Company, but in their consumer packaged goods arm that focused on forecasting and product innovation.
Photo: Courtesy of Mason
Tell me about that.
Nielsen worked with companies like Procter & Gamble and Del Monte and Kellogg’s to launch new products that you would find in the grocery store. The division of the company was called BASES, which means Booz-Allen Sales Estimating System. Essentially, CPG companies would come to us when they wanted to launch a new product or rebrand an existing product in the marketplace. They would come to us and say, “If we launch this new brand of cereal, or this new refrigerated fruit cup that you can blend into a smoothie, what would we sell in year one? If we got product placement at Kroger and Publix, and spent X million dollars in marketing in year one, what would you expect us to generate in volume? Is it a proposition worth exploring and launching?” We would test the ideas and products with potential consumers, and help the companies make refinements to ensure the most successful possible launch.
It was like fortune telling, but with math and science. In retrospect, I don’t know that there was a better job for me to just get my feet wet in terms of understanding different drivers of marketing activity, how specific levers can move the needle, and how to tell stories with data.
I could not have envisioned, much less predicted, that the version of me at Nielsen, and now the version of me in my current role, would have any similarities whatsoever. However, they definitely are connected.
Photo: Courtesy of Mason
How did you transition from that to the music business?
I moved down to Nashville in 2010 for personal reasons, and I was working remotely still with Nielsen at the time. After a year and a half, maybe, of working remotely, I started to feel a pull to do something different where I could be in a traditional office environment. I remember walking my dog down Music Row one day and thinking, “I wonder if they do research or analytics in the music industry.”
I went home and did a little searching online and found a job on LinkedIn called Director of Research at Warner Music Nashville. It was a brand new position…the job description was really nebulous and unspecific, and I applied for it on a whim and got an interview. I knew the minute that I walked into the building that I wanted to work here. The job just felt like it was made for me. It was a combination of doing things that I had been doing at Nielsen in terms of telling stories with data, but instead of talking about cereal and fruit cups, now I had the opportunity to talk about something that I was really passionate about, which was music.
Tell me about when you first got here. What was it like?
It was basically building my own job from the ground up. John Esposito was CEO at the time, and I remember him describing my job as the “chief truth officer.” He wanted me to have no political affiliations with any of the departments, but really to just come in here with a very objective eye and state the facts, like this is what is happening for these artists and for this music, and here are the opportunities that I think we should pursue. Here’s where I think we’re winning, and here’s where I think we could be doing better.
Photo: Courtesy of Mason
Do you remember a time early on that solidified that you were in the right job?
Early on, Espo asked me to present to a room full of industry partners, primarily in the radio space of the business. We were at this inflection point where radio had not fully adopted streaming as an indicator to help them program and make decisions. It was obviously an area of the business that I was super leaned into, understanding when there really was a signal versus noise. So he asked me to come out and present during that summit about when data is real and organic versus programmed or lean-back. It wasn’t intentional, but it ended up being kind of an educational moment. I just remember feeling very in my element during that presentation, and the room was very open and receptive to hearing what I had to say. We were having this healthy discourse and conversation, and I remember feeling like, “Oh man, I think I might have a lot to offer this town and this industry,” and really helping people embrace new technologies and the constant ebbs and flows.
There have been hundreds of other little moments along the way that have given me reassurance that I am in the right place. Listening to the first batch of Dan + Shay songs ever on a white label CD. Introducing friends and family to their favorite artists. Getting ready for CMA Awards night with the girls. Steady, constant reminders of how lucky I am to be here.
You’ve risen through the ranks and grown your team at Warner. Tell me about how the job has changed over the years.
When I first came in, it was just me, a department of one, analyzing sales data on SoundScan and radio data on Mediabase. Now the analytical arm is still very much under my remit, but that has become so much more complex, and we’ve got a whole team dedicated to looking at that. Obviously with streaming and socials, there’s just an infinite amount of data and things to analyze.
Beyond that, my job is ultimately about how we can make the healthiest, smartest decisions about how we allocate resources and people and time. That’s really what my job is now…supporting, guiding, and resourcing my team, and giving them the runway to do the things they need to do to give our artists and their music the best shot. I’d say that the same responsibility applies to our artists…supporting, guiding, and resourcing. Helping ensure they have the right tools at the right times to tell their stories and reach new audiences.
And as I am sure anyone in the industry would tell you—no two days are the same.
Photo: Courtesy of Mason
Who have been some of your mentors?
Growing up, my grandparents (Mammaw and Pap) and my parents always set great examples of the importance of hard work, kindness, compassion and community. I hope that I have taken many cues from them, both personally and professionally.
Espo is certainly my number one mentor professionally. I’m so grateful to him for so much that I’ve been able to accomplish in my career. He always made sure that I had a seat at the table.
Ben Kline, Shane Tarleton, Cris Lacy and Kristen Williams. And there is a special camaraderie I find among the other working moms in the industry…you know who you are!
What’s some of the best advice you’ve ever gotten?
Seek first to understand. My mom has always said this, and it’s always stuck with me. Listening is so powerful…the more that we approach one another from a place of openness and understanding, the better we are going to be.
Also: Quality remains long after the price is forgotten. This one is from my grandpa, and I love it because it applies to lots of different things. It’s a funny way to justify a shopping splurge. And it’s also a reminder that good, hard work pays off.
Tell me about an experience you’ve had that your little kid self would think is so cool.
She would have been amazed to learn that in the second week of her first music industry job, Faith Hill would walk into her office to introduce herself and graciously offer her a hug. It was a perfect foreshadowing of the warm, welcoming women that make up our country music community.
My Music Row Story: Warner Records Nashville’s Victoria Mason
/by LB CantrellVictoria Mason
Warner Records Nashville’s Senior Vice President of Marketing, Victoria Mason, continues to lead Nashville’s charge in optimizing audience, fan development and fan engagement in country music. She joined the Warner Music ranks in 2011 after a three-year tenure working with audience and data giant Nielsen and became the driving force behind Warner Music Nashville’s implementation of analytics for the next six years.
In 2017, Mason was promoted to VP, Research & Analytics, where she increased the label’s focus on broader industry and genre-level trends, as well as deepening her oversight of ROI and marketing spend analysis. WRN expanded Mason’s duties in October 2019 into artist development, while also leading in-house analytics, and overseeing the day-to-day functions of the digital and strategic partnerships teams. She then moved from VP, Strategic Marketing to SVP Marketing & Analytics, where she merged and rebranded the Artist Development team into the comprehensive Marketing department, which encompasses Artist Marketing, Digital Marketing, Analytics, Brand Partnerships, and Industry + Fan Events, all reporting to Mason.
Mason is a current member of the Leadership Music Board of Directors (2022-2026) and has been named a Billboard Country Power Player, Nashville Briefing Power Player and a Billboard Woman In Music.
Mason will be honored as part of MusicRow’s Rising Women on the Row class of 2026 on March 3 at the JW Marriott. Read more about the event here.
Photo: Courtesy of Mason
MusicRow: Where’d you grow up?
I grew up in a small town called Bourbon, Indiana. It’s in northern Indiana, just south of South Bend, a one-stoplight town. My childhood home is across the street from a cornfield, so I basically grew up in a country song.
Did your family listen to country music?
It was very prevalent in our community, but in my house it was more like the big cultural zeitgeist artists of the time. I grew up on Whitney Houston, Garth Brooks, Backstreet Boys and Boyz II Men. My dad listened to classic rock. It was a pretty mixed bag; I have always been open to exploring all different types of music.
In high school, one of my best friends, Kelly Whiteman, made me a mix CD of country hits at the time, and I remember hearing Tracy Lawrence’s “Paint Me a Birmingham” and Tim McGraw’s “Live Like You Were Dying” for the first time. Those songs really cracked the genre open for me…shoutout to Kelly for unknowingly setting me out on this path!
Photo: Courtesy of Mason
What did you want to be when you grew up?
I grew up kind of always being music-adjacent. I danced growing up. I wanted to play the drums, but my parents vetoed it, so I opted for tap class. [Laughs] I sang in a barbershop quartet and did choir, but I was never really talented enough to consider a life in music. Also, growing up in a small town, I think you just don’t really even imagine that there could be a lane for you in the music industry if you’re not famous or you don’t know someone famous. So I went to business school at Indiana University (go Hoosiers!) and focused on marketing.
While in college, I felt like I wanted to be a brand manager. I liked the idea of owning the responsibility of a brand, helping to shape its narrative and drive results. I imagined that I might work for a company like Procter & Gamble, and maybe manage a brand like Tide laundry detergent. In my mind, that was sort of the most classic, well-rounded marketing track.
I didn’t end up doing that exactly. I went and worked for The Nielsen Company, but in their consumer packaged goods arm that focused on forecasting and product innovation.
Photo: Courtesy of Mason
Tell me about that.
Nielsen worked with companies like Procter & Gamble and Del Monte and Kellogg’s to launch new products that you would find in the grocery store. The division of the company was called BASES, which means Booz-Allen Sales Estimating System. Essentially, CPG companies would come to us when they wanted to launch a new product or rebrand an existing product in the marketplace. They would come to us and say, “If we launch this new brand of cereal, or this new refrigerated fruit cup that you can blend into a smoothie, what would we sell in year one? If we got product placement at Kroger and Publix, and spent X million dollars in marketing in year one, what would you expect us to generate in volume? Is it a proposition worth exploring and launching?” We would test the ideas and products with potential consumers, and help the companies make refinements to ensure the most successful possible launch.
It was like fortune telling, but with math and science. In retrospect, I don’t know that there was a better job for me to just get my feet wet in terms of understanding different drivers of marketing activity, how specific levers can move the needle, and how to tell stories with data.
I could not have envisioned, much less predicted, that the version of me at Nielsen, and now the version of me in my current role, would have any similarities whatsoever. However, they definitely are connected.
Photo: Courtesy of Mason
How did you transition from that to the music business?
I moved down to Nashville in 2010 for personal reasons, and I was working remotely still with Nielsen at the time. After a year and a half, maybe, of working remotely, I started to feel a pull to do something different where I could be in a traditional office environment. I remember walking my dog down Music Row one day and thinking, “I wonder if they do research or analytics in the music industry.”
I went home and did a little searching online and found a job on LinkedIn called Director of Research at Warner Music Nashville. It was a brand new position…the job description was really nebulous and unspecific, and I applied for it on a whim and got an interview. I knew the minute that I walked into the building that I wanted to work here. The job just felt like it was made for me. It was a combination of doing things that I had been doing at Nielsen in terms of telling stories with data, but instead of talking about cereal and fruit cups, now I had the opportunity to talk about something that I was really passionate about, which was music.
Tell me about when you first got here. What was it like?
It was basically building my own job from the ground up. John Esposito was CEO at the time, and I remember him describing my job as the “chief truth officer.” He wanted me to have no political affiliations with any of the departments, but really to just come in here with a very objective eye and state the facts, like this is what is happening for these artists and for this music, and here are the opportunities that I think we should pursue. Here’s where I think we’re winning, and here’s where I think we could be doing better.
Photo: Courtesy of Mason
Do you remember a time early on that solidified that you were in the right job?
Early on, Espo asked me to present to a room full of industry partners, primarily in the radio space of the business. We were at this inflection point where radio had not fully adopted streaming as an indicator to help them program and make decisions. It was obviously an area of the business that I was super leaned into, understanding when there really was a signal versus noise. So he asked me to come out and present during that summit about when data is real and organic versus programmed or lean-back. It wasn’t intentional, but it ended up being kind of an educational moment. I just remember feeling very in my element during that presentation, and the room was very open and receptive to hearing what I had to say. We were having this healthy discourse and conversation, and I remember feeling like, “Oh man, I think I might have a lot to offer this town and this industry,” and really helping people embrace new technologies and the constant ebbs and flows.
There have been hundreds of other little moments along the way that have given me reassurance that I am in the right place. Listening to the first batch of Dan + Shay songs ever on a white label CD. Introducing friends and family to their favorite artists. Getting ready for CMA Awards night with the girls. Steady, constant reminders of how lucky I am to be here.
You’ve risen through the ranks and grown your team at Warner. Tell me about how the job has changed over the years.
When I first came in, it was just me, a department of one, analyzing sales data on SoundScan and radio data on Mediabase. Now the analytical arm is still very much under my remit, but that has become so much more complex, and we’ve got a whole team dedicated to looking at that. Obviously with streaming and socials, there’s just an infinite amount of data and things to analyze.
Beyond that, my job is ultimately about how we can make the healthiest, smartest decisions about how we allocate resources and people and time. That’s really what my job is now…supporting, guiding, and resourcing my team, and giving them the runway to do the things they need to do to give our artists and their music the best shot. I’d say that the same responsibility applies to our artists…supporting, guiding, and resourcing. Helping ensure they have the right tools at the right times to tell their stories and reach new audiences.
And as I am sure anyone in the industry would tell you—no two days are the same.
Photo: Courtesy of Mason
Who have been some of your mentors?
Growing up, my grandparents (Mammaw and Pap) and my parents always set great examples of the importance of hard work, kindness, compassion and community. I hope that I have taken many cues from them, both personally and professionally.
Espo is certainly my number one mentor professionally. I’m so grateful to him for so much that I’ve been able to accomplish in my career. He always made sure that I had a seat at the table.
Ben Kline, Shane Tarleton, Cris Lacy and Kristen Williams. And there is a special camaraderie I find among the other working moms in the industry…you know who you are!
What’s some of the best advice you’ve ever gotten?
Seek first to understand. My mom has always said this, and it’s always stuck with me. Listening is so powerful…the more that we approach one another from a place of openness and understanding, the better we are going to be.
Also: Quality remains long after the price is forgotten. This one is from my grandpa, and I love it because it applies to lots of different things. It’s a funny way to justify a shopping splurge. And it’s also a reminder that good, hard work pays off.
Tell me about an experience you’ve had that your little kid self would think is so cool.
She would have been amazed to learn that in the second week of her first music industry job, Faith Hill would walk into her office to introduce herself and graciously offer her a hug. It was a perfect foreshadowing of the warm, welcoming women that make up our country music community.
Jelly Roll Reveals Limited Run ‘Little Ass Shed Tour’
/by Lorie HollabaughJelly Roll.
Jelly Roll has unveiled a special limited run of headlining shows beginning May 28. “The Little ASS Shed Tour” will visit select markets across the U.S. with support from Kashus Culpepper.
“The Little ASS Shed Tour” will include stops in West Palm Beach, Charleston, Virginia Beach, Grand Rapids, Saratoga Springs, Bangor, and more, and will wrap in Walla Walla, Washington, a promise from his Pollstar Live 2025 Keynote Discussion that embodies the intentional, fan-first spirit behind this run.
Tickets will first be available with various venue and artist pre-sales throughout the week ahead of the general on-sale, which begins Friday (Feb. 27) at 11 a.m. local time here. The tour will also offer a variety of different VIP packages and experiences including premium seats, a guided backstage tour, a limited edition Jelly Roll tour poster & more.
In addition to the “Little ASS Shed Tour,” Jelly Roll will hit stadiums nationwide on “The BIG ASS Stadium Tour Part 2″ alongside Post Malone.
“The Little ASS Shed Tour” Dates:
May 28 – West Palm Beach, FL – iTHINK Financial Amphitheatre
June 2 – Orange Beach, AL – The Wharf Amphitheater
June 7 – Charleston, SC – Credit One Stadium
June 8 – Wilmington, NC – Live Oak Bank Pavilion at Riverfront Park
June 10 – Virginia Beach, VA – Veterans United Home Loans Amphitheater at Virginia Beach
June 13 – Grand Rapids, MI – Acrisure Amphitheater
June 18 – Saratoga Springs, NY – Albany Med Health System at SPAC
June 20 – Bangor, ME – Maine Savings Amphitheater
June 21 – Gilford, NH – BankNH Pavilion
June 23 – Syracuse, NY – Empower Federal Credit Union Amphitheater at Lakeview
July 22 – Walla Walla, WA – Wine Country Amphitheater
Keith Urban To Appear At CRS Q&A Session
/by Lorie HollabaughKeith Urban will appear at Country Radio Seminar 2026 on March 19, participating in a special Q&A session reflecting on his years of supporting St. Jude Children’s Research Hospital and his experiences interacting with patients and families.
Urban’s appearance is part of “The Power Of Music And A Mission” session presented by St. Jude and CRS. Set to take place at 11 a.m. and moderated by WSIX/Nashville’s Gator Harrison, the session will give attendees an intimate look at the power of country radio’s longstanding relationship with St. Jude, one of the country format’s most meaningful philanthropic partnerships.
The radiothon program began in 1989 following a challenge issued by Randy Owen of Alabama, first delivered from the CRS stage that year. The conversation with Urban and Harrison will highlight the impact of visiting the hospital, the inspiration drawn from its patients, and the vital role the country music community continues to play in advancing the St. Jude mission.
Urban has frequently participated in hospital visits, fundraising initiatives, and industry events that help raise awareness and critical funding for pediatric cancer research and treatment. He has been a dedicated supporter of St. Jude since the beginning of his career, participating in countless fundraising initiatives, benefit concerts, and special meet-and-greets for St. Jude patients. His support has helped raise awareness and critical funding for pediatric cancer research and treatment.
MusicRow Weekly (News, Charts, More)
/by Madison HahnenThis week’s edition of The MusicRow Weekly captures a season of reinvention and momentum across Nashville’s country music landscape. From major label rebrands and executive appointments to new publishing deals, venue launches and industry honors, the headlines reflect a town constantly evolving. Click here to see the full edition.
One of the biggest stories comes from HYBE AMERICA’s Nashville-based country, Americana and roots rock division, which has officially rebranded as Blue Highway Records, formerly BMLG. The move signals a new chapter for the powerhouse roster, which includes Thomas Rhett, Brett Young, Midland, Justin Moore, Carly Pearce, Preston Cooper, Jackson Dean and Mae Estes. The label also oversees distribution for Riley Green, Shaylen, The Band Perry and Greylan James under Nashville Harbor Records & Entertainment.
At the helm of the newly minted Blue Highway Records is industry veteran Jake Basden, who has been appointed Chief Executive Officer. The Valory Music Co. will fold into Blue Highway Records as part of the transition, further consolidating the operation’s artist-facing efforts, while Big Machine Music will remain under the HYBE AMERICA umbrella.
Meanwhile, Lower Broadway is preparing to welcome another artist-branded venue to its neon-lit strip. Kane Brown is partnering with Detroit-based Elia Group to open Kane Brown’s On Broadway this summer. The venue will take over the historic building that previously housed The Valentine.
On the publishing and label front, it was a week filled with fresh ink and forward motion. Mary Kutter has signed with BBR Music Group/BMG Nashville. Regan Rousseau has entered into a new agreement with Sony Music Publishing. In a joint venture move, Sony Music Publishing Nashville, alongside Kane Brown and Verse 2 Music, has signed singer-songwriter Jonny Capeci to a global publishing agreement.
Big Loud Publishing also made headlines with the additions of Matt McCartney and Max Martin to its roster. Jaron Boyer has signed a global exclusive publishing deal with Young Guns Publishing.
Ticketek Entertainment Group has appointed Brad Turcotte as Senior Vice President of Country at TEG Live.
Jelly Roll will receive this year’s Artist Humanitarian Award presented by Country Radio Broadcasters, an honor that acknowledges his charitable efforts and community impact alongside his chart success.
Finally, the Country Music Hall of Fame and Museum has announced a series of internal promotions across its guest relations, human resources and marketing teams. Maggie Banker has been elevated to Senior Director of Marketing, Meredith Rife to Associate Director of Social Media, Denise Alvis to Director of Human Resources and Nancy Cason to Associate Director of Guest Experience.
This week’s edition also features conversations with Concord’s Courtney Allen and Make Wake Artists’ Sophia Sansone.
In addition, the latest MusicRow CountryBreakout Radio Chart is included. Thomas Rhett and Jordan Davis remain in the No. 1 spot for the second consecutive week with “Ain’t A Bad Life.” Explore more chart data here.
The MusicRow Weekly is delivered every Friday, featuring Nashville’s top music industry news, exclusive interviews, song reviews, radio and songwriter charts and more. Sign up for free here.
Stagecoach Unveils Lineup For Diplo’s Honkytonk 2026
/by Madison HahnenStagecoach has revealed the lineup for this year’s Diplo‘s Honkytonk, now in its fourth year.
Alongside Diplo, performances will take place from, Dillstradamus (Dillon Francis + Flosstradamus), Emo Nite feat. Ashlee Simpson, Juicy J, Loud Luxury, Marshmello, DJ Pauly D, Rebecca Black, Theo Von b2b Caleb Pressley, Two Friends, Wuki, ADHD, Country Night, Disko Cowboy, Flying Mojito Bros, Scooter, Y.O.G.A., 30Rack, Bad Ash, Jeffro, Kevin Bolt, Kermie J Rock, Lauren, Shaddix, Slim McGraw and Rick.
The festival will feature headlining sets from Cody Johnson, Lainey Wilson, and Post Malone, as well as performances from Bailey Zimmerman, Riley Green, Brooks & Dunn, Ella Langley, Red Clay Strays, Journey, Hootie & the Blowfish, Pitbull, Little Big Town, and many more on April 24-26.
Industry Ink: Culture At Large, Guitar Center, Jerry Bridges, CMHOFM, More
/by Lauryn SinkStruggle Jennings, Yelawolf & Young Buck Featured On ‘Culture At Large’ Podcast
Pictured (L-R): Marcus K. Dowling, Struggle Jennings, Young Buck, Yelawolf. Photo: iamjohnjo
Marcus K. Dowling welcomed Nashville rappers Struggle Jennings, Yelawolf and Young Buck to his weekly podcast, Culture At Large. Taped at Nashville’s Anzie Blue in Hillsboro Village, the conversation is available now.
Sponsored by H Bar C, Vinyl Ranch, and Visit Music City, the next live taping will take place at Anzie Blue on February 23, with Craig Havighurst.
Guitar Center Named Official Music Gear Retailer & AV Integrator For New Nissan Stadium
Guitar Center has been named the Official Music Gear Retailer of the Tennessee Titans, and Audio Visual Design Group (AVDG), the company’s premium integration brand within Guitar Center Business Solutions, is an Official AV Integrator for the new Nissan Stadium.
As part of the partnership, Guitar Center’s live performance stage and community initiatives at Nissan Stadium are scheduled to debut in spring 2027.
“We’re evolving Guitar Center beyond just retail to playing an active role in music culture,” says Gabe Dalporto, CEO of Guitar Center. “Bringing our legendary gear and service into what will become a legendary venue for live music is a natural extension of that commitment.”
Jerry “Jigger” Bridges Honored By Alabama Music Hall Of Fame
Jerry “Jigger” Bridges.
The Alabama Music Hall of Fame recently unveiled a Bronze Star on the Walk of Fame for celebrated musician, producer, and songwriter Jerry “Jigger” Bridges.
Throughout his career, Bridges has performed or recorded with a a large roster of artists, including Willie Nelson, Kris Kristofferson, Johnny Cash, Jessie Colter, Shooter Jennings, Glen Campbell, George Jones, Hank Williams Jr., Buddy Holly’s Crickets, Chuck Berry, Johnny Rodriguez, John Anderson, Billy Joe Shaver, Harry Chapin, Gordon Lightfoot, and Tony Joe White.
He continues to write, produce and perform with Waymore’s Outlaws.
Haley Gallery to Present New Art Exhibition “Kalup Linzy: Chronicles. Interludes. Testaments”
The Haley Gallery at the Country Music Hall of Fame and Museum will present “Kalup Linzy: Chronicles. Interludes. Testaments.,” an art exhibition showcasing new works by video and performance artist Kalup Linzy. The exhibition is guest-curated by Paul Barrett.
The exhibition is free and open to the public, beginning the evening of March 19 and running through May 7. Core to the presentation are video works, including a piece that is held in the collections of the Metropolitan Museum of Art and the Whitney Museum of American Art. In conjunction with the exhibition, Linzy will debut a limited-edition vinyl pressing of the soundtrack to one of his videos, The Real Housewives in Tulsa.
Bailey Aldrich Elevated To Senior Marketing & Event Specialist at KHS America
Bailey Aldrich.
Bailey Aldrich has been elevated to Senior Marketing & Event Specialist At KHS America.
In her new position, Aldrich will lead content and advertising deployment for all KHS America brands, implement digital marketing strategies alongside the Educational Brand Management team, and direct the administrative operations of major trade shows and industry events.
“Since she started with KHS America, Bailey has consistently stood out for her exceptional initiative, organization, and team support,” says Ryan Rehnborg, Creative & Marketing Communications Manager. “She has already been performing all the functions of this expanded role since early last year. Our brands, events, and team members have benefitted greatly from her proactive, process-driven approach.”
Willie Nelson’s Luck Reunion In March Announces 2026 Lineup
/by Lorie HollabaughPhoto: Courtesy of Luck Reunion
The lineup has been announced for the 14th annual Luck Reunion at Willie Nelson’s famed “Luck, Texas” ranch on March 19.
The beloved annual musical event will feature over 45 performances from celebrated legends as well as rising talents in country, Americana, indie rock, folk and more, with performances from Willie Nelson and Family, St. Vincent, Lukas Nelson, Booker T. Jones, Trampled by Turtles, James McMurtry, Dale Watson, Joshua Ray Walker and many more, as well as some surprise special guests.
In addition to the lineup, Luck Reunion will also feature unique culinary experiences, local artisans and one-of-a-kind merchandise and talks, workshops, and interactive activities led by musicians, scientists and experts. The week’s events will also include Potluck on March 17, which serves as the official culinary kickoff to Luck Reunion. The 11th annual benefit brings together guests at Willie’s ranch for an intimate family-style dinner with ingredients from local family farms guided by Luck Chef Ambassador Michael Fojtasek, with participating chefs to be announced soon. Proceeds benefit the Luck Family Foundation, supporting food education, access and agricultural resilience through partnerships with organizations including Farm Aid and the Texas Food & Wine Alliance.
This year, Luck Presents is also hosting a special Todd Snider Rules! Tribute on March 20. This special show will be a multi-artist tribute to the beloved musician, held in partnership with Todd’s family to honor and celebrate the music of the songwriting visionary in the Texas Hill Country, where his ties run deep. The lineup of artists with links to Todd and his music will be announced soon, and a limited number of presale tickets will be available beginning today (Feb. 19).
“We’re thrilled to welcome our Luck Family back home to Willie’s backyard for another incredible year,” says Matt Bizer, CEO and Founder of Luck Presents. “Fourteen years in, Luck Reunion continues to be about bringing people together in meaningful ways. This year’s lineup beautifully represents that spirit, with legendary artists who’ve been part of our story from the beginning, new voices we’re excited to introduce to our community, and more than a few surprise guests that we can’t wait to reveal.”
Troy Vollhoffer Honored By TJ Martell Foundation At L.A. Wine Dinner
/by Lorie HollabaughMarc Reiter and Troy Vollhoffer
Troy Vollhoffer, President of Country Thunder Music Festivals, Big Valley Jamboree and Premier Global Productions, was honored by the TJ Martell Foundation on Jan. 28 at the organization’s annual Los Angeles Wine Dinner for his contributions toward finding a cure for cancer.
Vollhoffer, who served on the board of the TJ Martell Foundation, was recognized for his unwavering commitment to advancing the foundation’s mission. The event brought together philanthropists, music executives, and supporters of cancer research for a special evening of celebration. Vollhoffer was honored at the dinner alongside fellow honoree, Max Duley, Vice President of the V Foundation.
Raised in Regina, Saskatchewan, Vollhoffer went from working in his father’s local theater to spending more than a decade playing minor and junior professional hockey before using a Pittsburgh Penguins signing bonus to launch Premier Global Production, which supported major tours for Rod Stewart, Def Leppard, Metallica and more. In 2005, he took ownership of the longest-running music festival event in North America, leading it as the Craven Country Jamboree for twelve years before bringing it into the Country Thunder family in 2017.
During that time, he expanded the brand by acquiring Country Thunder Arizona and Wisconsin in 2009 and launching Country Thunder Alberta in 2016 and Country Thunder Florida in 2019, which will move to the beach for the first time in 2026—occupying the largest footprint of any Country Thunder festival and overlooking the crystal clear waters of The Gulf. His leadership has earned multiple ACM Festival of the Year honors, prestigious awards from the ACM and CCMA, and recognition on Billboard’s Touring Power Players list. A dedicated philanthropist and host of On the Bus with Troy Vollhoffer, he continues to shape the future of live music with the same passion that launched his career.
The Red Clay Strays Add Additional Tour Dates
/by Madison HahnenThe Red Clay Strays. Photo: Macie Coleman
The Red Clay Strays have added more dates to their 2026 tour schedule.
The newly included stops include Merriweather Post Pavilion on July 30, TD Garden on Aug. 1, and State Farm Arena on Nov. 13. Special guests on the new dates will include The Revivalists and Haley Reinhart (July 30, Aug. 1), as well as Travis Tritt and Brent Cobb (Nov. 13).
Diehard Strays Pre-sales begin Feb. 25 at 9:00 a.m. local time. Verified Strays Pre-sales follow on the same day at 12:00 p.m. local time. Strays Fanclub Presale starts Feb. 26 at 9:00 a.m. local time. Local/Ticket Platform/Promoter/ETC Pre-sales begin the same day at 12:00 p.m. local time. All remaining tickets go on sale to the general public on Feb. 27 at 9:00 a.m. local time.
This year’s headline run includes performances at Two Step Inn, Stagecoach, and Bourbon & Beyond, as well as headline shows at Madison Square Garden and Bridgestone Arena. Additionally, they will host The Red Clay Strays Fan Fest 2026, in Rexford, Montana on June 24-28.
The Red Clay Strays 2026 Tour Dates:
3/17 – Houston, TX – Houston Livestock Show & Rodeo
4/19 – Georgetown, TX – Two Step Inn †
4/24 – Indio, CA – Stagecoach †
5/1 – Memphis, TN – RiverBeat Music Festival
5/24 – Norfolk, VA – Patriotic Festival
6/13 – Columbus, OH – Buckeye Country Superfest †
6/24-28 – Rexford, MT – “The Red Clay Strays Fan Fest 2026” at Abayance Bay Marina
6/26 – Calgary, AB – Country Thunder Alberta †
7/11 – St. Paul, MN – Minnesota Country Club †
7/17 – Twin Lakes, WI – Country Thunder Wisconsin †
7/19 – Cheyenne, WY – Cheyenne Frontier Days
7/30 – Columbia, MD – Merriweather Post Pavilion *
8/1 – Boston, MA – TD Garden *
8/9 – New York, NY – Madison Square Garden **
8/15 – Des Moines, IA – Iowa State Fair Grandstand
9/6 – Aspen, CO – Jazz Aspen Snowmass Labor Day Experience †
9/26 – Louisville, KY – Bourbon & Beyond
10/22 – Nashville, TN – Bridgestone Arena ^
10/23 – Nashville, TN – Bridgestone Arena ^
11/13 – Atlanta, GA – State Farm Arena ^^
† Festival Appearance
* w/ Special Guests The Revivalists and Haley Reinhart
** w/ Special Guests The Revivalists and Brent Cobb
^ w/ Special Guests Sierra Ferrell and Brent Cobb
^^ w/ Special Guests Travis Tritt and Brent Cobb
JUST IN: ASCAP To Relocate Nashville Office To New Building
/by Lauryn SinkASCAP has spent more than 30 years in its current space. In addition to a more modern workspace and technology capabilities for the ASCAP membership and licensing teams in Nashville, the newly constructed ASCAP office will include upgraded writers’ rooms and an event space for member gatherings and performances.
“We have loved our time on Music Row, but as our office needs have evolved, we are excited to move into a space that will better serve our community of members and employees in an area of Nashville bustling with creative energy,” says ASCAP CEO Elizabeth Matthews.
“We are really looking forward to welcoming ASCAP members to our new Nashville home,” adds ASCAP VP of Nashville Membership Mike Sistad. “Music City is constantly expanding, and ASCAP’s new space will offer our members more opportunities to gather as a community.”
ASCAP recently completed the sale of the Music Row building to new owners but will remain in its current offices until May. After that, the team will move to temporary office space until the new space is complete.