JoJamie Hahr
The “My Music Row Story” weekly column features notable members of the Nashville music industry selected by the MusicRow editorial team. These individuals serve in key roles that help advance and promote the success of our industry. This column spotlights the invaluable people that keep the wheels rolling and the music playing.
JoJamie Hahr serves as Senior Vice President of BBR Music Group, where she guides and supervises day-to-day operations of the label group, its imprints and its roster of artists, including ACM Artist of the Decade Jason Aldean, as well as Dustin Lynch, Chase Rice, Craig Morgan, Blanco Brown, Jimmie Allen, Parmalee, Lainey Wilson, Jelly Roll and more.
Hahr began her career in radio in Florida before moving to Nashville to work in promotion at WSIX. Her career stops include time at MCA Records and the The Valory Music Company. BMG acquired BBR Music Group in 2017 and Hahr was promoted to Sr. VP of the label group in November of 2020.
Hahr will be honored as part of the current class of MusicRow’s Rising Women on the Row on Oct. 20. For more details about the class and the event, click here.
MusicRow: Where did you grow up?
I grew up in Inverness, Florida. It was a really small town in Citrus County, Florida that was about two hours from Orlando. I went to college in Orlando at the University of Central Florida.
Photo: Courtesy of Hahr
How did you start your career?
I went to college early. I was 17 and had done two years of dual enrollment in school. I was already taking PR and advertising classes for my major in my first semester. One day I was walking in the communications hall and saw a flyer. It said “If you love country music and want to have fun, call Mike Moore at K92 FM.” I called him and got an interview for an internship. I remember for two weeks leading into my internship interview, I wouldn’t let any of my friends change the radio station. I wanted to know everything that was going on and study.
My last day of my internship, I remember all day I was trying not to cry because I did not want to leave. I loved it so much. Mike called me into his office and he was like, “We’re able to hire you part-time, but we can only give you like six hours a week.” I just started bawling. He said it was the first time somebody has cried when he hired them, not fired them. [Laughs]
Those six hours went up to like 14 hours, then 16 hours and 20 hours. Throughout college it went up to 39 hours. They put me on the morning show when I was like 18 or 19. I was the events coordinator in the promotion department. I was working two other jobs and going to school full-time at the same time.
Did you know then that you wanted to stay in the music business?
Yes. I wasn’t one of those kids that wanted to be in the music business—I didn’t even know this existed growing up. It’s like the flyer said: “If you love country music and want to have fun…” I just fell in love with the business.
Photo: Courtesy of Hahr
How did you get to Nashville?
Mike Moore, who my story starts with, left and went to Hartford to be the program director. I stayed in Florida. We stayed really good friends because he’s really more like family to me. Right after Hartford, he went to WSIX in Nashville. He was asking me for months to come to Nashville. At the time, my family was all in Florida and I just wasn’t quite ready to leave.
The morning after a Tim McGraw concert in Orlando, I was the only person out in the garage and I was unloading the promotion truck. I thought, “It’s time for me to grow.” I called Mike from the garage and was like, “Hey, I’m ready to come.” That was May of 2003 and I was here by Memorial Day Weekend. I took over the promotion director job at 23.
What was next?
I was at WSIX for a little over a year and then Mike left again. He went to Portland, Oregon to be the program director there. By that point, I knew I wanted to be on the records side, probably as a regional promotion rep. I was meeting with people all over town to try to get my foot in the door at a label.
I met Jimmy Harnen and he gave me the best advice I’ve ever gotten. He said,”In your free time, sit and think about what you would do if you were a promotion rep at Broken Bow or MCA. Put together those ideas and start sending them to the VPs of the labels.” I was like, “I can’t do that. What if they think I’m stupid?” He said, “They’re not going to think you’re stupid. People see initiative or an idea much more than they see a resume. I’ll also look at your ideas before you send them out.” He was such a big mentor.
Scott Borchetta hired me at MCA as the promotion coordinator. I did that for almost two years. Then Jon Loba hired me to be promotion regional at Broken Bow. We had Craig Morgan, Megan Mullins and this new guy Jason Aldean, who nobody knew. Jason didn’t do a traditional radio tour, but he went and played full band shows for radio. I remember the first show I took him to, he played for three people in Alabama.
Photo: Courtesy of Hahr
Then you went to Big Machine.
I was at Broken Bow for two years as a regional and then Jon and I both left and went to Big Machine to help start The Valory Music Co. We were there the opening day in 2007. I was in southeast promotion and Jon was VP of Promotion. Three years into that, Jon left and came back to Broken Bow and opened all of BBR Music Group. I stayed another three years, so I was at Big Machine for six years. We started with Jewel and Justin Moore [on Valory] and then we signed Thomas Rhett and Brantley Gilbert.
What brought you back to BBR?
After my last part of my contract was up, I called Jon Loba and I called John Esposito in March. Espo didn’t have anything for me until October, and Jon created a VP of Promotion job for me, so I came back over here.
Now you’re Sr. VP of the label group. In your experience, how has the label changed over the years?
We have always felt like Broken Bow/BBR Music Group was the little label that could. We just kept chugging along. We have had so much heart. We have been that label, I hope, that has done well by everybody. We’ve made friends, we’ve built relationships. We haven’t always had the biggest artists. We’ve always had Jason and his trajectory has just been so big, but for a long time we were just known as the Jason label. Within the last two to three years, we feel so proud that we’ve also become the Jimmie Allen label, the Jelly Roll label, the Lainey Wilson and Blanco Brown label. On and on.
Photo: Courtesy of Hahr
How do you think you guys were able to grow like that?
We always go back to the artists. It’s about the artists that we’ve been able to sign and promote their work and vision. That also goes back to BMG acquiring us. We had a lot of heart and a lot of soul—we probably could have continued to chug along, but when BMG acquired us, it gave us resources and more global reach. It’s given us a diversity of resources which has led to a diversity of roster.
What was an early career moment you’ve had that you’ll always remember?
Jason was up for ACM’s New Male Vocalist and Craig Morgan was too. Benny Brown, our owner at the time, had paid for everybody at the label to have a ticket to go to the awards since it was our first nomination. Every single person. Our seats were literally the very last row all the way at the top, but we were so happy to be there. Jason won and I just remember everybody standing up and holding hands. It’s so cheesy, but I feel like that’s the epitome of Broken Bow. From then to now, I feel like we’re all still arm in arm.
Photo: Courtesy of Hahr
You will be honored at MusicRow’s Rising Women on the Row breakfast on Oct. 20. What is some advice you would give young women who are starting their careers?
Woman or a man, I go back to the advice that Jimmy Harnen gave me. Depending on the job you’re looking at wanting to do, don’t just send a resume and hope that someone sees you. Think as if you were doing that job and come up with ideas to present yourself in that way. Mine were silly radio promotion ideas that I was sending every week, and it took me about eight months to get noticed, but I persevered. I find that people, especially young people, are so worried about looking stupid. Luckily I’ve never cared about looking stupid. [Laughs]
What is your definition of success?
Happiness, passion, and excitement. We all get bogged down in the pattern of life, but if I ever get to a point where I’m not excited or I’m burned out, I don’t want to do this anymore. To me, my version of success would be being happy and excited still to come to work every day.
Thomas Rhett Pushes To No. 1 On MusicRow Radio Chart
/by Alex ParryWith 19 career No. 1’s under his belt, Thomas Rhett adds another MusicRow achievement to his list. “Half Of Me,” which features Riley Green, claims the top spot of the MusicRow CountryBreakout Radio Chart this week.
Rhett wrote the single with Rhett Akins, William Bundy and Josh Thompson. Rhett also earned a MusicRow No. 1 in August for his co-write on Cole Swindell’s “She Had Me At Heads Carolina.”
Rhett is currently on his headlining “Bring The Bar To You Tour” with Parker McCollum and Conner Smith through October. The tour was also extended to include 10 Canadian dates which will take place in February 2023. Jordan Davis and Kameron Marlowe will serve as support on the Canadian leg.
Click here to view the latest edition of The MusicRow Weekly containing the MusicRow CountryBreakout Radio Chart.
Musicians Hall Of Fame Founder Joe Chambers Passes
/by Robert K OermannJoe Chambers. Photo: Courtesy of Musicians Hall of Fame
Joe Chambers, who founded The Musicians Hall of Fame in downtown Nashville, died on Sept. 28.
Prior to becoming CEO of the multi-million-dollar museum, Chambers was a guitarist, record producer and songwriter on Music Row. The Georgia native arrived in Nashville in 1978 as a member of a rock band seeking recording opportunities. Producer Billy Sherrill and superstar Conway Twitty took him under their wings.
Sherrill became his mentor and tutor, allowing Chambers to shadow him in the recording studio. He also gave the guitarist a job at CBS Records and signed him as a staff songwriter for his publishing company.
As Chambers watched Sherrill conduct sessions for George Jones, Elvis Costello, Ray Charles, Marty Robbins, Tammy Wynette and others, he became fascinated by the skills of Nashville’s session musicians. They were the original basis of his museum dream.
Meanwhile, Chambers began to rack up credits as a songwriter. During the 1980s and 1990s, his songs were recorded by Twitty, Jones, Joe Diffie, Ronnie McDowell, Johnny Paycheck, Mel McDaniel, Lacy J. Dalton, The Bama Band, Terri Gibbs, Leon Everette, B.J. Thomas, Ken Mellons and others.
Among his notable copyrights are “I Meant Every Word He Said” (Ricky Van Shelton, 1990), “It’s Hard to Be the Dreamer (When I Used to Be the Dream)” (Donna Fargo, 1982), “Old 8×10” (Randy Travis, 1988), “Beneath a Painted Sky” (Tammy Wynette & Emmylou Harris, 1988) and “Somebody Lied” (Ricky Van Shelton, 1987).
In 1985, Joe Chambers opened Chambers Guitars. This soon expanded into a small chain of instrument stores. Through Chambers Guitars, he expanded his relationships with musicians of all genres and in all music capitals.
Around 1998, he began to explore the idea of creating a television special focused on the musicians who were behind hit songs. The TV show never happened, but Chambers held onto the idea of honoring musicians. He also began collecting artifacts from hit recording sessions.
In 2006, he opened The Musicians Hall of Fame in a former electronics business building on Sixth Avenue South. The 30,000-square-foot facility was unique in the world, and its annual awards galas were star-studded affairs.
But in 2009-10, Chambers became involved in a tangle with Metro government. The city seized his building to make way for the construction of The Music City Center, but did not offer him enough money to relocate it. He stored the artifacts, which were then damaged in the 2010 Nashville flood.
In 2013, the museum found a new home in the spacious old exhibit hall of Municipal Auditorium, which more than doubled its size. Various exhibit spaces are dedicated to The Wrecking Crew of Los Angeles, The Funk Brothers of Detroit, the Memphis Boys, the Swampers of Muscle Shoals, Nashville’s As-Team and the session players of New York, Miami, New Orleans and other music centers.
The Musicians Hall of Fame also houses an outpost of The Grammy Museum and the displays of the annual SOURCE honorees, women who helped to build Nashville’s music industry.
When Neil Young visited, he said, “If you want to see the hood ornaments on the car, go to the Rock & Roll Hall of Fame. If you want to see the engine, to see what makes it run, go to The Musicians Hall of Fame.”
Joe Chambers and his wife Linda dedicated their lives to the museum, personally funding it and working diligently to make it a part of Nashville’s hospitality industry. The building is visited by school groups, tourists, music-industry insiders and music fans from all over the world. It also hosts after-hours events for various Nashville businesses and convention groups. There is a YouTube channel devoted to it, too.
Joe Chambers passed away at Vanderbilt Hospital following an extended illness. A celebration of his life is being planned. Funeral arrangements have not been announced. In lieu of flowers, please donate to the Musicians Hall of Fame.
My Music Row Story: BBR Music Group’s JoJamie Hahr
/by LB CantrellJoJamie Hahr
JoJamie Hahr serves as Senior Vice President of BBR Music Group, where she guides and supervises day-to-day operations of the label group, its imprints and its roster of artists, including ACM Artist of the Decade Jason Aldean, as well as Dustin Lynch, Chase Rice, Craig Morgan, Blanco Brown, Jimmie Allen, Parmalee, Lainey Wilson, Jelly Roll and more.
Hahr began her career in radio in Florida before moving to Nashville to work in promotion at WSIX. Her career stops include time at MCA Records and the The Valory Music Company. BMG acquired BBR Music Group in 2017 and Hahr was promoted to Sr. VP of the label group in November of 2020.
Hahr will be honored as part of the current class of MusicRow’s Rising Women on the Row on Oct. 20. For more details about the class and the event, click here.
MusicRow: Where did you grow up?
I grew up in Inverness, Florida. It was a really small town in Citrus County, Florida that was about two hours from Orlando. I went to college in Orlando at the University of Central Florida.
Photo: Courtesy of Hahr
How did you start your career?
I went to college early. I was 17 and had done two years of dual enrollment in school. I was already taking PR and advertising classes for my major in my first semester. One day I was walking in the communications hall and saw a flyer. It said “If you love country music and want to have fun, call Mike Moore at K92 FM.” I called him and got an interview for an internship. I remember for two weeks leading into my internship interview, I wouldn’t let any of my friends change the radio station. I wanted to know everything that was going on and study.
My last day of my internship, I remember all day I was trying not to cry because I did not want to leave. I loved it so much. Mike called me into his office and he was like, “We’re able to hire you part-time, but we can only give you like six hours a week.” I just started bawling. He said it was the first time somebody has cried when he hired them, not fired them. [Laughs]
Those six hours went up to like 14 hours, then 16 hours and 20 hours. Throughout college it went up to 39 hours. They put me on the morning show when I was like 18 or 19. I was the events coordinator in the promotion department. I was working two other jobs and going to school full-time at the same time.
Did you know then that you wanted to stay in the music business?
Yes. I wasn’t one of those kids that wanted to be in the music business—I didn’t even know this existed growing up. It’s like the flyer said: “If you love country music and want to have fun…” I just fell in love with the business.
Photo: Courtesy of Hahr
How did you get to Nashville?
Mike Moore, who my story starts with, left and went to Hartford to be the program director. I stayed in Florida. We stayed really good friends because he’s really more like family to me. Right after Hartford, he went to WSIX in Nashville. He was asking me for months to come to Nashville. At the time, my family was all in Florida and I just wasn’t quite ready to leave.
The morning after a Tim McGraw concert in Orlando, I was the only person out in the garage and I was unloading the promotion truck. I thought, “It’s time for me to grow.” I called Mike from the garage and was like, “Hey, I’m ready to come.” That was May of 2003 and I was here by Memorial Day Weekend. I took over the promotion director job at 23.
What was next?
I was at WSIX for a little over a year and then Mike left again. He went to Portland, Oregon to be the program director there. By that point, I knew I wanted to be on the records side, probably as a regional promotion rep. I was meeting with people all over town to try to get my foot in the door at a label.
I met Jimmy Harnen and he gave me the best advice I’ve ever gotten. He said,”In your free time, sit and think about what you would do if you were a promotion rep at Broken Bow or MCA. Put together those ideas and start sending them to the VPs of the labels.” I was like, “I can’t do that. What if they think I’m stupid?” He said, “They’re not going to think you’re stupid. People see initiative or an idea much more than they see a resume. I’ll also look at your ideas before you send them out.” He was such a big mentor.
Scott Borchetta hired me at MCA as the promotion coordinator. I did that for almost two years. Then Jon Loba hired me to be promotion regional at Broken Bow. We had Craig Morgan, Megan Mullins and this new guy Jason Aldean, who nobody knew. Jason didn’t do a traditional radio tour, but he went and played full band shows for radio. I remember the first show I took him to, he played for three people in Alabama.
Photo: Courtesy of Hahr
Then you went to Big Machine.
I was at Broken Bow for two years as a regional and then Jon and I both left and went to Big Machine to help start The Valory Music Co. We were there the opening day in 2007. I was in southeast promotion and Jon was VP of Promotion. Three years into that, Jon left and came back to Broken Bow and opened all of BBR Music Group. I stayed another three years, so I was at Big Machine for six years. We started with Jewel and Justin Moore [on Valory] and then we signed Thomas Rhett and Brantley Gilbert.
What brought you back to BBR?
After my last part of my contract was up, I called Jon Loba and I called John Esposito in March. Espo didn’t have anything for me until October, and Jon created a VP of Promotion job for me, so I came back over here.
Now you’re Sr. VP of the label group. In your experience, how has the label changed over the years?
We have always felt like Broken Bow/BBR Music Group was the little label that could. We just kept chugging along. We have had so much heart. We have been that label, I hope, that has done well by everybody. We’ve made friends, we’ve built relationships. We haven’t always had the biggest artists. We’ve always had Jason and his trajectory has just been so big, but for a long time we were just known as the Jason label. Within the last two to three years, we feel so proud that we’ve also become the Jimmie Allen label, the Jelly Roll label, the Lainey Wilson and Blanco Brown label. On and on.
Photo: Courtesy of Hahr
How do you think you guys were able to grow like that?
We always go back to the artists. It’s about the artists that we’ve been able to sign and promote their work and vision. That also goes back to BMG acquiring us. We had a lot of heart and a lot of soul—we probably could have continued to chug along, but when BMG acquired us, it gave us resources and more global reach. It’s given us a diversity of resources which has led to a diversity of roster.
What was an early career moment you’ve had that you’ll always remember?
Jason was up for ACM’s New Male Vocalist and Craig Morgan was too. Benny Brown, our owner at the time, had paid for everybody at the label to have a ticket to go to the awards since it was our first nomination. Every single person. Our seats were literally the very last row all the way at the top, but we were so happy to be there. Jason won and I just remember everybody standing up and holding hands. It’s so cheesy, but I feel like that’s the epitome of Broken Bow. From then to now, I feel like we’re all still arm in arm.
Photo: Courtesy of Hahr
You will be honored at MusicRow’s Rising Women on the Row breakfast on Oct. 20. What is some advice you would give young women who are starting their careers?
Woman or a man, I go back to the advice that Jimmy Harnen gave me. Depending on the job you’re looking at wanting to do, don’t just send a resume and hope that someone sees you. Think as if you were doing that job and come up with ideas to present yourself in that way. Mine were silly radio promotion ideas that I was sending every week, and it took me about eight months to get noticed, but I persevered. I find that people, especially young people, are so worried about looking stupid. Luckily I’ve never cared about looking stupid. [Laughs]
What is your definition of success?
Happiness, passion, and excitement. We all get bogged down in the pattern of life, but if I ever get to a point where I’m not excited or I’m burned out, I don’t want to do this anymore. To me, my version of success would be being happy and excited still to come to work every day.
Parker McCollum To Return To RodeoHouston Stage In 2023
/by Lydia FarthingThe Houston Livestock Show and Rodeo has unveiled special plans for Opening Day, presented by Texas Capital Bank, as rising singer-songwriter and Texas native Parker McCollum will make his return to RodeoHouston on Tuesday, Feb. 28.
McCollum became a RodeoHouston fan-favorite after performing for a crowd of 73,243, the fourth highest paid rodeo/concert attendance in 2022. Individual tickets for McCollum’s performance will go on sale to the public Oct. 6 at 10 a.m. at rodeohouston.com.
The Rodeo will host a special Opening Day celebration that will include a performance by a local band on the Stars Over Texas Stage, presented by Phillips 66, and closing out with McCollum performing on the RodeoHouston stage. Special giveaways will include 10,000 custom-made Howdy bobbleheads for early arrivers, and a variety of activities planned throughout the day, including an Opening Day Parade on the grounds of NRG Park.
“Everyone looks forward to the upcoming Rodeo season all year long, and we hope all Rodeo fans will circle Opening Day on their 2023 calendars, as this will be a day you won’t want to miss,” says Chris Boleman, Rodeo President and CEO. “Feb. 28 will truly be a Houston-themed celebration, as we kick off the 2023 Rodeo season with Houston’s-own country music star Parker McCollum closing out the day with another unforgettable RodeoHouston performance.”
“At Texas Capital Bank, we are very excited to sponsor Opening Day of the Houston Livestock Show and Rodeo on Feb. 28, and are looking forward to seeing everyone there,” adds President and CEO of Texas Capital Bank Rob C. Holmes. “Our partnership with the Rodeo is very important to us, as we share a true alignment of values. We believe that education is the key to a lifetime of success, and we are proud to partner with this outstanding organization on its educational programs, which offer scholarships for students to attend college.”
The 2023 Houston Livestock Show and Rodeo is scheduled for Feb. 28–March 19. The remaining 2023 RodeoHouston entertainer lineup, additional plans and the Opening Day schedule will be announced at a later date.
Ben Burgess Wades Into The Artist Waters With Debut Album, ‘Tears The Size Of Texas’ [Interview]
/by Lydia FarthingBen Burgess. Photo: Robby Klein
Ben Burgess has spent the last dozen years crafting beloved songs in country music and beyond, including the 7x Platinum, 2020 BMI Country Song of the Year “Whiskey Glasses” recorded by Morgan Wallen.
A Texas native, he was raised in a musical household before setting out for Los Angeles. During his four year stint in LA, he penned songs for the Jonas Brothers, Lil Wayne, Martin Garrix & Troye Sivan, and more.
“I got to sit down with a bunch of professional producers and songwriters that made their living crafting songs. It was really the first time I had gotten to sit down with a bunch of strangers that were professional songwriters and get to learn from them and find my voice,” Burgess shares with MusicRow. “I wouldn’t trade my time in LA for anything, even though it kicked my ass,” he adds with a laugh.
Ben Burgess. Photo: Chris Hornbuckle
However, that time in California surrounded by the pop music world eventually drove him back to his roots and to the importance of the song, pushing him to make the move to Music City around 2014.
“I feel like a lot of pop music and pop languages are just conversational words, they’re not as poetic and story forward. That’s really what I think drove me back,” he offers. “Sometimes you have to get away from home to realize where home is.”
And that he has.
Since landing in Nashville, Burgess has put his name on songs such as “Flower Shops” (Ernest feat. Morgan Wallen), “The Difference” (Tyler Rich), “Signed, Sober You” (Hardy) and “My Religion” (Dierks Bentley), while also nabbing cuts with Billy Currington, The Cadillac Three, Chris Lane, Florida Georgia Line and more.
Now, after years of grinding it out and writing for as many people as he could, Burgess has finally decided to take a step into the spotlight with the release of his debut album, Tears the Size of Texas, out this Friday (Sept. 30) via Big Loud Records.
“Half of them were basically greatest hits that nobody ever picked up, and then the others were songs we wrote once I knew that I was going to be able to actually use my own voice to tell my story,” Burgess explains. ”If I’m being honest, I’ve always wanted [to be an artist]. It was just a matter of time.
“As soon as Joey [Moi] asked if I wanted to do a record deal, I was like, ‘I’ve been wanting to, bro!’” he adds cheekily. “By the time he asked, I said yes before he even finished.”
Tears the Size of Texas finds Burgess, who is unsurprisingly credited on each of its tracks, teaming up with some of Nashville’s many talented wordsmiths, including Ashley Gorley, Jessie Jo Dillon, Jesse Frasure, Hunter Phelps, Brandy Clark, Randy Montana, Chris LaCorte, Kevin Kadish and more, with all but one track produced by Moi.
The project’s singular outlier, produced by Burgess, can be heard in “Ain’t Got No Phone.” A special track that the singer-songwriter penned on his own, the tune speaks to the all too familiar experience of losing someone dear. “Everybody I know has lost somebody, and it helps me in my healing process to hear. I’m hoping that it’ll help other people in their healing process, too,” he notes.
Paying homage to his late grandfather whom he never got to meet, the album maintains an unapologetic, neo-traditional country sound many years in the making. With an earthy grit that can be heard in “When We Die,” the comforting “Heartbreak,” the swaying title track and the love-scorned “Started A Band,” Tears the Size of Texas features plenty of guitar plucking and neon, Texas-tinged influences.
A songwriter at his core, Burgess is the first to express his thanks to the Nashville community for this debut project’s long and winding journey.
“The songwriters and producers are the backbone to this project—everybody that I’ve written with on songs that made the album, and then everybody on the songs that didn’t make it. The Nashville songwriting community are the people that have kept me afloat in this town.” He puts simply, “There’s no other community like it. It’s so special and, to me, it’s all about the songwriters.”
Ben Burgess. Photo: Chris Hornbuckle
As he looks ahead to the project’s release, Burgess dedicates Tears the Size of Texas to everybody with a dream who came to Nashville to chase it. Hoping to lead by example, his wish is that its ten tracks add some extra kindling to people’s fires and some more diesel to their tanks.
“I hope this album conveys that through perseverance, honesty, self-reflection, sheer will and badass-ness, all your dreams can come true,” Burgess shares. “On all these songs, there’s a bunch of honesty and creativity, and I’m hoping that it can inspire the next generation of songwriters and artists.”
He sums, “Ever since I moved here, I’ve wanted to make an impact on Music Row. I feel like I have as a songwriter. Now I have the opportunity to do it as an artist and I’m feeling really lucky.”
Burgess’ debut album, Tears the Size of Texas, is available everywhere tomorrow.
DISClaimer Single Reviews: Little Big Town Give Yet Another ‘Exquisite Performance’
/by Robert K OermannFall is in the air in Music City, and with the new season comes a flood of new country sounds.
Leading the charge today is Little Big Town with what is surely their umpteenth Disc of the Day winner, “Three Whiskeys and the Truth.”
Galloping right along are Breland, Randy Houser. Ashley McBryde and the new collab by Joy Oladokun and Chris Stapleton. Happy listening while the leaves tumble down.
DAILEY & VINCENT / “I’ll Leave My Heart in Tennessee”
Writer: Karen Staley; Producer: Paul Worley; Label: BMG
–The bluegrass superstars jog into the country idiom with their just released Let’s Sing Some Country collection. Its lead single has already been voted a state song by the legislature. It’s a lilting ballad with lotsa sentiment about the Volunteer State. And no matter what genre you call them, these guys are sensational vocalists.
SHANIA TWAIN / “Waking Up Dreaming”
Writers: David Stewart/Jessica Agombar/Shania Twain; Producer: David Stewart; Label: Republic
–Shania’s comeback single is pop, pop, pop all the way. It’s also an ultra cute and catchy dance bopper. And I dig her singing nowadays in a lower, huskier register.
DALTON DOVER / “Damn Good Life”
Writers: Dalton Dover/Alex Maxwell/Jaxson Free; Producer: Matthew McVaney; Label: Droptine
–This time around, the promising country youngster adopts some hip-hoppy rhythm touches. The bouncy song’s lyric is a classic country message: Money can’t buy happiness. It’s pleasant, but he has done better.
NATE SMITH / “I Found You”
Writers: Chris Gelbuda/Kyle Schlienger/Nate Smith; Producers: Lindsay Rimes; Label: Sony
–He sings with so much passion. This torrid power ballad is yet another showcase for his vocal gift. Get on board.
LITTLE BIG TOWN / “Three Whiskeys and the Truth”
Writers: Karen Fairchild/Kimberly Schlapman/Hillary Lindsey/Lori McKenna/Liz Rose; Producer: Little Big Town; Label: Capitol
–Are there any finer harmony vocalists in contemporary country music than these four? This is an exquisite performance, with their brilliant voices bathed by echo, heartbeat percussion and twanging guitar. I got lost in it. You will too.
JOY OLADOKUN & CHRIS STAPLETON / “Sweet Symphony”
Writers: Joy Oladdkun/Ian Fitchuk/Shae Jacobs; Producers: Joy Oladokun/Mike Elizondo/Ian Fitchuk; Label: Amigo/Verve Forecast/Republic
–Joy’s folkie, conversational singing style blends beautifully with Chris’s blue-eyed soul emoting on this deliciously romantic ballad. And the warm, enveloping production supports both vocalists at every turn. Essential listening.
ASHLEY McBRYDE / “Straight Tequila Night”
Writers: Debbie Hupp/Kent Robbins; Producers: Dan Auerbach/David Ferguson; Label: Easy Eye/Concord
–Something Borrowed, Something New: A Tribute to John Anderson is an album that should be on everybody’s playlist. Eric Church, Brothers Osborne, John Prine, Jamey Johnson, Sturgill Simpson, Luke Combs and more all take a swing at Anderson’s fabulous song catalog. Ashley McBryde is perfect for this iconic song, and her performance strongly suggests that it would be an excellent addition to the female-country repertoire.
BRELAND / “For What It’s Worth”
Writers: Daniel Breland/Greylan James/Jacob Durrett/Rocky Block; Producers: Sam Sumser/Sean Small/Jacob Durrett; Label: Bad Realm/Atlantic/Warner
–Enchanting. His tender-hearted tenor cracks and breaks sweetly as he looks over a failed relationship with regret and enduring love. Absolutely radio ready.
RANDY HOUSER / “Rub a Little Dirt on It”
Writers: Randy Houser/Jeff Hyde/Ryann Tyndell; Producers: Randy Houser/Blake Chancey; Label: Magnolia Music Group
–Steel guitar and dobro swirl and twirl while this master stylist unspools life lessons learned from daddy, football, fishing, beer and the natural environment. Country music as it was meant to be.
JULIE ROBERTS & JAMEY JOHNSON / “Music City’s Killing Me”
Writer: Ray LaMontagne; Producer: Shooter Jennings; Label: ONErpm
–Roberts is bluesy and drawling on this mid-tempo moaner while sighing strings drag slowly by. Johnson is resigned and weary on his verses. Singing together, they blend warmly in a dual ache.
TYLER HUBBARD / “Inside and Out”
Writers: Tyler Hubbard/Jordan Schmidt/Trevor Rosen/Brad Tursi; Producers: Tyler Hubbard/Jordan Schmidt; Label: EMI
–It’s a pretty simple message: You’re so beautiful. The end.
ALEXANDER LUDWIG / “Faded on Me”
Writers: Ross Copperman/Jon Nite/Josh Osborne; Producers: Kurt Allison/Tully Kennedy; Label: BBR/BMG
–Recommended. Rocking and stomping, it’s an ode to being a good ol’ boy. Canadian Ludwig is also a TV and movie actor of note.
Alan Jackson To Be Honored As CMT Artist Of A Lifetime
/by Lorie HollabaughAlan Jackson. Photo: David McClister
Alan Jackson will be honored with the Artist of a Lifetime award at CMT’s 2022 Artists of the Year celebration.
The superstar will be celebrated by his peers for a remarkable career spanning more than three decades during the show, and joins the ranks of previous recipients Randy Travis, Reba McEntire, Loretta Lynn, Shania Twain, Kenny Rogers and Merle Haggard.
“We’re honored to recognize the incomparable Alan Jackson as this year’s CMT Artist of a Lifetime. For more than 30 years, his traditional sound, iconic voice and beloved catalog of music has captivated audiences across the globe and his talent as a recording artist and songwriter are simply unmatched,” CMT producers share.
Jackson has a long history with CMT, including releasing nearly 60 iconic videos, two of which were honored as the CMA Video of the Year (“Chattahoochee” and “Midnight in Montgomery”), another as the ACM Video of the Year (“Drive (For Daddy Gene)”). He was also honored as a CMT Giant in 2008, and received the inaugural Impact Award at the 2014 CMT Music Awards. Jackson has also ranked at the top of both CMT’s 40 Greatest Songs of the Decade and the fan-voted 20 Greatest Men in Country Music lists.
The 2022 CMT Artists of the Year special will also showcase previously announced honorees Carly Pearce, Cody Johnson, Kane Brown, Luke Combs and Walker Hayes. The program will air as a 90-minute special on the network, premiering Oct. 14 at 8 p.m. CT.
Erin Kinsey Signs With Triple 8 Management
/by Lorie HollabaughPictured (L-R): George Couri, Erin Kinsey, Rachelle Rountree. Photo: Robby Stevens
Records/Columbia Nashville rising singer-songwriter Erin Kinsey has signed with Triple 8 Management.
A Texas native, Kinsey drove a U-Haul to Nashville the morning after graduating high school. Originally gaining traction with covers, she offered her first taste of original music with “Drunk Too” in early 2020. Her next original, “Just Drive,” prompted SiriusXM’s The Highway to add the song to their On The Horizon show. Additionally, CMT premiered the video for the new track “Hate This Hometown” from her major label debut EP 40 East, out now.
Kinsey made her Grand Ole Opry debut in April, and has performed at Faster Horses, Watershed, and Tidalwave festivals this past summer.
“Erin is our first female country signing, and she is already one of this year’s biggest breakout new country artists with over 60 million streams, 215,000 followers on TikTok, and 122,000 Instagram followers,” shares Triple 8 owner George Couri. “At 21 she already knows who she is, and her confidence and vocal power on stage is already as good as we could have hoped for.”
3rd Annual Handwritten Song Lyrics Auction Set For October 1
/by Lorie HollabaughPictured (L-R): Handwritten lyrics of Miranda Lambert’s “If I Was a Cowboy;” Pat Monahan of Train, “Drops of Jupiter” on a stage-played Remo Emperor drumhead signed by all band members; handwritten lyrics of ZZ Top’s “Sharp Dressed Man.”
The third annual online charity auction of Handwritten Song Lyrics Benefitting Music Health Alliance by Julien’s Auctions is set to start Oct. 1.
Kelsea Ballerini’s “Peter Pan” on Epiphone acoustic guitar
Among the highlights available for bid are lyrics to Kelsea Ballerini’s “Peter Pan” written on an Epiphone Acoustic Guitar; Pat Monahan of Train‘s “Drops of Jupiter” written on a stage-played Remo Emperor drumhead signed by all band members; ZZ Top’s “Sharp Dressed Man;” Jason Aldean and Carrie Underwood’s “If I Didn’t Love You;” Kenny Rogers’ “Twenty Years Ago;” Peter Frampton’s “Do You Feel Like I Do;” Martina McBride’s “Concrete Angel;” Blake Shelton’s “God’s Country;” and Walker Hayes’ “Fancy Like.”
Michael Martin Murphey, Reba McEntire, Florida Georgia Line, Little Big Town, George Strait, Vince Gill, Miranda Lambert, Dierks Bentley, Amy Grant, and more have also offered up handwritten lyrics of their biggest hits to support the music community through the auction event.
The auction will take place exclusively at juliensauctions
IBMA Reveals 2022 Momentum Awards Recipients
/by Lorie HollabaughThe International Bluegrass Music Association (IBMA) has announced its 2022 Momentum Awards winners, honored as part of this week’s IBMA World of Bluegrass.
The Momentum Awards focus on artists and industry professionals who are in the early stages of their bluegrass careers. Four performance awards are given: one for Band and Vocalist, and two for Instrumentalist, with two more awards recognizing industry achievements for Industry Involvement and Mentor.
Nominees and recipients are selected by a committee, and with the exception of the Mentor category, anyone previously nominated for an IBMA Music or Industry Award may not be considered for a Momentum Award.
The 2022 Momentum Awards recipients:
Industry Involvement: Lillian Werbin
Mentor (Award Sponsor: Rounder Records): Kimber Ludiker
Instrumentalists (Award Sponsor: Pre-War Guitars Company): George Jackson & Harry Clark
Vocalist: Rebekka Nilsson
Band (Award Sponsor: Bluegrass Country Radio): Full Cord