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Little Big Town, Opry Entertainment To Reveal Second Curated Collection June 8

Opry Entertainment and Opry member group Little Big Town are teaming up during CMA Music Festival this week for “Day Drinking Day” to introduce fans to the second of four exclusive band-curated merchandise collections, “Why Don’t We Do A Little Day Drinking?” The collection launches Thursday, June 8.

The collection is the second offering from Little Big Town and Opry Entertainment, which announced their initial Boondocks collection with a celebration at the Grand Ole Opry in April. The “Why Don’t We Do A Little Day Drinking?” collection, inspired by Little Big Town’s 2014 chart-topping hit, will include drinkware, beach towels, T-shirts, and more.  The collection will be available at Opry Entertainment websites including ryman.com and opry.com, and in the Opry Entertainment retail stores in Nashville.

As part of the launch, Opry Entertainment’s retail store The Nashville Collection, located adjacent to the Wildhorse Saloon on Second Avenue, will be transformed to the Little Big Town Pop-Up Shop featuring collections inspired by Little Big Town’s hits “Day Drinking” and “Boondocks” as well as other collections from the band including Kimberly Schlapman’s Love & Daisies kitchen line and the Fair Child clothing line from Karen Fairchild. The fun will continue two blocks over on the Ryman Auditorium Plaza with a “Day Drinking Day” bar featuring signature cocktails created by and named after the group’s members Jimi, Karen, Kimberly, and Phillip.

The day begins at 9 a.m. at Ryman Auditorium’s Café Lula with a Kegs and Eggs breakfast featuring a breakfast special including draft beer. The band is scheduled to appear on SiriusXM’s “Music Row Happy Hour” at 12:30 p.m. before signing merchandise from the new collection at the group’s pop-up shop from 2 – 4 p.m.

 

Bobby Bones Nominated For Induction Into National Radio Hall Of Fame

Bobby Bones

Bobby Bones, host of iHeartMedia’s The Bobby Bones Show, is a nominee for induction into the National Radio Hall Of Fame. Bones is one of four nominees in the Music Format On-Air Personality category, which will be voted on by radio listeners. Bones is the youngest-ever nominee for induction into the National Radio Hall Of Fame and the category’s only nominee in the country format.

Voting is open now, and starting today through June 19, listeners nationwide can vote for Bones by texting ’10′ to ‘49400,’ with one vote permitted per number. Votes may also be received at radiovote.com, where a listener can also cast just one vote per email address.

After landing his first radio gig in his home state of Arkansas at age 17, Bones launched his Bobby Bones Show in Austin, where it quickly established itself as the city’s top-rated morning show. Since moving to Nashville in 2012, the show has become a nationally-syndicated program with 100+ affiliates, and Bones has developed a loyal audience of more than five million listeners weekly. Bones also was named ACM National On-Air Personality of the Year in 2014 and 2016, following multiple honors at the Austin Music Awards, including Best Radio Personality and Best Radio Program.

Luke Combs Makes Waves With “Hurricane”-Strength Debut Album ‘This One’s For You’

For being one of Nashville’s hottest new chart–toppers, Columbia Nashville artist Luke Combs signed his major label deal in September 2016 in a decidedly old-school way—via fax machine while on the road in Montana.

Still, for Combs it was another milestone in a career that has taken him from playing in bars and clubs around North Carolina to opening arena shows for Brantley Gilbert.

“We weren’t even going to try to go to radio with the album, originally,” Combs tells MusicRow. “We were just going to put it out and try to sell 5,000 copies. So during that time I was on the road doing shows and the song was selling. Next thing I know, I have five major label deals on the table.”

Since signing with Columbia Nashville, the buzz surrounding Combs and his debut single “Hurricane” has become gale force. “Hurricane” spent two weeks atop the country radio chart, and has crossed the platinum sales mark.

Luke Combs. Photo: Matthew Berinato

The track anchors his debut album This One’s For You, which releases today (June 2). The North Carolina native takes pride in co-writing all 12 tracks on his debut album.

“It’s a huge point of pride for me. I love that I write my own stuff,” Combs says, with a nod to one of his influences. “That’s the kind of thing I’ve always liked about Eric Church. Outside of ‘Like Jesus Does,’ that’s about the only tune that he hasn’t written that he put out. I’m not opposed to cutting a great song. I write so much—and I’m so in love with some of the stuff that I write—that I would rather put it out, so people know I’m saying it to them directly.”

“Hurricane” may have blown onto the country charts like a Category 5, but the song had a long road from creation to radio hit. Combs penned “Hurricane” in November 2014, with Thomas Archer and Taylor Phillips.

“I had the idea ‘Hurricane’ and had no idea what it meant, and even to this day I have no idea why it was in there. I think at the time, Dustin Lynch had a song on his album called ‘Hurricane,’ so I thought at the time, ‘I don’t know if I want to write this.’ But we got to talking about how a buddy of Taylor’s who had broken up with somebody and didn’t want to run into her at the bars. We tried to tie that idea to the title ‘Hurricane.’ I don’t think we knew we had written a hit that day, but we know it now.”

Before Lynn Oliver-Cline signed Combs to a deal with her newly-established River House Artists last year, she noticed this DIY artist with a passionate delivery and songwriting chops was gaining steam with fans.

“The first time I looked him up on the Buzz Angle Music chart, he was a few thousand streams in on ‘Hurricane’ and it was 100 percent on demand. It wasn’t on a single playlist, there was nothing. I may have even called their office to say, ‘Are you sure?’ Because it was 100 percent people looking for him directly, which is not the norm. The numbers were there so it made it an even easier decision for me.”

Pictured (L -R): John Zarling – EVP Marketing & New Business, Sony Music Nashville; Chris Kappy – Make Wake Management; Luke Combs; Randy Goodman – Chairman & CEO, Sony Music Nashville; Ken Robold – EVP & COO, Sony Music Nashville; Lynn Oliver-Cline – Founder & CEO, River House Artists

Oliver-Cline established a solid history of working with self-made artists, beginning in 2007 when she began working with Zac Brown Band’s management company ROAR, serving as day-to-day manager for the group. She was later named VP of Publishing and A&R for Southern Ground Artists, before joining Thirty Tigers to spearhead marketing efforts for artists including Lucinda Williams and Jason Isbell.

She was first introduced to Combs through her longtime friend, Chris Kappy, who worked for Sixthman Cruises for more than a decade before moving to Nashville to manage Combs. Combs and Oliver-Cline met approximately 18 months ago in what he thought would be a brief meeting to gain industry advice and let her hear his music. Shortly after, she offered him a label deal with River House Artists.

The six songs Combs played for Oliver-Cline essentially became the first half of This One’s For You.

“He had this raw vocal and passionate delivery. I thought, ‘He really has something there,’” Oliver-Cline recalls of first hearing Combs. “With River House, I was able to offer him creative freedom and a partnership, which I think is appealing when you have an artist that is very DIY.”

This One’s For You also highlights the fruits of Combs’ longtime collaboration with songwriter Ray Fulcher. Combs estimates he and Fulcher have penned 50 songs together, eight of which made it onto his new album.

“He knows where I’m going and I know where he’s going, so we can both kind of anticipate what we are trying to say. A lot of songs are similarly themed, but when we wrote ‘When It Rains It Pours,’ it was trying to find these little relatable things that nobody has said before and we are both pretty good at that.”

Lynn Oliver-Cline

Oliver-Cline also signed Fulcher to River House’s publishing arm. “Starting a publishing company has been my dream since 2004,” she says. “Here we are 13 years later. I think because of the time I spent with Zac Brown and Wyatt Durrette, who had a great writing relationship during the first ZBB records, I saw that bond and I saw the same thing with Ray and Luke.”

With a No. 1 single under his belt, an album topping the iTunes Country chart, and a new single to be released soon, Combs is focused on a string of upcoming performances. He will make appearances at the CMT Music Awards, Bonnaroo Music & Arts Festival, and the CMA Music Festival, and will be on the road with Brantley Gilbert through September.

Along the way, Combs has gleaned advice and wisdom from his fellow artists, such as tourmate Gilbert.

“He told me to care about the music and the fans above everything else. They are the ones that got me here,” Combs says.

Combs has done that, in a very public way—by dedicating the title track of his debut album to those who have championed him, from the writing rooms and tiny bars, to arenas and the top of the charts.

This One’s For You Track Listing

1. Out There
Luke Combs, James McNair, Ray Fulcher, Jacob Bryant
2. Memories Are Made Of
Luke Combs, Ray Fulcher, Cody Webb
3. Lonely One
Luke Combs, Drew Parker, Erin Ashley O’Keefe
4. Beer Can
Luke Combs, James McNair, Ray Fulcher
5. Hurricane
Luke Combs, Thomas Archer, Taylor Phillips
6. One Number Away
Luke Combs, Robert Williford, Sammy Mitchell, Steven Andre Battey
7. Don’t Tempt Me
Luke Combs, Robert Williford, Joseph Michael Costa
8. When It Rains It Pours
Luke Combs, Ray Fulcher, Jordan Walker
9. This One’s For You
Luke Comb, Ray Fulcher, Pat Cooper
10. Be Careful What You Wish For
Luke Combs, Rob Crosby, Ray Fulcher
11. I Got Away With You
Luke Combs, Ray Fulcher, Tyler Reeve
12. Honky Tonk Highway
Luke Combs, Ray Fulcher, Rob Crosby

Weekly Chart Report 6/2/17

DISClaimer: Glen Campbell, Beyond The Sun, Harper Grae Offer Summery New Tracks

There is something kinda breezy and summery about this week’s stack of platters.

The numbers by Derek Johnson, The Pistol Annies, Brantley Gilbert and Hadley Park all have this open-air vibe.

So do the sounds of our three award winners. Glen Campbell wins the Disc of the Day award with his wafting remake of “Everybody’s Talkin.’ Locked in a tie for the DisCovery Award are the equally breezy Beyond the Sun and Harper Grae.

BEYOND THE SUN/Cruisin’ ‘Round Town
Writers: Colin Radu/Phil Radu/Dalton Radu; Producer: Dalton Radu; Publishers: none listed; BMI; BTS
– This is a Canadian brother trio. Their debut single is a summertime, bob-that-head, anthem. It is also super tuneful and wildly addictive. The bro’s have recently moved to Music City. If the rest of their songs are this good, roll out a great big welcome mat.

GLEN CAMPBELL/Everybody’s Talkin’
Writers: Fred Neil; Producer: Carl Jackson; Publishers: none listed; UMe
– Let’s face it: the Nilsson 1969 original hit with this sounded exactly like a Glen Campbell record. So it goes without saying that song fits Glen like a glove. His flawless performance is matched by a production by his former sideman Carl Jackson that places every note from every instrument in exactly the right place. Daughter Ashley Campbell’s banjo notes ripple through the entire thing beautifully. This is the lead track of a fantastic collection titled Adios. It will be released a week from Friday during CMA Fest as the final album from this legendary artist.

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BEN BOSTICK/Independence Day Eve
Writers: Ben Bostick; Producer: John Would/Ben Bostick; Publishers: none listed; Simply Fantastic
– Bostick makes a good living busking on the Santa Monica Pier. He describes himself as an “outsider” country artist. His upcoming full-length CD debut leads off with this stately ballad of alienation. Urgent sounding.

TIM BENNETT/As Long As You’re Buying
Writer: Tim Bennett; Producer: Tim Bennett; Publishers: Big Sky, ASCAP; Sandy Beach
– The band sounds like a group of amateurs. His singing voice is weak, at best.

BRANTLEY GILBERT/The Ones That Like Me
Writers: none listed; Producer: none listed; Publishers: none listed; Valory Music
– Churning, charging, clanging midtempo excitement with mucho electric guitar grinding. I still think he has one of the coolest voices around.

DOAK SNEAD/Each Day Like It’s The Last Day
Writer: Snead; Producers: Snead/Kelley Sallee Snead; Publishers: Doak Snead, BMI; Hear Say (track)
Catalogue is an album that compiles Nashville songwriter Snead’s demos recorded between 1991 and the present. This sparse, thoughtful, philosophical ballad dates from 2009. His conversational delivery connects emotionally, more than making up for his vocal limitations.

THE PISTOL ANNIES/Tulsa Time
Writer: Danny Flowers; Producer: Garth Fundis; Publishers: none listed; Slate Creek (track)
Gentle Giants is a tribute CD to the great Don Williams. The cast is superb — Garth, Trisha, Brandy Clark, Lady A, John Prine, Keb Mo, Dierks and Chris Stapleton, for starters. The collection kicks off with a sprightly take on this toe tapper by Miranda, Ashley and Angaleena. Buy this righteous album.

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DEREK JOHNSON/Real Cool, Kinda Hot
Writers: Phil O’Donnell; Producer: Phil O’Donnell; Publishers: none listed, BMI/SESAC; Applause (CDX)
– He’s got a backwoods accent you could cut with a knife. The song is a peppy hillbilly ditty that name-checks beer, pickup truck, camo clothes and a bunch of other cliches. But in its goofy way, it is utterly irresistible.

HADLEY PARK/Another Bottle Of Wine
Writers: Courtney Dashe/Morgan Leigh Garner; Producer: Hadley Park; Publishers: No Bull About It/Morgan Leigh Garner, BMI/ASCAP; HP (track)
– Have raved about this female duo before. Its current single/video is a witty, tongue-in-cheek ditty that kisses off an ex in a dishy gal-to-gal conversation. I am told that their songs are eagerly sought after by big-name artists, and I can certainly hear why.

HARPER GRAE/Free
Writers: Harper Grae/Femke Weidema; Producer: Josh Barker/Ethan Brewington; Publishers: Oliver Ann Music/Femke Music (BMI/ASCAP); Oliver Ann Records
– Very cool sounding. It has a gospel-y vibe of a melody, and her vocal is loaded with personality. Best of all, is an outstanding production that incorporates hand claps, thudding-stark percussion, churchy piano chords, a celebratory chorus of backup vocalists and mandolin twittering. Essential listening.

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CMA Awards Voting Season Kicks Off

Voting season is beginning for the upcoming 51st Annual CMA Awards, and CMA members can now submit applications online for the 2017 CMA Broadcast Awards for Broadcast Personality, Station, and National Broadcast Personality of the Year at broadcast.CMAawards.com. CMA Broadcast Awards are presented for Personality and Station of the Year in four categories that are determined by market size (major, large, medium, and small), as well as CMA National Broadcast Personality of the Year.

The site will continue to accept submissions until Friday, June 30 at 6 p.m. CT. All entries must reflect performances and events between June 1, 2016 and May 31, 2017. CMA’s panel of judges, which includes radio and industry professionals, will be able to view and evaluate each entry online.

“The outstanding country radio stations and personalities we spotlight in the CMA Broadcast Awards are dedicated advocates rallying fans in support of our genre,” said CMA Chief Executive Officer Sarah Trahern.

The eligibility period for “The 51st Annual CMA Awards” is July 1, 2016 to June 30, 2017. All voting for the CMA Awards will be conducted online. The first ballot and instructions will be emailed Monday, July 10 to CMA members in good standing who are eligible to vote. Voting for the first ballot closes Thursday, July 20 (6:00 PM/CT). The second ballot will be emailed to CMA members Monday, Aug. 14. Voting for the second ballot closes Thursday, Aug. 24 (6:00 PM/CT). The final nominees in each of the 12 categories will be announced later this summer. Winners of “The 51st Annual CMA Awards” will be determined in a final round of voting, and the third and final ballot will be emailed to CMA members Monday, Oct. 2. Voting for the CMA Awards final ballot ends Tuesday, Oct. 24 (6:00 PM/CT).

Chris Stapleton Postpones Tour Dates, Cancels CMA Music Festival Appearance

Chris Stapleton

Chris Stapleton has announced that he has postponed the upcoming three weeks of tour dates on his The All-American Road Show, including shows in California, Mississippi, Alabama and more.

Additionally, his appearance during CMA Music Festival on Sunday, June 11 has been canceled for Nashville. A replacement for Stapleton’s CMA Music Festival slot has not yet been announced. Stapleton’s publicist had no additional details for the postponed and canceled appearances.

Fans are asked to hold on to their tickets to the postponed shows on The All-American Road Show for now. A list of postponed shows is below:

June 1 – Fresno, CA – Save Mart Center
June 2 – Mt. View, CA – Shoreline Amphitheatre
June 3 – Wheatland, CA – Toyota Amphitheatre
June 9 – Southaven, MS – Bankplus Amphitheater at Snowden Grove
June 10 – Birmingham, AL – Oak Mountain Amphitheatre
June 15 – Charleston, WV – Charleston Civic Center
June 16 – Cincinnati, OH – Riverbend Music Center
June 17 – Noblesville, IN – Klipsch Music Center

Exclusive: Martina McBride Reflects On 25 Years Since Debut Album

Martina McBride

Most artists with 25 years of touring under their belt might think about slowing down. But it appears Martina McBride is just warming up. The multi-Platinum-selling superstar who has topped the country and A/C charts numerous times continues to push creative boundaries and grow as an artist as she celebrates the 25th anniversary of her debut album, The Time Has Come. During this anniversary month, McBride paused to visit with MusicRow, reflecting on her journey, and looking ahead at the exciting things in store.

She may be light years away now from the wide-eyed, naive young girl from Kansas who stepped off the bus eager to make her mark on Nashville, but she recalls how much she learned in those first few years that took her from selling T-shirts on Garth Brooks‘ tour to opening for him just a short time later. After landing a deal on RCA from her demo tape, McBride soon found herself in the studio recording the debut album and realized she had plenty to learn if she was going to make it in such a hard-driving business.

“I was working with Paul Worley and Ed Seay at the Money Pit on that first record, and I didn’t know anything about making a record — I was really green,” recalls McBride. “So it was a process of just learning to stand up for myself and assert my opinions about my music and what I wanted it to sound like and how I wanted to make my record. And I was super shy, so being assertive in the studio around professionals was something I needed to learn, but making that record was the dream come true…it was exciting. I had never made a record before and I had nothing to compare it to, but it was fun to see it all come together.”

When her second album, The Way That I Am, came out in 1993, McBride was well on her way to becoming a superstar with hits like the title track, “Life #9” and the gripping “Independence Day,” a song that broke boundaries by tackling the subject of domestic abuse head on. While many stations refused to play the tune, the song gained huge critical acclaim, winning Video of the Year and Song of the Year at the CMA Awards and earning songwriter Gretchen Peters a Grammy nomination for Best Country Song. The groundbreaking video went on to become iconic, landing in the No. 2 spot on CMT’s list of the 100 Greatest Videos in Country Music.

“I think we all knew it was something special when we made that video,” recalls McBride of the experience. “We were all very passionate about how we wanted to shoot it, and so we worked really hard on making it as realistic as we could without being gratuitous. And I think we all had a sense of how important it was and we were all really passionate about telling that story.

Martina McBride

“On that second album we really started to hone in on my sound and I was able to grow more as an artist, and I was lucky to have people in my corner like Joe Galante at RCA who saw the big picture and let me experiment with another album and saw how it could be.”

Breaking in an era where female artists were plentiful, McBride isn’t sure why things have changed so drastically for women in country today. She recently partnered with CMT for its third Next Women of Country Tour as part of her larger Love Unleashed Tour with Lauren Alaina, Maggie Rose, and Post Monroe and enjoyed becoming part of the beginning of their stories.

“I don’t think any of us thought too much back then when I started out about being female, we were just out there doing our own thing and trying to make music that mattered and tour and do all the hard work that goes with it. But looking back, I’m so happy to be part of an era where we still had CDs and people buying albums, and I’m so grateful I was able to come up through that era. Because it was really exciting and really impactful, and there was just something about it that I feel like we’re missing to be honest and I just feel like it’s different now.

“I’m not really sure why it was that way back then. I don’t know why we had that moment and why we should only be allowed a moment in the first place,” she continues. “It’s interesting to me how it’s always been dominantly male and when we had that moment where it was me, Shania, Lee Ann Womack, Wynonna, I don’t know what happened to make that happen. I don’t know if it was a fluke, or somebody was in the wings supporting that helping make that happen…I don’t really know, but it was a great time and opportunity.”

With “Independence Day” propelling her into the conversation about domestic violence, McBride began championing causes like the Love Is Respect campaign and the Network To End Domestic Violence, and service to others became a thread running through her career that became as important to her as her music through the years. Her fans immediately followed her lead and began volunteering as well, and seeing how dedicated they were to giving back, McBride formed a global charity initiative, Team Music Is Love, to help harness that positive energy and use it in great ways.

“It started out because a group of fans initially called me to ask if they could wear my name on a T-shirt to walk in a breast cancer walk,” recalls McBride, “and it’s grown from there. And we try to do things in every city where we perform and it’s making a big impact in local communities. It’s very fan-based and it’s really unique and kind of a model that I’ve never seen before.”

The organization is hosting a mobile food pantry with One Generation Away at CMA Music Fest this year to give away thousands of pounds of food to help combat the hunger issue in Tennessee. One million Tennesseans are food insecure, with more than 400,000 Middle Tennesseans struggling to find their next meal. McBride has done drives like this before and has seen the problem firsthand.

“It’s interesting on our Love Is Unleashed Tour we did events in every city and we focused a lot on hunger because we look at what is the greatest need in every city, and in a lot of communities that is the greatest need. People will come out and stand in the rain at 7:30 in the morning to get their food. It’s really eye opening.”

Along with charitable efforts, McBride maintains a busy touring schedule and is gearing back up to make some new music as well. Following her 2016 album Reckless, she’s will soon treat fans to a helping of new holiday music as she heads to the studio to record a new Christmas project this week. She recently teamed up with John Mellencamp for a duet on his new album Sad Clowns And Hillbillies titled “Grandview,” and enjoyed collaborating with the heartland rocker she loved on the radio.

“I grew up listening to John Mellencamp, he was the soundtrack of our teen years,” says McBride, “and that’s one of those things you never dream you will get to do. So it was a lot of fun, and we performed the song live a couple of times too so it was really great.”

Having collaborated with everyone from Dolly to Don Henley and Jim Brickman to Jimmy Buffett and even Train’s Pat Monahan over the last two and a half decades, is there anyone on the bucket list she’d still like to sing with?

“I’ve sung with so many amazing people and I never dreamed I would sing with any of those people, so it’s kind of like I’m just keeping it really open…because if I say I want to sing with someone it might not happen,” she says, laughing. “Everybody I’ve gotten to sing with has been such a surprise and unexpected. I never sought out a duet partner so it’s amazing the people I’ve gotten to sing with… It’s just been amazing!”

As creatively-minded when it comes to entertaining as she is with her music, McBride released a cookbook of delicious recipes and hosting tips, Around The Table, in 2014. The snaps of her culinary creations on Instagram will make you salivate and give you serious kitchen envy, and she’s planning a second release. For the hardworking wife, mother of three and superstar, the sky’s still the limit as she heads into the next chapter of her storied career. Looking back, did she ever think she’d get this far when she arrived in Nashville nearly three decades ago?

“I don’t know when you start out if you ever think past what you’re doing or that far ahead. I was just happy to be doing what I was doing and I hoped for 10 good years,” she admits. “But it’s time for me to just really be creative and take opportunities that come along and I’m just excited about the next 25 years.”

Martina McBride's debut album cover, The Time Has Come.

Martina McBride’s debut album cover, The Time Has Come.

Weekly Chart Report (5/26/17)


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Kelsea Ballerini Moves Publishing To Sony/ATV

Pictured (L-R): Duane Clark (Flood, Bumstead, McCready, & McCarthy, Inc.), Mike Milom (Milom Horsnell Crow Rose Kelley PLC), Fletcher Foster (Iconic Entertainment), Kelsea Ballerini, Troy Tomlinson (Sony/ATV) and Josh Van Valkenburg (Sony/ATV)

Sony/ATV Music Publishing has signed a new publishing deal with singer-songwriter Kelsea Ballerini. Ballerini, who remains signed as an artist to Black River Entertainment, had previously been with Black River Publishing since 2013.

“Having known Kelsea since she was 13 years old and seeing her songwriting grow over the years makes it even more special to be able to come alongside her as her publisher,” says Sony/ATV Nashville’s President and CEO Troy Tomlinson. “With all her abilities to perform and entertain fans worldwide, she remains, as always, at her core a gifted songwriter.”

Ballerini is the only country female to begin her career with three No. 1 singles, including “Love Me Like You Mean It,” “Dibs,” and “Peter Pan.” Her current single “Yeah Boy” is a Top 5 hit, and is the fourth and final single from her debut album The First Time.

“Troy was the person that told me to move to Nashville when I was 13. I remember every time I came to town, he would make time for me to come by and play him new music I was working on,” shares Ballerini. “That encouragement and belief was crucial for my whole journey this far. It feels like a full circle joining the Sony/ATV family, and I’m so excited to continue to grow as a songwriter under their incredible team.”

On May 26, Ballerini will begin Lady Antebellum’s You Look Good World Tour as the featured supporting artist alongside Brett Young. Meanwhile, she has four nominations for the upcoming 2017 CMT Music Awards. The show airs live from Nashville June 7 at 8 p.m. ET. She will also team with Thomas Rhett to co-host the CMA Music Fest 2017 special, which will air this summer on ABC.