ACM Tempo | Spring 2025

ACM

SPRING 2025

Q&A

WITH

ACM Award Nominee

Brooks & Dunn The Soundtrack of Generations ACM AWARDS NOMINEES A COMPLETE LIST

DASHA

ACM and ACM Lifting Lives Board Member

DANIEL MILLER

Esteemed Photographer

JOHN SHEARER

WATCH LIVE | MAY 8 | ONLY ON

Built for tour.

For more information, contact: Steve Zeigler Vice President, Prevost Shell Division (800) 837-0895

prevostcar.com/entertainer

Contents

to Frisco, Texas on May 8 12 | THE INTERNS Meet the 2025 ACM interns as they gear up for Frisco

Editor’s Note

6

From the CEO

8

ACM News

8

Let’s Lift Lives

58

In Memory

60

ACM Moment

Cover Story

6 | ACM AWARDS The 60th ACM Awards returns

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Brooks & Dunn

reflect on more than 30 years of staying true to their sound while evolving with the times

26 | ACM NOMINEES

48

PAGE 20

A complete list of the 60th ACM Awards nominees 44 | Q&A’S Hear from rising star Dasha, ACM and ACM Lifting Lives Board Member Daniel Miller,

52

and celebrity photographer John Shearer

ON THE COVER: Brooks & Dunn photographed by Matthew Berinato

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TEMPO ACM

E D ITO R ’ S N OTE

E ditor

Libby Gardner A ssistant E ditor

Brittany Uhniat C ontributors

Caitlin Hall

Celebrating 60 Years lthough we may be celebrating 60 years of the Academy, the genre’s roots extend deeper than that, to the immigrants who brought their sounds, stories, and instruments to North America. As much as we should thank the contemporary artists whose songs have become the soundtrack to the ups and downs of our lives, this genre and the

D esign

Karabin Creative Photos

ACM, Matthew Berinato, Christina Byson, Braden Carney, Lizzie Chladek, Courtesy of Daniel Miller, John Shearer ACADEMY STAFF: CEO

Damon Whiteside Vice President/Finance

Christina Bartko

Vice President/L ive Events & Production

Ben Carter

Academy wouldn’t be as strong as they are today without a solid

H ead of I ndustry R elations & Awards

foundation. And that solid foundation was formed on tradition.

H ead of C reative & M arketing

Tradition can look like many things and take different forms.

It might be cooking your favorite family recipe during the holidays, blasting your favorite song on road trips, or a weekly game night with your best friends. Whatever that is for you, we can all agree that tradition provides familiarity, stability, and comfort.

When it comes to Country Music, keeping with tradition doesn’t mean standing still. It’s not about doing everything the same way, but it is about honoring the past while embracing space for the new and allowing for evolution.

Brooks & Dunn, who grace the cover of this issue, are a prime example of that. Their distinct Country rock, honky-tonk sound helped advance the genre forward. Hear from them on page 20. We also hear from rising star Dasha, who has carved out a path all her own. Learn more about her on page 48.

So, as we get ready to celebrate and recognize the artists and music of today, let’s not forget about where it came from.

Here’s to keeping the tradition going.

Haley Montgomery Steve Mekler

D irector/D igital M arketing

Matt Brum-Taylor

D irector/L ive Events & Production

Jennifer Davis

D irector/Publicity & M edia R elations

Jesse Knutson

D irector/ACM L ifting L ives

Taylor Wolf

S enior M anager/ C ommunications and Strategic I nitiatives

Lexi Cothran

S enior M anager/C ontent and E ditorial

Libby Gardner

M anager/Programming & C ommunity E ngagement

Kortney Toney

M anager/C reative & C ontent Production

Brittany Uhniat

C oordinator/Events

Alexis Bingham

C oordinator/S ocial M edia

Katie Casserly

C oordinator/Partnerships

Maggie Feyrer

A ssistant/ACM L ifting L ives

Brooke Boyd

A ssistant/M arketing

Heather Howard

A ssistant/I ndustry R elations & Awards

Delaney Loughran

E xecutive A ssistant to the CEO

Karson Leighton

Libby Gardner ACM Tempo Editor

C reative & C ontent Production

Gianna Thomas I nterns

Lizzie Chladek - Creative & Content Production Hannah Crenshaw -Community Engagement Kennedy Fisher - Digital Marketing Caitlin Hall - Content & Editorial Abby Jester – Artist & Industry Relations Victoria Mata – Publicity Delaney Peterson - Partnerships Claire Schilling - Events Gina Sisco – ACM Lifting Lives

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FRO M TH E CEO

Dear Academy Members, It’s a momentous time for the Academy as we prepare to celebrate the 60-year anniversary of the ACM Awards®—one of the biggest milestones in our history. From our beginnings in Los Angeles to our current home in Nashville, the Academy has evolved alongside the Country Music genre, helping expand its reach to new audiences around the world.

In this issue, we feature ACM Award winners and cover stars Kix Brooks and Ronnie Dunn of Brooks & Dunn, who offer an intimate look at their almost four-decade-long journey and the lasting legacy they’ve built. We also spotlight rising star and first-time ACM Award nominee, Dasha, who opens up about navigating her surge of success in the industry.

Beyond the stage, this issue also shines a light on the contributions of our behind-the-scenes creatives and industry leaders. We highlight John Shearer, whose photography has become synonymous with not only the ACM Awards but pop culture at large, and Daniel Miller, CEO of Fusion Music and ACM and ACM Lifting Lives® Board Member, whose leadership continues to shape the landscape of Country Music.

As we count down to this landmark event, we’re proud to continue our work alongside incredible partners including the Dallas Cowboys, Dick Clark Productions, Prime Video, and our longest-running host, ACM Award winner Reba McEntire, all helping us craft a celebration of six decades of music, community, and history. Join us on May 8 at The Star in Frisco, Texas, or on Prime Video for an evening you won’t want to miss.

Here’s to 60 unforgettable years of the Academy and more to come.

Sincerely,

Damon Whiteside Chief Executive Officer

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N E WS

FRONT ROW: Jackie Marushka, Krista Hayes, Tanner Davenport, Samantha Kane, Jess Tomlins

LEVEL UP IS IN SESSION

I

n March, the LEVel Up cohort was able to attend a special publicity session moderated by Jackie Martinez Marushka.

Marushka offered a compelling deep-dive into her expansive career and the dynamic role of a publicist. She illuminated the behind-the-scenes work that drives creative success, with a focus on expanding access and visibility for Hispanic and Latino talent. Her insights empowered the cohort with actionable strategies for navigating the entertainment industry and fostering inclusive opportunities that resonate across generations.

BACK ROW: Zoe Cummins, Matt Najdowski, Lily Brown, Hope Garrison

Marushka brings more than 30 years of experience in public relations, with expertise in narrative development, brand strategy, and business growth. She is the founder and CEO of Marushka Media, a boutique PR and branding agency. Beyond PR, she manages artists Matt Castillo and William Michael Morgan, and in 2019, she launched the Hispanic Entertainment Alliance, a vibrant community supporting Hispanic and Latin American creatives and changemakers.

Previous LEVel Up events have included a welcome orientation and mixer featuring members of the Lifting Voices Council and ACM membership.

LE T ’ S LI F T LI V E S

The $1 Million Mark

E

arlier this year, ACM Lifting Lives announced that their funding to organizations that improve lives through the power of music has surpassed $1 million. The recent grants provided to Nashvillebased nonprofits Music Health Alliance, Porter’s Call, and ECCHO Live (formerly Touring Career Workshop) not only bring ACM Lifting Lives collective funding to this milestone number, but also mark more than a decade of support to these organizations.

“Serving the Country Music industry has always been at the heart of what ACM Lifting Lives does, and

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we are better equipped to do so by supporting incredible non-profits that have aligning goals,” says Taylor Wolf, director of ACM Lifting Lives.

“It’s been said that if you want to go fast, go alone, but if you want to go far, go together. The ongoing impact made through the relationships with Music Health Alliance, Porter’s Call, and ECCHO Live has taken support of this community further than we could have done without each other. The work isn’t done, but the industry can count on our dedicated support.”

N E WS

CHRISTINA BARTKO was hired as VP,

The ACM Announces Promotions and New Hires Across Several Departments

Accounting & Finance. A native of Baltimore, Maryland, Bartko graduated from the University of Maryland, Baltimore County. She began her career as an auditor, before earning her CPA license and moving to Nashville to work in the music industry. Prior to joining the Academy, she most recently held positions at Warner Music Group and Live Nation Entertainment.

In her role as VP, Accounting & Finance, Bartko will oversee all accounting and finance functions for the Academy and ACM Lifting Lives. This includes financial strategy and budgeting to ensure the organization’s fiscal health and mission alignment. Bartko also will manage financial reporting, audits, and internal controls. She reports to Damon Whiteside, CEO of the Academy.

The ACM announced promotions and new hires across several departments. Christina Bartko joined as VP, Accounting & Finance; Haley Montgomery was promoted to Head of Artist Relations & Awards; Steve Mekler was elevated to Head of Creative & Marketing; Jennifer Davis was promoted to Director, Live Events & Production; and Karson Leighton was hired as Executive Assistant to CEO and Operations.

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HALEY MONTGOMERY was

promoted to Head of Industry Relations & Awards. Montgomery joined the Academy in 2020, where she most recently served as Director, Industry Relations & Awards.

Montgomery previously held a variety of roles across the industry including brand partnerships, merchandise, brand development, touring, and industry relations. She is also a founder of Family Alliance in Music, which provides community and support to members of the industry who currently have families, serve as caretakers, or plan on building a family in the future.

In her role as Head of Artist Relations & Awards, she will oversee the Academy’s artist and industry relations and spearhead internal talent strategy as well as supervise Academy membership operations, Awards voting and processes, board and governance procedures, and more. Montgomery reports to Damon Whiteside, CEO of the Academy.

JENNIFER DAVIS

STEVE MEKLER was elevated to Head of Creative & Marketing. Prior to joining the Academy in 2022 as Director, Brand Marketing & Partnerships, Mekler spent three years serving as Senior Digital Manager at the Country Music Hall of Fame, where he oversaw creative marketing for owned properties and assisted with content strategies for multiplatform marketing campaigns. Previously, he also held positions at L3 Entertainment and BBR Music Group.

In his role as Head of Creative & Marketing, he will oversee all Marketing and Creative initiatives, including the development of integrated marketing campaigns, creative direction, content development, strategy, production, and more. He reports to Damon Whiteside, CEO of the Academy.

was promoted to Director, Live Events & Production. Davis began her career in New York City at Buckley Hall Events, where she planned various non-profit and corporate galas throughout NYC. She then went on to join the special events team at Madison Square Garden, coordinating a portfolio of network television upfronts, the American Theatre Wing’s Tony Awards, television and film shoots, NYU graduations, and more at MSG venues. Prior to joining the Academy as Manager, Events, in 2022, she also led VIP & Fan Experience and Events for FirstBank Amphitheater’s inaugural concert season in Franklin, Tennessee.

In her role as Director, Davis will oversee venue and event operations for the ACM Awards, ACM Honors, and ACM Lifting Lives events, including talent logistics, partnership fulfillment, red carpet, budgets, AV, and more.

As lead producer, she will manage event staff as well as vendor and partner relations. She reports to Ben Carter, VP of Live Events & Production.

KARSON LEIGHTON

joined the Academy as Executive Assistant to CEO and Operations. Born and raised in Schoolcraft, Michigan, Leighton graduated from Middle Tennessee State University in Murfreesboro, Tennessee, in May 2024. He previously served as the Finance & Operations Intern at the Academy during the Spring 2024 semester, eventually transitioning to assist the Membership and Industry Relations team in Fall 2024.

In his role as Executive Assistant to CEO and Operations, Leighton will liaise between the Academy’s CEO (Damon Whiteside), external relations, and internal department heads, while working to coordinate board, officer, leadership, and committee meetings, manage the CEO’s calendar, and more. acmcountry.com

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THEY GET THE JOB DONE The 2025 ACM intern cohort is all about serving charisma, ambition, and just the right amount of diva energy — on and off the clock

BY CAITLIN HALL

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ABBY JESTER POSITION | Artist & Industry Relations Intern HOMETOWN | Louisville, Kentucky STUDY | Music Business COUNTRY MUSIC’S INFLUENCE | I was first

introduced to the world of Country Music when I arrived at Belmont University. I quickly became enamored with the Country community and how much everyone truly cares for one another and the music. During my time in Nashville, I’ve been lucky to work with so many amazing Country artists and fall in love with the genre!

CAITLIN HALL POSITION | Editorial Intern HOMETOWN | Hocking Hills, Ohio

BEST PART OF ACM | The best part of being at the ACM is the people. I’ve made so many connections and friends here!

A FEW FAVORITE THINGS | I love to craft,

read, and travel!

STUDY | Fashion Merchandising and Media

TOP ARTISTS | The 1975 and Bob Dylan

COUNTRY MUSIC’S INFLUENCE | I’ve been

IN FIVE YEARS | I hope to be living in London, UK, with a wonderful job in the music industry.

listening to Country Music for as long as I can remember. To be frank, I actually used to despise it, but I think it was so I could act rebellious and unique at the time. Now, I look back and laugh at myself because Country Music has become such a huge part of my life.

COUNTRY QUOTE | “Follow your arrow wherever it points.” —Kacey Musgraves

BEST PART OF ACM | My mentor and supervisor Libby Gardner, and I’m not just saying that. She has entrusted so much faith in me, and I cannot thank her enough for giving me opportunities to grow in my writing and also for giving this girl a shot in the first place.

A FEW FAVORITE THINGS | Concerts, travel,

photography, trying new coffee shops, vintage shopping, and going to the movies TOP ARTISTS | Fleetwood Mac, Chris Stapleton, The Red Clay Strays, and (of course) Beyoncé IN FIVE YEARS | I want to continue writing and become an entertainment reporter for red carpets and press junkets. I’ll use this moment to manifest here: My goal is to one day interview Austin Butler.

COUNTRY QUOTE | “Just because I’m blonde, don’t think I’m dumb, ‘cause this dumb blonde ain’t nobody’s fool.” —Dolly Parton

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VICTORIA MATA POSITION | Public Relations Intern HOMETOWN | Charlotte, North Carolina STUDY | Public Relations and Media & Entertainment Industries COUNTRY MUSIC’S INFLUENCE | I grew up watching the CMT

Country Countdown every weekend with my sister and begging our parents to download our favorite songs onto our iPods. I was lucky enough that my parents instilled this love of music in my life at an early age and would take my sister and me to countless Country concerts growing up. As I got older, I realized that I could combine my passion for PR with my love for Country Music, and the ACM has given me the perfect environment to do so.

BEST PART OF ACM | Aside from the countless opportunities and

learning experiences I have gotten, ACM has provided me with a community of eight other interns who have become some of my closest friends. We all support each other in and out of the office and it’s been so fun to be a part of it.

A FEW FAVORITE THINGS | I love reading, and I’ve read every

Emily Henry novel.

TOP ARTISTS | Megan Moroney, Maggie Antone, and Noah Kahan IN FIVE YEARS | I would love to continue pursuing a career in

Music Industry PR but also am down to see where life takes me.

COUNTRY QUOTE | “Bless your heart.” —Megan Moroney

CLAIRE SCHILLING POSITION | Events Intern HOMETOWN | Baton Rouge, Louisiana STUDY | Music Business Major and Audio

Production and Tourism & Hospitality Management Minor COUNTRY MUSIC’S INFLUENCE | Country

Music has been a part of my life ever since I can remember. I grew up listening to the Dixie Chicks, Chris Stapleton, Keith Urban, Luke Bryan, John Paul White, and so many more.

BEST PART OF ACM | The best part has been connecting with everyone in the office and learning about the industry. I’ve had the opportunity to gain hands-on experience with a well-known organization, surrounded by a supportive, kind, and dedicated community.

A FEW FAVORITE THINGS | I love to sing

and play the guitar (although I‘m still learning).

I also like to be active, whether that is playing pickleball or lifting weights.

TOP ARTISTS | Tyler Childers, Chris Stapleton,

and Zach Top IN FIVE YEARS | I picture myself working in live events within the music Industry. I’ll have my own apartment and puppy. I’ll be travelling a lot for work, organizing and operating large-scale events with a well-established company. And maybe I’ll have successfully made Matt Rife or Zach Top fall in love with me.

COUNTRY QUOTE | “Bad ideas make beautiful days.” —The Mulligan Brothers

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CONGRATULATIONS Welcoming

dan killian

to FBMM Ownership

AND TO OUR NEWLY PROMOTED ASSOCIATE BUSINESS MANAGERS

Laura Beth Hendricks

Abby Lamb

Ben Huddleston

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DELANEY PETERSON POSITION | Strategic Partnerships Intern HOMETOWN | Chamberlain, South Dakota STUDY | Sports Management and Marketing

GINA SISCO POSITION | ACM Lifting

Lives Intern HOMETOWN | Keller,

Texas STUDY | Creative

Entertainment Industries Major and Music Business Minor COUNTRY MUSIC’S INFLUENCE | Growing up in Texas, I’ve always been surrounded by Country Music. However, it wasn’t until I moved to Nashville for college that I really began to be engulfed in the Country Music scene, as there is a rich history wherever you go.

BEST PART OF ACM | The best part of interning at the ACM is being surrounded by industry leaders who are so passionate about their work. The staff’s confidence and passion for what they do is incredibly motivating as a senior preparing to enter this industry. I also should not forget to add that this experience is so much better being supported by such a phenomenal and driven intern cohort.

A FEW FAVORITE THINGS | I love to dance and am the

captain of my dance team. I enjoy exploring Nashville’s music, food, and shopping scenes. I also like to travel, craft, make jewelry and perfume, and spend time with my friends and family.

TOP ARTISTS | Childish Gambino, Tate McRae,

and ENHYPEN IN FIVE YEARS | I want to enjoy life and be in a position within the global music industry that allows me to travel the world. I would love to have a platform to educate and provide resources for those looking to pursue a career in music and create a podcast to support the voices of women in the music business.

COUNTRY QUOTE | “You’ll never do a whole lot unless you’re brave enough to try.” —Dolly Parton

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COUNTRY MUSIC’S INFLUENCE | Growing up,

I was surrounded by Country Music, whether it was listening to George Strait songs on the way to school or listening to my uncle sing and play at our family bull sales. It’s something that our entire family has always loved.

BEST PART OF ACM | I love that I get to work with all the other amazing interns. I love collaborating with them on different projects, as well as growing friendships outside of work.

A FEW FAVORITE THINGS | I love to read,

watch mind-numbing reality TV, try new restaurants, and take naps that put bears in hibernation to shame.

TOP ARTISTS | Brad Paisley and Zinadelphia IN FIVE YEARS | I hope to be working in a talent representation capacity, like an assistant for a music/sports agent or continue working in partnerships for a sports or music organization.

COUNTRY QUOTE | “Find out who you are and do it on purpose.” —Dolly Parton

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LIZZIE CHLADEK POSITION | Creative and

Content Intern HOMETOWN | Kennesaw, Georgia STUDY | Journalism and

Photography

POSITION | Programming and Community

Engagement Intern HOMETOWN | Atlanta, Georgia STUDY | Music Business and Spanish COUNTRY MUSIC’S INFLUENCE | My first

of my life at a very early age, practically from birth, as I’m sure Bobby Bones on The Bull was playing on my ride home from the hospital. Country Music is a time capsule of my childhood. My love for the genre solidified after moving to Nashville and meeting incredible people in the industry.

exposure to Country Music came when I was very young. The Chicks and Carrie Underwood are just a few artists I remember loving back then. While attending school in Nashville, I also naturally became more exposed and connected to different aspects of the genre, which left its fingerprints all over my four-year college experience.

BEST PART OF ACM | Being a part of the ACM is such a full-circle moment for me. I decided to transfer to Belmont University after my freshman year, and I found my first opportunity to get involved by seat filling for ACM Honors™ in 2023. That moment was my first experience diving head-first into what the industry looked like in Nashville and confirmed that this was where I was supposed to be.

BEST PART OF ACM | I have really enjoyed observing and experiencing the ACM 2025 LEVel Up Cohort meetings. I have heard industry professionals discuss their time within Country Music and the ideas they have to make the genre more inclusive, which is very inspiring to me.

A FEW FAVORITE THINGS | In my free time, I love to give myself

A FEW FAVORITE THINGS | I recently took a

COUNTRY MUSIC’S INFLUENCE | Country Music became a part

time to be creative, which usually looks like painting, writing, or going out and taking photos.

TOP ARTISTS | Luke Combs and Carter Faith IN FIVE YEARS | My five-year goal would be to keep pursuing

what I love in the creative space of music. I have absolutely no clue where I’m going to end up, but I hope to be somewhere where I can serve artists and help share what they individually bring to the industry and their fans.

COUNTRY QUOTE | “Jesus take the wheel. Take it from my hands ‘cause I can’t do this on my own.” —Carrie Underwood

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HANNAH CRENSHAW

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stained-glass class at the beginning of March and am attempting to continue to build this hobby and plan out a new project.

TOP ARTISTS | Dominic Fike, Ray LaMontagne, and Tyler Childers IN FIVE YEARS | I hope to have learned more about music supervision and sync licensing for film and TV. I also love creative projects, whether that be making jewelry or sewing, and I hope to continue to practice and explore these interests.

COUNTRY QUOTE | “From now on is the only thing that matters anymore, is the only thing that matters from now on, is the only thing that matters.” —Watchhouse

For employment

KENNEDY FISHER POSITION | Social Media Intern HOMETOWN | Fishers, Indiana STUDY | Creative Entertainment Industries and Social

opportunities with the Academy, visit acmcountry.com/ employment

Media Management COUNTRY MUSIC’S INFLUENCE | Growing up, Country

Music was always a part of my life. Since I moved away for school, Country Music has given me a nostalgic feeling that reminds me of home.

BEST PART OF ACM | The best part of being at the ACM is first and foremost the people, but also the opportunity to experience the behind-the-scenes of the industry!

A FEW FAVORITE THINGS | I am a self-

proclaimed shopaholic, but I also love taking photos, trying new restaurants, and playing with my dog.

TOP ARTISTS | Kenny Chesney and Justin

Bieber IN FIVE YEARS | I hope to be in a steady position in the Country Music industry that involves fun travel opportunities. It is also a goal of mine to see Dolly Parton perform live.

COUNTRY QUOTE | “You never know what’s gonna happen. You make your plans, and you hear God laughing.” —Thomas Rhett

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They’ve

IT ALL DUNN

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BY LIBBY GARDNER

At their first meeting, they skeptically stared at each other across the table.

Days later, they wrote their first two No. 1 hits.

Country Music’s most decorated duo reflects on 40 years of songs, stories, and success

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A

s we celebrate 60 years of the ACM Awards, it’s only fitting to talk to Kix Brooks and Ronnie Dunn and go back to the beginning of the winningest duo in the Academy’s history.

(If you’re wondering, they have 16 ACM Duo of the Year Awards.)

For the past 40 years, this iconic duo — despite being a part of a genre that seems to be ever-changing — has cemented themselves into the bedrock of Country Music, garnering fans across generations.

I caught Brooks as he was heading out for a weekend getaway with his wife, Barbara. He took me back to the start, in an insane level of detail, to his first encounter with Ronnie.

“We met on a Tuesday,” said Brooks. “Tim DuBois (industry executive) bought us an enchilada and talked about putting the duo together. Ronnie and I were both kind of shrugging our shoulders and growling across the table at each other.”

Maybe it wasn’t instant chemistry, having never met each other and both in their mid 30s pursuing solo careers. But within days, the two met for their first songwriting session and, in a strange turn of events, the potential of what could be was realized.

LEFT: Brooks & Dunn at the 29th ACM Awards in 1994 after winning ACM Duo of the Year ABOVE: Brooks & Dunn accepting the award for ACM Duo of the Year at the 36th ACM Awards in 2001

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“We got together on Thursday, and Ronnie had this cool idea called ‘I’m a changed man,’” said Brooks. “He had the ‘I saw the light. I was baptized by the fire in your eyes …’ and he had that little melody going.”

As Ronnie remembers it: “Our perspectives were a hair different, but he helped me … I told him, I got an idea with this thing, ‘I’m a changed man’ and he goes, ‘What about I’m a brand new man.’ Just things that subtle, in the writing process … it just serendipitously worked.”

Within the first week of meeting, Brooks & Dunn had written what would soon become their first two No. 1 hits: “Brand New Man” and “My Next Broken Heart.” This was only the beginning of what would become decades of success.

“We ran as hard as we could, going, ‘What do we got to lose here?’ and ‘Let’s just record

and write a bunch of music that we like,’” said Brooks. “I think onstage, we bring something really different to the table.

I think as far as our chemistry. There’s probably a lack of [it].”

Yet, Dunn felt like the two could easily understand each other, noting that they both were the sons of pipeline workers, raised on outlaw country, and liked many of the same artists.

Most importantly, there was a mutual respect for the music. “We never took ourselves too seriously,” said Dunn. “We did a lot of crazy stuff onstage, but we always took our music very seriously.”

“We were just kind of going at music that we felt good about,” said Brooks.

That music wasn’t exactly your typical

“We never took ourselves too seriously,” said Dunn.

“We did a lot of crazy stuff onstage, but we always took our music very seriously.”

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“Why some guy you never met, you took up as a duo and just start trying to do this and it works?” said Brooks. “Man, that’s a question I guess only God can answer, right?”

traditional Country Music of the day. As Dunn recounted, when they first got together, he felt that there was a lull musically and stylistically in the genre, and after listening to Brooks’ demos, he thought they sounded more progressive, without going too far.

The duo is known for leaning into the Fender Telecaster, a staple of their sound. And, whether onstage or in their music, they continued to slowly push the genre’s boundaries.

“I felt guilty about it half the time, said Dunn. “I thought, ‘Oh, I’m pushing it too hard. We may be turning these amps up a little too loud.’ But there was a cultural change going on at the same time that we fell right into.”

“I got to Nashville in ’79,” Brooks remarked. “I just remember Dolly [Parton] and Kenny Rogers had ‘Islands in the Stream,’ and even Lee Greenwood and a lot of artists then were doing what people considered to be pop music … People were like, ‘God, what happened to Country Music? This is not Country.’ I’ve been hearing that now since 1979.”

Maybe it’s their open outlook on the evolution of Country Music that keeps the duo a relevant name to this day. They aren’t afraid to embrace the new sounds of the

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genre, as seen by their two Reboot albums, which feature collaborations with many artists of this new generation.

Brooks emphasized that the traditional Country sound has never been lost, saying, “There’s always been a backlash, but there’s always been an undercurrent of something that the average Country fan would consider being traditional.”

Unsurprisingly, the duo is still seeing growth, picking up new fans who appreciate their timeless classics.

“We’re selling out everywhere we go right now,” said Brooks. “It’s stronger than it’s ever been. Kix will ask people at the front of the show after a few songs, ‘Hey, how many of you is this your first Brooks & Dunn concert,’ and 90% of those people will raise their hands.”

Even still, both Brooks and Dunn can’t quite pinpoint what has maintained their longevity.

To Dunn, “It’s not a nostalgia thing. It’s just what it is.

It’s the truth to the music.”

“Why some guy you never met, you took up as a duo and just start trying to do this and it works?” said Brooks. “Man, that’s a question I guess only God can answer, right?” ●

THE

NOMINEES In March, nominations were announced for the 60th ACM Awards on TODAY, with Ella Langley, Cody Johnson, Morgan Wallen, and Lainey Wilson receiving the most nominations.

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Kelsea Balle

first ever E

Year nominati nominations for

the Year and Mu

Year as an arti

This is her e nominated for

ENTERTAINER OF THE YEAR

erini receives her

Entertainer of the

ion in addition to Female Artist of

usic Event of the

ist and producer.

NOMINEES

KELSEA BALLERINI LUKE COMBS CODY JOHNSON JELLY ROLL CHRIS STAPLETON MORGAN WALLEN LAINEY WILSON

eighth time being Female Artist of the Year.

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NOMINEES FEMALE ARTIST OF THE YEAR

KELSEA BALLERINI

ELLA LANGLEY

MEGAN MORONEY

KACEY MUSGRAVES

LAINEY WILSON

JELLY ROLL

CHRIS STAPLETON

MORGAN WALLEN

MALE ARTIST OF THE YEAR

LUKE COMBS

CODY JOHNSON

FAST FACTS First time ACM Award nominee,

Ella Langley, leads with eight nominations including Female Artist of the Year, New Female Artist of the Year, and six nominations for her song with Riley

Green, “you look like you love me,” which include Single of the Year, Song of the Year as an artist and songwriter, Music Event of the Year, and Visual Media of the Year as an artist and director.

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KELSEA BALLERINI CHRIS STAPLETON

Kelsea Ballerini receives her first ever Entertainer of the

Year nomination in addition to

nominations for Female Artist of the Year and Music Event of the Year as an artist and producer. This is her eighth time being nominated for Female Artist of the Year.

Chris Stapleton

receives six nominations, including his tenth consecutive nomination

for Male Artist of the Year, an award he’s won four times in the past, including at the 59th ACM Awards.

RASCAL FLATTS

BROTHERS OSBORNE

Rascal Flatts

receives their first

nomination for Group

Brothers Osborne’s nomination

of the Year since 2017,

for Duo of the Year marks their 18th ACM nomination and their eleventh year in a row being nominated for ACM Duo of the Year, an award the

having most recently won the award in

OLD DOMINION

Old Dominion receives a nomination for Group of the Year, making this the tenth consecutive year they have been nominated in the category. The group has taken home the title every year for the last seven years.

2009 for the seventh time.

pair has brought home four times.

DUO OF THE YEAR

BROOKS & DUNN

BROTHERS OSBORNE

DAN + SHAY

MUSCADINE BLOODLINE

THE WAR AND TREATY

OLD DOMINION

RASCAL FLATTS

THE RED CLAY STRAYS

GROUP OF THE YEAR

FLATLAND CAVALRY

LITTLE BIG TOWN

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NOMINEES NEW FEMALE ARTIST OF THE YEAR

KASSI ASHTON

ASHLEY COOKE

DASHA

ELLA LANGLEY

JESSIE MURPH

ZACH TOP

TUCKER WETMORE

BAILEY ZIMMERMAN

NEW MALE ARTIST OF THE YEAR

GAVIN ADCOCK

SHABOOZEY

NEW DUO OR GROUP OF THE YEAR

First-time artist nominees include Gavin Adcock, Dasha, Noah Kahan, Ella Langley, Jessie Murph, Muscadine Bloodline, Shaboozey, Zach Top, The Red Clay Strays, Treaty Oak Revival, and Tucker Wetmore.

RESTLESS ROAD

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THE RED CLAY STRAYS

TREATY OAK REVIVAL

ALBUM OF THE YEAR

AM I OKAY? (I’LL BE FINE) MEGAN MORONEY

PRODUCER: Kristian Bush RECORD COMPANY-LABEL:

Columbia Records / Sony Music Nashville

Awarded to Artist(s)/Producer(s)/Record Company–Label(s)

BEAUTIFULLY BROKEN JELLY ROLL

PRODUCERS: BazeXX, Brock Berryhill, Zach Crowell, Devin Dawson, Charlie Handsome, Ben Johnson, mgk, The Monsters & Strangerz, Austin Nivarel, SlimXX, Ryan Tedder, Isaiah Tejada, Alysa Vanderheym

COLD BEER & COUNTRY MUSIC ZACH TOP PRODUCER: Carson

Chamberlain

RECORD COMPANY-LABEL:

Leo33

F-1 TRILLION POST MALONE

WHIRLWIND LAINEY WILSON

RECORD COMPANY-LABEL:

BBR Music Group / BMG Nashville

PRODUCERS: Louis Bell, Charlie Handsome, Hoskins

Mercury Records / Republic Records

PRODUCER: Jay Joyce RECORD COMPANY-LABEL:

RECORD COMPANY-LABEL:

BBR Music Group / BMG Nashville / Republic Records

SINGLE OF THE YEAR

“A BAR SONG (TIPSY)” SHABOOZEY

PRODUCERS: Sean Cook, Nevin Sastry RECORD COMPANY-LABEL:

American Dogwood / EMPIRE

Awarded to Artist(s)/Producer(s)/Record Company-Label(s)

“DIRT CHEAP” CODY JOHNSON

PRODUCER: Trent Willmon RECORD COMPANY-LABEL:

CoJo Music LLC / Warner Music Nashville

“I HAD SOME HELP” POST MALONE, MORGAN WALLEN

PRODUCERS: Louis Bell, Charlie Handsome, Hoskins RECORD COMPANY-LABEL:

Mercury Records / Republic Records

“WHITE HORSE” CHRIS STAPLETON

PRODUCERS: Dave Cobb, Chris Stapleton, Morgane Stapleton RECORD COMPANY-LABEL:

Mercury Nashville

“YOU LOOK LIKE YOU LOVE ME“ ELLA LANGLEY, RILEY GREEN

PRODUCER: Will Bundy RECORD COMPANY-LABEL:

SAWGOD / Columbia Records

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NOMINEES

SONG OF THE YEAR

“4X4XU” LAINEY WILSON

SONGWRITERS: Jon Decious, Aaron Raitiere, Lainey Wilson

PUBLISHERS: Louisiana Lady; One Tooth Productions; Reservoir 416; Songs of One Riot Music; Sony/ATV Accent

Awarded to Songwriter(s)/Publisher(s)/Artist(s)

“THE ARCHITECT” KACEY MUSGRAVES

SONGWRITERS: Shane McAnally, Kacey Musgraves, Josh Osborne PUBLISHERS: Songs for

Indy and Owl; Sony/ATV Cross Keys Publishing

PRODUCERS: Kelsea Ballerini, Noah Kahan, Alysa Vanderheym RECORD COMPANY-

LABEL: Black River

Entertainment

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SONGWRITER: Josh Phillips

PUBLISHERS: WarnerTamerlane Publishing; Write or Die Music; Write the Lightning Publishing

“I HAD SOME HELP” POST MALONE, MORGAN WALLEN

SONGWRITERS: Louis Bell, Ashley Gorley, Hoskins, Austin Post, Ernest Keith Smith, Morgan Wallen, Chandler Paul Walters, Ryan Vojtesak

PUBLISHERS: Bell Ear Publishing; Master of my Domain Music; Poppy’s Picks; Sony/ ATV Cross Keys Publishing; Universal Music Corporation

MUSIC EVENT OF THE YEAR

“COWBOYS CRY TOO” KELSEA BALLERINI, NOAH KAHAN

“DIRT CHEAP” CODY JOHNSON

“I HAD SOME HELP” POST MALONE, MORGAN WALLEN

PRODUCERS: Louis Bell, Charlie Handsome, Hoskins RECORD COMPANY-LABEL:

Mercury Records / Republic Records

“YOU LOOK LIKE YOU LOVE ME” ELLA LANGLEY, RILEY GREEN

SONGWRITERS: Riley Green, Ella Langley, Aaron Raitiere

PUBLISHERS: Back 40 Publishing International; Langley Publishing; One Tooth Productions; Sony/ATV Tree; Warner-Tamerlane Publishing Corp

Awarded to Artist(s)/Producer(s)/Record Company-Label(s)

“I’M GONNA LOVE YOU” CODY JOHNSON, CARRIE UNDERWOOD PRODUCER: Trent

Willmon

RECORD COMPANY-

LABEL: CoJo Music LLC / Warner Music Nashville

“WE DON’T FIGHT ANYMORE” CARLY PEARCE, CHRIS STAPLETON

“YOU LOOK LIKE YOU LOVE ME” ELLA LANGLEY, RILEY GREEN

RECORD COMPANY-LABEL:

SAWGOD / Columbia Records

PRODUCERS: Shane McAnally, Josh Osborne, Carly Pearce

Big Machine Records

PRODUCER: Will Bundy RECORD COMPANY-LABEL:

@studiosevennm

Featuring: One-of-a-Kind jackets and accessories

by Meredith Lockhart Collections

66 - E. San Francisco St. Paso de Luz #12/13 • Santa Fe, New Mexico • 505-999-1029 • samsvillegallery.com

NOMINEES VISUAL MEDIA OF THE YEAR

4X4XU LAINEY WILSON

DIRT CHEAP CODY JOHNSON

PRODUCER: Jennifer Ansell

PRODUCER: Dustin Haney

DIRECTOR: Dano Cerny

DIRECTOR: Dustin Haney

LANEY WILSON

Laney Wilson ties for the most

nominations in different categories, earning nods in six separate categories, including her first nomination for Artist-Songwriter of the Year. Wilson’s nominations for Song of the Year mark her fourth consecutive year being nominated

Awarded to Producer(s)/Director(s)/Artist(s)]

I’M GONNA LOVE YOU CODY JOHNSON, CARRIE UNDERWOOD

PRODUCERS: Christen Pinkston, Wesley Stebbins-Perry

PRODUCERS: Wes Edwards, Angie Lorenz, Jamie Stratakis

DIRECTOR: Dustin Haney

DIRECTOR: Running Bear (Stephen Kinigopoulos, Alexa Stone)

KACEY MUSGRAVES

Kacey Musgraves' three nominations this year

brings her total nominations

and her seventh total nomination

count to 30, including nine

(including artist and songwriter

nominations for Female Artist

credits) in the category.

THINK I’M IN LOVE WITH YOU CHRIS STAPLETON

of the Year. She won the

YOU LOOK LIKE YOU LOVE ME ELLA LANGLEY, RILEY GREEN PRODUCER: Alex

Pescosta

DIRECTORS: Ella Langley, John Park, Wales Toney

FAST FACTS SHABOOZEY Shaboozey receives his first ACM Award

nominations, including

award in 2018, the same year

a nomination for New

she won Album of the Year for

Male Artist and Single of

Golden Hour.

the Year for his recordbreaking hit song “A Bar Song (Tipsy).”

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NOMINEES ARTIST-SONGWRITER OF THE YEAR

LUKE COMBS

ERNEST

HARDY

MORGAN WALLEN

LAINEY WILSON

ASHLEY GORLEY

CHASE McGILL

JOSH OSBORNE

SONGWRITER OF THE YEAR

JESSI ALEXANDER

JESSIE JO DILLON

Watch the 60th ACM Awards May 8 live from Ford Center at The Star in Frisco, Texas, only on Prime Video.

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Where Songwriters Are Heard acmcountry.com

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ACM RADIO AWARDS

* Denotes winner(s)

NATIONAL DAILY ON-AIR PERSONALITY OF THE YEAR Ashley Till Y2Kountry with Ashley Till * Big D, Bubba Big D & Bubba Buzz Brainard, Nick Ultra The Music Row Happy Hour with BuzzBrainard Cody Alan Highway Mornings with Cody Alan Patrick Thomas PickleJar Up All Night

NATIONAL WEEKLY ON-AIR PERSONALITY OF THE YEAR

ON-AIR PERSONALITY OF THE YEAR MAJOR MARKET The Lo Show – Lo Sessions KKBQ-FM (Houston, TX) The Morning Wolfpack with Matt McAllister – Matt McAllister, Gabe Mercer, “Captain Ron” Koons KKWF-FM (Seattle, WA) John and Tammy: San Diego’s Morning Show – John Flint, Tammy Lee KSON-FM (San Diego, CA) The Scotty Kay Show – Scotty Kay WUSN-FM (Chicago, IL) * Josh, Rachael and Grunwald In The Morning – Josh Holleman, Rachael Hunter, Steve Grunwald WYCD-FM (Detroit, MI)

Kelleigh Bannen Today’s Country Radio

ON-AIR PERSONALITY OF THE YEAR LARGE MARKET

* Lorianne Crook, Charlie Chase Crook & Chase Countdown

Heather Froglear – Heather Froglear KFRG-FM (Riverside, CA)

Steve Harmon Country Gold with Steve Harmon

Deb & Matt in the Morning – Deborah Honeycutt, Matt Malone WFMS-FM (Indianapolis, IN)

Wayne D, Tay Hamilton iHeartCountry House Party Whitney Allen The Big Time Saturday Night

Wayne D and Tay – Wayne D, Tay Hamilton WSIX-FM (Nashville, TN) * The Big Dave Show – Big Dave, Stattman WUBE-FM (Cincinnati, OH) The Q Morning Crew with Mike and Amanda – Amanda Daughtry, Mike Wheless WQDR-FM (Raleigh, NC)

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ON-AIR PERSONALITY OF THE YEAR MEDIUM MARKET The Bee Morning Coffee Club – TJ Sharp, Bo Jaxon, Hope Breen WBEE-FM (Rochester, NY) New Country Mornings with Nancy and Woody – Nancy Wilson, Aaron Woods WHKO-FM (Dayton, OH) * Joey & Nancy – Joey Tack, Nancy Barger WIVK-FM (Knoxville, TN) Julie and DJ in the Morning – Julie Kansy, Dale Sellers WPCV-FM (Lakeland, FL) Mo & StyckMan – Mo, StyckMan WUSY-FM (Chattanooga, TN)

ON-AIR PERSONALITY OF THE YEAR SMALL MARKET Hilley & Hart – Kevin Hilley, Erin Hart KATI-FM (Jefferson City, MO)

RADIO STATION OF THE YEAR MAJOR MARKET KSCS-FM (Dallas-Fort Worth, TX) * KYGO-FM (Denver, CO) WMZQ-FM (Washington, D.C.) WPOC-FM (Baltimore, MD) WUSN-FM (Chicago, IL)

RADIO STATION OF THE YEAR LARGE MARKET KNCI-FM Sacramento, CA WDSY-FM (Pittsburgh, PA) WGH-FM (Virginia Beach, VA) * WQDR-FM (Raleigh, NC) WSIX-FM (Nashville, TN) WWKA-FM (Orlando, FL)

Liz & Scotty in the Morning – Liz DelGrosso, Scotty Cox KCLR-FM (Columbia, MO)

RADIO STATION OF THE YEAR MEDIUM MARKET

Ben & Arnie – Ben Butler, Arnie Andrews WCOW-FM (Sparta, WI)

KUZZ-FM (Bakersfield, CA)

The Dr. Shane and Tess Show – Dr. Shane, Tess WPAP-FM (Panama City, FL)

WHKO-FM (Dayton, OH)

* The Cat Pak Morning Show – Brent Lane, Mel McCrae WYCT-FM (Pensacola, FL)

KXKT-FM (Omaha, NE) WIRK-FM (West Palm Beach, FL) * WIVK-FM (Knoxville, TN) WLFP-FM (Memphis, TN) WUSY-FM (Chattanooga, TN)

RADIO STATION OF THE YEAR SMALL MARKET KCLR-FM (Columbia, MO) KFGE-FM (Lincoln, NE) WKML-FM (Fayetteville, NC) * WXBQ-FM (Bristol, VA) WYCT-FM (Pensacola, FL) acmcountry.com

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INDUSTRY AWARDS CASINO OF THE YEAR THEATER Deadwood Mountain Grand Deadwood, SD

Banknh Pavilion Gilford, NH

FAIR/RODEO OF THE YEAR

CMAC- Constellation Brands Marvin Sands Performing Arts Center Canandaigua, NY

Calgary Stampede

Saint Augustine Amphitheatre

California Mid-State Fair

The Wharf Amphitheater

Calgary, AB

Paso Robles, CA

Cheyenne Frontier Days

St. Augustine, FL

Orange Beach, AL

Whitewater Amphitheater

Cheyenne, WY

New Braunfels, TX

Harrah's Cherokee Casino Resort

Houston Livestock Show and Rodeo

ARENA OF THE YEAR

The Theater At Virgin Hotels

Minnesota State Fair

Fort Worth, TX

Foxwoods Resort Casino Mashantucket, CT Cherokee, NC

Houston, TX

Las Vegas, NV

Falcon Heights, MN

Yaamava’ Theater

CLUB OF THE YEAR

Highland, CA

CASINO OF THE YEAR ARENA

Billy Bob's Texas Fort Worth, TX

Golden Nugget Lake Charles

Brooklyn Bowl

Hard Rock Live At Etess Arena

Cain's Ballroom

Lake Charles, LA Atlantic City, NJ

Nashville, TN

Tulsa, OK

Harveys Lake Tahoe

Georgia Theatre

Mystic Lake Casino Showroom

Joe's On Weed St.

Stateline, NV

Prior Lake, MN

Turning Stone Resort Casino Verona, NY

FESTIVAL OF THE YEAR C2C: Country To Country

Athens, GA

Chicago, IL

THEATER OF THE YEAR The Caverns

London, England

Pelham, TN

CMC Rocks

MGM Music Hall at Fenway

Ipswich, Queensland

Boston, MA

Stagecoach Festival

The Met Philadelphia

Two Step Inn

The Rave/Eagles Club

Indio, CA

Georgetown, TX

Windy City Smokeout Chicago, IL

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OUTDOOR VENUE OF THE YEAR

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Philadelphia, PA

Milwaukee, WI

Tennessee Theater

Knoxville, TN

Dickies Arena Moody Center Austin, TX

TD Garden

Boston, MA

Thompson-Boling Arena at Food City Center Knoxville, TN

Van Andel Arena

Grand Rapids, MI

DON ROMEO TALENT BUYER OF THE YEAR NOMINEE Deana Baker Bobby Clay Gil Cunningham Weston Hebert Stacy Vee Taylor Williamson

PROMOTER OF THE YEAR Brent Fedrizzi Alex Maxwell Patrick McDill Anna Sophie Mertens Rich Schaefer Aaron Spalding

AEG Presents congratulates this year’s ACM Awards nominees, including our friends:

Gavin Adcock • Kelsea Ballerini • Luke Combs Megan Moroney • Kacey Musgraves The Red Clay Strays • Carrie Underwood Brent Fedrizzi • Weston Hebert Rich Schaefer • Stacy Vee C2C Country to Country • CMC Rocks Stagecoach Festival The Theater at Virgin Hotels Las Vegas • Georgia Theater CMAC — Constellation Brands Marvin Sands

STUDIO RECORDING AWARDS ACOUSTIC GUITAR PLAYER OF THE YEAR

DRUMMER OF THE YEAR

PRODUCER OF THE YEAR

Fred Eltringham

Dave Cobb

Tim Galloway

Tommy Harden

Ian Fitchuk

Todd Lombardo

Evan Hutchings

Charlie Handsome

Mac McAnally

Aaron Sterling

Jon Randall

Bryan Sutton

Nir Z

Alysa Vanderheym

AUDIO ENGINEER OF THE YEAR

ELECTRIC GUITAR PLAYER OF THE YEAR

SPECIALTY INSTRUMENT PLAYER OF THE YEAR

Brandon Bell

Kris Donegan

Dan Dugmore

Drew Bollman

Jedd Hughes

Jenee Fleenor

Josh Ditty

Brent Mason

Josh Matheny

Buckley Miller

Sol Philcox-Littlefield

Justin Schipper

F. Reid Shippen

Derek Wells

Kristin Wilkinson

BASS PLAYER OF THE YEAR

PIANO/KEYBOARDS PLAYER OF THE YEAR

J.T. Cure

Dave Cohen

Mark Hill

Ian Fitchuk

Rachel Loy

Billy Justineau

Tony Lucido

Gordon Mote

Craig Young

Alex Wright

Ilya Toshinskiy

The 2025 Studio Recording and Industry Awards will be presented to the winners at the 18th ACM Honors, a special event held annually at the historic Ryman Auditorium in Nashville, Tennessee.

More details will be announced in the coming months.

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Inside the Boardroom

TEMPO: I want to first take it back to the

Managing partner of Fusion Music Daniel Miller’s humanity-first approach to artist management extends into all facets of his life

BY LIBBY GARDNER

beginning. What sparked your interest in Country Music?

MILLER : I grew up in a small farming

community in northeast Missouri, and that was the only kind of music we had access to.

My parents and grandparents were all fans of Country Music, and if we were able to get a pop radio station, I don’t know where it was.

Certainly, in college, I, like everybody else, had an interest in whatever was cool at the time.

When I was probably a sophomore or junior in college in the early ‘90s, Country was really taking off.

TEMPO: Your career path has been quite

diverse, and you started Fusion Music over 10 years ago. What inspired you to take that leap to start your company?

MILLER: Dumbest thing I ever did. [Laughs]

I worked for a couple other management companies, and it felt like the right time in my life to do that. I had a couple of advisors

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helping me, but I took the leap. I didn’t have an artist on board at all yet, and felt like, if we have the right people in the right mindset, it’ll all come together. We had a couple of missteps, but we eventually figured it out.

TEMPO: Who was the first artist that you

worked with?

MILLER: We had a duo called Native Run —

really cool male/female duo, and I think it was the right music at the wrong time. They’re both still working in music and doing different things, so it all worked out as it should.

TEMPO: I want to hear a little bit about your

approach to how you develop and maintain your strong relationships with your clients, because you work with some really big names. So, what’s the strategy there?

MILLER: Well, it depends. We’ve had people

come to us at all different stages of their career, but the approach is the same, whether they’re just starting out or they’ve been around for a long

part is really important. The one thing that I tell everybody — that’s expected of the team and all our artists — is to be charitable. If they don’t have a charitable mindset, then we’re probably going to have a hard time working together.

TEMPO: I want to talk a little bit about how

Country Music has evolved over the years.

How have you seen it change?

MILLER: Well, it’s funny that ‘90s Country is still

so popular and relevant, and it’s funny to hear a lot of young artists refer to it as vintage ... I think the names and the faces have changed, but the value of Country Music has never changed, and the way that music and the artists connect with their fans around the world has stayed the same.

TEMPO: As an artist manager, has your

CLOCKWISE FROM TOP LEFT: Chris Ferren (Fusion Music), Martina McBride, Daniel Miller (Fusion Music) Daniel Miller (Fusion Music), Riley Green, Rac Clark, Zach Sutton (ACM Lifting Lives Board member) Dylan McGraw (Fusion Music), Daniel Miller (Fusion Music) Lily Rose, Daira Williamson, Lexi Leatherwood (OH Creative

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time. It starts with making sure how we present the artists and the music reflects who they are as a person and what their values are. We spend a lot of time with each of them, getting to know them, getting to know their families, getting to know what makes them tick as a person, what inspires them, and what they’re afraid of ... It’s humanity first. It’s who they are as a person and what works within their life. If all that’s in sync, everything else usually falls into place.

strategy changed? I’m sure, with the rise of social media, you’ve had to shift.

MILLER: When I started, we were still selling full

length physical albums. There weren’t any digital downloads yet. There wasn’t any social media yet.

So, the way we approach music releases and tours is completely different. I usually say that when I started, you used to go on tour to support your music. Now, we put out music to support going on tour. Both are really important, but the way we use them has completely changed.

TEMPO: I know philanthropic work is important to

TEMPO: Are there any characteristics or qualities

you look for in an artist before signing them?

MILLER: We have to believe in who they are as people,

first and foremost. That goes back to what is their family unit like and what is their support system like. Because without that, it’s really tough to make the career work long term ... We want everybody to have a passion for the genre. I don’t know how it works in other genres, but the close-knit community

you, so what initially drew you to become involved with ACM Lifting Lives?

MILLER: Before I was on the ACM Lifting Lives

Board, all our artists were involved in some capacity. We had artists go to Ryan Seacrest Studios as they were being built, and we’ve had artists play all the events over the years and that’s where I really learned about it. When Paul Barnabee was the chair and Ben Vaughn was the vice president,

[Ben’s] really the one that invited me to be on the Board and be active. So, I’m really thankful to him for that.

But I was able to see firsthand the impact that Lifting Lives was having on people, and certainly through the music camp and all the Williams Syndrome campers in the program. That was the first time that I really saw firsthand the impact that music has directly on people in a really big way.

TEMPO: In terms of the ACM, are there any initiatives or changes within the organization that you’ve been excited to help push forward?

MILLER: We’ve had a lot of changes since I first started,

and certainly the distribution and broadcast partner has changed. I’ve tried to be a resource to the team and the rest of the Board to help navigate those changes in real time. Nobody really expected how broadcast television and streaming platforms would evolve, and it was just great to be part of an organization that was the first one to adopt using a streamer as the platform to distribute the show and reach a whole new audience.

In most of my time, I’ve been really involved on the Marketing Committee to help with the show and events and certainly helping the leadership of the organization evolve as well.

TEMPO: Is there a moment, whether it’s ACM related

or not, in your career that you’re most proud of?

MILLER: ACM Honors is probably my favorite

moment of the year. A few years ago, Martina McBride was honored with the Icon Award. So, it was great to both celebrate everything that the ACM had accomplished for the year, but also have an artist recognized at that level.

TEMPO: What excites you most about the future of Country Music?

MILLER: We’re seeing fans come in from so many

different directions, and we’re seeing new artists have a direct path to fans in a way we’ve never had before.

For some artists, that’s radio, for some artists, that’s streaming, for some, they can make that connection directly on the road. So, to have all those avenues available to artists — and they can really curate their own career the way they want to — is really exciting and gives us a lot of options. Artists that may have never gotten a chance to be heard before now can. I think new [artists], young [artists], and [artists from] every walk of life now have an opportunity to share their songs with the world. I feel like the Country Music genre is the most poised to support that. ● FROM LEFT TO RIGHT: Dylan McGraw, Chris Ferren, Danielle Broome, Daniel Miller (all Fusion Music)

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DASHACODED

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With a viral hit, a growing fanbase, and her first ACM Award nomination, DASHA isn’t slowing down anytime soon

BY CAITLIN HALL TEMPO: What is the Dasha story?

Where did it start for you?

DASHA: It first started when I was

5 years old, and I got into musical theater. I got into performing and the dramatics of being onstage, the lights, and [being] backstage, and then I started songwriting and got really into storytelling. It’s kind of always been about stories. That’s why I’ve always loved Country Music so much. It’s the best way to tell stories — lyrics that feel like a beginning, middle, and end that you see in your head like a movie ... My parents were always very encouraging. My dad was kind of my first manager and started booking gigs for me when I was 10 years old at coffee shops around town and wineries.

I kept falling more and more in love with it. I was like, “I’m going to be an artist ... there’s nothing else that I’m going to be doing.”

TEMPO: Where do you find that you

draw the most inspiration from when songwriting?

DASHA : Definitely my own life. I tend

to maybe not make the best decisions ever because I need something to write about. Men are basically an expense at this point.

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TEMPO: Has it been challenging to

wrap your head around all the success you’ve had with, of course, “Austin,” and just everything blowing up so quickly? Have you been able to sit back and relish in the success at all?

DASHA: Yeah, I’ve definitely been able

to sit back and really enjoy it a bit more recently than before last year. Last year, it just got so insane. After a while, I was barely holding on, on a human level. But now I feel like I’ve had way more time to kind of adjust to this new lifestyle, and it’s been amazing seeing how much my dreams are coming true, and being nominated at the ACM Awards is insane. I don’t know. It just keeps building and building, and I definitely really try to take a step back whenever something else happens to celebrate every little thing.

TEMPO: I wanted to touch on

your first-time nomination for ACM New Female Artist of the Year.

I saw your video on socials. How did it feel waking up to that news?

DASHA: Oh, my God. [Laughs] It

was such a shock. As you probably know, I was literally awakened by the news, and I was so excited. I knew the nominations were coming up, but I didn’t really get my hopes up, obviously.

So, I was just like, “OK, whatever happens, happens.” The women in the category with me, I’m such fans of too.

So, it just feels like a really good pat on the back from the Country community.

TEMPO: Do these nominations

and accolades serve as validation or motivation to keep going?

DASHA: Oh, God, yeah. Honestly, what

these nominations do is — it makes me feel so seen. As an artist, a lot of times you’ll be working on a project, and you won’t get the recognition you think you deserve from it. And it’s kind of discouraging of, like, “What am I even doing this for?” But that I’m nominated for ACM New Female Artist of the Year, it’s very, very validating, and I feel so seen and appreciated.

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TEMPO: You’ve had many live

performances in the past year, super early on in your career as well. How has being onstage helped your artistry evolve?

DASHA: So much. I just feel like I got

so comfortable with my artistry, how I want to look onstage and feel, and what I like saying between songs. Just practice makes perfect and, really, the only way to do it is just by going onstage and kind of sending it. You just kind of have to learn some way or the other. And, this past year, [I’ve learned] so much being on tour with different people.

TEMPO: What’s the main takeaway

that you’d like people to hear and see from your work?

DASHA: I mean, honestly, I just want

people to pay attention to my stories, my lyrics. I feel like the coolest thing about music, and my music in particular, is the community that forms around it. It’s my favorite thing in the world when my fans are like, “Oh, my God, I met so and so at your concert because we were both there alone, and now we’re best friends.” That stuff makes all the hard days so worth it because, at the end of the day, I make music to connect people and to make people not feel so alone. I feel this older sister vibe a lot for my fans because I am an older sister, and that’s kind of my natural instinct. It’s so cool seeing my music touch people the way I wanted it to.

TEMPO: Has your perspective of what

success looks like changed now that you’re living in it?

DASHA: Definitely. I mean, you start with

like the smallest accolades, not small, but ones of reach — like, a first Billboard chart intro. I’m like, “That is going to be the moment that I’m satisfied.” And as you hit it, you’re like, “I want more.

I’m hungry. Let’s keep going.” Honestly, this point is not really about accolades.

Obviously, I really appreciate it, because it just shows you’re being seen, and it means

“I make music to connect people and to make people not feel so alone.” you’re working really hard. But for me, I realized my most important accolade is — it sounds cheesy — but it’s straight up, my happiness. A lot of that has been kind of thrown at the wayside for the sake of making it to a show on time or going out to do this or doing this appearance, and at the end of the day, I’m like, “I just want to be happy.”

TEMPO: Looking back just a year ago,

what’s something you’ve learned about yourself throughout this journey?

DASHA: I’ve learned how much I really value normal things. I really like playing pickleball with my friends and playing volleyball and riding horses and getting my feet dirty and touching grass. I like going to grocery stores. I don’t know, just normal stuff that you would never really think about is really important to me.

TEMPO: What’s next for Dasha? What

else do you have going on this year?

DASHA: I have a headline tour coming

up, and so many festival dates in Europe and going out with Kane Brown again and Thomas Rhett ... Also, I’m working on a new project right now, a new album. It’s cool getting to reintroduce myself in a way to my fans, because last year “Austin” got so big that I think I got kind of swallowed in it ... It’s cool having it as an opportunity to say, “Hey guys. I’m Dasha, and this is what I stand for, who I am, and this is my personality.” These new songs I’m writing and putting out are just so Dasha-coded.

You can really feel it. ●

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THROUGH THE

LENS

BY LIBBY GARDNER

If you’ve seen photos from the Oscars, the Grammys, or the

BY LIBBY GARDNER ACM Awards, chances are you’ve come across the work of renowned photographer JOHN SHEARER , known not only for his remarkable creative eye but also for what he values most: trust

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TEMPO: Well, first, I want to go back to the beginning. Can you take me back to when you first discovered your love of photography?

SHEARER: I first started taking photos

going all the way back to junior high. I was kind of a skater, surfer, and snowboarder kid. I wasn’t particularly good at any of those sports, but I loved being a part of the scene ... I went to college at San Francisco State for photojournalism. I was trained as a newspaper documentary photographer and fully intended to work at a newspaper or a wire service ... but as I was in college, it was the time newspapers started laying off staff and crashing and folding. I’d always had a love for music. I shot punk shows and concerts every weekend in high school, so transitioning from news to music and entertainment was kind of a natural transition. I moved back to LA in 2003 and went on staff with Wire Image, and then Getty Images absorbed Wire Image, and I went the entertainment route.

TEMPO: Being trained in photojournalism,

I’d assume you have to have an objective view rather than think creatively. So, what did you notice are the differences between photojournalism and shooting events?

SHEARER: I think being trained as a

photojournalist at its core is reportage and storytelling. I think it took me a long time to get to that point to be able to utilize that in my career with musicians and entertainers, because it takes a long time to build trust, to get the access to these artists to let you do that. It was probably not nearly until I moved to Nashville 10 years ago that I started incorporating storytelling and documentary photography into event coverage versus standard event coverage being photographers shooting the show or the red carpet or what standard media gets to do.

I made it my mission to develop strong relationships and build the trust of everyone in town in Nashville. That was everyone from the musicians themselves to managers, publicists — security guards are important — and glam teams, so that I could walk into any dressing room at any award show I want and have no one pause and wonder why I’m in there with the camera. Not many photographers can say that.

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TEMPO: You work with a lot of A-list artists,

including Taylor Swift and Bob Dylan. How do you break down that wall of an artist and gain their trust? Because it’s probably a little different from gaining the trust of their managers or security guards.

SHEARER: I think it starts with the artist. I’ve worked with

a lot of them outside of these events, in the studio or on the sets of music videos or in my studio, doing album covers.

First, through years of work, I would get the artist seeing the work that I’m putting out, meaning they know that if I take a photo of them in their dressing room, they’re not going to be changing or in their boxers or brushing their teeth or eating or something like that. They know I’m not going to take a photo that they’re not going to want out ... So, I think you must earn the artist’s trust first and then work with the rest of the team from the publicist, manager, and security.

Jim Marshall — he’s the most wellknown music photographer of all time.

He came up in the ‘60s and did this type of reportage photography with everyone from Bob Dylan and Jimi Hendrix to Johnny Cash, The Beatles, The Rolling Stones. He happened to live near me in San Francisco when I was in college, so we developed a mentor relationship ... The trust thing is something I learned from Jim. TEMPO: I know you take a lot of

candid shots, especially at the award shows. How do you know that this moment is going to be beautifully captured? Can you see it before you take the photo?

SHEARER: Yeah, I do try and shoot

everything candidly, as opposed to posing people like a lot of photographers do. I like to bring people into places like dressing rooms and backstage hallways that they wouldn’t see on TV, and I want them to feel like they’re there and in the moment. I use small, quiet cameras — two small Leica cameras. I don’t have flash, a big lens, or an SLR. I try to be a fly on the wall and be silent. It’s kind of a waiting game and in some ways, it’s documenting everything that’s going on, and, in some ways, it’s just kind of standing back and waiting for that moment to happen.

TEMPO: In terms of your editing style, I

know a lot of what you post is black and white. Is there a reason for that? Is it to give it a timeless feel?

SHEARER: I think it’s timeless, and I

think that color can be distracting, and in black and white, you can focus more on the moment and what’s going on in the photo and not get distracted by a bunch of colorful lights ... And it’s kind of a throwback to the style of photography that I’m emulating from the ‘60s and ‘70s.

TEMPO: I want to talk a little bit about the differences between LA and Nashville, because I know you’ve lived in both places. So, what was photography like there versus here?

SHEARER: I think a lot of the LA artists

and the artists in different genres outside of Country have a lot more guardrails and walls up and are harder to get access to. One of the reasons I moved to Nashville is because I enjoyed working with the people and the artists here so much ... The Country community feels like a family. I think that there are very few artists that I work with or photograph that haven’t been in my house for dinner or my wife, Clea, and I haven’t gone on a double date with ... I think that it’s a lot easier to have those one-on-one relationships with the artists and the access to the Country community than it is in other genres.

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TEMPO: Since you’re go, go, go, does it make

it harder to know when you’ve gotten a good photo or to even relish successful moments?

SHEARER: Yeah, I think it does. I think it’s

hard to step back. Say after the ACM Awards, it is such a blur because you’re shooting for 10 hours straight. You’re shooting, hundreds if not thousands of photos. At the end of the night sometimes, I’ll talk to another photographer or my wife, Clea, after the show, and she’ll say, “What were the highlights?” and I can’t remember. It’s just kind of all a blur. Sometimes I feel like I didn’t get many photos at all ... and then I’ll sit there in the hotel room and go through all the photos, and it’s kind of like, “OK, I may have only caught five moments an hour, but we’ve been shooting for 10 hours here, so we actually have 50 moments.”

TEMPO: Is there a photo that you’re

most proud of or that is one of your favorites?

You probably have a bunch.

SHEARER: One moment that sticks out to

TEMPO: The genre is obviously changing. Technology’s

changing. Social media is booming. How do you slow down and stay present in your work with all of that going on?

SHEARER: I don’t slow down and honestly, the more

mediums that are publishing photography, it’s all a good thing for me, really. Ten years ago, when I moved here, a lot of the photography we’re talking about, the black and white reportage photography, is something that everyone in town loved, but they didn’t really know what to do with it ... The rise of social media and everyone wanting to see behind-the-scenes looks of what’s going on in their favorite musicians’ lives has been a huge plus for me.

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me, which was kind of a breakthrough in my career, was at the 2003 MTV VMAs. I got the photo of Madonna and Britney Spears kissing, which was still probably my most published photo to date ... As far as artists go, Bob Dylan was always one of my favorite artists and most influential artists ... And I continue to do lots of photography with Bob up until today ... Another big one was the final rehearsals for Michael Jackson’s This Is It shows that were going to be in London at O2 arena. Michael’s Bad Tour in 1988 was the first concert I ever went to. It was kind of a full circle moment ... The ACM Awards, specifically my favorite moment, was the Chris Stapleton leaf blower photo. He won Entertainer of the Year, and this was an hour and a half after the show. I was in my hotel room upstairs eating dinner and got the call that Chris wanted to do some kind of photo ... We got down there, and the janitors were using leaf blowers to clean up all the confetti. Chris jumped in and helped, and we quickly put together that photo which became the most published photo from the show that year.

TEMPO: Is there pressure when you’re taking photographs

TEMPO: Is there a moment that you

of these icons and people that you look up to musically? How do you get past that and remain confident in your skills?

SHEARER: Well, there’s pressure when I’m working with artists in the

haven’t captured yet or a person that you want to?

SHEARER: I’ve been lucky to work with

studio to come up with an album cover, and that’s a separate kind of pressure ... I think it can be more pressure if I’m the only photographer backstage at one of these award shows, which I often am, because there’s both the organization and many press outlets standing by waiting for the photos to see what happened and what I captured. I have to remind myself that whether it’s the Oscars or the Grammys or the ACM Awards, it’s all the same style shoot.

For example, at the ACM Awards, it’s now livestreamed on Prime Video, so there’s no commercial breaks or anything. Those are the times when I usually get these moments, during the commercial breaks in the audience and backstage mingling. Now I have before the show and after the show, because once they’re seated, they don’t get up ... Last year, Stapleton performed with Dua Lipa, so I said to Chris, I had the idea, “What would you think of teaching Dua Lipa how to use a leaf blower and clean up the confetti at the end of the show like we did last year?” Chris laughed, and he was fully on board and explained it to her ... and she was like, “Oh, that’s cool,” and after the arena cleared out and they were done with press, we went in and redid the photo.

so many of the greats, and incredibly talented artists who have been at the top of their game in the worlds of music, film, television, and even technology. I have not had a chance to work with the greats in the sports world, or many other worlds, so I think I’d have to say Michael Jordan.

TEMPO: What do you want your legacy

to be as a photographer?

SHEARER: I want to be known like Jim

Marshall is — as the photographer that all the artists trust. Never screwed up, never did anything wrong, and captured amazing moments that will hopefully live on forever. ●

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I N M E M O RY

58

Larry Bastain

Carl Dean

Troy Seals

1935-2025

1942-2025

1938-2025

Larry Bastain, a long time songwriter, passed away on April 6, 2025. He was 90.

Born and raised in California’s San Joaquin Valley, he grew up in a farming family and spent his high school days farming and cowboying.

He later moved to work as a biologist for both Kern and Tulare counties in California for over 15 years.

While he was devoted to agriculture, he also was to music.

In the 1970s, he started sending his songs to Nashville and had his first hit, “This Ain’t Tennessee and That Ain’t You,” which was notably recorded by Janie Fricke and later recorded by many others including Tom Jones.

He began charting songs for Ray Price, Conway Twitty with “Saturday Night Special,” and eventually Garth Brooks, with hits including “Rodeo” and “Unanswered Prayers.”

Over the course of his massive songwriting career, his work was also recorded by artists from Buck Owens to Reba McEntire.

Carl Dean, beloved husband of Country music icon Dolly Parton, passed away on March 3, 2025. He was 82.

Dean was born and raised in Nashville, Tennessee. He started his career as an asphalt paver and later owned his own company. He met Dolly in 1962, outside of a laundromat on the day she moved to the city at just 18 years old. Carl and Dolly got married two years later in 1966 on Memorial Day. Dean continued to embrace his private life as Dolly’s career blossomed. He always was a large source of inspiration in her songwriting and continues to inspire her work. She always spoke about his sharp wittedness and determined faith in her and her talents.

He enjoyed taking road trips in their RV and spending time with Dolly. In 2016, they renewed their vows on their 50th wedding anniversary, a true testament to their everlasting love.

Troy Seals, songwriting legend and ACM Award winner died on March 6, 2025. He was 86.

Born in Bighill, Kentucky, Seals was surrounded by musical talent from his early days. He began performing in the 1950s with a band called Troy Seals & the Earthquakes, which helped back many acts of the time like Conway Twitty and Fats Domino.

In the 1970s, Seals began songwriting again, landing his first cut with Conway Twitty for “We Had It All,” and then releasing his first album, Now Presenting Troy Seals. Twitty became a mentor for Seals and together they had their No. 1 hit, “There’s a Honky Tonk Angel,” which was later recorded by Elvis Presley in 1979.

“Seven Spanish Angels,” “Lost in the Fifties Tonight” (1985 ACM Song of the Year), and “Forget About Me” are all hits Seals wrote that catapulted his success even higher in the ’80s and ultimately led to his induction into the Nashville Songwriters Hall of Fame in 1988. He continued writing for Travis Tritt, Randy Travis, and Reba McEntire into the ’90s and notably co-wrote a hit with Vince Gill, “If You Ever Have Forever in Mind.”

During his career, Seals charted over 75 singles, including 30 Top 10s and 11 No. 1 hits. Seals retired from songwriting in his mid-60s.

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BY C A I T L I N H A L L

Lesly Simon

Jerry Strobel

Steve Turner

1972-2025

1940-2025

1948-2025

Lesly Simon, an industry veteran whose work spanned over 20 years, passed away on March 27, 2025. She was 52.

Simon began her career at RCA Label Group in Nashville working in artist management, promotions, and marketing in both pop and Country genres. It was then that she served as tour manager for Mindy McCready, who was on the road with Tim McGraw, George Strait, and more. During her transition to Capitol Records, she influenced the success of Snoop Dogg, Kylie Minogue, and Coldplay to name a few.

Later, she spent time as vice president of promotion at Arista Nashville/Sony Music Nashville. There she oversaw radio promotion for acts like Carrie Underwood and Brad Paisley and was instrumental in helping other acts like Brooks and Dunn and Alan Jackson launch platinum records.

She led her team to have over 40 No. 1 charting singles on Billboard and Mediabase Country charts.

In 2016, Simon became general manager of Garth Brooks’ label, Pearl Records, and later took the same role at Trisha Yearwood’s Gwendolyn Records. In 2020, she expanded from entertainment launching a real estate division with Cocoran Reverie and co-founding a design firm with Tyler Colgan.

Simon was a member of SOURCE, served on the Board of Directors for Country Radio Broadcasters, and was named one of Billboard’s Top 100 Country Power Players.

Jerry Strobel, longtime publicist for the Grand Ole Opry, passed away on February 24, 2025 . He was 84.

A Nashville, Tennessee, native, Strobel grew up down the street from Assumption Catholic Church and later began directing the choir there.

In 1970, his entertainment career blossomed as he became promotions manager for WSM Radio at the Grand Ole Opry.

He worked alongside media outlets locally and nationally to bring in talent to perform, expanding his duties and earning him the formal title of Opry House Manager. At the time, Nashville’s live performance venues were still sparse, but he became a pioneer for booking talent at the Opry, securing artists including Bruce Springsteen, Tony Bennett, and Frank Sinatra to name a few. He eventually retired from the job in 2000, but his career only expanded from there.

Strobel was the founder of Fan Fest, now known as CMA Fest, as well as the Nashville Oktoberfest.

He continued working in the church, singing at Catholic parishes throughout Middle Tennessee for various events.

Steve Turner, a longtime board chair for the Country Music Hall of Fame and Museum, passed away on February 11, 2025.

He was 77.

Born in Scottsville, Kentucky, Turner was raised working in the family business founded by his father, the Dollar General Corporation. He stayed involved for over 20 years as an executive and decided to take his career in a different direction when he was 40.

He attended Vanderbilt and decided to come back and plant roots in Nashville, Tennessee, alongside his wife, Judy. In this time, Turner became a catalyst for the future of business development in Nashville including pioneering many developments from the Gulch to the Country Music Hall of Fame and Museum.

Turner and his wife spent a lot of time devoting their lives to philanthropic work, and he joined the museum’s board in 1997 and then served as chair from 2008 until 2021.

During his time there, he made waves and helped to more than double the size of the Country Music Hall of Fame, as well as helped the city of Nashville in the creation of a new Music City Convention Center.

His efforts also expanded into philanthropic work with Community Counts, a program that provides free admission to the museum for Middle Tennessee youth.

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ACM M O M E NT

Milestone Moments 50th ACM Awards AT&T Stadium | April 19, 2015 Brooks & Dunn receive the ACM Milestone Award at the 50th ACM Awards in Arlington, Texas.

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NEED SUPPORT? If you are in the Country Music community and facing an unexpected medical or financial emergency, ACM Lifting Lives is here to help.

Please reach out to liftinglives@acmcountry.com to see if you qualify for a grant from THE DIANE HOLCOMB EMERGENCY RELIEF FUND.

W W W. ACMLIF TING LIVES .ORG

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