ACM Tempo Early Winter 2021

TEMPO ACM

EARLY WINTER 2021

Loretta Lynn and more celebrated at the 14th Annual ACM Honors

NASHVILLE PARTIES FOR A CAUSE s Q&A’S WITH BRITTNEY SPENCER AND SAM WILLIAMS s REMEMBERING THE ACADEMY’S LISA LEE

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Contents

12 | THE MAGIC OF LIVE MUSIC Michael Strickland sheds light on the current state of the live music industry

16 | DEEPLY ROOTED ACM Tempo sits down with Brittney Spencer, ACM Honors performer and rising Country star

20 | THE LEGACY CONTINUES Learn more about Sam Williams, ACM Honors performer and grandson of Hank Williams and son of Hank Williams Jr.

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CEO Note

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ACM News

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In Memory

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ACM Moment

Cover Story

14th ACM Honors™

Dive into the recap of performances, honorees and memorable moments from one of the Country Music industry’s favorite nights PAGE 24

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40 | IT’S A NASHVILLE PARTY Relive the best moments of the Party for a Cause concert at Nashville’s Ascend Amphitheatre

FLIP | REMEMBERING LISA LEE The Academy remembers beloved coworker and industry giant, ACM Senior Vice President of Creative & Content, Lisa Lee

FLIP

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ACM

TEMPO

FRO M TH E CEO

E ditor

Dear Valued Academy Members,

Libby Gardner A ssistant E ditor

Hannah Kellis C ontributors

Barry Adleman, RAC Clark, Craig Shelburne, Michael Strickland D esign

Randi Karabin, Karabin Creative

This special issue is a bittersweet one for me and for our Staff. You will see a detailed recap of our highly successful recent shows — the 14th Annual ACM Honors™ at Ryman Auditorium and the ACM Lifting Lives® Party for a Cause® at Ascend Amphitheatre, marking this event’s first time in Nashville. Also in this issue is a heartfelt tribute to the Academy’s very own Lisa Lee who recently lost her hard-fought battle with cancer the week leading into ACM Honors. While this loss devastated our Staff, it also gave us renewed focus on the importance of these events and motivated us to make them the best we could in Lisa’s honor. She was at the center of both of them for many years, especially ACM Honors, where she served as the producer and writer. ACM Honors celebrates the artists, musicians and industry leaders who have made a tremendously positive impact on the Country Music industry. It’s not only an extra special night since so many of the unsung heroes get recognized, but also because it brings our industry together to celebrate each other. After the shuttering of this event and most other live shows and events in 2020, it was very uplifting to bring us all together again in 2021. Lisa’s presence and her impact on this show and the industry could be felt by all in the Ryman that night.

With ACM Lifting Lives already raising and distributing nearly $4 million for the COVID-19 Response Fund, this year’s Party for a Cause event not only raised valuable funds to keep this mission going forward, but it also felt like a celebration of the great work the organization has done to support its Members suffering financial and mental health hardships. A huge thank you to all of the artists who donated their time to this great cause. It was so special seeing them light up as they played to the jam-packed crowd — several for the first time since the pandemic began!

As we look ahead to a fresh start in 2022 and our ground-breaking new partnership with Amazon Prime Video for the 57th ACM Awards, I want to thank all of our Members once again for your resilience, passion and determination which has gotten us through this past year and half and made us stronger and more focused as an industry. We are thankful to have you as a part of this organization and for your continued support of your Academy’s mission. My ongoing priority, as well as our Staff and Board’s, is to continue to expand the value of your membership and to develop new and innovative ways to support you.

As you read this special issue, whether you knew Lisa Lee personally or not, I hope her story inspires you to be the best you can be and to love Country Music and everyone who is a part of it with all of your heart. She certainly did, and we will never forget her contributions.

P rinting

Graphic Visions Commerical Printing P hotos

ACM, AP Images, Lauren Brauchli Dickens, Getty Images, Lisa Lee, Rory Levine, David McClister, Nick Sammons, Ed Warm, Storme Warren ACADEMY STAFF CEO

Damon Whiteside E xecutive D irector/ACM L ifting L ives

Lyndsay Cruz

Vice P resident/Finance & O perations

Alexa Fasheh

Vice P resident/Strategic Partnerships

Jen Heaton

Vice P resident/M arketing and D igital Strategy & E ngagement

Rory Levine

Vice P resident/ A rtist & I ndustry R elations , B oard A dministration & G overnance

Tommy Moore

D irector/C reative & C ontent

Brandon Campbell D irector/Events

Lanni Gagnon

D irector/M arketing

Melissa Moldovan

M anager/M arketing

Bridget Cirone

M anager/M arketing

Jessica Curtis

M anager/C reative & C ontent

Libby Gardner

M anager/Awards & M embership

Haley Montgomery

M anager/Finance & O perations

Mary Pambukyan

M anager/A rtist & I ndustry R elations , B oard A dministration & G overnance

Maddy Stessman

M anager/L ifting L ives

Taylor Wolf

C oordinator/Strategic Partnerships

Jenny Dunn

C oordinator/C reative & C ontent

Sincerely,

Hannah Kellis

C oordinator/M arketing

Dayna Poskanzer

Damon Whiteside Chief Executive Officer

E xecutive A ssistant to the CEO

David Sassano

A ssistant/Events

Alexis Bingham

A ssistant/M arketing

Carrie McDonough

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N E WS

Prime Viewing The Academy announced this past August that the 57th Academy of Country Music Awards will livestream exclusively on Amazon Prime Video in 2022. This makes the 2022 ACM Awards, produced by MRC Live & Alternative, the first time a major awards show has been livestreamed exclusively. Stay tuned for date and location confirmations in the

ACM HONORS COMES TO TV NOV. 23 If you missed the exclusive livestream on August 25 of the 14th Annual Academy of Country Music Honors™, worry not. Circle TV Network is airing an ACM Honors special broadcast on Tuesday, November 23. The 14th Annual Academy of Country Music Honors, considered one of the industry’s favorite nights, was an evening dedicated to recognizing the special honorees and winners from the 55th and 56th Academy of Country Music Awards™.

Be sure to tune in to the Circle TV Network on November 23 to relive the live performances and touching tributes for the special honorees.

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upcoming weeks.

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N E WS

Changing the Face of Music

Clockwise from top left: Brandon Gill, Julie Behr Sturdivant, Steve Moakler, Beth Laird and Haley Montgomery (ACM Manager, Awards & Membership)

INDEPENDENT SUCCESS

O

n September 24, ACM

O

n Saturday, October 2, the Academy partnered with NashFilm Festival’s Music Program for NashFilm & ACM Presents: From Country Hits to Sync Success with Lainey Wilson, an exclusive ACM member access discussion featuring Country Music hit songwriters and new emerging artists just finding success in the world of music syncs. The conversation focused on how to diversify songwriting strategies, what it means to write a Country hit, and how to shift gears to write a song that works for placement in film, television and gaming. Featured panelists included artist/songwriters Lainey Wilson and Austin Jenckes, as well as songwriters Micah Wilshire and Jennifer Hanson, and moderated by Randall Foster of Symphonic Distribution.

Membership hosted Steve Moakler: A Case Study in Success as an Independent

Artist, an in-person and digital livestream panel for its members at the Nashville Entrepreneur Center. The panel discussed Moakler’s artistic journey and decision to pursue being an independent artist. Moakler also revealed insight into the success he’s found by super-serving a passionate group of fans versus appealing to the masses. “The benefit of going the independent route in the music industry is doing things your own way, but it takes a lot of work. I tried a lot of wild ideas until I found what fit,” said Moakler.

Panelists included Steve Moakler (artist & songwriter), Brandon Gill (manager, Creative Nation), Beth Laird (Co-Owner, Creative Nation) and Julie Behr Sturdivant (Sr. VP, Marbaloo Marketing).

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Clockwise from top left: Randall Foster, Micah Wilshire and Lainey Wilson

My Gift: A Christmas Special From Carrie Underwood Streaming on now the album My Gift (Special Edition) available now produced by greg wells and mixed by serban ghenea Capitol Records Nashville; © 2021 UMG Recordings, Inc.

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LE T ’ S LI F T LIVE S

ACM Honors Hatch Show Prints Available Now Let’s Lift Lives in Style ACM Lifting Lives® teamed up for an exciting

Limited edition Hatch Show Prints from the 14th Annual Academy of Country Music Honors show at the historic Ryman Auditorium are available for purchase. All proceeds benefit ACM Lifting Lives, so take home a piece of history while in turn helping to support a wonderful cause. Shop now at acmcountry.com.

partnership with Nashville’s own Project615.

Available now for purchase is the special edition “Let’s Lift Lives” T-shirt. All proceeds from the collaboration benefit ACM Lifting Lives. Visit Project615.com to buy yours today.

Follow ACM Lifting Lives on Instagram @acmliftinglives

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TEE UP FOR CHARITY

A

CM Lifting Lives joined Wirtgen America as the beneficiary of the 14th Annual Wirtgen Charity Golf Classic. On October 7, Wirtgen guests gathered at the Nashville Palace for a dinner and special private performance by Randy Houser. A silent auction ran throughout the night and Shawn Parr led a live auction to raise additional funds and awareness for ACM Lifting Lives. The following day, the group reconvened at the Hermitage Golf Course for a fun day of play. ACM Lifting Lives extends a big thanks to all who attended, donated and made this two-day event possible.

RYAN H U R D featuring “CHASING AFTER YOU” “COAST” “JUNE, JULY, AUGUST” “TAB WITH MY NAME ON IT”

& more

AVAILABLE NOW

“THE SEASONED SONGWRITER IS

PRIMED FOR SOLO STARDOM.” – ESQUIRE “…HURD HAS BEEN IMPRESSIVELY ATTRACTING A VARIETY OF LISTENERS,

SOLIDIFYING HIMSELF AS AN EMERGING ARTIST-TO-WATCH WITH EACH SINGLE HE RELEASES.” – BILLBOARD “RYAN HURD HAS GONE FROM NASHVILLE’S BEST-KEPT-SECRET TO ONE OF

ITS MOST PROMISING RISING STARS” – PEOPLE

CLICK TO LISTEN

Music and Politics COVID. Simple word.

Complex conversation.

BY MICHAEL T. STRICKLAND

T

he state of the live music industry on October 1, 2021, is very different than at any time in the past. As everyone in our business knows, our

industry was the only one that was closed 100% for 16 months because of COVID-19. While we are certainly at a much better place today, we are still not what we would call “healthy.” The Delta variant, the political struggles and the emotions of human beings all serve to affect us every day. As an old friend of mine taught me, “Your perception is your reality.” There are 340 million perceptions in the United States.

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On any given Saturday, we see 100,000-plus people in college football stadiums. I am in my beloved University of Tennessee stadium every Saturday. Festivals across the nation are full, the NFL is at capacity, indoor concerts are packed, NASCAR is roaring, and clubs and theaters across America are completely full. Yet, there is still a healthy fear and respect for COVID-19, as there should be.

This is not unlike your first crush in high school, when you are not quite sure “she likes me.” Some days you feel good, some days not so much.

The live music industry is in a quandary, part good, part scary. (340 million perceptions!)

If I were to poll people today, most that I speak with have an overwhelming “feeling” that we should be in a better place

by March 2022. We are almost at herd immunity, several therapeutics are coming online and the COVID-19 statistics are falling rapidly. To go one word beyond this is pure speculation.

To recap our journey, last March, I and many others swung into overdrive with Senators, Representatives, staffers, the White House, the industry, the press, FEMA, the COVID Task Force and many others to achieve relief for our industry.

We achieved the CARES Act, the Paycheck Protection Program (PPP), Save Our Stages, PPP2, and COV-AID; untethered PPP2 from SVOG; and then spent months getting Save Our Stages, now SVOG, operational.

The execution and operation of SVOG was flawed at best and frightening at worse. There were many sleepless nights

Strickland receives the ACM Gene Weed Milestone Award at the 14th Annual ACM Honors™ on August 26, 2021, for his dedicated service to lobbying for legislation in support of the live music industry.

“The live music industry is very vertically integrated.

It is a bit like Jenga, if you pull any one piece, the entire industry collapses.”

and people at the end of their rope. As of October 12, 2021, there were 17,644 applications and 5,022 rejections. That is a rejection rate of 28%, and I speak with many of those people weekly. To say that very few people understand their rejection is an understatement. No explanation has ever been offered. The fund originally contained $16.2 billion and has awarded $11.2 billion. The SBA estimates the fund, which is now closed, will expend a little less than $12 billion. That will leave a balance of $4-plus billion in SVOG. That leads us to where we, as an industry, are now.

The live music industry is very vertically integrated. It is a bit like Jenga, if you pull any one piece, the entire industry collapses.

Net, we all need one another. Period. Artists, instruments, wardrobe, supplies, insurance, managers, agents, venues, production, transportation, marketing, fans, etc. There is almost a straight line. If any one component is not there, we all fail. As I write this, we are all suffering from huge supply chain issues on everything. That includes live music.

Never has live music seen such a shortage of people in history.

But, beyond this crisis is the fact that many in the industry did not receive funding from SVOG. The focus the last few weeks is to cure that.

On September 14, The MUSIC Act (Music Under Severe Income Crisis) was introduced in the Senate by Senators Marsha Blackburn and Bill Hagerty, and it requires no “new money” to be passed. The remaining $4-plus billion will provide relief for those in the music industry left behind by SVOG. Congress is always hesitant to provide “more money” and that makes sense. Budget is always an issue. But, in the case of our industry, there is $4-plus billion sitting trapped in SVOG, and there is no reason Congress should not pass The MUSIC Act at once, by Unanimous Consent. This would immediately allow those left behind by SVOG to receive much needed funds to survive.

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I write, call, speak and text with thousands of people and entities on the verge of collapse every week. The dirty little secret at this point is how many entities have been acquired by venture capital firms simply in order to survive.

Most of those firms were acquired for less than 40 cents on the dollar. You do not see this, as most do not publicly talk about it. Trust me, it is happening at an alarming rate. I know because people have confided in me, and I will never break their trust. I have been approached many times to acquire my firm. I estimate between 30% and 50% of the entities in our industry have either shut or been acquired.

I spend 12 to 16 hours a day, seven days a week, communicating with industry members, legislators, legislative staff, the SBA, attorneys, media and many others, all to assure we pass The MUSIC Act. There are many great people on this journey with me. It is truly a team effort. I persuaded Garth Brooks, Kenny Chesney and Billy Joel to reach out on our behalf to U.S. Senate Majority Leader Chuck Schumer. Sen. Schumer was the driving force behind the passage of Save Our Stages, and his singular focus to help the entertainment industry is irreplaceable. Sen. Schumer can finish the wonderful mission that he begun with Save Our Stages and pass The MUSIC Act. This single action will allow the entities and people left behind by SVOG to receive grants and flourish.

People ask me, “What can I do?” The answer is simple. Reach out to Sen. Schumer, Sen. Mitch McConnell, Rep. Nancy Pelosi and Rep. Kevin McCarthy and urge them to pass The MUSIC Act by Unanimous Consent. These four people control the path, and it requires no new funding.

They simply need to pass The MUSIC Act and allow all to receive funding. Many of you feel that Congress did indeed “pick winners and losers,” and I agree with that. When The MUSIC Act is passed, the playing field will be leveled and those left behind by SVOG will at last be provided the relief they need.

I hope everyone will join me in this journey, including all of those who have received funding. Please, remember, we all need one another to deliver the magic we call live music.

This wonderful industry we have all chosen as a lifelong passion has been very good to us, and we simply want to keep doing what we love.

I wish to thank everyone for all you have done these past 18 months, and I pray you continue and push us across the goal line by passing The MUSIC Act. It matters. Live Music Matters.

Thank you and God bless us all. ●

Brittney Spencer gets alternative with Country Music

WELCOME

BY LIBBY GARDNER

I

HOME

t’s no wonder singer-songwriter Brittney Spencer feels right at home with Country Music. Her first ever ACM Honors™ performance and first performance at Ryman Auditorium was capped with a standing ovation. Learn about Spencer’s musical influences, her take on diversity in the industry and more below.

TEMPO: First of all, I just want to talk about your ACM

Honors experience and your performance. That was just a remarkable performance of “Independence Day” and actually, I had chills the entire time you were on stage.

What does that song mean to you?

SPENCER: The story is so compelling. Of course, Martina McBride bought it to life in such an incredible way. And even when I think about just the behind the scenes of the song, it was written by one person, Gretchen Peters, and Martina has a production credit on that song as well, which we don’t see very often. We don’t see a lot of women having production credits … And for this to have happened 27 years ago, I thought that was badass … It’s such a deep, passionate

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lyric, and I love how they made it so jubilant. They made it sound really hype with the production, with the way Martina did it. I thought that was beautiful … [I] love the sad song that sounds happy. When I was asked to sing that song at the ACM Honors, it was just such an honor.

And I knew that I wanted to present a different version of the song, maybe one that people hadn’t heard as much as they’ve heard Martina’s version. I decided to do Gretchen Peters’ version since we were honoring her. And her version is a stripped-down piano and vocal, and it’s slowed down and I just thought it was beautiful. I call myself a Country Alternative artist and sometimes when I’m trying to get people to understand what that means, I might say something like “What if Adele did Country Music? What if Adele, India.Arie, John Mayer and Taylor Swift had a kid?” … So, getting to do that version, it just connected so innately with the kind of artistry I represent here in Country Music. So, it was a no-brainer to do Gretchen’s version, especially since we were honoring her at the ceremony as well.

TEMPO: That’s awesome. I didn’t know that.

I was actually going to ask you about that rendition.

I didn’t know that was Gretchen Peters’ version.

That’s really cool. And, it was your first time ever performing at the Ryman. What was going through your head before you stepped on stage and as you sang your last note and got that standing ovation?

SPENCER: It was such a surreal moment. I mean I’ve been to the Ryman, not a whole lot of times, but I’ve been there several times. The first time I went was actually to go look at a sound check that Jason Isbell was doing. When I was in college, I was doing all the things — I did GRAMMYU … They had this opportunity where we could go to the Ryman and watch Jason’s soundcheck during his yearly residence that he does every October there at the Ryman …

So, as I stepped up onto that stage I just, I don’t know, I just remembered those ground-breaking moments for me. The Ryman is also where I first met Brandi Carlile.

TEMPO: Oh wow.

SPENCER: I went to her show a few months back and then

we hung out backstage. And it got to meet her, and I met Allison Russell, within a week or two later we were singing in Allison Russell’s video that ended up being on Jimmy Kimmel, which was really cool. But the Ryman for me has been, in a way, a meeting place for me and some of my heroes. And so, I feel like so much of my life has come full circle right now … I felt a lot of gratitude standing on that stage, I felt the power of the music, I really did. I remember during soundcheck I talked to Derek Wells, who was the MD (Music Director) for the evening. I talked to him, and I said, “Hey, man, listen. I really want this to be Country Music meets world music. How do we make this big? How do we make this explosive?” … And honestly, I heard the cheers from the audience, but I was so focused on the story and trying to express it as best I could as an artist while also fighting a bunch of nerves, if I’m being honest … But what I knew was that I was an artist, and I needed to communicate the song and wanted to honor the woman who made it. So, when I heard the applause and I saw the standing ovation erupt after the song, I was honestly taken aback … I saw Dan + Shay literally almost jump out of their seats in the front row, and it just made my heart explode … I think the most important part for me was when I watched Gretchen receive her award and she mentioned me in her response … It was humbling. I was grateful. I was ecstatic. I was, gosh, I was something else.

TEMPO: Yeah! And you are still relatively new to

Nashville. I think you moved to Nashville in 2013, right?

SPENCER: Yeah, I got here eight years ago.

TEMPO: That’s pretty quick to climb up the ladder.

In terms of when you first moved to Nashville to now, what has been your biggest struggle?

SPENCER: Hmm, my biggest struggle, I would say for me: artistry. Artistry exaggerates everything. If you are a giver, it exaggerates that. If you are a happy person, it puts everything about you on a pedestal where you see so much about you being magnified. So, I think conquering my inner voice

and finding ways to face my inner challenges head-on has probably been the biggest challenge for me here in Nashville. I wasn’t a person that always really believed in herself. Basically, I had to conquer my own real inner demons … And making that voice in my head a lot friendlier and a lot kinder to myself. Believing that I can actually do the things that I’m doing, believing that I belong, believing that I have everything that it takes to be where I want to be musically, I think has been the biggest challenge for me.

TEMPO: That kind of comes as a shock to me because

when I think of you and listen to your music, I sense a lot of confidence, women power and strength. I know we all have our internal struggles, and I feel you touch a lot on that in your music. So, in terms of your songwriting, what are you most inspired by when you're writing?

SPENCER: I am most inspired by, gosh, I think I’m just inspired by the human experience. And I’m inspired by anything that kind of feeds this “stream of consciousness” type of writing I think I sometimes do. I like to do that, and I like to put it with poetry.

I think being able to say the things that a lot of us feel but don’t say out loud is probably the thing I’m most inspired by, because otherwise all the words have already been written. All the songs have already been written. I’m always just trying to find a new way to say something that we haven’t said out loud yet. I want people to feel, and I want to tell a good story, and I want to be doing it while singing my ass off.

TEMPO: I love that. What then first sparked your interest

in Country Music specifically?

SPENCER: It was the storytelling. And I know it’s like that for so many people, but it just holds true. The ability to write about anything, the ability to write about life and the way so many of us experience it and engage it is so powerful. I love the tradition of storytelling. The storyteller tradition is a part of so many cultures, it’s a part of so many different expressions, and I just so happened to find a home in Country Music with storytelling the way that I want to do it … I know sonically I can go in a lot of different directions. I grew up in church, I also grew up singing classical music. I also love R&B and hip hop, like my family does.

And I love pop music, I really do. But at the end of the day, I want to be telling a story and I want to be doing it in a space that invites stories from all kinds of people, comes from all kinds of walks of life and just impacts people. I just, I love that. That to me is heaven.

TEMPO: Yeah, that’s awesome. To pivot off that, I know there

is still a lot of work to be done in Country Music, but as a Black artist in Country Music, how have you seen the genre grow and where do you see opportunity for more growth?

SPENCER: Yeah, I think the industry, the Country Music industry is trying. I think that there are so many incredible Black and Brown Country artists that are really kind of flooding this space.

And so many of us are just good and really good, we’re undeniable … But I’m watching the industry try, I really am. I think that kind of closing that gap between the industry’s efforts and the fans’ expectation is probably going to be, and continue to be, the biggest challenge. I think we’re watching that happen, even with different recent events, where the industry is trying, but getting a whole lot of pushback from a lot of, not only from the purist fans, but in terms of [those] wanting Country Music to sound one way

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everybody else. So, I think that’s the argument that’s being made, and that’s the argument that’s really at the forefront of my brain. Just kind of finding the balance between being an advocate and also being an artist because both are so important, and they go hand in hand.

TEMPO: Yeah, I think so, too. I know you love Country

Music, but do you ever see your career pivoting or going down a different genre route?

SPENCER: I love Country Music, and I have fun doing lots of different styles at times, [but] I think home is where you come back to you … I will say that I don’t really have plans on ever venturing out, like really far, musically. I think that it’s so beautiful that when you love the South and you love the music of the South, that you engage and explore all different sounds of the South. You know, Country Music doesn’t have a monopoly on the South. There is R&B music that came out of the South. There is Folk music. There’s Blues. There’s all sorts of Bluegrass. There’s all sorts of genres that come out of this space. I think that’s the beauty of roots music. That’s the beauty of the South, that it can be more than one thing, you know? And so, I just want to be able to have fun and to engage all those things because I love it.

TEMPO: That’s a great way to put it. Do you have

a dream collaboration?

SPENCER: Oh, gosh. I have, I have several. I mean, I don’t know, can I just give you names of who I’d love to collaborate with?

… I don’t have the answers. But I do see the industry trying, and I do want to encourage the industry to keep trying and to keep making the hard decisions because history has shown us that people eventually get on board. And there’s a whole new generation inspired by this movement. And right now, this is more than a turning of a page. This is a movement, it’s a renaissance … We’re living in history right now, it’s being made every single day with every decision that we make. And the burden isn’t just on the industry — it’s on the artists, it’s on fans, on everybody. This really is a collective effort, with the industry leading the way.

TEMPO: Of course!

SPENCER: I would love to collaborate with Dan + Shay. I would

TEMPO: And as an artist, do you feel that pressure to

TEMPO: I would love to hear any of these collaborations.

SPENCER: Me too! As you can imagine.

constantly advocate, or do you kind of feel it out and try to go about it as naturally as possible?

SPENCER: I think there’s a thin line between purpose and pressure sometimes. And I feel both of those sometimes — sometimes, one more than the other. But I think it is important to keep lifting up this conversation because there’s still so much change that needs to happen. But at the end of the day, I’m also an artist, and I also want to make really good music.

TEMPO: Yeah, exactly.

SPENCER: I don’t want to make these arguments if my

music is trash. *both laugh* SPENCER: I don’t want anyone to even like me or not

like me because I’m Black — I just want the opportunity to make great, and sometimes maybe stupid, music, like

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love to collaborate with Maren Morris. I would love to collaborate with Reba. I would love to collaborate with India.Arie. She has a song with Rascal Flatts. And that was the first time I heard R&B and Country together.

TEMPO: Oh, wow. Yeah, I haven’t heard that.

SPENCER: It was a song called “Summer” and it’s a great song!

And I had never heard Country and R&B come together and that changed my freaking world.

TEMPO: Wow, you’ve got a list. You got to get started

on them.

SPENCER: *laughter* TEMPO: And just one last question, what are you most

looking forward to in 2022? I know you’ve been on tour a bit, but is there any new music coming out or any other tours you’re looking forward to?

SPENCER: Gosh, man, I’m excited to tour more, I’m excited to put out more music. I’m excited to … I’m excited to bring more elements of myself and things that I love to the forefront. I love fashion. Music and fashion go hand in hand for me … I’m having just such a good time and I really look forward to bringing fans and anyone who wants to look on or listen, I look forward to bringing them on for this ride. It’s already blowing my mind and it hasn’t even happened yet. ●

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Sam Williams on pursuing his unique voice

LEGEND in the MAKING

BY LIBBY GARDNER

Sam Williams, grandson of Hank Williams and son of Hank Williams Jr., can’t fool us or his own blood; he was destined to pursue Country Music. Read on the following pages about Sam’s latest album, what keeps him inspired and more.

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TEMPO: You put on an amazing performance at

TEMPO: Right. So, was there a pivotal moment where

our ACM Honors™ show. I was backstage and got to see your dad with the biggest smile on his face as you performed. You were even performing your grandfather’s song, “I’m So Lonesome I Could Cry” at the historic Ryman Auditorium, a place with a long-standing history in Country Music. What did this performance mean to you?

WILLIAMS: It was really, really incredible. It’s always a treat for me to get to perform a song of his because I think that there are a lot of similarities, just in DNA, but I have a different kind of voice, a different kind of style and it’s also 70 years later. So, it’s really fun for me to get to make my own take on it and add my little stylistic influence into it. And having my dad get to come there and be there to support me was really, really awesome. It’s special to be somewhere like the Ryman and be steeped in the history of the people that have been on that stage and be a part of that show and also feel like I’m a part of the present in Country Music and walking toward the future that we don’t know what it’s going to be like yet.

you knew you really did want to pursue music?

WILLIAMS: I always wanted to. It was just something that I was apprehensive and nervous about. I did some talent shows when I was young. I did Froggy Idol in Paris, Tenn., where I’m from. I was just a normal kid in a lot of ways and wasn’t chasing that with tenacity when I was young. I was just trying to have a normal life. But I think that when I really started writing, people’s reactions to the music and their receptiveness to it and being surprised about the subject matter and quality, and then my voice being different than they would expect was just really affirming for me and gave me more confidence to keep writing, keep singing, keep doing it.

TEMPO: You seemed so calm onstage. Were you

nervous at all or did it feel natural to you?

WILLIAMS: I was super nervous. *both laugh* WILLIAMS: I was super nervous. I just haven’t, I hadn’t been a part of an industry show like that before, so I think it was an introduction in a lot of ways. I was a bit nervous about that, but I feel really comfortable with that song and my version of it. It turned out really, really well.

TEMPO: Of course. I definitely think your writing

is what sets you apart. In terms of songwriting, where do you draw inspiration from?

WILLIAMS: I think that there are a lot of great modern songwriters as well as the greats of the past. I really love Brandi Carlile. I love several pop artists that do an amazing job transforming a powerful lyric into a really accessible song. I definitely take inspiration from my grandfather. [Also] Dolly, of course. I’ve always looked up to her very much. I really love Miley Cyrus.

Her execution and reinvention and committing to a moment and an era. I think that this record for me was looking at the past a lot. A lot of the record is looking at the past and reflecting on that and how it’s affecting the present moment. So, I think it’s just as important to look up to the great songwriters of the past as it is to keep your finger on the pulse of modern greats.

TEMPO: I want to talk about your new album

TEMPO: It was an incredible performance.

I know music obviously runs in your family and at first, you didn’t quite take the music career path.

What was your reasoning behind that? Did you just feel pressure to do something different or outside of the box?

WILLIAMS: I think that there was just so much legacy and so much impact and accolades that it was just scary to try to get into it because I was probably fearful that I might lack in comparison. It kind of just takes growing up to realize that everyone’s journey is different, and you shouldn’t always compare yourself to the next person or the next family members. My sister, Holly, has always done an incredible job of being her own artist and carrying the legacy on in a great way, and it was just time for me to do that too and not necessarily rebrand my family in Country Music, but to introduce myself as my own artist while still knowing I’m making my family proud.

Glasshouse Children. I know you released it recently, and it includes a lot of heartbreaking but very truthful songs. I really do find them all relatable. My personal favorite is “Can’t Fool Your Own Blood.” I love the story behind it. But what does that song mean to you?

WILLIAMS: “Can’t Fool Your Own Blood” is kind of cautionary. It’s about the ties that bind us. And the main message of the song and what I was thinking about when writing it is the power and impact of lying.

And I kind of explore lying to the ones you love in the first verse and from my perspective being lied to and that kind of pain regardless of what it’s about. And throughout the song, I kind of explore that impact and lying to yourself; you can hinder your destiny and you can miss out on your life. A lot of it was kind of inspired by an interview I’d watched, and it was somebody saying a big salient memory from their childhood was their dad catching them in a white lie

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Williams, backstage at the 14th ACM Honors

Williams poses with his father, Hank Williams Jr., behind the scenes at Ryman Auditorium.

for the first time and warning them that they don’t want to be a good liar. And I think that’s something that we don’t think about because in your adult life it may come in handy, but I don’t think we always realize the personal impact of being good at lying. There was just a lot on my heart writing that day. And that’s just what I do best at, just feeling what’s on my heart at the present moment. “Can’t Fool Your Own Blood” I wrote with Mary Gauthier and Jamiee Harris.

Me and Mary just have a lot of parallels and a lot of stark contrasts. I think it just makes a really good match.

TEMPO: For sure. I saw your Instagram post

performing Taylor Swift’s “’tis the damn season,” which I am completely obsessed with. I know you’ve recorded some songs with bigger artists like Dolly Parton and Keith Urban. Do you have another dream collaboration right now?

WILLIAMS: My dream collaboration would be Miley Cyrus. I mean she’s been an icon for my generation since we were little kids, and she was a little kid on TV. I just really admire her vocal tone and her fearlessness as an artist, and I think that we, I can’t sing quite like her, but I think that we have similar vocal qualities, and I just think that she is badass and so talented. I think that would be it.

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“… it’s just as important to look up to the great songwriters of the past as it is to keep your finger on the pulse of modern greats.”

TEMPO: I love that. And just to wrap

things up, I’m sure you have a lot going on for the rest of 2021 and for 2022. What’s in store this upcoming year?

WILLIAMS: I just recorded a few holiday songs that are coming out pretty soon. Just kind of in the process of finding the right touring partners to go on the road with.

I’ll have some shows with Brittney Spencer throughout the Northeast this December.

And I’ll be in Vegas with Dierks Bentley in December. It’s just kind of coming back to writing … coming back to writing now.

And after everything I’ve put on Glasshouse Children, it’s kind of back to the drawing board, back to the question of, “What do I want to say?” Just going to keep writing and make some new cool music and keep adding my own flare to Country Music. And I just want to say, Dolly and I have never performed “Happy All The Time” together, and I think that’s something I’m dying to do.

TEMPO: Well, maybe we could have you

two perform that on the ACM Awards?

WILLIAMS: Oh, my gosh. That would just be a dream. ●

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ACM

14th

Honors

From touching performances to special appearances by some of Country Music’s most accomplished artists and industry professionals, the community reunited for one of its favorite nights of the year, ACM Honors.

T

BY CRAIG SHELBURNE

he Country Music community of superstars, songwriters and session players gathered for an uplifting and emotional Academy of Country Music Honors™ event at Ryman Auditorium in Nashville on August 25 hosted by Carly Pearce. Headliners such as Luke Combs, Dan + Shay and Lady A were among the recipients of the awards, which recognize significant achievements within the Country Music industry. Meanwhile, legendary artists and newcomers alike joined the celebration with rousing performances.

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Clockwise from top left: Carly Pearce; Brittney Spencer

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A

s the first of three recipients of the ACM® Poet’s Awards given to esteemed songwriters, Loretta Lynn told the crowd in a pre-taped message, “Thank you ACM for giving me the Poet’s Award.

I love you and that’s the greatest award I could ever get.” Lynn received a musical homage from host Carly Pearce, who sang “Dear Miss Loretta.” In addition, Alan Jackson and Lee Ann Womack delivered a lively update of Conway Twitty and Loretta Lynn’s classic duet, “Louisiana Woman, Mississippi Man.” Joe Galante, the label executive who reshaped the industry landscape in Nashville, accepted the ACM Cliffie Stone Icon Award. Ronnie Dunn recalled the experience of Brooks & Dunn being caught in a label merger when Arista Nashville was folded into RCA, headed by Galante. Dunn said, “During that critical time, he handed me a song that was just different enough to keep the fire going. It became a six-week No. 1, and so suddenly we felt like we were at home in Joe’s house.” He then performed that mega-hit, “Ain’t Nothing ’Bout You.” Galante spoke at length about his friends in the business who taught him about leadership and the artists who inspired him with their philanthropic works. He noted, “I realized that part of what I have in terms of stature in the community needs to be turned to help people. So, that’s the path I’m on and it really is fulfilling. I will tell you that this town has given me more than I deserve, personally.”

Rascal Flatts received an ACM Cliffie Stone Icon Award following a medley of hits performed by Pearce (“Bless the Broken Road”), Caylee Hammack (“My Wish”) and RaeLynn (“Life Is a Highway”). Joe Don Rooney and Jay DeMarcus accepted the statuette with speeches that were both touching and amusing. “In all honesty, 20 years can fly by like that,” Rooney said with a snap of his fingers. “When you’re blessed enough to get to do what you love to do, time flies.”

Adding levity to the moment, DeMarcus joked that he had

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to get back to his shift at Starbucks — but that he’s available for hire as a bass player. He then turned serious to say, “I could have never dreamed that we would be here 20 years later.”

Lauren Alaina spoke about her friend Hillary Lindsey, the ACM Songwriter of the Year for 2019 and 2020. Alaina comically accepted the award on her behalf after singing one of Lindsey’s newest No. 1 hits, “One Beer,” with HARDY and Devin Dawson. In addition, Chris Janson serenaded the audience with “He Stopped Loving Her Today” in honor of the late Curly Putnam’s Poet’s Award.

Country Music Association Chief Executive Officer Sarah Trahern bestowed the ACM Mae Boren Axton Service Award to RAC Clark to commemorate his decades of work with the Academy. Jackson and Womack made a surprise return to the stage to sing one of Clark’s favorite songs, “Murder on Music Row.” In his remarks, Clark spoke at length about his love for traditional Country Music and for his wife, Eve Adair.

Clockwise from top left: Lee Ann Womack and Alan Jackson; Lauren Alaina, HARDY and Devin Dawson; Chris Janson; Caylee Hammack; RaeLynn; Sarah Trahern; RAC Clark; Joe Galante; Joe Don Rooney and Jay DeMarcus of Rascal Flatts

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Clockwise from top left: Laura Veltz, Nicolle Galyon, Jordan Reynolds and Jessie Jo Dillon; Trace Adkins; Dan + Shay

Dan + Shay stepped to the Ryman stage after enjoying a medley of their hits performed by four of their favorite co-writers: Jessie Jo Dillon, Nicolle Galyon, Jordan Reynolds and Laura Veltz. These collaborators have composed such hits as “Tequila,” “Speechless” and “10,000 Hours,” elevating Dan + Shay to one of Country radio’s most popular artists. The duo accepted the ACM Jim Reeves International Award recognizing their successful tours abroad.

Dan Smyers commented, “I get emotional when I’m watching moments like this because it’s been a very long time since we’ve been able to look down and see some of our friends here in the crowd — and actually see them face to face … This is a lot of fun and I just want to thank God for being able to do music again … to be able to do it in front of crowds.”

Shay Mooney praised the songwriters for their performance, then added, “We want to dedicate this to our wives, Abby and Hannah. To go overseas, to go international, is not a Thursdaythrough-Sunday thing. When we go overseas to play these shows and do these tours, we’re gone for months at a time. Thank you guys for believing in our dreams and supporting us, and for being the reason we get to do what we love.”

Toby Keith submitted a pre-taped speech to accept the ACM Merle Haggard Spirit Award, remembering the time they spent together as performers and friends. In a nod to the rugged individuality that the award recognizes, Trace Adkins sang “Love Me If You Can,” a No. 1 hit for Keith in 2007.

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Clockwise from top left: Ashley McBryde; Ronnie Dunn; ACM Lifting Lives® Executive Director Lyndsay Cruz; Lady A; Sam Williams

Filmmaker Ken Burns and ACM Senior Vice President Lisa Lee received recognition for their knowledge of and dedication to Country Music. Lee, who worked for the Academy for 15 years following a respected career in journalism, passed just days before the event. She produced the ACM Honors show for 13 years. Ashley McBryde, a fellow Arkansas native, memorialized her with a stirring rendition of “Girl Goin’ Nowhere.”

Later, Burns accepted the ACM Tex Ritter Film Award for the PBS series, Ken Burns’ Country Music. Sam Williams, the grandson of Hank Williams and son of Hank Williams Jr., sang “I’m So Lonesome I Could Cry” as a salute to the rich history of Country Music that the series explored.

Lyndsay Cruz, Executive Director of ACM Lifting Lives®, spoke eloquently about how the charitable arm of the Academy responded to the pandemic. As the first of two recipients of the ACM Gary Haber Lifting Lives Award, Lady A performed “What a Song Can Do,” then shared memories about working with the ACM Lifting Lives Music Camp, the music gathering open to individuals with Williams Syndrome, after being presented with their award by Music Camper, Clancey Hopper. Hillary Scott noted, “The heart of us as a band is, over the years, being able to be a part of different things. It’s our favorite work we get to do and we are just so grateful that the stage allows us to then do things like Lifting Lives and work with other organizations, and all the organizations within Lady A that we are so passionate about. We just want to say thank you. Our work is not done.” Charles Kelley then reminded younger artists that giving back is part of the job, while Dave Haywood concluded, “Nights like tonight inspire us to do more.”

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Clockwise from top left: Keith Urban; Ross Copperman; Brittney Spencer; Gretchen Peters

Ross Copperman also accepted the ACM Gary Haber Lifting Lives Award for his participation with the Camp. Keith Urban introduced him as “Mr. Positivity” moments after performing “John Cougar, John Deere, John 3:16,” which Copperman co-wrote. In his speech, Copperman said he’s been involved annually with the Camp for a decade. “It’s my favorite day of the year, and I’m so grateful I get to be a part of these campers’ lives and to be part of such an incredible organization,” he said. “And I would not be on this stage if it weren’t for Lisa Lee and her incredible contributions to Country Music, to lifting me up every day that I was around her, and I just want to send a lot of love to her and her family tonight.”

For the third Poet’s Award presentation, rising artist Brittney Spencer reworked Gretchen Peters’ “Independence Day” into a simmering slow song, bringing out the tension in its masterful lyrics. In her acceptance speech, Peters observed, “I really believe that songwriting is a calling and what we do is much, much more than entertainment.” Referring to songs as “empathy machines,” she continued, “They take us to other worlds. They let us stand in somebody else’s shoes for a few minutes. They tell us we’re not alone. They connect us. Songs can literally change the world, and the world needs love and empathy more than it ever has right now.”

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Clockwise from top left: Luke Combs; Ashley McBryde; Academy CEO Damon Whiteside; Michael Strickland

Luke Combs admitted he was nervous about accepting the ACM Gene Weed Milestone Award, which recognizes major career accomplishments such as reaching No. 1 with his first 11 singles and earning a double platinum album for What You See Is What You Get. Ashley McBryde delivered an electrifying performance of Combs’ smash “She Got the Best of Me” before welcoming her friend — whom she called “truly one of the best dudes I know” — to the Ryman stage. Combs effusively thanked Country fans, Country radio, his management team and the Academy before enthusiastically declaring, “There’s a whole hell of a lot more Country Music in this boy right here and I can’t wait for y’all to hear it!”

Damon Whiteside, marking his first ACM Honors event as Chief Executive Officer of the Academy, commented, “Although this year has certainly brought many uncertainties to the music industry, Country Music is strong. It’s resilient, and we want tonight to be a celebration of our perseverance, our optimism and excellence in our genre, where we can join together again and honor the special and talented people who bring life to Country Music.”

Michael Strickland, founder of Bandit Lites, accepted the ACM Gene Weed Milestone Award in acknowledgement of his work to secure funding from Congress for the live events industry. Pointing out the lack of money provided to support and service workers, he told the audience, “Those of us in this business and those of us in this room need this relief for those of us who were left behind.”

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Clockwise from top left: guest accepting on behalf of J.T. Corenflos; Jessica Busbee accepting on behalf of busbee; Aaron Sterling; Gil Cunningham; Chris Janson; The Joint: Tulsa; Dave Cohen; Mike Johnson; Brian O'Connell; Ed Warm; Rob McNelley; guests accepting on behalf of J.T. Corenflos

Chris Janson presided as the following Studio Recording Awards were recognized for 2020: Dave Cohen (piano/keyboards), J.T. Corenflos (guitarist) (awarded posthumously), Dan Dugmore and Mike Johnson, tie (steel guitar), Jay Joyce (producer), Tony Lucido (bass player), F. Reid Shippen (audio engineer), Aaron Sterling (drummer) and Ilya Toshinskiy (specialty instrument).

In addition, the event recognized the 2019 Studio Recording Awards winners: busbee (producer) (awarded posthumously), Jenee Fleenor (specialty instrument), Paul Franklin (steel guitar), Rob McNelley (guitar), Miles McPherson (drummer), Gordon Mote (piano/keyboards), Justin Niebank (audio engineer) and Jimmie Lee Sloas (bass).

Janson also introduced the winners of the 2019 Industry Awards: The Joint: Tulsa (Casino–Theater), MGM Grand Garden Arena (Casino–Arena), Houston Livestock Show & Rodeo (Fair/Rodeo), Tortuga Music Festival (Festival), Joe’s Live (Club), The Beacon Theatre (Theater), Red Rocks Amphitheatre (Outdoor

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Venue), Madison Square Garden (Arena), Gil Cunningham, Neste Live! (Don Romeo Talent Buyer) and Brian O’Connell (Promoter).

The house band led by guitarist Derek Wells included Elizabeth Chan (drums), Annie Clements (bass), Stephcynie Curry (vocals), Kris Donegan (guitar), Mike Hicks (keyboards), Justin Schipper (pedal steel) and Therry Thomas (vocals). City National Bank served as the presenting partner of the evening. ●

AYNES

B

BR O

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REI D

IBER

RO

E

OR

DAVID A

DA

M RNES BY

A AR O N DV IN

I AN

LI HA N

GO

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LA N

IGA N

BRIAN

L CA

DA VID DEVAUL

AYNES New Aynes music (vinyl and digial) out wherever you consume music. REID BRODY New double vinyl album and digital music available now. DAVID ADAM BYRNES has 5 back to back # 1 songs on Texas Country Radio and plays over 100 live shows per year. BRIAN CALLIHAN has written songs for Dylan Scott among others but recently released his own debut single to country music radio, “Broke It Down”. DAVID DEVAUL is a multi-genre songwriter who writes for Reviver Publishing in Nashville, TN. He’s had songs recorded by Josh Gracin, Thompson Square, Abby Anderson, Jencarlos Canella, Jeb Gipson, Red Marlow, and many more. His passion for melodies and hip hop style rhymes brings a colorful taste to pop, country, and R&B. IAN FLANIGAN The Voice finalist Ian Flanigan’s Reviver debut “Grow Up” (featuring Blake Shelton) impacting radio now! AARON GOODVIN Double-platinum selling, Juno nominated, CCMA Songwriter of the Year is bringing his authentic and energetic sound to the US in the wake of his Canadian success! BROOKE MORIBER Nashville by way of NYC Songbird Brooke Moriber debuts with “This Town Made Us”.

REVIVERMUSIC.COM Reviver Entertainment Group is proud to be assosciated with the following companies representing Reviver Records artists at Radio, Marketing, Socials and Publishing.

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Clockwise from top left: Caption Name, Caption Name, Caption Name, Caption Name, Caption Name, Caption Name, Caption Name, Caption Name, Caption Name, Caption Name, Caption Name, Caption Name, Caption Name, Caption Name,

Clockwise from top left: Sam Williams and Hank Williams Jr.; Dan Smyers, Nicolle Galyon, Laura Veltz, Jessie Jo Dillon, Shay Mooney and Jordan Reynolds; Ross Copperman and Lyndsay Cruz; Keith Urban and Ross Copperman; Carly Pearce and Shay Mooney; Ashley McBryde, Charles Kelley and Dave Hayward; Lori Badgett, Carly Pearce and Damon Whiteside; Devin Dawson, Lauren Alaina and HARDY; Lee Ann Womack and Alan Jackson; RAC Clark and Trace Adkins; Luke Combs; Joe Don Rooney and Jay DeMarcus

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BY LIBBY GARDNER

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41

shouted Keith Urban as he dropped to his knees on the Party for a Cause® stage at Ascend Amphitheater this past August.

For the first time in the Academy’s history, the event touched down in Nashville, reuniting Country Music fans with some of their favorite Country Music artists after almost a two-year live-music hiatus due to COVID-19. The pure excitement was felt within fans and artists alike during a night of more than two hours of live music with back-to-back performances from more than 10 artists.

Urban, the last artist to perform for the night, opened his set with an acoustic yet powerful version of his latest single, “Wild Hearts” dedicating it to the “drifters and dreamers” and introducing it as a “middle finger” to the people who tell you that you can’t follow your dreams. Urban then slowed it down and had the crowd singing along with his iconic hit “Blue Ain’t Your Color.” Topping off the night with feel-good song, “Wasted Time,” Urban clearly didn’t want the night to end and elongated the song with an instrumental jam out session with house band, Sixwire.

Joining Urban, the lineup for the night featured many more remarkable performances and artists.

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Clockwise from top left: Keith Urban; Matthew Ramsey of Old Dominion and Caitlyn Smith; Tenille Townes; ACM CEO Damon Whiteside and ACM Lifting Lives® Executive Director Lyndsay Cruz; Maren Morris; Lee Brice and Carly Pearce; Sam Hunt; Lee Brice

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ACM® Award winner Maren Morris took the stage, sharing with the audience that her son was backstage and might run after her.

Jokingly, she stated, “Apparently, he feels really comfortable on stage.” Performing hit “The Bones,” Morris broke it down, and then took the crowd to church with a soulful rendition of “My Church.” Ending her set, Morris invited her husband, Ryan Hurd, to the stage, and the two lovebirds gave Nashville all the feels with an intimate performance of “Chasing After You.” Kicking off their five-song set with ACM Award winning hit, “One Man Band,” Old Dominion brought just pure energy and joy. Even in the last days of summer, they made it feel like summer had just begun with their latest single, “I Was On A Boat That Day.” Singer-songwriter Caitlyn Smith then joined the band performing her song, “I Can’t.” Relaxed as ever, Matthew Ramsey addressed the audience saying, “They’ve asked us to play a couple more if that’s all right.” The crowd cheered as the band readied to play “Hotel Key.” Closing their set with “Make It Sweet,” the band somehow exuberated just as much energy as when they started.

Clockwise from top: Maren Morris and Ryan Hurd; Old Dominion

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1 Billion u.s.

ON-DEMAND STREAMS

a breakout in the making -

Sam Hunt brought the crowd back a few decades performing his hit, “Breaking Up Was Easy in the ’90s.” Hunt then offered up a new unreleased song, “Came The Closest,” and closed his set with iconic jam, “Body Like A Backroad.”

ACM Award winner Trisha Yearwood proved that good songs don’t fade. The crowd relentlessly sang along as she performed two of her beloved hits, “She’s In Love With The Boy” and “Walkaway Joe.” Offering up his newest release and hinting that it may hit radio soon, Lee Brice performed “Soul.” His set would not have been complete without a performance of “Memory I Don’t Mess With.” To conclude, Brice stopped his set to thank those who sacrifice, serve and protect our country, inviting the crowd to put a lighter up and sing along to his emotion-provoking hit “I Drive Your Truck.”

ACM Honors™ host, Carly Pearce, got in on the PFAC magic, performing hits from her EP 29. Pearce kicked off her set with sing-along jam “Next Girl” and a beautiful performance of “Should’ve Known Better.” With Pearce and Brice both on the lineup, there was no way of getting out of performing the 2020 ACM Music Event of the Year, “I Hope You’re Happy Now.” The evening’s host, SiriusXM’s The Highway’s Storme Warren, kept the crowd engaged throughout the show, frequently recognizing the talented and legendary house band, Sixwire, and sharing some fun anecdotes about the artists taking the stage with the crowd.

Clockwise from top: Sam Hunt; Storme Warren; Carly Pearce; Trisha Yearwood

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Before Brett Eldredge’s set, Warren told the crowd, “For each No. 1 he has, we do something stupid, jump out of a plane … I don’t know why we just do stupid stuff every time he has a No. 1.”

Eldredge greeted the audience with a stripped-down acoustic version of “The Long Way.” He quickly upped the tempo with performances of “Good Day” and “Drunk On Your Love.”

56th ACM Awards co-host Mickey Guyton performed all new music, including her womanpower anthem, “Remember Her Name.” Guyton gave a special shout out to her husband and all the good men and women out there who help support and keep their families afloat before performing the soulful song, “Lay It On Me,” and closing her set with “All American.”

Tenille Townes opened for the night, pumping up the audience with her contagious energy. Townes captured the essence of the event perfectly between performances of “Girl Who Didn’t Care” and “Somebody’s Daughter,” exclaiming to the crowd with a huge smile, “How good does it feel to be coming together for some Country Music?” The audience’s roar of applause and cheers were a clear answer.

Preceding the 14th Annual ACM Honors, the history-making PFAC show took place at Ascend Amphitheater on August 24 and benefitted ACM Lifting Lives®, the Academy’s charitable arm, allowing the organization to continue to give back to those in the Country Music industry affected by the pandemic. ●

Clockwise from top: Brett Eldredge; The Geico Gecko with fan; Mickey Guyton; Tenille Townes

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I N M E M O RY

Tim Akers

Razzy Bailey

Don Everly

1962–2021

1939–2021

1937–2021

Tim Akers, a touring and studio

Razzy Bailey, the Country star

Don Everly, a key figure in

musician who received ACM

who notched five No. 1 singles in

Nashville’s music history with the

nominations in 2003 and 2009 as

the early 1980s, died on August 4,

Everly Brothers, died on August 21,

Piano/Keyboards Player of the Year,

2021. He was 82.

2021. He was 84.

®

died on August 30, 2021. He was 59.

Born and raised in Alabama,

Their father, Ike, brought the

Bailey started playing in bands as a

family to Nashville in 1955 and Don

as the music director for the TNN

teenager but it took decades to break

placed a song with Kitty Wells while

series, Prime Time Country, from 1997

out as a solo artist. Finally, when

still a teenager. With stunning

to 1999. As a composer, arranger and

Dickey Lee landed a No. 3 hit in 1976

harmony, Don and Phil Everly placed

bandleader, he participated in dozens

with Bailey’s composition, “9,999,999

multiple No. 1 hits on the pop and

of all-star concerts and fronted Tim

Tears,” producer Bob Montgomery

Country charts, starting with 1957’s

Akers & The Smoking Section, the

offered him a deal on RCA Records.

“Bye Bye Love” and “Wake Up

R&B ensemble composed of fellow

Bailey (who changed his first name

Little Susie,” making them one of

session musicians. He toured with

from Rasie to Razzy to match its

Nashville’s first rock ‘n’ roll success

Rascal Flatts as a keyboard player,

pronunciation) earned a 1979 ACM

stories. Reba McEntire reached No. 1

and as arranger, his credits included

nomination for Top New Male

with a remake of the duo’s “Cathy’s

projects by Glen Campbell and

Vocalist and reached No. 1 for the

Clown,” written by Don, in 1989. The

Reba McEntire. He also played on

first time at age 41. Often choosing

Everly Brothers were inducted into

albums like Faith Hill’s Breathe, Blake

material with an R&B influence, he

the Rock & Roll Hall of Fame in 1986

Shelton’s All About Tonight and Keith

charted 13 Top 10 hits between 1978

and the Country Music Hall of Fame

Urban’s Be Here.

and 1982.

in 2001.

Born in Nashville, Akers served

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BY C R A I G S H E L B U R N E

Jim Femino

Randy “Baja” Fletcher

Nanci Griffith

1952–2021

1949–2021

1953–2021

Jim Femino, who co-wrote the

Randy “Baja” Fletcher, who

Nanci Griffith, an eloquent

2008 Country radio staple, “Just

worked on rock and Country

singer-songwriter and award-

Got Started Lovin’ You,” died on

tours for five decades, died on

winning recording artist, died on

August 3, 2021. He was 69.

August 27, 2021. He was 72.

August 13, 2021. She was 68.

James Otto, a writer on the song

Born in Virginia, Fletcher started

Griffith was born and raised

with Femino and D. Vincent Williams,

his touring career with a regional

in Texas and won the New Folk

carried it to No. 1 and received a

band after high school, then joined

Competition at the Kerrville Folk

2008 ACM nomination for Top New

the U.S. Army and served in Vietnam.

Festival in 1978. That led to a record

Male Vocalist. The feel-good hit also

After his discharge, he returned

deal and seven charting Country

topped Billboard’s Hot Country Songs

to the road for good. In the mid-

singles with Philo and MCA Records.

year-end chart in 2008, along with

1970s Fletcher toured with ZZ Top

Yet she initially gained respect in

earning a gold RIAA certification

and spent a decade with Waylon

Nashville as a songwriter, with

and a Grammy nomination. Femino

Jennings. In 1988, he took a job with

cuts like Kathy Mattea’s “Love at

placed cuts on four consecutive

Randy Travis’ first headlining tour,

the Five and Dime” in 1986, Maura

Toby Keith albums, starting with

then served as Brooks & Dunn’s

O’Connell’s “Trouble in the Fields”

1996’s Blue Moon, and his songs

production manager from 1992 to

in 1989, Emmylou Harris and Willie

were recorded by Steve Azar, Ronnie

2010. Fletcher received the Parnelli

Nelson’s “Gulf Coast Highway” in

Milsap, Craig Morgan and Jamie

Lifetime Achievement Award in

1990 and Suzy Bogguss’ “Outbound

O’Neal. For 30 years, Femino served

2010 and became Keith Urban’s

Plane” in 1991. Griffith’s album of

as president of Songstarters!, Inc.,

production manager in 2011. He died

carefully selected cover songs, Other

which encompassed his interests

from injuries sustained in a fall while

Voices, Other Rooms, earned a 1994

in artist development, production,

setting up for a concert.

Grammy for Best Contemporary Folk

®

publishing and songwriting.

Album and a gold RIAA certification.

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I N M E M O RY

Tom T. Hall

Troy Klontz

Don Maddox

1936–2021

1961–2021

1923–2021

Tom T. Hall, the accomplished

Troy Klontz, a talented touring

Don Maddox, the last remaining

songwriter known as “The

and session steel guitarist, passed

member of The Maddox Brothers

Storyteller,” died on August 20,

away on September 15, 2021, after

& Rose band, passed away on

2021. He was 85.

suffering from a stroke. He was 60.

September 17, 2021. He was 98.

Born in Olive Hill, Ky., Hall

Klontz grew up in Oklahoma,

The Maddox Brothers & Rose

worked as a DJ and served in the U.S.

learning to play steel guitar at the

band was known as “America’s Most

Army before pursuing a music career.

young age of 7 after encouragement

Colorful Hillbilly Band” from the

An instant classic about small-town

from his father. He and his siblings

1930s through the 1950s. The band

hypocrisy, Hall’s “Harper Valley PTA”

began playing on stages as the “OK

fused together an electric guitar

(convincingly sung by Jeannie C.

Kids” when Klontz was 10. He then

sound and rhythm that evolved the

Riley) rocketed to No. 1 in 1968 and

began touring with Roy Clark when

honky-tonk music of the 1940s. The

elevated his own recording career.

he was 16. Klontz went on to tour

band’s biggest hits with Don include

He secured seven No. 1 hits in the

with Brooks & Dunn for more than

“Philadelphia Lawyer,” “Sally Let

1970s, often with vivid narratives like

a decade, from 1992 until 2005.

Your Bangs Hang Down,” “Mean

“Old Dogs, Children and Watermelon

Throughout his career, he played steel

and Wicked Boogie,” “Whoa Sailor,”

Wine,” a 1973 ACM Song of the Year

guitar and laid tracks for the likes of

“Water Baby Blues,” “Alimony” and

nominee. Hall was inducted into the

Trent Tomlinson, Rodney Lay, Florida

“Hangover Blues.” Fifty years after his

Country Music Hall of Fame in 2008

Georgia Line and many other artists.

success with The Maddox Brothers &

and the Songwriters Hall of Fame in

He received nominations for the 1995,

Rose band, Maddox found success as

2019. He was a recipient of the 2010

1996, 1997 and 1998 ACM Steel Guitar

a solo performer. He opened for Big &

ACM Poet’s Award.

Player of the Year.

Rich at an Oregon festival in 2005 and

—CRAIG SHELBURNE

—HANNAH KELLIS

performed at the 2011 and 2012 Muddy Roots Festival. In 2019, Maddox was featured in the Ken Burns’ PBS documentary Country Music.

—HANNAH KELLIS

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Kenny Malone

Rose Lee Maphis

Bob Moore

1938–2021

1922–2021

1933–2021

Kenny Malone, the Nashville

Rose Lee Maphis, a musician and

Bob Moore, the most-recorded

session drummer heard

entertainer in the West Coast

bass player in country music

on hundreds of Country

Country scene of the 1950s, died

history, died on September 22, 2021.

recordings, died on August 26,

on October 26, 2021. She was 98.

He was 88.

2021. He was 83.

Maphis entered show business as

A member of Nashville’s “A Team”

a teenager by hosting a local radio

of studio musicians, Moore’s credits

in the Navy Band in Washington,

show in Hagerstown, Md. A talented

(among an estimated 17,000 songs)

D.C., before moving to Nashville

harmony singer and rhythm guitarist,

include the definitive versions of

in 1970. He often asked for a lyric

she later joined a Country group

“El Paso,” “Coal Miner’s Daughter,”

sheet before he played his drum part,

called The Saddle Sweethearts, then

“Crazy,” “The Gambler,” “Help Me

in order to reflect the mood of the

met guitarist Joe Maphis as fellow

Make It Through the Night,” “Hello

song, and created his own style of

performers at The Old Dominion Barn

Darlin’” and “King of the Road.”

hand drumming. Malone appeared

Dance in Richmond, Va. They moved

Raised in East Nashville, Moore

on seminal Country albums such

to Los Angeles in 1951, married a

started performing by age 10 and

as Dolly Parton’s Jolene and Waylon

year later and appeared regularly on

toured early in his career with Eddy

Jennings’ Dreaming My Dreams. A

Town Hall Party. Their signature

Arnold, Jimmy Dickens and Flatt

favorite among producers of that era,

composition, “Dim Lights, Thick

& Scruggs. In addition to playing

he recorded with Crystal Gayle, Dobie

Smoke (And Loud, Loud Music),”

on classics by Brenda Lee and Elvis

Gray, Ronnie Milsap, Willie Nelson

remains a honky-tonk classic. In her

Presley, Moore charted his own 1961

and Ray Charles, New Grass Revival,

twilight years, Maphis greeted guests

instrumental pop hit with “Mexico.”

John Prine and Don Williams.

at the Country Music Hall of Fame

After touring with Jerry Lee Lewis

He received a 1980 ACM Award

and Museum.

from 1983 to 1985, Moore retired due

nomination for Drummer of the Year.

—CRAIG SHELBURNE

to a hand injury.

Born in Colorado, Malone played

—CRAIG SHELBURNE

—CRAIG SHELBURNE

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I N M E M O RY

Stan Moress

Sonny Osborne

Joe Palmaccio

1938–2021

1937–2021

1965–2021

Stan Moress, a prominent

Sonny Osborne of the Osborne

Joe Palmaccio, a four-time

Nashville manager in the 1980s

Brothers, the bluegrass group who

Grammy Award winner for

and 1990s, died on September 6,

reminisced about good ol’ “Rocky

historic mastering, died on

2021. He was 83.

Top,” died on October 24, 2021. He

October 16, 2021, while recovering

was 83.

from a motorcycle accident.

Born in Rochester, N.Y., Moress attended college in Florida and

Born in Hyden, Ky., and raised in

He was 56.

relocated to California for a job at the

Dayton, Ohio, Osborne toured with

public relations firm Rogers & Cowan.

Bill Monroe as a teenage banjo player,

Palmaccio played in rock bands as a

After moving into management, he

then formed a group with older brother

teenager and recorded a demo while

traded Los Angeles for Nashville and

Bobby Osborne on mandolin and Red

in high school. After graduating from

represented K.T. Oslin and Eddie

Allen on vocals. After playing clubs

Indiana University, he worked as a

Rabbitt. During this time, he mentored

in Dayton, the group broke nationally

mastering engineer for PolyGram

Clarence Spalding, who credits

through soaring releases on MGM like

Records, Sterling Sound and

Moress with his start in management.

1956’s “Ruby, Are You Mad?” and

Sony Music Studios. He won four

Moress’ other management clients

1958’s “Once More.” After Allen’s

Grammys, his first for 1998’s The

have included Clint Black, Joe Diffie,

departure, the Osborne Brothers

Complete Hank Williams. Palmaccio

Mindy McCready, Ronnie Milsap,

signed with Decca in 1963, adapting

mastered Keith Urban and Carrie

Lorrie Morgan, Pam Tillis and Tammy

their sound for Country radio and

Underwood’s “The Fighter,” the

Wynette. Moress also worked for a

consistently charting with singles

2017 ACM Vocal Event of the Year,

number of labels, including MGM

like 1967’s “Rocky Top.” They were

at his own studio, The Place...For

Records and RCA Records. In addition,

inducted into the Grand Ole Opry in

Mastering. He served as an adjunct

he co-founded the management firm

1964 and the Bluegrass Music Hall of

professor at Belmont University and

The Consortium and the independent

Fame in 1994.

joined Sony Music Nashville in 2019

label Midas Records.

Growing up near Chicago,

to assist with archiving their audio and video masters.

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BY C R A I G S H E L B U R N E

Ron “Snake” Reynolds

Kim Tribble

1945–2021

1952-2021

Ron “Snake” Reynolds, an

Kim Tribble, a hit songwriter in

award-winning audio engineer

the 1990s and 2000s, died on August

in Nashville, died on October 5, 2021.

25, 2021. He was 69.

He was 76.

Born in Nashville, Reynolds

An Alabama native, Tribble landed his first Top 5 single with

entered the music business as a

Doug Stone’s “Addicted to a Dollar”

recording artist on Nugget Records.

in 1994. He placed No. 1 hits with

However, he soon chose a career

Mindy McCready’s “Guys Do It All

behind the console working for

the Time” in 1996 and “I Can Still

Columbia Records studio, where he

Feel You” by Collin Raye in 1998.

engineered classic recordings for

Since 2000, his Top 20 singles

artists like Merle Haggard, George

included Gary Allan’s “A Feelin’ Like

Jones and Charlie Rich. After that

That,” Chris Cagle’s “Let There Be

studio closed in 1982, he freelanced

Cowgirls,” Martina McBride’s “It’s

as an engineer, producer, session

My Time,” Montgomery Gentry’s

guitarist and songwriter. His

“One in Every Crowd,” David Lee

engineering credits in the 1990s

Murphy’s “Loco,” Aaron Tippin’s

include major hits by Toby Keith,

“People Like Us” and Trick Pony’s

Tanya Tucker and Shania Twain.

“On a Mission.” With Murphy,

Reynolds was named 2004 ACM

he wrote “Just Passing Through”

Audio Engineer of the Year. In 2016,

for Jason Aldean’s ACM Award-

he was inducted into the Musicians

nominated album, My Kinda Party.

TH E ACM LI F TI N G LIVE S COVI D -1 9 R ES P O NS E F U N D IS N OW O P E N

Hall of Fame and received a Lifetime Achievement Award from the Audio Engineering Society.

TO LEARN MORE ABOUT HOW YOU CAN SUPPORT THE COUNTRY MUSIC COMMUNITY VISIT ACMLIFTINGLIVES.ORG

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ACM M O M E NT

Legendary Loretta 15th Annual Academy of Country Music Awards Knott’s Berry Farm | May 1, 1980 Loretta Lynn, host of the 1980 ACM Awards® alongside Claude Akins and Charley Pride, serenades the audience with a performance of “Naked In the Rain” before accepting the prestigious ACM® Artist of the Decade Award.

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TEMPO ACM

EARLY WINTER 2021

Remembering

Lisa Lee

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LE T TE R FRO M TH E E D ITO R

L

RAC Clark and Barry Adelman, producers of the ACM Awards, have known and worked with Lisa Lee for more than 20 years.

Their relationship continued to grow when Lisa joined the Academy in 2007. We’ve invited them to write this issue’s “Letter from the Editor” to reflect on their colleague and close friend.

isa Lee loved Country Music.

Everything about it: the songs, the lyrics, the musical structure, the lifestyle and, most of all, the artists. At every Academy of Country Music Awards™, you would see her on the red carpet and in the venue hobnobbing with all the executives, publicists, fellow journalists, artists and musicians. It was a Country Music family reunion and Lisa was everyone’s favorite relative, the one who makes you feel good inside whenever you see her. One year, she gave each of us each a poster of a 1966 classic movie, Las Vegas Hillbillys, starring Ferlin Husky and Jayne Mansfield with Sonny James, Bill Anderson, Connie Smith and many more (with a special appearance by Mamie Van Doren!).

“Hot cool & Country with these top stars in the brightest spot on earth!” That’s how she felt every year when the ACM Awards® came to Las Vegas.

Embracing our classic Country roots was a huge part of Lisa’s passion. We will always be able to see that passion captured in the beautiful coffee table book she wrote for the Academy’s 50th anniversary. She was such a talented writer, and we were so lucky to have her as part of the scripting team for the show. She always kept us honest on the history and tradition of the Academy of Country Music® and the industry.

During the lead up to every show, we would do a video interview with Lisa.

It was one of our favorite moments. We did it for the Academy’s social platforms, but we were really doing it to spend more time with Lisa. We loved to see her beautiful smile and hear her musical laugh as she struggled to keep us on track. The three of us had a special relationship born out of mutual respect and a whole lotta love.

The last time we called on Lisa’s expertise was for the 56th ACM Awards.

We needed a meaningful lyric to describe the nominees for the “Female Artist of the Year” category. After spending many hours considering thousands of options, Lisa chose a lyric from the song “Road Less Traveled” by Lauren Alaina. Part of that lyric reads, “If you trust your rebel heart, ride it into battle ... don’t be afraid ... take the road less traveled.”

Lisa rode her amazing heart into her personal battle with cancer, unafraid. In doing so, she gave us all an example of courage that will help us to forge our own difficult roads ahead. We know how important ACM Tempo and particularly this space was to Lisa. It took two of us and we couldn’t fill it as well as her. But it was an honor to try.

RAC Clark

Barry Adelman

ACM Awards Executive Producer

ACM Awards Executive Producer

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Simply the

Best L

isa Lee, Senior Vice President of creative and content for the Academy of Country Music®, died August 21, 2021, from brain cancer. She was 52.

Born Alicia Faye Young in Cabot, Ark., on

December 24, 1968, she earned a bachelor’s degree

in journalism and English from the University of Arkansas at Fayetteville and a master’s degree in broadcast journalism from Northwestern University’s Medill School of Journalism. Lisa landed a reporting job at the Cabot Star-Herald newspaper straight out of school. A true advocate of the human condition, her reporting throughout her career was grounded by a strong emphasis on the heart of what a story meant to those impacted and those watching.

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CLOCKWISE FROM TOP LEFT: Lee, Kris Kristofferson, Will Hoge; Luke Bryan, Lee; Nate Ritches, Whit Sellers, Trevor Rosen, Matthew Ramsey, Lee, Geoff Sprung, Ed Warm, Brad Tursi, Kelsey Maynard; Taylor Payne, Lee; Lee, Darius Rucker; Madison Dyer, Nick Sammons, Noah Carlson, Lauren Brauchli Dickens, Mia O’Brien, Matt Katsolis, Lee, Jeycob Carlson, Tracy Goldenberg, Pete Gill; Nick Sammons, Lauren Brauchli Dickens, Lee; Lee, Dean Dillon, LeeAnn Womack

One of her early jobs was at KTAL-TV, an NBC affiliate serving Texarkana and Shreveport, La. On her very first assignment, the camera stopped functioning due to high humidity. Lisa and crew “got creative,” drying out the aging piece of equipment with a hair dryer, rather than miss the story because of a technical problem. Although her assignments covered a variety of topics, she made it very clear early on it was entertainment stories that truly interested her. Eventually, she convinced station management to allow her to do movie reviews; and she promptly constructed her own little critic’s corner set.

If a Country star was appearing anywhere in Arkansas or surrounding states, Lisa would cover the event. Always turning in well-researched, thoughtful interviews, she proved local affiliates can do insightful, quality work.

A regular at Country Music events throughout the region, the always-friendly television journalist began forging meaningful friendships with other members of the media. A friendship with a reporter/producer from Jim Owens and Associates, the Nashville-based production

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...her ambition, talent and unwillingness to take no for an answer paid off.

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company behind TNN Country News at the time, suggested keeping in touch. Soon she was checking in with the folks at Jim Owens, updating them on all the entertainment pieces she was working on, while not so subtly working to convince them to hire her.

As always, her ambition, talent and unwillingness to take no for an answer paid off. Hired by Jim Owens and Associates, she served as a reporter and producer in Nashville from 1995 to 1999.

In 2000, Lisa moved to CMT and CMT.com as a news correspondent and producer. Then a part of the MTV Networks group, she not only reported on events across the United States, but also in England, Japan, Canada and Switzerland.

Always looking to create and expand the social conversation, she also wrote and produced the Prism Award-winning special Addicted to Addiction, as well as the TV news specials Sex in Videos: Where’s the Line and Controversy: Tammy Wynette.

Clockwise from top left: Bob Romeo, Tommy Wiggins, Lee; Clint Black, RAC Clark, Barry Adleman, Bob Romeo, Lee; Brooke Primero, Leslie Fram, Beverly Keel, Cam, Tracy Gershon, Lee; Bob Romeo, Lee, Barry Adleman, RAC Clark, Clint Black; Lee; Pete Fisher, Lee, Dierks Bentley, Ricky Skaggs; Nick Sammons, Lauren Brauchli Dickens, Dwight Yoakam, Lee; Brandon Campbell, Noah Carlson, Alison Chilton, Jacob Kindberg, Lee, Taylor Payne, Tracy Goldenberg, Carley Thomas, Nick Sammons, Madison Dyer, Pete Gill

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Clockwise from top left: Lee speaking at CMHOF; Bob Romeo, Lee, Tiffany Moon; Justin Moore, Lee; Ken Tucker, Lee, Paul Barnabee; Jackson Lee, Lee, Grayson Lee

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In 2004, Lisa moved to Los Angeles, becoming the Hollywood-based correspondent and West Coast News Bureau Chief for CMT Insider, the network’s interview-driven news show, where she covered music, movies and television.

In 2007, three years after her move to L.A., Lisa accepted the Academy of Country Music’s offer to draw on her experience as a TV journalist and producer to help the Academy establish and grow their own in-house creative and video production department. As the Academy’s lead staff producer, she oversaw all video production as well as the design, creation and editing of ACM logos, digital and printed materials including ACM TEMPO magazine, the ACM Awards® program book, and both the ACM® and ACM Lifting Lives® websites.

With her long history of production and network teamwork, Lisa served as a liaison with CBS television’s creative departments and CBS.com for promos and creative content surrounding the annual ACM Awards. She was named producer of the ACM Honors™, a live industry event dedicated to celebrating the Academy’s special award honorees, off-camera category winners, and ACM Industry and Studio Recording Awards winners. Held each year at the historic Ryman Auditorium in Nashville, Lisa imbued the event with a real love for the people who go the extra mile to support, expand and protect Country Music in its most creative places.

In 2014, Lisa wrote and created This Is Country: A Backstage Pass to the Academy of

Country Music Awards. The deeply researched coffee table book celebrated the 50th anniversary of the ACM Awards and included a forward by Reba McEntire.

Co-workers from over the years and around the globe have remained close friends. Each is quick to acknowledge not just the joyous ambitious nature that took her from a small town in Arkansas to graduate school at Northwestern University, to a job as a Los Angeles-based entertainment news correspondent, to a Senior Vice President position at the Academy of Country Music, but also her deeply generous heart. In a tough business, she understood the stakes but also recognized the power of bringing light to everything she did.

Lisa was a member of the Writers Guild of America. She was also a Leadership Music alum. She was a devoted mother, wife and friend; always the first one with a smile, a quick laugh or a kind word on a long day.

Lisa is survived by her father, Charlie Young; her husband (and high school sweetheart), Doug Lee; her daughter, Grayson, and son, Jackson; in-laws, Phillip and Sarah Lee of Cabot, and many other Lee family members. Lisa has since been followed in death by her mother, Faye Young. She was preceded in death by her grandparents and brothers, Jason Young and Dennis Young. ●

To support her family by contributing to her memorial fund, please see information below.

First Arkansas Bank and Trust Donations can be made by: ZELLE

LisaLeeMemorial@gmail.com

PO Box 827 Jacksonville, AR 72078 Attn: Lisa Lee Memorial Fund MAIL

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Remembering Lisa “Lisa Lee loved Country Music, and if you knew her, she LOVED you.

We are a better industry because of the love and care she showed in everything she did. I know she always had a smile and kind word for me.

She loved life. We all need to take a lesson from the book of Lisa and let kindness and love lead the way.” —Trisha Yearwood “It is certainly a sad day for Country Music. We have lost a bright light and true leader in our business who cared deeply for telling the story of the music, artists and creators. Our hearts go out to her entire family, especially her husband, Doug, and precious children, Grayson and Jackson, at this terribly difficult time. We look forward to honoring her in many ways in the future.”—Lori Badgett, ACM Chair & Senior Vice President of City National Bank

“Lisa Lee and I grew up together in this business. She was a TV reporter, producer, writer and big executive. She covered my heroes and my friends, she wrote about me and my mother. She truly cared about Country Music — and I absolutely cared about her.

Good-bye, my sweet friend.”

—Kenny Chesney

“We lost one of our true lights yesterday. Lisa Lee was one of the most passionate and caring people I’ve ever met. Her love and appreciation of music, and the artists who made it, was everything you’d ever want. I loved being interviewed by her for that reason and because she always brought such a warmth into the room. Peace be with all of her family today.” —Keith Urban

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“Lisa has always been a light inside our industry. Her ability for telling not only my story but the story of so many was unmatched because it was from her heart. She truly loved her job and it showed on her face every time she was around. I will miss her.” —Luke Bryan

“Ever since she joined the Academy, she became the heart, the soul and the historian for the ACM. She was passionate about our West Coast roots and created a magnificent snapshot of the organization and its award show with a coffee table book to celebrate our 50th anniversary. On a personal level, I relied on her to keep me honest when it came to telling the Academy’s story. She had such depth of knowledge and passion. I will miss her tremendously.”

—RAC Clark, Executive Producer of the ACM Awards, 1999 to present, ACM Board Member and interim Executive Director of the Academy of Country Music 2019

“Amazing mom, wife and friend. My heart goes out to Doug and the whole family. What a fighter. What a soul.

I’ll miss you my friend!”

—Storme Warren

“I always loved getting to visit with Lisa, whether it be about the music business or an interview. She was a huge asset to our business. I sure will miss her smiling face.”

—Reba McEntire

“Lisa was smart, and funny, and a beautiful human being. She was a treasure trove in terms of the history and the importance of Country Music, and she cared about those traditions and the artists deeply. I don’t know what the Academy is going to do without her. She had a way about her that was smooth, but nurturing. When you do live TV, anything can happen (and usually does); she was a calming influence who could get things done and make people in that setting feel grounded and settled. Whatever was happening, she would make it okay. Lisa could talk to anyone.

When we were live on the red carpet, she could talk with everyone from a production assistant to a superstar like Garth Brooks — and make everybody feel welcome and comfortable. She really just wanted to do her job: to tell great stories, and not let the politics get in the way. And she did. Plus, she had a smile that could light up a room. She had me — as the line goes — at hello. I’m going to miss that smile, because I’ve lost a true friend.” —Jack Sussman, Executive Vice President, Specials, Music + Live Events, CBS Entertainment

“Lisa Lee was a pioneer, a professional, a partner, an effortless expert … but more than that she was the best human, a loving wife, a proud Mama, a loyal friend, a tireless fighter, a faithful and dedicated Child of God who never hesitated to give everything she had to any of us professionally or personally. Aside from her many accolades and credits, it is her heart and her kindness that leaves behind the most impact. She loved hard. She laughed hard. We are all better to have been in her orbit.”

—Jennie Smythe, CEO, Girlilla Marketing

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“A few months into my first year on the job, Lisa and I go to Chicago for a Lifting Lives benefit show with Old Dominion, everything went great and after our section, we were in the VIP area enjoying the show, the moment the crowd started doing the electric slide, Lisa jumped from her chair and ran over saying ‘I’ve gotta teach these young’uns how to do it properly.’ Seconds later, she was in the middle of the crowd, showing kids half her age how to dance, encouraging anyone to join.” —Brandon Campbell

“Lisa was an incredible mentor to me in my career in Country Music these past 6 years. She has taught me so much about this industry; however, the greatest life lessons that I will take from Lisa are all that she has taught me about family and love. Her advice and memory will stay with me forever🤍.” —Maddy Stessman

“Fall seven times, stand up eight. Lisa gifted me a bracelet with this saying after completing my internship with the ACM in 2018. It was a saying she felt would keep me motivated as I was about to graduate college and enter the workforce, but most importantly it was a saying she said resonated with her. I can’t think of better words to represent her fight with cancer. She was taken way too soon, but her perseverance was remarkable and admirable.

I will always credit Lisa for believing in me, my work and talent, and providing wonderful guidance and support. But this was felt and seen more than just within my career. Lisa was there for me no matter the situation. She deeply cared; always the first to ask how my weekend was on Monday morning or how a trip to visit family was. Without a doubt, she adored her employees and colleagues. It was even more apparent when on a workday, I suffered an allergic reaction and wound up in Cedars Sinai Hospital all alone. Lisa knew I didn’t have family members anywhere nearby, and she happened to be at the same hospital getting treatment that day. Between treatments she and Doug came to visit me, bringing me coffee and food and offering comfort and smiles. Her sacrifices and thoughtfulness reached far beyond work. She was truly an incredible woman, and I am so thankful to have experienced her incomparable mentorship, friendship and love.

She may no longer be here physically, but I still feel her encouragement to keep standing up no matter how many times I may fall. I love you, and you’ll be dearly missed, Lisa.”

—Libby Gardner

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“What I most remember about Lisa is that she was always positive and warm to everyone around her. She had so much passion for the industry and for her place in it that it was infectious to anyone that worked around her. We will forever question, ‘What would Lisa do?’ in the future.”

—Damon Whiteside

“Lisa Lee was a woman who made every single person feel like family, including me. She made that very clear when she gave me one of her famous hugs on my first day of work as her new assistant and welcomed me to a new city and job like she had known me for years. That was Lisa. She opened up her home to all of us and was so proud that her family was our ‘LA Family’. She was a mentor and friend and taught me everything I know about the Country Music industry, the strong legacy of the Academy of Country Music and most importantly how to get into Tootsies from the alley of the Ryman after a show.

“I’ve always wanted a career in live events, and I’ve always known that one day I want children. However, I never thought about what those two things looked like together — until I met Lisa. As much as Lisa lived for Country Music, her family was always the most important thing to her. She loved telling stories about Doug, the kids, and her upbringing in Arkansas — letting you into her life and making you feel like family all at the same time. She was such an extraordinary example of what balancing a family and a career should look like and I will always remember the way she talked about that — feeling so lucky to have both. When Lisa found out that my boyfriend (now husband) and I lived nearby in Culver City, she invited us over to have drinks before heading to an ACM concert. From that day on, we felt like a part of the family. Lisa even asked to watch our dog Disco while we were out of town, to give the kids a taste of what it was like to take care of a pet. Shortly after that, Lisa and Doug surprised the kids with their cute puppy, Poppy. I was even fortunate enough to stay with Grayson and Jackson for a few days while Lisa and Doug were out of town. One night while there, Bridget from the ACM joined us to get frozen yogurt — and once the kids were all filled with sugar is where my favorite ‘Lisa’ memory takes place. We returned to the house and out of nowhere, Grayson blasts music and her and Jackson started running in and out of their rooms with the most bizarre outfits on — impersonating whoever was singing and even including my dog Disco in their performances. Bridget and I were crying with laughter. I will forever cherish the video of Grayson singing Josh Turner with a giant cowboy hat on.

The two of them dancing and performing to every genre of music, making us laugh and just being 100% themselves — clearly these were Lisa’s kids. I find comfort knowing that Grayson and Jackson embody so much of who their mom was, they really had the best mom — and they knew that, too. Lisa holds a special place in my heart — I will always aspire to have a life as fulfilled and happy as the one she shared with us. Thank you for being our mama bear!”

—Lanni Gagnon

She was whip smart, funny and a pure joy to be around. Her stories were unmatched and the life she lived was full and adventurous.

I know we will all be thinking of her every time we hear Johnny Cash or Elvis, watch Grease or hear a new piece of Country Music history and think…‘Lisa would have known that.’

Thank you for everything. We love you so. Till we meet again, I can’t wait for another hug. Until then I’ll always remember to ‘love like there’s no such this as a broken heart’ like you always reminded us to do🤍.”—Bridget Cirone

“Lisa was the first to give a compliment, reference a Friends episode or offer an uplifting piece of encouragement. The passion she had for her craft and the pure love she continually displayed for Country Music will forever remain an inspiration to me. The time that we worked together wasn’t long, but it is a time that I cherish.”

—Hannah Kellis

“Lisa was and always will be the Mama Bear of the ACM.” —Jen Heaton

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Historyof

The

ACM Honors

BY LIBBY GARDNER & HANNAH KELLIS

T

he Annual Academy of Country Music® Honors, which began in 2007 as a small gathering to celebrate the ACM Pioneer

Awards, has grown over the past 14 years into one of the Country Music industry’s favorite nights. Now, ACM Honors™ is an evening dedicated to recognizing the special honorees and off-camera category winners from the annual Academy of Country Music Awards™ cycle, including the Special Awards, Studio Recording Awards, Industry Awards and Songwriter of the Year Award. The Academy of Country Music Special Awards are voted on by the ACM Board of Directors for special achievements.

Take a look back through our photographic history to see how this special evening has evolved over the years to become the ACM Honors we know today.

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AT THE HEART OF IT ALL The Academy’s very own Lisa Lee was passionate about all things Country Music including the Academy and the ACM Awards, but her favorite event of the year was ACM Honors.

ACM Honors began in 2007 as the ACM Pioneer Awards, but in 2008, the year Lee joined the Academy, it was rebranded into ACM Honors with her help. Lee was incredibly passionate about the industry and honoring the artists, musicians and industry leaders who make Country Music such a unique landscape. The show was truly her creative vision and evidently everything that Lee put her time into demonstrated her admiration of Country Music and those who were a part of it.

F I R S T A N N UA L

ACM Pioneer Awards (ACM Honors) June 20, 2007 Tennessee State Museum

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1. Porter Wagoner presents Dolly Parton with the ACM Cliffie Stone Pioneer Award with host Marty Stuart. 2. Ty Herndon and Rhonda Vincent in attendance to present awards to honorees Jack Lamier (ACM Mae Boren Axton Award) and Dolly Parton (ACM Cliffie Stone Pioneer Award), respectively. 3. Trisha Yearwood poses at the first ACM Honors, having performed “He Called Me Baby” for honoree Harlon Howard, who was awarded the ACM Cliffie Stone Pioneer Award (posthumously). 4. Dottie Rambo, Mary Stuart and Connie Smith pose backstage at the first ACM Honors ceremony.

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S E CO N D A N N UA L 2

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ACM Honors September 17, 2008 Musicians Hall of Fame and Museum

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1. Brenda Lee, recipient of the ACM Cliffie Stone Pioneer Award, displays her ACM trophy backstage.

2. Luke Bryan performs Conway Twitty’s “I’d Love To Lay You Down”; Twitty is one of recipients of the 2007 ACM Cliffie Stone Pioneer Award. 3. Joe Nichols, Connie Smith and Jon Randall perform “I’ll Wait For You,” “Once A Day” and “Whiskey Lullaby” in tribute to songwriter Bill Anderson, recipient of the ACM Poet’s Award. 4. Joe Bonsall, Duane Allen, William Lee Golden and Richard Sterban of the Oak Ridge Boys, recipients of the ACM Cliffie Stone Pioneer Award, pose backstage at the 2nd ACM Honors. 5. RAC Clark accepts the trophy on behalf of his father, Dick Clark, recipient of the ACM Jim Reeves International Award.

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TH I R D A N N UA L

ACM Honors September 22, 2009 Schermerhorn Symphony Center

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1. Carrie Underwood poses with honoree and recipient of the ACM Cliffie Stone Pioneer Award, Randy Travis. 2. Miranda Lambert performs onstage to honor ACM Poet’s Award recipient, Merle Haggard. 3. Jamey Johnson and Kellie Pickler perform the Kenny Rogers and Dottie West hit duet, “When Two Worlds Collide”; Rogers was honored with the ACM Cliffie Stone Pioneer Award. 4. Merle Haggard, recipient of the 2008 ACM Poet’s Award, poses on the red carpet of the 3rd ACM Honors.

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F O U R TH A N N UA L

ACM Honors September 20, 2010 Ryman Auditorium 1. Keith Urban accepts the ACM Jim Reeves International Award at the 4th Annual ACM Honors. 2. Marty Stuart and a few of his Fabulous Superlatives perform “Big Iron” in honor of Marty Robbins, a recipient of the ACM Cliffie Sonte Pioneer Award (posthumously). 3. John Rich, Larry Gatlin and Kenny Rogers hang backstage at Ryman Auditorium. 4. Randy Travis performs “On The Other Hand” and “Forever and Ever, Amen” in tribute to accomplished songwriter and recipient of the 2009 ACM Poet’s Award, Don Schlitz.

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F I F TH A N N UA L

ACM Honors

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September 19, 2011 Ryman Auditorium 1. Taylor Swift accepts the ACM Jim Reeves International Award at the 5th ACM Honors. 2. Brett Eldredge performs “It Ain’t Gotta Be Love,” which he also performed on the soundtrack of the major motion picture Country Strong, which was the recipient of the 2010 ACM Tex Ritter Film Award. 3. Steve, Larry and Rudy Gatlin of the Gatlin Brothers are awarded the ACM Cliffie Stone Pioneer Award on the Ryman stage.

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S I X TH A N N UA L

ACM Honors September 17, 2008 Musicians Hall of Fame and Museum

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1. Clint Black performs a medley of “King of the Road,” “Dang Me” and “Husbands and Wives” in honor of Roger Miller, who is awarded with the ACM Poet’s Award (posthumously).

2. Luke Bryan performs “Country Girl (Shake It For Me)” in honor of his friend and song co-writer Dallas Davidson, recipient of the 2011 ACM Songwriter of the Year Award. 3. Alan Jackson accepts the ACM Jim Reeves International Award at the 6th ACM Honors. 4. Kenny Chesney is awarded the ACM Crystal Milestone Award.

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S E V E N T H A N N UA L

ACM Honors September 10, 2013 Ryman Auditorium 1

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1. Wynonna Judd accepts the ACM Cliffie Stone Pioneer Award for The Judds. 2. Charles Kelley and Dave Haywood of Lady A, recipients of the 2012 ACM Jim Reeve International Award, pose backstage with their ACM Honors trophies. 3. Honoree Tommy Wiggins, recipient of the ACM Mae Boren Axton Award, poses backstage with Randy Owen of Alabama. 4. Randy Owen, Teddy Gentry and Jeff Cook of Alabama accept the ACM Career Achievement Award.

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E I G H TH A N N UA L

ACM Honors September 9, 2014 Ryman Auditorium 1 3

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1. Ronnie Milsap accepts the 2013 ACM Career Achievement Award. 2. Kris Kristofferson accepts the ACM Poet’s Award. 3. Gary LeVox, Jay DeMarcus and Joe Don Rooney of Rascal Flatts are honored with the ACM Jim Reeves International Award. 4. Dwight Yoakam performs a tribute song for Buck Owens, recipient of the ACM Poet’s Award (posthumously).

N I N TH A N N UA L

ACM Honors September 1, 2015 Ryman Auditorium

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1. Kacey Musgraves performs her song “Good Ol’ Boys Club” in tribute to Luke Laird, fellow co-writer and the recipient of the 2014 ACM Songwriter of the Year Award. 2. Eric Church accepts the 2014 ACM Jim Reeves International Award onstage at Ryman Auditorium.

3. Honoree Loretta Lynn, recipient of the ACM Crystal Milestone Award, waves to the crowd.

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To mark the 10th Annual ACM Honors, the event was televised for the first time in its history on CBS.

TE N TH A N N UA L 3

ACM Honors August 30, 2016 Ryman Auditorium 1. Alicia Keys and Cam put their own spin on Little Big Town’s “Girl Crush,” recipients of the ACM Crystal Milestone Award. 2. Dan + Shay and Chris Young perform “Flowers On The Wall” together in tribute to The Statler Brothers. 3. Glen Campbell’s family accepts the ACM Career Achievement Award on his behalf (from left to right; Cal Campbell, Kimberly Campbell, Ashley Campbell and Shannon Campbell). 4. Dierks Bentley and ACM Lifting Lives® Music Camp campers perform “Freedom” in tribute to Ross Copperman, who is honored with the ACM Songwriter of the Year Award.

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E L E V E N TH A N N UA L

ACM Honors August 23, 2017 Ryman Auditorium 1. Honorees Reba McEntire, recipient of the 2016 ACM Mae Boren Axton Service Award, and Dolly Parton, recipient of the 2016 ACM Gary Haber Lifting Lives Award, pose backstage. 2. Alan Jackson performs a medley of “Marina Del Ray” and “The Firemen” in honor of George Strait. 3. Strait performs his hit “Here For A Good Time” after accepting the ACM Cliffie Stone Icon Award.

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T W E L F TH A N N UA L

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August 22, 2018 Ryman Auditorium 1. Chris Stapleton performs “Here In The Real World” honoring ACM Cliffie Stone Icon Award winner, Alan Jackson.

2. Darius Rucker accepts the 2017 ACM Gary Haber Lifting Lives Award from Kip Moore. 3. Dierks Bentley and Ricky Skaggs pose backstage at the 12th ACM Honors, where Bentley was honored with the ACM Merle Haggard Spirit Award.

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TH I R TE E N TH A N N UA L

ACM Honors August 21, 2019 Ryman Auditorium

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1. Caylee Hammack pays tribute to Martina McBride by serenading the crowd with her rendition of “A Broken Wing” at the 13th ACM Honors. 2. Keith Urban and Miranda Lambert duet on a performance of “The House That Built Me” as Lambert is honored with the ACM Gene Weed Milestone Award. 3. Lauren Alaina presents honoree Martina McBride with the ACM Cliffie Stone Icon Award.

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F O U R TE E NT H A N N UA L

ACM Honors August 25, 2021 Ryman Auditorium

1. Alan Jackson and Lee Ann Womack perform twice onstage at Ryman Auditorium, honoring Loretta Lynn (ACM Poet’s Award) with “Louisiana Woman, Mississippi Man” and RAC Clark (ACM Mae Boren Axton Service Award) with “Murder on Music Row.” 2. Keith Urban presents Ross Copperman with the ACM Gary Haber Lifting Lives Award after honoring him with a performance of “John Cougar, John Deere, John 3:16.” 3. Dan + Shay accept the ACM Jim Reeves International Award following a performance medley of their hits from songwriters Jessie Jo Dillon, Nicolle Galyon, Jordan Reynolds and Laura Veltz.

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